Line & Stylish Nov. 2013 by LineandStylish Art Magazine

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SOL ROBBINS:

The Pictures of a Story Teller

TECHNICAL FILE Line & Stylish, Art Magazine

of the Collector’s Committee. © Charly Herscovici - ADAGP - ARS, 2013. • Museum Boijmans van Beuningen, Rotterdam. © Charly Herscovici-ADAGPARS,2013.Photograph:StudioTromp, Rotterdam. • Collection of Jasper Johns. © Charly Herscovici -ADAGP- ARS, 2013. Photography: Jerry Thompson. René Magritte Museum • Courtesy and copyrights of René Magritte Museum. Roberto Bergonzo • Courtesy and © of Roberto Bergonzo and U-Art. Sol Robbins • Courtesy and © of Mr.Sol Robbins. Tate Britain • Courtesy of Tate Britain and The Mercers’ Company. Taymour Grahne Gallery- N.Y • Courtesy of Taymour Grahne Gallery and Reza Derakshani.

ERC Registration nr – 126385 Owner: José Eduardo de Almeida e Silva Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicity: Monthly Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Oporto - Portugal Contact: +351 926 493 792 Director in Chief: José Eduardo de Almeida e Silva Vice-director: Isabel Gore Editor in Chief: Eduardo Silva Editorial Staff: José Eduardo Silva, Isabel Pereira Coutinho, Luis Peixoto Art and Web Director: Luís Peixoto Guest Redactors for issue nr 3: • Paolo Di Bello Photography: Bertrand Delacroix Gallery • Courtesy of © Maurice Renoma Hamburger Kunsthalle • © Sammlung Hirschsprung, Kopenhagen MoMa - The Museum of Modern Art • Museum of Modern Art. Kay Sage Tanguy Fund. © Charly Herscovici- ADAGP ARS, 2013.

The Metropolitan Museum of Art

• Foundation Balthus, Switzerland,© Balthus • Metropolitan Museum of Art, bequest of Mr. and Mrs. Allan D.Emil, 1987© Balthus • Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington DC, Gift of the Joseph H. Hirshhorn Foundation, 1966 © Balthus. • Collection Bettina Rheims. • Minneapolis Institute of Arts, The John R. Van Derlip Fund and William Hood Dunwoody Fund © Balthus. • The Metropolitan Museum of Art, Jacques and Natasha Gelman Collection, 1998 © Balthus.

• Museum of Modern Art. Gift of Richard S. Zeisler. © Charly Herscovici - ADAGP - ARS, 2013. • Los Angeles County Museum of Art, Los Angeles, California, U.S.A. © Charly Herscovici-- ADAGP – ARS, 2013. Photograph: Digital Image © 2013 Museum Associates-LACMA,Licensed by Art Resource, NY. • National Gallery of Art, Washington, Gift 2

In our November issue we had the pleasure to spend a while speaking with one of the great masters of the political art and an amazing illustrator with his works published almost in all major magazines and newspapers from USA; obviously I’m speaking of Mr. Sol Robbins. One thing that we share with him is the role that Art in general and Fine Art in particular, play in western world when things seem to become more and more individual and shellfish. When asked about it Sol’s position was quite simple and easy to understand: “Everything I do is to support a message. I don’t make an artwork, I make a message”. After this statement all is said, even when we notice that the ruling trend in the official Fine Art is radically opposed to his words. In fact, conceptual art still fills the major biennials and museums, unconsciously, with is magnificent void, fulfilling its purpose, which is depicting a historical moment… the time social individualism. This was the lesson of the teacher Sol Robbins, in a casual free speech without signs of bitterness or nostalgia, just showing the wisdom of a jazz soul who still believes in human kind, even when he tries to deny this evidence. Felling shared by all the Line & Stylish team, reason that make us so proud of it.

José Eduardo G. de Almeida e Silva Director in Chief

Cover: SOL ROBBINS Photo: Courtesy of Sol Robbins 3

INDEX 6.

86.

SOL ROBBINS The Pictures of a Story Teller

30.

Short ove

HAMBURGER KUNSTHALLE

96.

Denmark’s Breakthrough to Modernism

56.

REZA DERAKSHANI

ROBERTO BE

Biograp

97.

My Wicked Persian Carpet

68.

RENE MAGRITT

Kafka’s Pro

Roberto Bergonzo

108.

MAGRITTE The Mystery of the Ordinary

BALTH

Cats and Girls Painting

TE MUSEUM

122.

MAURICE RENOMA

erlook

ERGONZO

Firs solo exhibition in New York

130.

ART UNDER ATTACK

phy

ogression

Histories of British Iconoclasm

137.

NOVEMBER HIGHLIGHTS

oâ&#x20AC;&#x2122;s remarks on

HUS

gs and Provocations

info@lineandstylish.com +351 926 493 792 5

SOL ROBBINS: The Pictures of a Story Teller

An interview by: JosĂŠ Eduardo Silva e Isabel Gore.

POVERTY INCORPORATED

Triptych Left Side Panel, Mixed inches long Photo: Courtesy of Sol Robbins 6

Always ironic with a touch of bitterness, without losing its tenderness, Sol Robbins, one of the last masters of the great American tradition of Social Art, had a conversation with us for the Line & Stylish Art Magazine. First he started to describe the academic difference between Fine Art and Illustration, to end up confessing that Art is primarily a way to communicate one or more ideas. In between remains a strong criticism of the American education system in visual arts among other things that you will find in our interview.

- ELECTRICITY COMES TO A CITY. 3

d Media on Paper. 32 inches high and 20

MEMORIAL DAY OPENING OF R POOL. Oil on Paper Mixed Media on Paper. 32 inches high, 42 inches long. Photo: Courtesy of Sol Robbins

basically a very dry, minutely detailed scientific treatise on how folks actually see things with their eyes and how it pertains to art. Anyway, at that time I thought that was as close to the Bauhaus as anyone could get.

Line & Stylish (L&S): How did it all begin? Sol Robbins: I started when I was nine years old. I became semiprofessional at the age of 18 or 19. I started doing landscapes and showing in galleries. My parents would have been very proud of me had they lived long enough to see me selling paintings as a teenager. While still a teenager, I wanted to do things that would connect with me and other people in a more serious way. I started taking art classes at night while I was still in High School. My school decided that I could go to college at night and get credits for this in lieu of some of the daytime classes that the High School I was attending offered. A lot of my art college teachers were very good. I didn’t go to a college to say that I’m going to this college because it’s a great school. I went to several colleges to get in contact with excellent educators. So that’s when it all accelerated. For example, one of my early teachers was John Day, a direct student of Joseph Albers. He had a great affect on me. John gave me a book called “The Psychology of Seeing” by Rudolph Arnheim. It’s

L&S: What is the difference (assuming there is one) between a Fine Artist and an illustrator? Sol Robbins: To me personally, there is no difference. Professionally there is a difference. Illustration is a work to be reproduced in publications or in print form. Illustration presents a visual narrative that should draw a reader into the written text. There is also a deadline within which the art must be completed. Fine Art is infinite, sometimes personal, with most contemporary art as just producing an artwork being about itself. Maybe gallery art gets printed, but most of the time it doesn’t and the art is just simply shown in galleries. Galleries usually have a limited audience in comparison to illustration and that’s the difference. So in fine art, you can do anything you want. For me it came down this: If I can do anything I want, then what do I want to do? 10

it is actually written in a magazine article. A hard lesson I have learned was and is, you can do anything you want except show what is being written about that would appear in print. Why? Because there is a magazine editorial board review that might “imagine” that there would be some sort of tidal wave of backlash. To my mind, this “imagined” fear about what an illustration could conjure up just didn’t measure up to the kinds of humanity or inhumanity that may have been expressed in a written text of a magazine article.

