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OCTOBER - NOVEMBER 2015 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation
EDITORIAL TEAM
Paraskevi Gerolymatou, Andreas Georgiadis, Maria Koutsomallis, Alexandra Papakostopoulou, Kleio Panourgias, Irene Stratis Designed and edited by
Τ + 30 210 - 72 52 896 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
P R E S E N TAT I O N
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In the wake of the Man Ray - Visages of the Woman exhibition
RECENT NEWS
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Winter visits to the Museum on Andros
E D U C AT I O N
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Statues playing pantomime! Museum kits of the Museum of Contemporary Art
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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Michalis Tombros, Portrait Bust of Decisive Moment, 1948
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
It is with particular joy and a warm welcome that we are resuming our contact via this our 14th consecutive digital newsletter. Firstly, we must note that this summer’s Man Ray thematic exhibition on "The Visage of Woman" was impressively successful. Its reception in the media, both printed and electronic, was warm and included important editorials full of acclaim. The accompanying catalogue is still available in the Museum’s shop, but can also be ordered online or purchased in bookstores in Athens. Of the impressive panorama, two rooms will remain open to the public showing photographs and a video on the life and work of Man Ray. Boxes of educational material will be lent to schools in Greece with the ambition of bringing pupils closer to aspects of Modern Greek art via works from the Museum’s collection. They are aimed at primary school children and can be adapted depending on the age and class. The service is offered free of charge; the transportation and care of the material is entrusted to each teacher. For more information please contact the Foundation’s via email or telephone. It is our pleasure to inform you that the Museum will remain open during the winter. Apart from the sculpture gallery, also on show will be works by distinguished Greek and foreign artists from the permanent collection. Details and opening times are available via email info@moca-andros.gr or by telephone on 2282022444. Kyriakos Koutsomallis Director
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P R E S E N TAT I O N
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In the wake of the Man Ray - Visages of the Woman exhibition ‘Never with only one woman’ Margarita Pournara, Kathimerini, 4/7/2015 ‘I had taken the decision not to form a long-term relationship with a woman. I believed that changing my partner and diet regularly would help me maintain what they call a ‘healthy mind in a healthy body’. Drink and permanent relationships had caused the loss of a great many of my friends’, Man Ray (1890-1976) wrote in his autobiography entitled ‘Self-Portrait’. Indeed there were numerous muses, mistresses, companions, partners. It was not until he was much older that he spent several years with a wife and existed within a more permanent and harmonious cohabitation. All his previous attempts to approach the myth of the woman through its human reincarnation, as enthusiastic or as bitter as they were, formed the placenta of his artistic work that spanned over six decades. The female as the prey of art and life was the most important goal of his artistic course, the common denominator in the photographs, paintings, prints, short films, sculptures created by this untiring artist who could approach the same subject kaleidoscopically with inexhaustible imagination. This precious and moving corpus numbering 150 works is being presented this year by the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, in an exhibition that has just opened under the title “Visages of the Woman”. It is a comprehensive narrative based on a very clever device: we get to know Man Ray the artist through Man Ray the lover. Not voyeuristically but humanly and emotionally. We see someone who filled pages in cheap pads with the name of the lover who left him or drawing her lips two years after the break-up of their relationship, who made artworks in order to relieve the anger (the metronome with the cut-out eye of his mistress moving relentlessly is nothing more than an exhortation to the viewer to destroy the object of his desire). A man who preferred much younger women, who was never attracted to a particular
