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FEBRUARY - MARCH 2015 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation
EDITORIAL TEAM
Georgia Alevizaki, Paraskevi Gerolymatou, Andreas Georgiadis, Maria Koutsomallis, Alexandra Papakostopoulou, Maria Skamaga, Irene Stratis Designed and edited by
Τ +30 210 - 7252896 www.moca-andros.gr | www.goulandris.gr
CONTENTS
IN PLACE OF A PROLOGUE
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By Kyriakos Koutsomallis, Director of the Basil and Elise Goulandris Foundation
INTERVIEW
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with Academician Michalis Tiverios
I N S I D E T H E F O U N D AT I O N ' S P E R M A N E N T C O L L E C T I O N
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Francesco Clemente, Self-portraits
FORMER BEGF SCHOLARS
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Evangelia Tzanetatou
I N T E R N AT I O N A L L I S T I N G S / C U LT U R E A list of major art shows around the world
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I N P L A C E O F A P R O LO G U E
This online bulletin, now in its eleventh issue, marks an effort on our part to keep in touch with the many friends of the Basil and Elise Goulandris Foundation, an audience that seems in fact to be growing in numbers from one issue to the next. In this issue of G. we are very pleased and honored to be including an interview with Michalis Tiverios, Academician, Professor Emeritus of Archaeology at the Aristotle University of Thessaloniki, whose astute, eloquent answers to our questions are certainly a source of invaluable advice to young aspiring archaeologists, who like himself are committed to the quest for scientific truth via the study of antiquity. In our regular feature of past winners of the BEGF Scholarship, we are turning the spotlight to Evangelia Tzanetatou, who received the grant in 1990-91 to study bookbinding at London's College of Printing. The Foundation has now announced the thirty first edition of its Scholarship Program for the academic year 2015-16. Applications by all interested parties must be submitted to the Foundation's headquarters by the end of March 2015. We should remind our readers that the Museum of Contemporary Art at Chora, Andros, is open throughout the winter months, featuring an exhibition of works from its permanent collection. Details about our upcoming summer show – an exhibition dedicated to the work of Man Ray – will be included in the next issue of G. Finally, let us repeat once more that our friends are invited to share with us their comments, views, and impressions on all social media platforms.
Kyriakos Koutsomallis Director
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INTERVIEW W I T H A ca d e m ician M I C H A L I S T I V E R I O S
«an archaeologist is not someone who discovers antiquities, but rather someone who is capable of studying them» An iconoclast since childhood you turned your back on both the family tradition and that of your native Andros, which would send you out to sea, and walked the opposite way instead. What pushed you in the direction of “the earth”? As you know, chance plays an important part in our lives, and so it did in mine. There were some chance events that pulled me away from the sea at the same time that they awakened in me an unacknowledged vocation, a latent love for archaeology. As a result, I turned out an archaeologist instead of a sailor. You have often said that you love pottery because it combines the four elements (water, earth, fire, and air). What about the fifth element... I love pottery for more reasons, for example, the images painted on it. Obviously, I am talking about pottery whose decorations are figurative. Whether representations of mythological scenes or of scenes from everyday life, these decorations help us get a better, more immediate grasp of the many aspects of life in ancient Greece: religious, ritual, historical, public, political, domestic, funerary, professional, and many more. The Archaeological Museum of Andros was established in the 1980s. Could you talk to us about its history? The Museum is a real gem for the island and, to use the kind of financial parlance that seems to prevail these days, its establishment can be described as a successful long-
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INTERVIEW WITH Academician MICHALIS TIVERIOS
term investment for Andros. The museum's staff must, however, make a point of keeping it fresh, and alive, by developing a program of temporary exhibitions, which will keep it from becoming a mortuary for the art of antiquity. Nevertheless, for reasons that are purely personal, every time I pass by it, this involuntary bittersweet feeling rises up in me: you see, my father's store was among the buildings that had to be torn down to make room for the museum. In lands whose history is as long and storied as that of Greece, one might argue that to be an archaeologist is almost a mission, a vocation that is linked to a kind of specialized/scientific patriotism. How far apart is practice from theory in this respect? This question, if I understand it correctly, is very important. Archaeology is a science. Archaeologists, like all scientists, must make the pursuit of scientific truth, and that alone, the ultimate goal of their research. This mission may serve no other goal whatsoever. And in pursuing scientific truth they are, I am certain, making their country a service. You have stated in no uncertain terms that you'd rather there were no fragmentary excavations performed for the sake of specific finds for they cause immeasurable damage. You have also said that you hope future archaeologists will be more competent to deal with this country's archaeological wealth. But how may contemporary archaeologists become aware of their real incentives, or of the object of their quests, if not by trial and error, if not by allowing themselves to learn and evolve... Your question gives me the opportunity to set the record straight as far as certain things are concerned about which a lot of people seem to have the wrong impression. First of all, an archaeologist is not someone who discovers antiquities, but rather someone who is capable of studying them. Ancient artifacts may be discovered by a fisherman, by the