L&S: How do you feel yourself, a Fine Artist or an Illustrator? Sol Robbins: I am a fine artist who makes narrative pictures, some of these pictures being printed in publications. Illustration, at least in the USA and Europe, started to express in text certain things and presented the beginnings of fundamental changes that were happening during a particular time. Folks from the 1960’s and 1970’s carried on with a sensibility for progressive changes in expanding civil rights, ending wars and sweeping out what was more of a right wing old guard to put power, more variety in knowledgeable expression and creativity in the hands of more people. In the 1980’s there was a backlash to return to the previous old guard as personified by the Ronald Reagan and Margaret Thatcher years that has now evolved into the current world I find myself living in. So for me artwork had to be and still has to be strongly communicative. In a magazine generally speaking, you can write to say or describe just about anything, but you cannot really create an illustration that can say or describe in detail anything even if 11

WAITING FOR THE LIGHT TO CHANGE. Graphite and gouache on paper. 23 inches high and 30 inches long. Photo: Courtesy of Sol Robbins

Going forward to fine art as part of your question, is that my narrative/ illustration impulse is a very hard thing to put aside. For this role, I use a lot of what I’ve learned regarding the fundamentals of art and of making art. These fundamental things are what I call the modern art stuff. These things by themselves are very simple. I improvise my pictures without the need to make sketches. In illustration, there are some art directors who require thumbnail sketches before proceeding to the finished work. I just do not do that. I need the element of surprise. A lot of people say there’s a lot going on in my pictures, but there really isn’t. I’m using certain techniques to actively direct where your eyes look. I want to invite you in and you can roam around. Putting it in fine art terms, I simply connect a picture plane’s top to the bottom, the left to the right and the front to the back. Now that is very simple fundamental art stuff. In all of the picture plane’s cardinal directions I am going put in stuff that you can find on a couple of different levels or in layers like cutting open an onion.

So in the pictures I make and all the fine art impulses I may have are simply there to support what the picture is about. It’s about the picture’s content and humanity. This last thing I mention is the reason I would even want to make a picture in the first place. It doesn’t matter all that much if I am doing it for myself, a gallery or an art director. L&S: You have a couple of tricks in your pocket and you play with them very well. Looking at your works there's always a jazz tune a kind of soundtrack playing in the background… Sol Robbins: Well I like to play blues and jazz music. Not on the radio. I actually play guitar while I am waiting for the paint to dry.

POVERTY INCORPORATED - ELECTRICITY COMES TO A CITY. 1

Triptych Left Side Panel, Mixed Media on Paper. 32 inches high and 20 inches long Photo: Courtesy of Sol Robbins 15

So in various ways what is brought forward by today’s artists is limited by the kinds of venues and popular methods of exposure that are pursued in order to gain a limited, and to my mind, a marginalized or ephemeral notoriety. The pressure for what some fine artists have to do lies in either to hype what they do as an art event, get good reviews, make art that would increase in value over time like a commercial investment or lastly, trade on a “name” they made themselves in the years past or recent past. The art simply passes, somewhat lifelessly, through the hands of others without much mention of the life or environment that gave birth to it. An illustrator has to more or less rehash what they do all the time assuming that they have a recognizable style. The problem with style for any kind of artist is that it can be easily copied. Having an ability to present some kind of human insight is very difficult to impossible to copy.

L&S: What do you think about conceptual movements, mainly in America, and what do they bring to today's art? Sol Robbins: This is a very hard thing for me to talk about. I have found that galleries lean more toward commercial purposes and results as compared to the marketplace of illustration. In terms of art in the recent past, art critics and fans were muted or taken out of the process and a class of folks that call themselves collectors installed themselves as the deciders of what is good in art or not good in art. The measure is what is sold or not sold. You can’t survive well on friends and acquaintances buying your art. For example, in New York City in the 1980’s many of us artists saw lots of people driving up in expensive cars to galleries in the East Village’s mostly hyped up art scene, filling up their cars with art and just drive away. After something like this, the art is out of circulation…, unless it reappears at an auction house. Don’t get me wrong as there were some great things happening there.

The difficulty I have seen over recent years is that there aren’t that many formats or venues available for artists to use as a “laboratory” to allow for some evolution of constantly 16

changing creative ideas or newer accurate/intimate ways to express what’s currently going on with “humanity”…, and get paid for it. What I am talking about goes beyond fashion sense. Maybe the internet helps fills this void, but the internet doesn’t pay for artist content. The arts used precede changes in these kinds of things, you know like changes in societal trajectory, but now it merely follows it.

Art Museum the only thing that changes, if the artist that made it is worth his or her salt is in increasing the cube’s size. It’s got to be very big to be taken seriously.  If we are talking about this “cube” conceptual art thing, then I believe this question has to be changed. To my mind, an art object is made with some kind of intent, meaning the art object in some way, identifies with something or some sort of people. So maybe your question about Contemporary Art Museums should be: What does this museum art or artist identify with? With whom does this museum art or artist identify with?

L&S: With the conceptual movement started a gap between the average viewer and the contemporary artists. People started to run away from Contemporary Art Museums and galleries. Suddenly, at the beginning of the 21st Century people returned, why does it happen? Sol Robbins: : If you mean Conceptual Art like giant sculptures of cubes and such, what is there for anyone to understand, even what you call an “average viewer”? A cube is a cube. It represents itself. When a cube enters a Contemporary 17

CHINATOWN Mixed Media on Paper. 32 inches high, 42 inches long. Photo: Courtesy of Sol Robbins

In other words, I really can’t answer this question. I don’t know why folks retreat from experiencing art and then come back in a Contemporary Art Museum environment.

L&S: Your work is usually labeled as a political and radical one. It's quite obvious there's a strong social critique in your works, however you go further. You produce raw compositions together like a jazz tune. Why do you give a bitter look to human kind and, at the same time, be gentle with it?

That said, I believe there are three ways that art can move in your mind: • - The first one is that the art doesn’t move in your mind at all, I call that abstract art. It is what it is what it is. It’s an art object all by itself, represents itself and nothing else.

Sol Robbins: That’s interesting that you say that. It is true my art relies at a look at human kind, but this reliance has a tradition that has been around for a very, very long time. Let’s put it this way, I try to show that contradictions coexist in the same environment, and the “place” where they coexist is called irony. I guess irony is kind of bitter-sweet. Early in my development I came to believe that a lot of artists were focused on developing a “style” in the belief that their style would separate them from other artists. In time, I came to believe that for some artist’s, “style” merely became a filter through which all the art they did was forced

• - The second one is the kind of art that moves from reality to fantasy, like a landscape. An artist sees a mountain and paints an image of a mountain-like thing. This is a rendition of something the artist observed. • - The third one, which I try to do, is to go from reality to fantasy and back to reality. This second reality is not the one you started out with. I try to give a meaning or context to what I make. 20

through. All I try to do is focus on developing a visual language in order to communicate with the folks who might take some time to look at the stuff I made and hopefully, not waste their time doing that. I draw people because I identify with people. I identify with something I will loosely call the human condition because I am human. I try to communicate without the intervention of me or anyone else trying to explain what I had painted or drawn. You don’t need to read a book about me to understand what I do. Hopefully a person looking at one of my pictures can make an allowance of picturing themself for a second or two. Hopefully a comparison can be made between themself and what they are looking at. That is the moment I try to leave space for if I did everything right.

L&S: Suddenly a young generation of artists started to reinterpret masters like Rembrandt, Courbet, Degas, Gauguin, among others and they produced quite good artworks, the market and the institutional collectors began to look at them with respect. In Europe this young generation shows more social realistic revival, in the USA it is more a stylish realistic revival. But something is changing, people started to be interested in art again, they come back to museums and galleries. How do you explain that? Sol Robbins: : Unfortunately I can’t really explain that. I mean I don’t really make stuff that one would immediately turn to in order to have it displayed in one’s office or dining room.