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type of woman, who was seduced by tomboys and divas alike, who connected his entire career to beauty as he saw it. An artist who directed short films of his apparent suicide following failed love affairs, a person who loved, hated, fell in love again easily, fed off memories, who professionally photographed some of the world’s most beautiful woman, at whom eroticism ate away like woodworm. Under this prism, the distance that separates the viewer from the exhibit is almost diminished and thus the entire exhibition becomes a visual diary, satisfying and stylish. Clearly this is one of the best exhibitions we have seen on Andros: well-researched, cleverly and richly curated by Maria Koutsomalli. In the difficult era we are living it is a narrative comforting in its beauty and sophistication. Man Ray’s works shone on the intensely white walls of the museum built by the sea. Small diamonds in black and white, masterpieces with references to the tumultuous and interesting 20th century, transport viewers beyond the ominous present. The introduction to the exhibition as always is achieved via the chronology that presents a summary of the artist’s life and work. The exhibition is divided into four thematic sections each of which maps his relationship with women and is illustrated by photographs, paintings, sculptures, prints, etc. In ‘Man Ray’s Muses’ we are introduced to the women in his life: his first – completely bland wife, Donna Lecoeur, whom he divorced after six years. The cabaret priestess Kiki de Montparnasse whom he met in Paris and with whom he stayed for another six years. Lee Miller who haunted him after their break up (she is responsible for the lips and the scribbled pads and the films with the fake suicides). He lived with her for three fiery years. Adrienne Fidelin who succeeded her didn’t cure him completely but they stayed together for another three years. The artist Meret Oppenheim was his muse – but not
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In the wake of the Man Ray's exhibition
his lover. Finally, the American Juliet Browner became his wife and they lived together for the rest of his life. Then comes the section with photographs from his professional studio, of both famous and unknown sitters. The photographer chose not to settle in New York but in Hollywood and this is where he came into contact with the world of fashion but also intellectual circles which he also affiliated in Paris. There is thus a catwalk of images from Coco Chanel and Katrine Deneuve to Gertrude Stein, Ava Gardner and Dora Maar. There follows an entire circle on ‘woman as the object of desire’ which illustrates his adoration of the female body and its anatomy from more risqué works (collected in a small separate room) to the completely artistic in which female torsos are photographed as sculptures and acquire a three-dimensional feeling. The way in which he handled their silhouettes reveals absolute admiration. It is no accident that he dressed Kiki de Montparnasse, shaped her eyebrows using black pencil, placed her exactly where he wanted in the frame, treated her like a doll. The exhibition closes with the final part on the Surrealist Woman and how the weaker sex was at the heart of the movement. Through this presentation one becomes aware of Man Ray’s relationships with the poet Paul Éluard through the coexistence of poems and sculptures and how his personality was moulded by his contact with the Parisian literati. What is truly impressive about this exhibition is not only its good curation but the overall appearance. The artistic design by the ‘Mikri Arktos’ group is truly excellent as is the trilingual catalogue that guides us through the artist’s life and work. The Foundation, which is currently preparing its new Athenian annex on Eratosthenous Street in Pagrati, has offered us the summer’s most interesting exhibition. Duration until 27 September.
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The dancer and Miller’s lips
Antigone Karali, Ethnos, 29/6/2015
Man Ray tried, throughout his life ‘not to have long-term relationships so as not to keep eating the same food’, as noted in his autobiography. ‘He never kept to this. He was a man who fell madly in love with very exceptional women whom he highlighted in notable ways in his art’, explains exhibition curator Maria Koutsomalli. Kiki de Montparnasse, the first important woman in Man Ray’s life, a young girl of just 21, model and dancer also known as ‘the dancer of Montparnasse’ greets visitors in the exhibition’s first and most personal section, entitled ‘Muses’. An exuberant, beautiful woman, Man Ray painted her, photographed her, drew her, shaved her eyebrows in order to draw them back on, took particular care of her. Among Kiki’s most famous works ‘Black and White’ (1926) and the unsurpassable ‘Ingres’ Violin’ (1924), as well as other sketches and drawings that highlight her femininity are on display in