driver of a bulldozer, a farmer, a grave robber, anyone really, but this is not enough–and I believe we agree on that–to consider the lot of them as archaeologists. Let me tell you that the international community of archaeologists has in the past included (and still includes) many members who never performed an actual dig! It is not the practice of excavations that makes an archaeologist. But I can assure those young aspiring archaeologists that there are many important antiquities out there still waiting to be studied, and many archaeological issues and problems that are yet to be investigated and resolved. So they will have plenty of opportunities to prove themselves. Therefore, our age is by no means short of scientific reasons why someone should become involved with the study of antiquity. It is only my concern over the protection of the artifacts themselves that makes me oppose this new kind of systematic excavations. There have
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Selection of books by Michalis Tiverios
been archaeological finds that have been left unprotected or almost unprotected following their excavation: abandoned in the open air, they are exposed to the elements and the various destructive effects of human activity and left to ruin. Even worse, some of these finds never found their way into archaeological bibliography! Our country has the privilege of possessing an enormous archaeological wealth. But its finances hardly permit the conservation and showcasing of that wealth, especially now as a result of our dire economic state. Mother earth does the best job when it comes to protecting antiquities. The country's archaeological wealth should be made the object of a policy of systematic excavations only when the Greek State will be in a position to conserve and promote it on an equally systematic basis, and when Greeks will have been made truly aware of its vast significance. What in your opinion should change so that the relationship of modern Greeks to their country's rich heritage and history may be restored? Education. Greek youth should receive the right education–in the word's broadest possible sense– starting already in preschool–an education focused on learning and honesty.
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INTERVIEW WITH Academician MICHALIS TIVERIOS
What are the moral skills you would teach those young scientists who have resolved to become archaeologists? Do you find reasons to be optimistic when contemplating today's youth? I fear that to have a moral dilemma today is enough to have you labeled as impractical, if not downright eccentric. Remember what that MP said: “what is legal is also moral!� I would urge young archaeologists, and young researchers in general, to love their work and give it the better part of the day, to think freely, use their minds not their hearts when making decisions, follow no dogma, and, in principle, leave nothing unchallenged. I believe it's the young today, more than anyone, that suffer the consequences of the current crisis, which reaches well beyond the economy. And yet we must try at all costs to not let them down. A country that lets down its youth has no future. Being an archaeologist was never a lucrative profession. Therefore, those who consciously choose to practice it do not really expect to make a lot of money. But they do expect the State to show respect for merit, to ensure the right conditions are in place for work that is unobstructed and productive, and to reward that work in a way that allows people to make a decent living. Young people must demand all the above, taking care not to bow to any self-serving partisan interests, and with all the vitality and inherent dynamism of youth it may actually be possible to get what they ask for.
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I N S I D E T H E F O U N D AT I O N ' S PERMANENT COLLECTION
Francesco Clemente (b. 1952)
Self-portraits series of 11 drawings Water-colour on hand-made paper, 25 x 25 cm each, 1992
The Aperto section of the Venice Biennale had launced the international career of a great number of artists. (Aperto was abolished in 1995.) Francesco Clemente was invited to participate in the 1980 Aperto by Italian art critic, Achille Bonito Oliva, who presented three Italian artists -referred to as the three C’s, Clemente, Chia and Cucchi- as Transavanguardia. Francesco Clemente has had the most consistent trajectory of the artists who called on the past and their cultural heritage to introduce figurative painting back into artistic discourse, and promote a type of art which rested largely outside Conceptualism and Minimalism. With studios and residences on three continents, in Rome, Madras and New York, Clemente has culled images from diverse cultures. The American influence is the least discernible in his work, for the artist seems to make particular reference to the vast and complex Indian tradition as well as to the European past. Some of his most memorable work brings to mind the painting of Manet, flat yet full of energy, combined with elements of Indian folk art. In Clemente’s work, no format prevails. From oils on precious hand-made Indian canvaspaper to miniature drawings, to gouaches and ink, he explores his wonder at nature, and the hidden, allegorical meanings of mythology. The Neapolitan born artist was a poet before he became a painter, but soon abandoned poetry because he thought words to be “too embarrassing, too revealing”. After moving to Rome in 1970 to study architecture, he ultimately turned to art which he considers to be “the last oral tradition alive in the West”. Clemente became one of the central figures of the feverish eighties, and collaborated with Andy Warhol and Jean-Michel Basquiat, actively participating in the New York art scene of the time. His large canvases often take inspiration from mythology, astrology and Tarot, as indeed do his small diaristic drawings. An often used process in his work is that of selfinvestigation. Eleven Self-portraits typifies Clemente’s interest in knowledge of the cosmos through a knowledge of the self and in each small water-colour he portrays his face, his face and hands, his neck as if he is trying to see how each constituent part of him can unfold the sum total of his image.