HOW DO YOU CHOOSE WHOâ&#x20AC;&#x2122;S PRAYERS TO REFUSE? Oil and graphite on paper. 32 inches high and 42 inches long. Photo: Courtesy of Sol Robbins

I have been a guest instructor at the University level in both the USA and the UK. There are fundamental differences between folks in Europe and USA. In the UK, an art student goes to a polytechnic school for a couple of years before being selected and invited to go to a four year University either for free or more recently, at a relatively low cost compared to the USA. In the USA prospective students have to pay to get this kind of education, and currently that amounts to about USD$ 120,000.00. Additionally, the idea of being selected through scholarship or grant is small. In the USA you just have to find a way to pay. But as you say something is happening in Europe and differently in the USA. Maybe itâ&#x20AC;&#x2122;s because of the differences I just mentioned. Students in the UK get more serious time to gain confidence and creatively concentrate on producing work while getting artistic feedback in order to simply get invited as a candidate to enter a University. Much like an

apprenticeship. In the UK, I met with many students who were creating things that were simply outside of standard class curriculum offerings. Their stuff was simply off the charts and highly developed. These folks had created their own classroom within which they were the only student and got the same mentoring as everybody else. In the USA thereâ&#x20AC;&#x2122;s not much like that. Thereâ&#x20AC;&#x2122;s no time to learn how to really paint or draw while you go from one thing to the next. You have to figure out all the instructional gaps by yourself. Sometimes I think that a lot of art students in the US should have simply bought a Porsche to drive back and forth to the artist supply store.

PAX AMERICANA.

Mixed Media on Illustraion Board. 30 inches high and 24 inches long. Photo: Courtesy of Sol Robbins

POVERTY INCORPORATED - ELECTRICITY COMES TO A CITY. 2 Triptych Center Panel. Mixed Media On Paper. 32 inches high and 42 inches long. Photo: Courtesy of Sol Robbins

When I was younger the artists I had contact with either directly, mildly or simply grouped in with were Russell Mills, George Snow, Ian Pollack, Robert Mason, Sue Coe, Rick Prol, Blair Drawson, Allan Loving, Raphael Ferrer, Murray Tinkleman, Andrew Castrucci, and Marshall Arisman. I also love Haitian art by Rigaud Benoit, Hector Hyppolite, Philome Obin, Andre Pierre, Marat Brierre and Wilson Bigaud. It seems to me that Haitian art is just hard wired to be an art about its time, place, and its people. Before we go, I want to thank you very much for your interest in the stuff I make. I am truly honored.

L&S: Is there any living painter who inspires you? Sol Robbins: There many living artists whose works I enjoy very much, but I canâ&#x20AC;&#x2122;t say that they really influence me. What they do with art is vastly different from what I do. Current political art mostly relies on caricature, satire or photography. Some artists that continue to influence me are Bertolt Brecht, Franz Kafka, Jack Levine, William Gropper, Mauricio Lasansky, Reginald Marsh, Phillip Evergood, Romare Bearden, Thomas Eakins, Thomas Nast, Otto Dix, Georg Grosz, Jackson Pollack, Robert Rauschenberg, Malevich and the Russian Constructivists, Max Ernst, Toulouse Lautrec, Pierre Bonnard, Rembrandt, Velasquez, John Heartfield, Manet, Goya, Carravagio and Van Eyck to name a few.

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HAMBURGER KUNSTHALLE Denmark’s Breakthrough to Modernism

The Hirschsprung Collection From Eckersberg to Hammershøi

20 September 2013 – 12 January 2014 Gallery of Contemporary Art, elevated ground level The Hirschsprung Collection in Copenhagen is one of the finest and most extensive collections of 19th-century Danish painting. All the leading Danish artists of the period are represented in this collection, which was built by the tobacco manufacturer and passionate art collector Heinrich Hirschsprung (1836–1908) and has been on display in its own museum since 1911. The exhibition of Hamburger Kunsthalle is presenting about 80 works of this collection. Never before did the Hirschsprung Collection lend a larger quantity of artworks. Therefore, the Hamburger Kunsthalle is presenting an exceptional survey of Danish art from the mid-19th century to the early 20th century, which has never been presented on this scale in Germany before. A decisive shift towards modernism took place in Danish art during the 1880s: In the preceding decades, artists had continued to adhere to Romantic ideals and focused mainly on national themes. Now, Danish painters offered a new, more realistic perspective on rural life. Grand narratives were replaced by snapshots of reality- unvarnished depictions of Danish country life, stripped of all idealism and devoid of the pathos of history painting. Art played such a key role in this far-reaching modernization process, which affected many areas of Danish society at the end of the 19th century that this period is now described as the era of the ‘modern breakthrough’. The exhibition begins with exemplary paintings and drawings from the ‘Danish Golden Age’ during the first half of the 19th century with works from Christoffer Eckersberg (1783– 1853), Christen Købke (1810–1848), Johan Th. Lundbye (1818-1848) and Christen Dalsgaard (1824-1907). Influenced to a certain extent by modern French art and the ‘return to nature’ advocated by the painters of the Barbizon School, artists such as Theodor Philipsen (1840– 1920) and Joakim Skovgaard (1856–1933) also presented a different view of the Danish landscape. This involved paying particular attention to the realistic depiction of light and atmospheric conditions at different times of day and throughout the year. The exhibition shows these works through to the Danish Impressionists and Symbolists including the internationally renowned painters Anna Ancher (1859-1935) and Peder Severin Krøyer (1851–1909) as well as Vilhelm Hammershøi (1864–1916). 30

Christoffer Wilhelm Eckersberg, (1783-1853) Junge Frau vor einem Spiegel, 1841 ﾃ僕 auf Leinwand / Oil on Canvas, 33,5 x 26 cm ﾂｩ Sammlung Hirschsprung, Kopenhagen / ﾂｩ Hirschsprung Collection, Copenhagen 31

Peder Severin Krøyer (1851-1909) Interieur. Die Frau des Künstlers, 1889 Öl auf Leinwand /Oil on canvas, 35,2 x 24,8 cm © Sammlung Hirschsprung, Kopenhagen / © Hirschsprung Collection, Copenhagen 32

Vilhelm Hammershﾃｸi (1864-1916) Interieur mit lesendem jungen Mann, 1898 ﾃ僕 auf Leinwand /Oil on canvas, 64,4 x 51,8 cm ﾂｩ Sammlung Hirschsprung, Kopenhagen / ﾂｩ Hirschsprung Collection, Copenhagen 33

Peder Severin Kr Bildnis der Familie ﾃ僕 auf Leinwand /Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen / 34

røyer (1851-1909) Hirschsprung, 1881 n canvas, 109,5 x 135 cm / © Hirschsprung Collection, Copenhagen 35

Thorvald Nis Strandansicht. Gren ﾃ僕 auf Leinwand /Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen / 36

ss (1842-1905) nen bei Skagen, 1889 n canvas, 46,5 x 59,5 cm / ÂŠ Hirschsprung Collection, Copenhagen 37

Peder Severin Kr Sommerabend am Strand von Skagen ﾃ僕 auf Leinwand / Oil o ﾂｩ Sammlung Hirschsprung, Kopenhagen / 38

røyer (1851-1909) n. Der Künstler und seine Frau, 1899 on Canvas, 135 x 187 cm / © Hirschsprung Collection, Copenhagen 39

Peder Severin Krﾃｸ Italienische Dorfhutm ﾃ僕 auf Leinwand / Oil on ﾂｩ Sammlung Hirschsprung, Kopenhage / ﾂｩ 40

øyer (1851-1909) macher. Sora, 1880 Canvas, 135,3 x 107 cm © Hirschsprung Collection, Copenhagen 41

Peder Severin Krøyer (1851-1909) Selbstporträt des Künstlers, 1897 Öl auf Holz / Oil on wood, 40,9 x 31,6 cm © Sammlung Hirschsprung, Kopenhagen / © Hirschsprung Collection, Copenhagen 42

Vilhelm Hammershøi (1864-1916) Porträt eines jungen Mädchens. Die Schwester des Künstlers, Anna Hammershøi, 1885 Öl auf Leinwand / Oil on Canvas, 112 x 91,5 cm © Sammlung Hirschsprung, Kopenhagen / © Hirschsprung Collection, Copenhagen 43

Christoffer Wilhelm E Blick von der Batterie der Seefestung Tre ﾃ僕 auf Leinwand /Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen 44

Eckersberg, (1783-1853) ekroner, in der Ferne Kopenhagen, 1836 n canvas, 21, 5 x 30,5 cm / ÂŠ Hirschsprung Collection, Copenhagen 45