the room. Their love lasted from 1921 to 1928 when she abandoned him. The slender American model Lee Miller, later photographer and war correspondent, became his muse and mistress in 1929 for three years. When she left him Man Ray was in despair, haunted by sorrow; all these emotions passed into his art. The first phase of Miller’s rejection was succeeded by a second. After dreaming about her and from 1932 he placed a massive bucket above his bed (2m x 1m) and painted her lips on to it for over three years. ‘The Lovers’ (1934/1967), one of Ray’s monumental works, is Miller’s lips floating above the melancholy Parisian sky. Observing the work more carefully, as it dominates the space impressively, these lips look like two bodies coupled one on top of the other. Mutual trust, from the first instance, connected him to the independent Meret 10
In the wake of the Man Ray's exhibition
Oppenheim. Her photograph (1932) wins the gaze in the room. Her beautiful profile dominates the short film ‘Poison’ in which Man Ray is poisoned in the end. Adrienne Fidelin from Guadalupe, who was always smiling, was the first coloured woman to appear in an American fashion magazine. In the work ‘Laughter from a Dream’ (1937), happy and lively, above her head reads ‘She smiles even in her sleep’. She stands by him during a very happy period of his life. The bland Juliet Browner, his wife of 30 years, is the one who took care of him and his work and is depicted in sketches and photographs in the exhibition. The idea of the ‘Surrealist woman’, the almost hysterical creature that incarnates spontaneity, love and dreams, appeals to Man Ray. He depicts all the impulses and emotions she expresses in the collection of drawings ‘Les Mains libres’, in ‘The most beautiful streets in Paris’ created for the International Surrealist Exhibition in 1938 and in six etchings entitled ‘The Ballad of the Ladies Outside time’. Women play a dominant role in the sculptures in the exhibition but this is not always pleasant, since we see her presented as the beleaguered woman, the mystery woman or the castrating woman. His drawings ‘Les Mains Libres’ (he wrote that ‘I think my hands were dreaming when I created them’) of 1937 were illustrations for poems by his close friend, Paul Éluard. The silhouette and details of the female anatomy become the object of some of Man Ray’s more risqué experimentations in the section ‘Woman of desire’. By capturing an isolated part of the female body with his camera he transforms it into an object of desire even if this is a glance, a neck or a smile. Of all parts of the female body it is the hand that is depicted most often in his work as the most expressive and elegant aspect of the female anatomy. He created hands in bronze (‘Solitaire’ 1936/1971), there is also the work ‘Man Ray’s hand’ (1935/1971) and
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also in black and white ‘Hands painted by Pablo Picasso’ (135). Man Ray’s eroticism is explored in an ‘out-of-bounds’ room dominated by ‘The Prayer’ (1930/1070), a female details which the photographer’s lens makes attractive, imbues with mystery but no vulgarity. The same room houses two works from the ‘Mr and Mrs Woodman’ series (1947) where the artist has placed two wooden drawing macaques in space in kama sutra poses and ‘The embrace’ (1947) which offers an entire imaginary plain in order for the viewer to complete the image in his/her mind. The final shoot by Man Ray was of Katrine Deneuve and took place in 1968, when he was 78. In his studio, among his works, wearing a pair of earrings, he captured her noble beauty. This photograph but also the earrings (he gave them the title ‘Pending pendulum’), which the famous actress wore, are on display. According to M. Koutsomallis, by then, he viewed photography ‘as creation’ and had noted that ‘he could do everything, be a painter, sculptor, photographer.’ Despite Katrine Deneuve’s unique beauty, Coco Chanel’s portraits are the ‘real show-stoppers’. Two photo shoots, in 1930 and 1935, and the second in particular, helped create her myth. The first depict elements of her style but five years later we see an independent woman not wearing a corset, with fake pearls, black dress and a cigarette. Other celebrity portraits on show include Ava Gardner as Pandora, Perry Guggenheim, Jacqueline Picasso and the aristocrat Luisa Casati who printed the photograph in flyer-form which was then strewn across Paris and rocketed his reputation. The wonderful portrait of Dora Maar, Picasso’s muse and partner, using solarisation, enthused the Spanish painter. His portraits of unknown female sitters also demonstrate his high art; he managed to highlight them in a single photograph. They are included in the important section entitled ‘Man Ray Studio’.