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I N S I D E T H E F O U N D AT I O N ' S PERMANENT COLLECTION
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FORMER BEGF SCHOLARS
Evangelia Tzanetatou BEGF scholar 1990-1991, bookbinding.
If we asked a teenager to choose between a book arts exhibition and a 3D printing show, would there be a 99% likelihood that they would choose the latter over the former, and why is that? Let me first give you an idea of where I stand within the community of Greek bookbinders. I don't have a background in artistic bookbinding, in the sense that I did not receive any practical training at the side of a master craftsman in some Greek bindery. I started out by training in French bookbinding at the Hellenic Organization of Small and Medium Sized Enterprises and Handicraft, and then went on to London to complete my systematic training. Broadly speaking, I consider myself to be continuously learning. So I ask you to bear with me when I replace the term “artistic bookbinding” with what in the Englishspeaking world is generally known as craft bookbinding. And this is purely for the sake of functionality. Today, craft bookbinding includes a wide range of methods. What is meant by the term “artistic bookbinding” that is traditionally used in Greece is precisely the kind of handicraft, or craft at any rate, whose different stages involve the synergy of hand and machine, and whose conventions can be traced back through the history of bookbinding up to the nineteenth century; that is, up to the time when things began to pick up pace and production methods began to change to cater to the increased demand that was the result of the mass consumption of printed books. That was when clear boundaries were set between the different roles within the practice of bookbinding. The bookbinding industry now followed the rapid pace by which printing evolved. Obviously this is the kind of bookbinding with which most book lovers are familiar. It is the kind of bookbinding that does not require one to be familiar with any particular idiom before they can enjoy it. The only thing anyone needs to know is that a book that is a utilitarian object opens up beautifully when being read without falling apart, and
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Leaving-My desert dream: a book featuring two poems in conversation with each other. The text, book, and bookbinding are all by Evangelia Tzanetatou. The book was digitally designed and published as a single copy in 2002. The binding consists of both soft and hard parts, and includes a cover in the form of a triptych. Hard binding is layered to create recesses and raised surfaces. The cover is bound in leather, the design featuring a blend of different textures, as well as hot stamping using an array of tools. Inner covers are made of thick watercolor paper and feature a decorative pattern made with the paste paper technique. These inner covers in effect act as a concealed paper wrap that folds around the pages of the book, in turn wrapped up itself inside the outer leather cover.
From the left: silk velvet fabric book pouch with silk ribbons and decorative details, seen here folded and opened up.