Peder Severin Kr Ausfahrt zum Na ﾃ僕 auf Leinwand /Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen 46

røyer (1851-1909) achtfischen, 1884 n canvas, 40,2 x 63,7 cm / © Hirschsprung Collection, Copenhagen 47

Vilhelm Hamme Landschaft. Gundsﾃｸmag ﾃ僕 auf Leinwand / Oil o ﾂｩ Sammlung Hirschsprung, Kopenhagen 48

ershøi (1864-1916) gle bei Roskilde, ca. 1885 on Canvas, 30 x 41,8 cm / © Hirschsprung Collection, Copenhagen 49

Peder Severin Kr Sommertag am Sﾃｼdstr ﾃ僕 auf Leinwand /Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen 50

røyer (1851-1909) rand von Skagen, 1884 canvas, 154,5 x 212,5 cm / © Hirschsprung Collection, Copenhagen 51

Niels Pedersen M Fischersleute. Kan ﾃ僕 auf Leinwand / Oil on ﾂｩ Sammlung Hirschsprung, Kopenhagen 52

Mols (1859-1921) ndestederne, 1892 n Canvas, 55,5 x 67,6 cm / ÂŠ Hirschsprung Collection, Copenhagen 53

Anna Ancher (1859-1935) Die Magd in der Kﾃｼche, 1883/86 ﾃ僕 auf Leinwand /Oil on canvas, 87,7 x 68,5 cm ﾂｩ Sammlung Hirschsprung, Kopenhagen / ﾂｩ Hirschsprung Collection, Copenhagen 54

Curator: Dr. Jenns Howoldt Hamburger Kunsthalle GlockengieĂ&#x;erwall 20095 Hamburg Germany

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TAYMOUR GRA

Reza Der

My Wicked P

New York, New York (September 26, 2013) – Following its much-touted launch in September 2013, Taymour Grahne Gallery presents new works by Iranian painter, musician and performance artist Reza Derakshani. Expanding on previous investigations of ornamentation and abstraction, “My Wicked Persian Carpet” incorporates the artist’s newfound experimentation with materials such as glitter to consider ongoing themes of life and death, faith and fear, love and revulsion, beauty and viciousness, light and darkness. Flat color fields and a lack of perspective, always a signature component of Derakshani’s compositions, meld tradition and political references into highly textured, jewel-like paintings. The series derives its raw strength from an uncomfortable contrast - deceptively beautiful,

almost hedonistic decorative qualities cut with bleak, apocalyptic manifestations of death - a result that is hypnotically and universally unsettling. Born in the rustic countryside of Sangsar, Iran, Derakshani’s detailed observation of the natural world is apparent in his work, as is his inspiration from Persian art and folkloric traditions; the imagery of gardens, epics, and miniatures is a critical part of his visual narrative. After leaving Iran in the aftermath of the revolution, Derakshani incorporated influences of Western modernist painting and Persian motifs to develop a visual language of his own, which richly and often piercingly addresses the challenges of calling multiple places home, and the complexity and trauma of modern 56

AHNE GALLERY

rakshani:

Persian Carpet Iranian cultural history.

clear of politics, but it’s always been there in the background, and I see the Persian carpet as a symbol of Iran itself. It is something that Persians are proud of, a traditional art that can be absolutely magnificent, yet perhaps we hide behind these traditional symbols. We have huge problems in Iran which we need to face.” Nowhere is this more evident than in the work from which the exhibition derives its name: a grinning blue skull stares at the viewer, floating on a thickly layered reworking of the familiar pattern of Persian carpets. Others, such as My Lovely Nuked Red Carpet (2013) continue the theme; the patterns more are subtle, yet through a pixelated haze the rich purple mushroom cloud of a sparkling nuclear reaction takes centre stage, dominating the canvas.

This latest series was motivated by Derakshani’s return to his native country, where, disappointed by what he saw after decades living overseas, a commentary on the state of Iran today has manifested itself in “My Wicked Persian Carpet.” However, as Scott Indrisek writes in his essay accompanying the exhibition catalog: “Defining Derakshani as a political painter would be reductive - shrinking his oeuvre into little more than an extended, anguished salvo against a regime - and it’s more interesting to note the unavoidable ways that such concrete realities are instead ingested, and transformed, by the artist.” This is echoed by Derakshani himself, who explains: “I’ve long tried to steer 57

Reza Derakshani Searching for God, 2013, Oil, Enamel, and Glitter on Canvas, 41.34 x 47.24 inches (105 x 120 cm) Courtesy of Taymour Grahne Gallery and Reza Derakshani

Reza Derakshani My Lovely Nuked Red,Carpet, 2013, Oil and Glitter on Canvas, 78.74 x 78.74 inches (200 x 200 cm) Courtesy of Taymour Grahne Gallery and Reza Derakshani

Reza Derakshani My Wicked Persian Carpet, 2013, Oil and Glitter on Canvas, 78.74 x 78.74 inches (200 x 200 cm) Courtesy of Taymour Grahne Gallery and Reza Derakshani

Reza Derakshani Fear and Faith, 2013, Oil and Glitter on Canvas, 94. 5 x 78.74 inches (240 x 200 cm) Courtesy of Taymour Grahne Gallery and Reza Derakshani

TAYMOUR GRAHNE GALLERY Em exibição De 29 de Outubro a 3 de Dezembro, 2013 157 Hudson Street New York, NY 10013 65

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MAGRITTE: THE MYSTERY OF THE ORDINARY 1926-1938 1938 EXPLORES THE ARTIST’S BREAKTHROUGH SURREALIST YEARS WITH PIVOTAL WORKS FROM THE 1920s AND 1930s

Magritte: The Mystery of the Ordinary, 1926–1938 September 28, 2013–January 12, 2014 The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor Magritte: The Mystery of the Ordinary, 1926–1938, on view at The Museum of Modern Art from September 28, 2013, to January 12, 2014, explores the evolution of René Magritte’s work from 1926 to 1938, an intensely innovative period in which he developed key strategies and techniques to defamiliarize the familiar—to make, in his words, “everyday objects shriek out loud.” During this time the artist was closely aligned with the Surrealist movement, and his uncanny depictions of ordinary objects constituted an important new direction in Surrealist art. Bringing together around 80 paintings, collages, and 68

objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition offers fresh insight into the beginnings of Magritte’s extraordinary career as a modern painter and Surrealist artist. In addition to works from MoMA’s collection, the exhibition includes many loans from public and private collections in the U.S. and abroad. Magritte: The Mystery of the Ordinary, 1926–1938 at MoMA is organized by Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, with Danielle Johnson, Curatorial Assistant, Department of Painting and Sculpture. The exhibition is organized by MoMA, The Menil Collection, and The Art Institute of Chicago, and travels to The Menil Collection from February 14 to June 1, 2014, and to The Art Institute of Chicago from June 22 to October 12, 2014.

René Magritte (Belgian, 1898–1967) La clef des songes (The Interpretation of Dreams). 1935 Oil on canvas. 16 1/8 x 10 5/8’ (41 x 27 cm).