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In the wake of the Man Ray's exhibition
Eroticism in black and white
Pari Spinou, Efimerida ton Syntakton, 29/6/2015
The unpredictable Mr Man Ray, his sensual muses and his most honourable friends Duchamp, Breton, Cocteau, Picasso sailed into the Chora of Andros on Saturday night. The rise and cause was the exhibition ‘The Visages of Woman’ at the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation which offered the opportunity for an exciting journey back to the inimitable Paris of the interwar period and glamorous post-war Hollywood to an era of subversive artistic fermentation, expressed through Surrealism and Dadaism. The exhibition containing 150 works (photographs, sculptures, prints, drawings), with a detailed chronology, divided into four sections (The Muses, The Man Ray Studio, The Woman of Desire, The Surrealist Woman) that create a tight narrative, reveals the known-unknown and multifaceted Emmanuel Radnitzky, who became famous as Man Ray (1912-1971). If one adds the hefty, well-edited, trilingual (Greek, English, French) catalogue (artistic editing ‘Mikri Arktos’), the result is an excellent offering, reminiscent of the museum’s, good old pre-crisis days. Maria Koutsomallis, a young woman, in her first curatorial effort on Andros, focuses from a fresh perspective on the American artist’s women: independent, passionate, attractive, talented. Unchallenged protagonists are his ‘queen’, the exuberant Kiki de Montparnasse, cabaret dancer. The slender Lee Miller, Vogue model and later war photographer. The priestess of Surrealism, Meret Oppenheim. And the jovial Adrien Fidelin, the first black model to feature on the cover of an American fashion magazine. Also present is the Parisian artistic/celebrity elite of the era: Coco Chanel photographed
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wearing her trademark pearls, the budding 25-year old Katrine Deneuve with long earrings becomes ‘Pending Pendulum’. The exhibition highlights and demolishes myths around Man Ray: He is an erotic painter, provocative but not vulgar. Even in his most risqué moments he uses abstraction and humour cleverly. He loved women with a passion, particularly those much younger than him, but also hated with a similar passion. That’s why when he broke up with Lee Miller he stuck a photograph of her eye on a metronome and encouraged viewers to break it when annoyed by its tempo. He considered himself a painter and was disappointed when he was identified with the art of photography which he started only in order to make a living. He maintained that he did not retouch his photographs but he did invent solarisation and other techniques that give a sense of three-dimensionality or intangibility. ‘Unconcerned but not indifferent’, was inscribed on his tombstone at his request.
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In the wake of the Man Ray's exhibition
C omments from t h e G uest Boo k Wonderful – beautifullly curated designed and chosen. Lovely catalogue. Yet another triumph! What Maria Koutsomallis-Moreau says in his final paragraph is entirely true, honest and so well expressed. Claire McDonalds * Very impressive exhibition. We very much enjoyed it being this in Andros on holiday! Marion & David Hart – UK. * R (WO)MAN Y * Ce musée est un véritable chef-d’oeuvre. Lumiva. * Congratulations, excellent presentation, fine catalogue, (as always…). Meni Stroggyli – J. F. Costopoulos Foundation * An excellent curation of Man Ray’s works with women well-articulated aesthetic and chronological sequence both in rhythm. Margaret Leedis * Amazing exhibition, continue the great work. Niki Koutsiana – President of APIVITA 15
Simply incredible, an ode to the heaven of female eroticism and sensuality Eleni * A very impressive collection for the littleness of this museum! A milestone exhibition. Giannis Fakis * With truth and desire it reveals everything beautiful and every beautiful side of ‘beauty’. Thrilled! Nikos Matsas * I loved all the pictures and drawings he has done because he has put a lot of details and colours. Elli 8 * I loved the painting called Dreaming laughet. It gave me the impression of a jazz album cover! Marina 10 * Tasteful and very well arranged exhibition! Stamatis – Rania * Thank you for the experience! The guided tour was well worth it! Congratulations! Iliana
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In the wake of the Man Ray's exhibition
Man Ray’s works were amazing as was the guided tour. Argyro and Despoina * Accessible beauty in inaccessible notes. Α. * One of the best exhibitions organised by the Goulandris Museum, Congratulations. Fransesca Ioannidou * Excellent exhibition was always!! Impeccable curation one again! The workshop was a delight for our little one. Panagiotis – Rania – Amalia * Outstanding improbabilities that offer quality plunges in time. Skampardionis Vaios * You continue to impress, continue to do so. Emmanuel from Sydney * Well-references, sensitive, well-crafted and exceptional on the uniqueness of the exacting Man Ray. Marina Karra * What a wonderful surprise on our trip in Andros. The exhibition is stunning, Thank you!
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RECENT NEWS
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Winter visits to the Museum on Andros With selected works from its permanent collection, the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation on Andros will again this year be welcoming visitors throughout the winter period. The New Wing will be hosting artworks by the following Greek and foreign artists: Spiros Vasileiou, Constantinos Vyzantios, Giannis Gaitis, Anna Grigora, Christos Eustathiou, Irene Kana, Giannis Moralis, Dimitris Mitaras, Giorgos Roris, Euanthia Soutoglou, Theodoros Stamos, Panayiotis Tetsis, Giannis Tsarouchis, Thanos Tsingos, Giorgos Hadoulis, Nikos HadjikyriakosGhikas, Alekos Fasianos, Giannis Christoforou, Germaine Richier, Igor Mitoraj, Cesar and Giorgio de Chirico. Additionally, photographs as well as a video on the life and work of Man Ray (which were part of the Man Ray – Visages of the Woman exhibition, summer 2015) will be on show in the Museum’s first two galleries. The Museum’s opening hours from 1/11/2015 to 31/3/2016 are: Saturday-Monday 10:00 to 14:00 and from 1/4/2016 to 31/5/2016: daily 10:00 to 14:00, except Tuesdays. Organised groups of visitors, e.g. schools, clubs, etc., can visit the Museum on other days upon request.