features at best a pleasing design on its paperback cover – or, sometimes, its hardcover – at worst one that is not so pleasing. That's all. Nevertheless, craft bookbinding did not become obsolete. But there was a shift in its scope: although the practice itself remains unchanged, the field it represents has shrunk in terms of the number of people involved in craft bookbinding, and of productivity levels. It is now limited to the small bindery, usually run by one person alone, while its actual object is what it used to be prior to the nineteenth century, that is, collectible books. But, what does the practice of craft bookbinding involve today? Well, contemporary craft bookbinding – and I am referring to craft bookbinding internationally, a field to which some of us have devoted their whole lives – may have many applications, which are, in fact, the same applications it had up until the nineteenth century. Craft bookbinding is concerned with the production of rare books, as opposed to mass produced books. This immediately limits its appeal, as it targets the kind of audience that can afford access to this type of books. The access in question can take two forms: one is collecting, the other is becoming acquainted with that sort of book through museums and other institutions including the major libraries, which either by implication of their policy, or not, act de facto as museums of book history. Two different practices come to mind when trying to paint a general picture of what contemporary craft bookbinding is about. One is the production of books-as-art-objects, the other being the restoration and conservation of rare books. In any case, contemporary craft bookbinding is concerned with all kinds of rare books. These practices are the sum
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of a long record of experience and technical know-how that is hardly limited to the span of a few years or decades, as in the case of mechanized bookbinding, going back whole centuries instead. The particular language of this art is not easy to recognize and, by extent, to read. It takes a certain degree of initiation into its secrets, of familiarization with its different aspects. And if this is true of its formal peculiarities, then it is even more so of its aesthetic interpretation. In my view, this is exactly what compromises its appeal. That being said, I hope it is clear that there is an added peculiarity to Greek craft bookbinding; that the landscape of Greek craft bookbinding, as it were, is dotted with flowers left untended, unwatered to perish as the seasons change. Could it be that to start addressing the problem one needs to remedy the contempt recently reserved for books as such? We are obviously going through this transitional phase, which I would hardly describe, though, in terms of a contempt for books. I am not the right person to investigate if in fact there is a decrease in the production of printed books, or not–and it is mass consumed books I am talking about–,but I don't think we are really contemptuous of books. I think we are experiencing a transition. Given the economic challenges of recent years in Greece I am actually impressed that our bookstores are always packed during the public's leisure time, what we might call their “personal time”. Buying the books of the week is a cheaper and more constructive form of entertainment. Also, many people seem to be turning to lending libraries for books to read. And that's very important; not to mention the many reading groups, or book clubs, that are even more important: that's reading as a means of socialization. But craft bookbinding and its development is another thing altogether. Craft bookbinding cannot “escape” [its constraints] and enter the realm of mass consumption. What could be done, though, is establish proper schools to train future craft bookbinders, and the necessary infrastructure to ensure presentation and distribution of their work: channels that parallel those through which works of art are generally shown and distributed. But, none of the above actually exists.
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FORMER BEGF SCHOLARS
From the left: cover decoration (details), inner paper covers.
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Bookbinding is an art that is redolent of the past. How might it be renewed? Efforts to renew the kind of bookbinding we are talking about began as early as the turn of the twentieth century, gaining creative momentum around the 1950s, and reaching a peak in the 80s and 90s. Today it too is going through that period of transition. The trends that emerged at one time or another and the schools established have used up all their energy. The days of invention and innovation are in the past. And education is in decline. Schools shut down or redesigned their program of studies. So in this sense I am hoping that the future of bookbinding is one of inventiveness and originality. Bookbinders the world over have access to a huge cache of experience, which they can appropriate and use to one end: giving free rein to self expression and their unique creative visions while they steer clear of imitation and the pitfall of the dominant trends. That is what people did back in the 50s. They escaped from all that was established and conventional, using it instead to formulate an expressive language that was their own. Isn't there a sense of 'natural awe' to be felt in the idea of 'a house' that is inhabited by an one-of-a-kind book? I think private collections are a wonderful thing. Especially the kind of collections put together by real connoisseurs, lovers of the things that are being collected, as opposed to collectors who view their collections as investments to be carried out under supervision by an expert. More than a life's work, these collections are a mirror of the particular spirit of the person who compiled them and of their love for them. Personally, I am always impressed by that sort of acquaintance. Can the art of bookbinding adopt practices of recycling, or reusing materials, which would perhaps enhance its place in contemporary everyday life? Craft bookbinding has always used what was available. We have excellent historical examples of that rule. It goes without saying that materials can be recycled. The trend exists even in creative bookbinding. But there is one concern when it comes to reusing materials: these materials must conform to archival material standards, as is always the case in craft bookbinding. This ensures that their use makes for a safe and functional bind. To be clear, this is a general rule as far as the art of bookbinding is concerned: taking precautions to minimize the wear and tear on the bind ensures the book's longevity. If you were given the opportunity to teach a course on bookbinding, which age group would you prefer to teach and what would be the course about? This is a very personal question. In general, I could design a course even for preschoolers, but I know from experience that interaction with students of fine and graphic arts can be very challenging. My personal interaction with that particular group has produced extraordinary results over very short periods of time, and in spite of the near impracticability of the tasks at hand. How would you envision the future of your art as it passes through the clashing rocks, so to speak, of the digital age and its idealization? There can only be a vibrant future ahead for the art of craft bookbinding, and it will come as a result of the specific creativity to which it gives way; of the original, personal idioms 20