Collection of Jasper Johns. © Charly Herscovici -– ADAGP – ARS, 2013. Photograph: Jerry Thompson 69

The first-ever concentrated presentation of Magritte’s early Surrealist works, Magritte: The Mystery of the Ordinary, 1926– 1938 begins with paintings and collages Magritte created in Brussels in 1926 and 1927, in anticipation of and immediately following his first one-person exhibition at the Galerie Le Centaure, which launched his career as Belgium’s leading Surrealist painter. It follows Magritte to Paris, where he lived from 1927 to 1930 in order to be closer to center of the Surrealist movement, and concludes in 1938, the year Magritte delivered “La Ligne de vie” (“Lifeline”), an important autobiographical lecture that provided an account of his career as a Surrealist. Like all of the artists and poets associated with the Surrealist movement, Magritte sought to overthrow what he saw as the oppressive rationalism of bourgeois society. His art during these essential years 70

is at times violent, frequently disturbing, and often filled with discontinuities. He consistently interrogated conventions of language and visual representation, using methods that included the misnaming of objects, doubling and repetition, mirroring and concealment, and the depiction of visions seen in half-waking states. All are devices that cast doubt on the nature of appearances -within Magritte’s paintings and within reality itself. Painted for his exhibition at Le Centaure, The Menaced Assassin (1927) is one of Magritte’s largest and most theatrical compositions. The vacantly staring figures and common, everyday objects, all rendered in Magritte’s flat, deadpan style, underscore what the Belgian abstract artist Pierre Flouquet characterized as the painting’s “banal crime.” In another painting from this period, Magritte depicts his “accomplice,” the

Belgian Surrealist poet and leader Paul Nougé. Here two seemingly identical, formally dressed men are partially separated by a fragmented “door.” Through the use of doubling, Magritte challenges the conventional idea that a portrait should represent a singular self or an individual. These paintings are joined by a group of Magritte’s early papiers collés, or collages. Such works include what would become signature motifs for the artist: bowler hats, theater curtains, and mysterious landscapes. Among them, The Lost Jockey has a singular status; in September 1926, poet Camille Goemans, Magritte’s friend and dealer, associated this figure of the mounted jockey “hurtling recklessly into the void” with the artist himself. After moving to Paris in September 1927, Magritte worked at an unprecedented pace, producing some of his most radical and recognizable

work. For his painting The Lovers (1928), Magritte invokes the cinematic cliché of a close-up kiss, but subverts its voyeuristic pleasures by shrouding the faces in cloth. The device of a draped cloth or veil to conceal a figure’s identity corresponds to a larger Surrealist interest in masks, disguises, and that which lies beyond or beneath visible surfaces. While in Paris Magritte explored the slippery relationship between words and images. His iconic painting The Treachery of Images (1929) presents a skillfully realistic simulacrum of a pipe rendered with the direct clarity of a shop sign or school primer. With the deceptively straightforward pronouncement “Ceci n’est pas une pipe” (“This is not a pipe”) underneath the pictured pipe, Magritte declares that an image is not the same as what it purports to represent, a claim underscored by the title. 71

René Magritte (Be La trahison des images (Ceci n’est pas une pipe) (T Oil on canvas. 23 3/4 x 31 15/16

Los Angeles County Museum of Art, Los Angeles, California, U.S.A. © Charly H Associates/LACMA,Licen 72

elgian, 1898–1967) The Treachery of Images [This is Not a Pipe]). 1929 x 1 in. (60.33 x 81.12 x 2.54 cm).

RenĂŠ Magritte (Be Les amants (Th Oil on canvas. 21 3/8 x

Museum of Modern Art. Gift of Richard S. Zeisl

elgian, 1898–1967) he Lovers).1928. x 28 7/8’ (54 x 73.4 cm).

ler. © Charly Herscovici -– ADAGP – ARS, 2013

Near the end of his years in Paris, Magritte made The Eternally Obvious (1930). In a simultaneous challenge and homage to the traditional artistic subject of the female nude, Magritte divides the female body into five framed and isolated sections. The Eternally Obvious is one of three unusual multipart “toiles découpés” (“cut-up paintings”) that Magritte created in anticipation of a one-man show at Galerie Goemans, Paris, in the spring of 1930. Magritte intended these works to be mounted on glass and specifically referred to them as “objects,” thus underscoring their unique position between painting and sculpture. The three works will be shown together in this exhibition for the first time since 1931.

René Magritte (Belgian, 1898–1967) La clairvoyance (Clairvoyance).1936. Oil on canvas. 21 1/4 x 25 9/16’ (54 x 65 cm).

Mr. and Mrs. Wilbur Ross. © Charly Herscovici -– ADAGP – ARS, 2013

René Magritte (Belgian, 1898–1967) Le portrait (The Portrait). 1935. Oil on canvas. 28 7/8 x 19 7/8’ (73.3 x 50.2 cm).

Museum of Modern Art. Gift of Kay Sage Tanguy. © Charly Herscovici -– ADAGP – ARS, 2013 78

René Magritte (Belgian, 1898–1967) La condition humaine (The Human Condition).1933. Oil on canvas. 100 x 81 x 1.6 cm (39 3/8 x 31 7/8 x 5/8 in.). National Gallery of Art, Washington, Gift of the Collector’s Committee. © Charly Herscovici -– ADAGP – ARS, 2013 79

In July 1930, after the stock market crash and the closing of the Galerie Goemans, Magritte moved back to Brussels, where he continued to pursue new modes of image making. In 1932, Elective Affinities made Magritte realize he could create shock by exploring the secret affinities between objects—in this case, a cage and an egg—rather than through the juxtaposition of differences. With The Rape (1934) Magritte proposes a startlingly direct visual affinity between a woman’s face and her body; in his words, “The breasts are the eyes, the nose is a navel and the vagina replaces the mouth.” André Breton, the French Surrealist leader, considered the image a key Surrealist work, and reproduced it on the cover of the 1934 book Qu’est-ce que le Surréalisme? (What Is Surrealism?). The Human Condition (1933) brings together, for the first time, two of Magritte’s favorite 80

themes: the “window painting” and the “painting within a painting.” On a standing easel in front of a window, a trompe l’oeil landscape painting on an unframed canvas merges almost seamlessly with the view outside. But the assumption that the easel painting is a “representation” while the surrounding space is “real” quickly reveals itself to be a false premise: the entire composition, of course, is a painted invention by Magritte. The exhibition also features a number of works produced for the eccentric British patron and poet Edward James, including The Red Model and On the Threshold of Liberty, two large works that were commissioned in 1937 as part of the decorative painting scheme for James’s ballroom. The finished paintings were installed behind twoway mirrors that dramatically revealed the artworks when illuminated from behind, creating a unique and theatrical

Surrealist space. Magritte also made two “portraits manqués,” or “failed portraits,” of James, in which the subject’s face is hidden from view. Not to Be Reproduced (1937) features a variant of the doppelganger motif. A man looks at himself in the mirror, but instead of reflecting his face back to us, the mirror paradoxically repeats the view of him from the back. The Pleasure Principle (1937) is, according to Magritte, “a picture representing the man whose head is a light.”

and a pre-existing plaster cast of Napoleon’s death mask, The Future of Statues, with paint. The exhibition also includes photographs that relate directly to the paintings and objects Magritte created during this time period, or that highlight his interest in performing for the camera in ways that parallel concerns expressed in his paintings. A selection of early commercial work and illustrations for books and periodicals is displayed as well.

In addition to early collages and an extensive selection of paintings, the exhibition brings together other groups of works from this period, including Surrealist objects, a category of artistic production that gained in popularity throughout the 1930s. Magritte created his first objects while in Brussels in 1932 by covering a pre-existing plaster statue of the Venus de Milo, The Copper Handcuffs,

MoMA The Museum of Modern Art, 11 West 53 Street, New York, NY 10019 81

René Magritte (Be L’assassin menacé (The M Oil on canvas. 59 1/4’ x 6’

Museum of Modern Art. Kay Sage Tanguy Fun

elgian, 1898–1967) Menaced Assassin). 1927. ’ 4 7/8’ (150.4 x 195.2 cm).

nd. © Charly Herscovici – ADAGP – ARS, 2013

René Magritte (Belgian, 1898–1967) La reproduction interdite (A Reprodução Interdita).1937. Óleo sobre tela. 31 7/8 x 25 9/16 in. (81 x 65 cm). Museum Boijmans van Beuningen, Rotterdam. © Charly Herscovici -– ADAGP – ARS, 2013. Fotografia: Studio Tromp, Rotterdam 85

RENE MAGRITTE MUSEUM:

Short overlook

The René Magritte Museum is located in the house where the famous, surrealist artist lived and worked for twenty-four years. After three years in Paris, René and Georgette Magritte returned to Brussels in July 1930 and rented an apartment 135 Esseghemstreet in Jette (a suburb of Brussels). Magritte occupied the ground floor and the garden. In 1932 he built at the back of his garden the ‘Studio Dongo’, where he created publicity projects. A few years later, he had the kitchen transformed and added a bathroom to it. It was in the dining room-studio that he painted most of the time and where he realized nearly half of all his paintings and gouaches. It was in this modest room that Magritte’s most creative period took place, which lead to many master works. Several elements of the house are integrated in the painter’s works. For instance: the sash window, the fireplace and the glass doors of the sitting room, the staircase and its newel in the hall, the handles and the handles of the doors and lastly the lamppost in front of the house. The 135, Esseghemstreet was also the headquarters of the Belgian surrealists. The painter’s friends met here weekly and organized all kind of happenings. These meetings resulted into many subversive activities, books, magazines and tracts. It is in this house that Magritte knew his “Renoir” period, his “Vache” period, the order for a big wall painting in Knokke, negotiations regarding exhibitions in museums and contacts with art dealers and 86

mainly with the American gallery owner Iolas. All these activities are illustrated on the first and second floor of the museum by original works, documents, objects, letters and photos. On the third floor, one can have a view of the painter’s attic. The house counts nineteen rooms, seventeen of which are open to the public. This house which Magritte left in 1954, was restored between 1993 and 1999 and became a museum to render a permanent homage to one of the most brilliant artists of all time. André Garitte Curator Musée René Magritte Museum Esseghemstraat 135 1090 Jette-Bruxelles Belgium

ble (porte) Magritte Museum. 89

Atelier C Courtesy, MusĂŠe Ren 90

Chevalet nĂŠ Magrtitte Museum 91

Salon O Courtesy, MusĂŠe Ren 92

Olympia nĂŠ Magrtitte Museum 93

Musée René Magrtitte Museum (Façade) Courtesy, Musée René Magrtitte Museum 94

Roberto Bergonzo was born in Turin, Italy in 1946 . He He started painting very young and since then receives awards in competitions and art exhibitions, encouraged by the great masters such as Sandro Cherchi , Albino Galvano and Sassu.

ROBERTO BERGONZO

Roberto Bergonzo’s remarks on

“Kafka’s Progression”

By Paolo di Bello (Communication expert and art critic)

"LA PROGRESSIONE DI KAFKA", 2008 Oil on canvas, 90 x120cm 97

Roberto Bergonzo’s work, “Kafka’s Progression” contains, like all his other works and particularly those of U-Art cycle, a succession of hidden and encapsulated meanings that reveal themselves only through a carefully interpretation In this work, the face of Kafka appears as if it was caught in the frame of a movie that recursively proposes his image, developing a hypnotic narrative rhythm that reminds the oneiric dimension in “Kafka’s Metamorphosis”. The concept of progression is a typical characteristic on Kafka’s poetics and style. Let’s think about the imminent and oppressive atmospheres of “The Process”, or about Gregor Samsa’s, the protagonist of Metamorphosis, his feelings become more and more distressing, expressed like in “Rossinian Crescendo”. As well as in the novel “The Castle”, the vicissitudes of the land surveyor K. “…represent the projection of powerlessness and frustration of modern man, who is crushed by a reality that escapes his policies. A kind of frustration and shock that modern man feels when facing a reality that he doesn’t comprehend anymore, the sense in which he seems to get lost and has, no longer, the cardinal points to find the right way. A reality in which superior negative entities, like those of Kafka’s novel “The Castle”, take the appearance of “ Rating Companies” or “Markets” making threats on man, now transforming the image of himself in an eternal rotating cycle moved against his will. 98

"YIN & YANG" Acrylic, silver and gold on canvas ,170x170 cm Roberto Bergonzoâ&#x20AC;&#x2122;s U-art collection

"DAEDALUS" Acrylic and gold on canvas, 160x160cm Roberto Bergonzoâ&#x20AC;&#x2122;s U-art collection

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"LES FEUILLES MORTES" Acrylic and metal leaf on canvas, 140x140 cm Roberto Bergonzoâ&#x20AC;&#x2122;s U-art collection

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In my opinion this is the cultural structure in which is born a large part of the artist’s work: a world of Kafka’s allegories, in which the events are represented to symbolize something “different”. In this work, a succession of graphic elements evoke the symbol of the cross, that lead the eye – with an almost musical rhythm - towards the center of the canvas where Kafka’s face, in the central tile of an imaginary wheel of time, appears full and well-defined but which, in from one moment to the other, returns to be partial, incomplete, evanescent. Roberto Bergonzo seems to say that time doesn’t exist. What you see and you can see it is only “Now”, while what was and will be is nothing more than the projection of an image along two arrows of time. So, this painting represents an allegory of time and its course: an allegory that recall Zenone and one of his most famous paradoxes “Achilles and the Tortoise”: the reality, according to the philosopher who lived in the 5th century, consists of countless autonomous moments, and thus the movement itself and the passage of time are nothing more than an illusion. An element that characterizes Kafka’s works is that they are almost unfinished, as if the completeness is not in our world, but only one of the possible states of “true”. To die, to sleep, maybe to dream. Three centuries after Shakespeare’s death, Franz Kafka crumbles again reality, and multiplies it in a succession of partial truths that reveal themselves independent each time we look at them. 102

"AKHENATON" Acrylic and gold on canvas, 90x90 cm Roberto Bergonzoâ&#x20AC;&#x2122;s U-art collection

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"ORO DI SPAGNA" Acrylic on canvas,190x190 cm Roberto Bergonzoâ&#x20AC;&#x2122;s U-art collection

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"SINESTESI BAUDELAIREIANA" Acrylic on canvas,190x190 cm Roberto Bergonzo’s U-art collection

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Roberto Bergonzo and Paolo Di Bello 106

Today, through his work “Kafka’s progression”, Roberto Bergonzo repeats the eternal question: one, nobody, hundred thousand. And as in Pirandello’s conclusion, the protagonist overcomes all the anguishes by accepting the infinite variety of masks to wear and then identifying himself in all things, so in the artist’s work the anxiety about the fragmentation of the time is exceeded by the certainty that a new step will appear on the wheel, always with the same face. Another round, another race.

U-Art di Roberto Bergonzo – www.u-art.it 107

Balthus: Cats and Girls Paintings and Provocations. On View at Metropolitan Museum Beginning September 25

Balthus: Cats and Girls—Paintings and Provocations explores the origins and permutations of the French artist’s focus on felines and the dark side of childhood. Balthus’s lifelong fascination with adolescence resulted in his most iconic works: girls on the threshold of puberty, hovering between innocence and knowledge. In these pictures, Balthus mingles intuition into his young sitters’ psyches with an erotic undercurrent and forbidding austerity, making them some of the most powerful depictions of childhood and adolescence committed to canvas. Often included in these scenes are enigmatic cats, possible stand-ins for the artist himself. The exhibition at The Metropolitan Museum of Art is organized chronologically and focuses on the early decades of the artist’s career, from the mid-1930s to the 1950s, and features 34 paintings, as well as 40 ink drawings for the book Mitsou that were created in 1919, when Balthus was 11 years old—thought to be lost, these drawings have never before been on public display. The exhibition is made possible by the Eugene V. and Clare E. Thaw Charitable Trust, the Pierre and Tana Matisse Foundation, and Diane Carol Brandt. Balthus (Balthasar Klossowski, 1908-2001) and his elder brother, Pierre (1905-2001), were born in Paris into an artistic and intellectual milieu. Their father, Erich Klossowski (1875–1946), was an art historian and painter whose family had escaped from Poland in 1830 during an unsuccessful revolt against Russia and who obtained German citizenship in East Prussia. The boys’ mother, Elisabeth Dorothea Klossowska (1886–1969), was also a painter and was known as Baladine. 108

Balthus (Balthasar Klossowski) (Francês, 1908–2001) The King of Cats, 1935. Oil on canvas, 30 11/16 x 16 5/16 in. Fondation Balthus, Switzerland © Balthus 109

Balthus (Balthasar Klosso

ThĂŠrĂ¨se on a Oil on canvas, Private collecti

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owski) (French, 1908–2001)

Bench,1939. 27 7/8 x 36 in. ion. © Balthus

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As an eight-year-old, in 1916, Balthus had posed with his pet cat for a watercolor by his mother. Three years later he worked his adventures with a stray cat he called Mitsou into 40 pen-and-ink drawings. The German poet Rainer Maria Rilke, a family friend—who not long after became Baladine’s lover—was so enchanted by these drawings that he arranged for them to be published in 1921 in the book Mitsou, for which he provided a preface in French. At Erich Klossowski’s request, the cover of the book gave the young artist’s name as “Baltusz,” as he then spelled his nickname—which was a shortened version of his given name, Balthasar. At Rilke’s suggestion, Balthus signed his work from then on with this childhood nickname, at some point changing the spelling to “Balthus,” as we know it today. Rilke played an important role in Balthus’s life, as a crucial creative influence and also as a surrogate father following Baladine and Erich’s separation. Cats remained a force and presence in the artist’s work and life beyond his Mitsou drawings. In 1935, when Balthus was 27 years old, he painted his self-portrait The King of Cats. In it, he stands with his right hand on his hip, his left hand gripping his lapel, as a tiger cat rubs its head against his right knee. Later in his career, in the large decorative panel The Cat of La Méditerranée (1949), the artist includes a self-portrait of himself as a happy cat on whose plate a rainbow of fish lands.