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RECENT NEWS
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Winter visits to the Museum on Andros
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RECENT NEWS
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Winter visits to the Museum on Andros
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E D U C AT I O N
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Statues playing pantomime! Museum Kits
The MoCA, Andros museum kits are boxes containing educational material designed for use in schools around Greece, with the aim of familiarizing students with contemporary Greek art through major works by Greek artists in the collection of the Basil and Elise Goulandris Foundation. Each kit includes photographic reproductions of important artworks, a DVD featuring the video game “The Mysterious Sculptures”, and a monograph on artist Michalis Tombros, complete with information on his work and instructions about activities to be incorporated into the curriculum (in Greek). The kits also include suggestions on how to implement in class the educational program titled “Statues playing pantomime!”, an introduction to contemporary Greek sculpture (in Greek). Our museum-kits are designed for elementary school students and their material can be used according to the needs and skills of students at different levels of primary education. Obtaining them on loan is free of charge. Teachers are responsible for taking them out to their specific schools. If shipped, shipping expenses must be covered by the school. To obtain a MoCA, Andros museum kit or more relevant information, please contact the Museum on: E: info@moca-andros.gr , T: 22820 22444
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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
Michalis Tombros (1889 - 1974)
Portrait Bust of Decisive Moment (Ruminations of Slavery) Bronze, 60,5x46x41 cm 1948
Michalis Tombros, a distinguished figure of Modern Greek sculpture and, at the same time, an exacting case in the Greek sculpture tradition with qualities of aesthetic wholeness and originality. He produced an exuberant sculpture, clean and simple, by carving wonderful proportions in volume and ascribing rhythm and pulse to plasticity. Extract from the text of K. Koutsomallis
“This woman has a physical completeness despite being an imaginated figure. A questioning through lights up her forehead; her gaze reflects stern actions. The layers which make up her shape have the precise logic of Greek genius. Her right palm rests lightly against her left cheek.” Angelos G. Prokopiou
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INTERNATIONAL LISTINGS / CULTURE
L ondon
National Gallery GOYA – the portraits
This exhibition includes 70 of the artist’s most impressive portraits on loan from public and private collections from around the world created from his first years in the Spanish royal court until his self-exile in France in 1820. Duration of exhibition: 7/10/2015-10/1/2016 www.nationalgallery.org.uk
P aris
Musee d‘ Orsay: Splendour and Misery. Pictures of Prostitution, 1850-1910
The first major exhibition on the subject of prostitution. From Manet’s Olympia to Degas’ Absinthe, from Toulouse-Lautrec, Munch, Vlaminck, Van Dongen or Picasso, the exhibition focuses on the central role played by this sinister world in the development of modern painting. Rich reference material reminds viewers of the ambiguous position of prostitutes from the glamour of the demimondaine to the misery of the pierreuse (street-whore). Duration of exhibition: 22/9/2015-17/1/2016 www.musee-orsay.fr
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L ondon
Tate Britain Frank Auerbach
Born in 1931 in Berlin, the British artist focuses in his work on depictions of people and urban landscapes with a revolutionary brushstroke often compared to Francis Bacon and Lucian Freud. This exhibition contains paintings and drawings from 1950 to the present. Duration of exhibition: 9/10/2015-13/3/2016 www.tate.org.uk
P aris
Musee du Luxembourg Fragonard amourex
According to the Goncourt brothers, the 18th century was the era of seduction, love and intrigue, and Jean-Honoré Fragonard (17321806) is one of its main exponents. Duration of exhibition: 16/9/2015-24/1/2016 museeduluxembourg.fr
P aris
Grand Palais: Picassomania
This exhibition refers back to the most important milestones of his artistic course and those aspects of his personality that helped create the myth surrounding his name. His great stylistic phases and landmark works, are exhibited alongside works by more modern artists and are grouped per artist, or per subject, in a great variety of media and techniques. Duration of exhibition: 7/10/2015-29/2/2016 www.grandpalais.fr
P aris
Institut du monde arabe: Osiris, mystères engloutis d'Égypte
The exhibition entitled ‘Osiris, the sunken mysteries of Egypt’, reveals 250 underwater excavation objects discovered by archaeologist Franck Goddio with additional exhibits from the museums of Cairo and Alexandria.