FORMER BEGF SCHOLARS developed by its exponents. Restoring and conserving its past will always be relevant. But whatever new forms it takes will be the result of continuous creative activity. In every case where this kind of activity seems to have reached a hiatus, things soon seem to be sinking into stagnation, to deteriorate toward an absolute nadir. We need to keep moving forward, even if walking on uncharted paths, whatever the insecurities this breeds. Can developing the art of craft bookbinding in Greece today help create jobs and the prospect of a better future for young people? What would that require? Young people could be given employment and a future under certain conditions that are currently not in place. The right education comes to mind, meaning an education that provides knowledge in a way that builds a critical mind, a mind that will in turn become involved with research and creative experimentation. Personally, I was fortunate enough to have received this kind of education in the UK. It perfectly suited my particular philosophy of life and temperament. That is the only way in which Greece might contribute its own trends, or schools, to developments on the international scene. Claiming a place for one's works in exhibition spaces and distribution channels can only come afterward. But, obviously, we are talking about creating the conditions from scratch. And what I am certainly not talking about is setting up yet another bindery in the heart of town with the dream of creating what one loves and ending up producing and selling anything but that just to cover its operating expenses. This is something any business producing handmade objects might do, say a manufacturer of CD or DVD boxes for example. Tell us of a recent development in your field that has been a source of inspiration for you. I am sorry to say this, it is a sad fact that I too have to live with, but unfortunately there has been nothing in recent years to have rocked the world of craft bookbinding. A militant movement for a kind of structural and aesthetic minimalism that seems to have prevailed – and I do understand its appeal – did perhaps rid the act of bookbinding from various elements that weighed it down. And this is a big 'perhaps' because in reality what it did was strip it of all its magic – the kind of magic that resulted from synthesis, from the delicate harmony between craftsmanship and aesthetics. That's where I think losses were suffered. That being the case, I tend to focus on my personal quests. I am interested in creating books that are distillations of a personal idiom in the form of a personal object. In that sense I could not say that I have been helped by any major development on the international scene of craft bookbinding. On the contrary, and that is by no means an uncommon thing, my research into the history of bookbinding has often led me to discover–in the most unlikely examples of antique and distressed books that no conservator's hand ever touched–the most fascinating details in what at first glance appears to be a clumsy, poor bind, that have added to my insight as both a conservator and a designer.
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INTERNATIONAL LISTINGS / CULTURE
LONDON
Royal Academy of Arts Rubens and his Legacy: Van Dyck to Cezanne
Masterpieces by Rubens meet works by major artists whose painting was influenced by his legacy in the generations that followed (Picasso, Rembrandt, Van Dyck, Delacroix, Constable, Gainsborough, and others).
Exhibition runs from 24 January through to 10 April, 2015. www.royalacademy.org.uk
LONDON
THE COURTAULD GALLERY Goya: The Witches and Old Women Album
This important exhibition reunites for the first time all surviving drawings from Goya's witches and old women album, shedding light on a very private, personal aspect of the great painter's practice. In these works, dreams and nightmares, superstitions and the trials of old age become a filter for Goya's unique vision. Exhibition runs from 26 February through to 25 May, 2015. www.courtauld.ac.uk
LONDON
White Chapel Gallery Adventures of the Black Square: Abstract Art and Society
A century of abstract art is the focus of this major exhibit which brings together more than 100 works by an equal number of artists, including many contemporary artists such as Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Aleksandr Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel. Exhibition runs from 15 January through to 6 April, 2015. www.whitechapelgallery.org
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PA R I S
GRAND PALAIS: Velásquez
The exhibit, jointly organized by the RMNGrand Palais, the Musée du Louvre, and the Kunsthistorisches Museum, Vienna, presents Velásquez's portraits of Spanish royalty. Exhibition runs from 25 March through to 7 July, 2015. www.grandpalais.fr
PA R I S
Musée RodiΝ: Robert Doisneau Sculptors and Sculptures
The images featured here document the casting of Rodin's The Thinker and attest the famous photographer's interest in Rodin's sculptures whether in the latter's studio or in public spaces. Exhibition runs from 14 March through to 19 Nov., 2015. www.musee-rodin.fr
VIENNA
ALBERTINA MUSEUM DEGAS, CEZANNE, SEURAT
The Musée d'Orsay unlocks its vaults and brings to light 130 of its precious holdings, including pastels by Edgar Degas, Georges Seurat, and Odilon Redon, gouaches by Daumier and Moreau, and watercolors by Cézanne. Exhibition runs from 30 January through to 3 May, 2015. www.albertina.at
AMSTERDAM
Rijksmuseum: Late Rembrandt
This is the first major exhibition to investigate the late years in the Dutch master's career. It brings together more than 100 paintings, drawings, and prints on loan from the collections of many international museums. Exhibition runs from 12 February through to 17 May, 2015. www.rijksmuseum.nl
BASEL
FONDATION BEYELER PAUL GAUGHUIN
The show features almost fifty of Gaughin's famous masterpieces sourced from the collections of major international museums and private individuals. It centers on the Tahiti paintings, sensuous depictions of women in idyllic landscapes, often punctuated by iconic animal figures.