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Balthus (Balthasar Klossowski) (French, 1908–2001)

Thérèse, 1938. Oil on cardboard mounted on wood, 39 ½ x 32 in. Metropolitan Museum of Art, bequest of Mr. and Mrs. Allan D.Emil, in honor of William S. Lieberman, 1987 © Balthus 113

Balthus (Balthasar Klossowski) (French, 1908–2001)

The Golden Days.1944-1946. Oil on canvas 58 1/4 x 78 3/8 in. Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, Washington DC, Gift of the Joseph H. Hirshhorn Foundation, 1966 © Balthus

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Balthus (Balthasar Klossowski) (Francês, 1908–2001)

The Salon I ,1941-43. Oil on canvas, 44 ½ x 57 ¾ in. Minneapolis Institute of Arts, The John R. Van Derlip Fund and William Hood Dunwoody Fund © Balthus

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Between 1936 and 1939, Balthus painted the celebrated series of 10 portraits of Thérèse Blanchard (1925-1950), his young neighbor in Paris. They are regarded as his most perceptive and sensitive portrayals of a young sitter and are among his finest works. At this point in Balthus’s career, the artist was chafing under the burden of portrait commissions, which he resented. So his neighbor’s youth must have been a welcome respite. But then, Balthus always felt a kinship with children; even as a child himself, he had been conscious of childhood’s importance. The portraits of Thérèse show her reading or daydreaming, posing alone, with her cat, or with her brother Hubert. In his first portrait of Thérèse of 1936, the artist used the same palette for the 11-year-old as for his portrait commissions: dark brown, ocher, and black, with a flash of red in the piping on her collar. But the mood is certainly very different from that of the adult portraits.

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Balthus (Balthasar Klossowski) (Francês, 1908–2001)

Thérèse Dreaming,1938. Oil on canvas,59 x 51 in. The Metropolitan Museum of Art, Jacques and Natasha Gelman Collection, 1998 © Balthus 117

Thérèse became the inspiration of the leitmotif in his oeuvre until the years toward the end of his life, as the artist found other models and muses. In Balthus’s work, all of the girls who play with cats peer into mirrors, read, daydream, or appear completely self-absorbed. Their ostensibly unself-conscious postures sometimes suggest sensuality and languor, sometimes ungainliness—a contradiction that is perfectly in keeping with the phenomenon of puberty. Balthus rendered his young models with as much dignity and importance as someone their own age would have perceived them. The exhibition traces Balthus’s progression and the evolution of his chosen subject matter, ending with The Moth in 1959, the artist’s only night scene. Balthus: Cats and Girls—Paintings and Provocations is organized by Sabine Rewald, the Jacques and Natasha Gelman Curator for Modern Art in the Department of Modern and Contemporary Art at The Metropolitan Museum of Art.

1000 Fifth Avenue, New York, NY 10028 -0198

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Balthus (Balthasar Klossowski) (Francês, 1908–2001) Girl at a Window, 1955. Oil on canvas, 77 1/8 x 51 3/8 in. Private collection © Balthus 119

Balthus (Balthasar Klossowski) (Francês, 1908–2001) The Game of Patience,1954. Oil on canvas 34 13/16 x 34 1/16 in. Collection Bettina Rheims © Balthus 120

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MAURICE

LEGENDARY FRENCH ART FIRST SOLO EXHIBIT

In Exhibition from November 14th to Dece

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RENOMA:

TIST AND VISIONARY HAS TION IN NEW YORK

ember at Bertrand Delacroix Gallery – NY.

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Couturier and designer to the stars and one of France’s most renowned a of photographs in his first solo exhibition in New York at the Bert (“fashionographer”) will feature a series of playful, sensual and provoc fashion, photography, and art.

MODOGRAPHE falls on the 50th anniversary of Renoma’s celebrate as Andy Warhol, Salvador Dali, John Lennon, Bob Dylan, Karl Lage innovative designs forever altered the conventions and styles of cont surrealism within his creative practice that eventually expanded into

“Fashion was always my first artistic passion but over the years I mad focus of my work for the last few decades. I give the same attention t clothing creations and I am honored to share these images with the Ne

Renoma is known for an intelligent and playful approach to experi unpredictable, provocative and insane often featuring hybrid images unexpected nudes.

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and celebrated photographers, Maurice Renoma will share a collection trand Delacroix Gallery opening November 14th. MODOGRAPHE cative color and gray-scale photographs that lie at the intersection of

ed Parisian boutique, White House, where he has catered to icons such erfeld, and Eric Clapton. Beginning his career in the 1960â&#x20AC;&#x2122;s when his temporary menswear, Renoma continued to explore a type of sensual o photography, design, and lifestyle.

de a natural progression towards photography and it has become the to detail and composition to my photographic works as I gave to my ew York art community for the first time,â&#x20AC;? explains Maurice Renoma.

imental photography. His digitally altered photographs present the s of humans with bestial heads, androgynous gender composites and

Bertrand Delacroix Gallery, 535 West 25th Street, New York, NY.

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Art under Attack: Histories of British Iconoclasm Linbury Galleries, Tate Britain 2 October 2013 – 5 January 2014

Art under Attack: Histories of British Iconoclasm will be the first exhibition to explore the history of physical attacks on art in Britain from the 16th century to the present day. Iconoclasm describes the deliberate breaking of images. Including paintings, sculpture and archival material, the show will explore 500 years of assaults on art. It will examine how and why icons, symbols and monuments have been attacked for religious, political or aesthetic motives, opening 2 October. The exhibition will include a remarkable example of pre-Reformation sculpture, the Statue of the Dead Christ, (c.1500-20), discovered in 1954 at Mercers’ Hall beneath the chapel floor and on loan for the first time. Other highlights include fragments of monuments destroyed in Ireland during the 20th century, paintings attacked by suffragettes in 1913 and 1914, and Allen Jones’ Chair, 1969, damaged in a feminist attack in 1986. As well as public actions against art the show will also consider artists such as Gustav Metzger, Yoko Ono and Jake and Dinos Chapman who have used destruction as a creative force. State-sanctioned religious iconoclasm of the 16th and 17th centuries will be represented by brutally damaged sculpture from the Great Screen of Winchester Cathedral and defaced illuminated devotional books from the British Library. Medieval stained glass panels removed from the windows of Canterbury Cathedral will be exhibited for the first time alongside Thomas Johnson’s 1657 painting of the 130

Statue of the Dead Christ c.1500-1520 Stone on limestone plinth The Mercers' Company

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Statue of the Dead Christ c.1500-1520 Stone on limestone plinth The Mercers' Company 133