P aris
Jacquemart-André Museum: Florence, Portraits at the Court of the Medicis
An exhibition of around 40 works, dedicated to the most important painters – portraitists of 16th century Florence and all the era’s stylistic changes. From portraits by Pontormo, a pupil of Andrea del Sarto, to the more delicate characteristics of the portraits of Bronzino or Salviati that highlight an intrinsic sense of elegance. Duration of exhibition: 11/9/2015-25/1/2016 musee-jacquemart-andre.com
P aris
MusÉe Rodin
The refurbished Rodin Museum reopens to the public on 12 November 2015. www.musee-rodin.fr
Duration of exhibition: 8/9/2015-31/1/2016 www.imarabe.org
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INTERNATIONAL LISTINGS / CULTURE
v ienna
ALBERTINA MUSEUM: EDVARD MUNCH – Love, death and loneliness
Edvard Munch, one of the most important exponents of modernism. This exhibition includes around 100 of the Norwegian artist’s most important works. Duration of exhibition: 25/9/2015-24/1/2016 www.albertina.at
rome
VILLA MEDICI & the SCUDERIE DEL QUIRINALE
Fifteen years after the death of Balthasar Κlossowski de Rola, also known as Balthus (1908-2001), Rome celebrates with a retrospective exhibition (around 200 works) in two exhibition venues. Balthus was one of the 20th century’s most enigmatic artists, whose relationship with the Eternal City was an important element in the evolution of his art. Duration of exhibition: 24/10/2015-31/1/2016 www.scuderiequirinale.it
new y or k
ΜΟΜΑ: Picasso Sculpture
This exhibition focuses on the artist’s longstanding relationship with sculpture, with particular emphasis on the use of materials and techniques. Over 100 works, selected works on paper and photographs are exhibited for the first time after 50 years in the USA. Duration of exhibition: 14/9/2015-7/2/2016 www.moma.org
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M adrid
Prado museum: Ingres
In collaboration with the Louvre, this exhibition offers a precise chronological presentation of Ingres’ work with particular attention on his complex relationship with portraiture. Duration of exhibition: 24/11/2015–27/03/2016 www.museodelprado.es
M adrid
Museo Thyssen-Bornemisza Edvard Munch - Archetypes
Through 80 of his works, this exhibition explores how the artist represented the human figure in various settings: the beach, the studio, the forest, beneath the starry night sky. Duration of exhibition: 6/10/2015-17/1/2016 www.museothyssen.org
S wit z erland
Fondation Beyeler: IN SEARCH OF 0,10 - THE LAST FUTURIST EXHIBITION OF PAINTING
100 years ago, in the winter of 1915-1916, a legendary exhibition took place in Petersburg, (present-day St. Petersburg), in Russia, with the participation of 14 artists – seven men and seven women – of the Russian avantgarde entitled “The Last futurist exhibition of painting 0,10 (Zero-Ten)”. To mark the 100th anniversary of 0,10, the Fondation Beyeler, following many years of research, has organised an exhibition which reunites, for the first time, most of the surviving works that are complemented by works by other artists of the same era. Duration of exhibition: 4/10/2015-10/1/2016 www.fondationbeyeler.ch
Berlin
Martin-Gropius-Bau Museum Piet Mondrian – The Line
One of the most important exponents of modern art, Mondrian became famous for his rectangular forms. This exhibition focuses on the early period before he became absorbed by his personal style. Duration of exhibition: 4/9-6/12/2015 www.berlinerfestspiele.de
D enmar k
Louisiana – Museum of Modern Art: Lucian Freud – A closer look
52 exceptional works on paper by Lucian Freud (1922-2011) created in the period after 1982 during which time he also focused on engraving. Duration of exhibition: 3/9-29/11/2015 en.louisiana.dk/exhibition/lucian-freud
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