Exhibition runs from 8 February through to 28 June, 2015. www.fondationbeyeler.ch
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INTERNATIONAL LISTINGS / CULTURE
VENICE
Guggenheim Museum Alchemy by Jackson Pollock
Jackson Pollock's Alchemy, returns to the Peggy Guggenheim Collection after more than a year's absence. Following conservation work, the audience will again be given the opportunity to enjoy the work restored to all its original glory. Exhibition runs from 14 February through to 6 April, 2015. www.guggenheim.org
MADRID
Thyssen-Bornemisza Museum Paul Delvaux: a walk with love and death
An exhibition exploring the work of Belgian painter Paul Delvaux (1897-1994), whose painting, initially an example of Flemish Expressionism, would eventually come under the influence of Surrealism. The show brings together more than fifty of the painter's works, to be found in private and public collections in Belgium, most prominently the GhĂŞne Collection. Exhibition runs from 24 February through to 7 June, 2015. www.museothyssen.org
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VENICE
MUSEO CORRER THE POETRY OF LIGHT
Museo Correr, presents over 130 works produced between the 15th and 19th centuries in Venice: Mantegna, Bellini, Giorgione, Titian, Veronese, Tiepolo, Piazzetta, and Canaletto, not to mention foreigners including Callow and Sargent among others. Exhibition runs from 6 December 2014 through to 15 March 2015 www.correr.visitmuve.it
MADRID
Thyssen-Bornemisza Museum Raoul Dufy
Dufy's studies for Apollinaire's Bestiary are presented for the first time alongside a series of prints. The exhibition attempts a reassessment of the painter's work, focusing not only on his signature hedonism, but also, and perhaps more importantly so, on the more introspective, contemplative, intimate aspects of his painting. Exhibition runs from 17 February through to 17 May, 2015. www.museothyssen.org
MADRID
Prado museum: Ten Picassos from the Kunstmuseum Basel
The Prado Museum presents ten Picasso masterpieces from the collection of the Kunstmuseum, Basel, which date from between 1906 and 1967. Exhibition runs from 18 March through to 15 September, 2015. www.museodelprado.es
NEW YORK
NEUE GALERIE Egon Schiele: Portraits
The exhibition is an investigation of Egon Schiele's portraits and it is the first of its kind to be organized by an American museum. Alongside the portraits, the show also includes visual material that relates to the trauma of Schiele's arrest and incarceration in 1912. The exhibit attempts to document how Schiele's style evolves in the period that immediately precedes and follows his imprisonment. Exhibition runs from 9 Oct., 2014, through to 20 April, 2015. www.neuegalerie.org
BARCELONA
MUSEU PICASSO de BARCELONA
The show includes works by Pablo Picasso and Salvador Dali. Picasso supported Dali during the early stages in his career and in the 1930s helped him organize his trip to the USA. After the end of the Spanish Civil War, Dali spoke and wrote about Picasso, describing his own works as a tribute to Picasso's painting. Exhibition runs from 20 March through to 28 June, 2015. www.museupicasso.bcn.cat
NEW YORK
The Metropolitan Museum of Art: Madame CĂŠzanne
A selection of paintings, drawings, and watercolors traces Paul CĂŠzanne's (France, 1839-1906) lifelong devotion to this wife Hortense Fiquet (France 1850-1922), mother of his only son and his most painted model. The exhibition presents twenty four of the twenty nine known portraits of Hortense. Exhibition runs from 19 November, 2014, through to 15 March, 2015. www.metmuseum.org
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