Cathedral’s interior showing Puritan iconoclasts in action. Objects will be accompanied by vivid written accounts of destructive actions. Examples of actions against figures and symbols of political power will include fragments of the statue of William III and of Nelson’s Pillar destroyed in Dublin by blasts in 1928 and 1966 respectively, as a result of the ongoing struggle against British authority. A portrait of Oliver Cromwell hung upside down by the staunch monarchist Prince Frederick Duleep Singh (1868–1926) will also be included. Suffragette attacks on cultural heritage are represented by Edward Burne-Jones’ Sibylla Delphica, 1898, attacked in Manchester Art Gallery in 1913, and John Singer Sargent’s Henry James, 1913, slashed at the Royal Academy in 1914. Archival documentation of the attacks will accompany the works, as well as police surveillance photography of the militant protagonists. Art that stimulates aesthetic outrage is represented by Carl Andre’s Equivalent VIII, 1966, the subject of verbal vitriol but also physically attacked in 1976. As well as attacks on art, the show will reveal how for some artists destruction can be utilised as a creative force. A piano destroyed by Ralph Montanez Ortiz during the 1966 Destruction in Art Symposium will be on display for the first time alongside an audio recording of the event, as well as works by Gustav Metzger, John Latham and Yoko Ono. Portraits from Jake and Dinos Chapman’s One Day You Will No Longer Be Loved series will be included, and Mark Wallinger’s Via Dolorosa, 2002. Art under Attack: Histories of British Iconoclasm is curated by Tabitha Barber, Curator 1550-1750, Tate Britain and Dr Stacy Boldrick, 134

Curator of Research and Interpretation at the Fruitmarket Gallery, Edinburgh, with Dr Ruth Kenny, Assistant Curator 1750-1830, Tate Britain and Sofia Karamani, Assistant Curator, Contemporary British Art, Tate Britain. It is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.

Tate Britain,Linbury Galleries Millbank London SW1P 4RG UK 135

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NOVEMBER HIGHLIGHTS London, UK

London, UK

Sara Lucas October 2 – December 15, 2013 Whitechapel Gallery 77 – 82 Whitechapel High Street, London, E1 7QX

Art Under Attack: Histories of British Iconoclasm October 2, 2013 – January 5, 2014 Unbury Galleries, Tate Britain Hillbank, London SW1 4RG

London, UK

Mingei: Are you there? Collective exhibition, curated Nicolas Trembley October 15 – December 14, 2013 Pace London 6 – 7 Lexington Street London W1S 3ET

Calder & Meloti: Children of the Sky Cureted by Gianluca Marziani October 11 – November 30, 2013 Ronchini Gallery 22 Dering Street, London, 1WS 1An

by:

London, UK

Facing the Modern: The Portrait in Vienna, 1900 October 3, 2013 – January 12, 2014 The National Gallery Trafalgar Square, London WC2N 5DN

The Ey Exhibition: Paul Klee October 16, 2013 – March 9, 2014 Tate Modern Bankside, London SE1 9TG

London, UK

Paris, France

Kara Elizabeth Walker, Negress October 11, 2013 – January 5, 2014 Cadmen, Arts Center Arkwright Road, London NW3 6DG

Félix Vallotton: Le Feu Sous la Glace October 2, 2013 – January 20, 2014 Grand Palais 3, Avenue du Géneral Eisenhower 7800 Paris

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NOVEMBER H Paris, France

Vienna, Austria

Jerome Zonder Galerie Eva Hober, October 17, November 23, 2013 16, Rue Saint-Claude, Paris

And Materials, And Money, And Crisis November 8, 2013 – February 2, 2004 MUMOK – Museum Moderner Kunst Stitung Ludwig Wien Musemsplatz 1, 1070 Wien.

Lisboa, Portugal

Frankfurt, Germany

O Brilho das Cidades; A Rota do Azulejo Outubro 25, 2013 – Janeiro, 26, 2014 Sala de exposições temporárias da Sede, Fundação Calouste Gulbenkian Av de Berna nº 45, Lisboa

Géricault, Images of Life and Death October 18, 2013 – January 26, 2014 Schirn Kunsthalle Frankfurt Römerberg, 60311 Frankfurt

Lisboa, Portugal

Hamburg, Germany

ARTE LISBOA November 23 to 27, Lisbon will be the stage for the only International Contemporary Art Fair in Portugal. Fil – Feira Internacional de Lisboa Rua do Bojador – Parque das Nações, Lisboa

Denmarks Breakthrough to Modernism The Hirschsprung collection From Eckersberb to Hammershoi Hamburger Kunsthalle Glockengiesserwall, 20095 Hamburg September 20, 2013 - January 12, 2014

Porto, Portugal

Monte Carlo, Mónaco

João Figueiredo; The Garden of Hidden November 2 – December 7, 2013 Galeria Artes Solar de Sto António, Rua do Rosário 84 4050 – 381 Porto

Face to Face Wordwile Artists November 5 through 19, 2013 Galerie Caré Doré 5 Rue Princess Caroline, Monte Carlo.

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HIGHLIGHTS Bilbao, Spain

Brussels, Belgium

Antonio Tapies from Object to Sculpture (1964- 2004) October 4, 2013 – January 9, 2014 Museu Guggenheim Bilbao Abandoibarra, 2, Bilbao, Spain.

The Heritage of Rogier Van Der Weyden November 12, 2013 – January 26, 2014 Royal Museums of Fine Arts of Belgium Rue de la Rêgence 3, Brussels.

Madrid, Spain

Amsterdam, Netherlands

Surrealism and the Dream October, 8, 2013 – January 12, 2014 Museu Thyssen-Bornemista Paseo del Prado 8, Madrid.

Mondriaan in Amsterdam, 1892 – 1912 October 11, 2013 – January 5, 2014 Amsterdam Museum Kavelstraat 92, Amsterdam October 19, 2013 - February 2, 2014

Madrid, Spain

Amsterdam, Netherlands

Chris Killip: Work October 2, 2013 – February 24, 2014 Sabatini Building, Floor 3 Museu Nacional Centro de Arte Reina Sofia Edificio Sabatini, C/ Santa Isabel, 52, Madrid

Kazimir Malevich and the Russian Avant Garde The Stedelijk Museum Amsterdam Museumplein 10, 1071 DJ Amsterdam

Barcelona, Spain

New York, USA

Before the Horizon (The representation of the horizon from the Middle 19th century to present) October 24. 2013 – February 16, 2014 Fundació Juan Miró Parc de Montjuic,Barcelona

Maurice Renoma; Modographe November 14 – December 14 Bertrand Delacroix Gallery 535 West 25th Street, New York

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NOVEMBER H New York, USA

New York, USA

Reza Derakshani; My Wicked Persian Carpet October 29 – December 3, 2013 Taymor Grahne Gallery 175 Hudson Street, New York

Balthus; Last Studies September 26 – December 21, 2013 Gagosian Gallery 576 Madison

New York, USA

Kaoruko: ENN October 17 – November 16, 2013 Mike Weiss Gallery 520 West 24th Street

Magritte: The Mystery of the Ordinary, 1926 – 1938 September 28, 2013 – January 12, 2014 MoMa, Museum of Modern Art 11w 53rd St, New York

New York, USA

James Casebere: Works 1995 – 2005 October 25 – December 7, 2013 Sean Kelly Gallery 258 West 29th Street

Balthus: Cats and Girls – Paintings and Provocations September 24, 2013 – January 12, 2014 The Metropolitan Museum of Art 1000 Fith Avenue (at 82nd Street), New york

New York, USA

Santa Mónica, Ca, USA

William Eggleston: At Zenith October 26 – December 21, 2013 Gagosian Gallery 980 Madison Avenue

Skin Deep Materiality, sensuality and Paint November, 2 – December 14, 2013 William Turner Gallery 2525 Michigan Avenue, E-1, Santa Mónica 140

HIGHLIGHTS Los Angeles, USA King Rugg: Patterns of Landscape October 19 – November 16, 2013 Mark Moore Gallery 5790 BLvd, Los Angeles

Chicago, USA Violence and Virtue: Artemisa Gentileschi’s “Judith Slaying Holofernes” October 17, 2013 – January 9, 2014 The art Institute of Chicago 111 South Michigan Avenue

Boston, USA John Singer Sargent; Watercolors October 13, 2013 – January 20, 2014 Museum of Fine Arts Boston 465 Huntington Avenue

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November, 2013