Nยบ14 EN / NOV 2014
FREE MONTHLY MAGAZINE
ARTIST OF THE MONTH
ALFREDO BARROS
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Technical File Nr Registo ERC – 126385 ERC Registration nr - 126385
Guest Redactors for November issue Alfredo Barros / American Art Collector Magazine/ International Artist
Proprietário/Owner: José Eduardo de Almeida e Silva
Fotografia/Photography:
Editor/Publisher: José Eduardo de Almeida e Silva
Alfredo Barros © Alfredo Barros
NIF: 179208586
Art Antwerp © Courtesy ART Antwerp and TM – ART
Periodicidade/Periodicity: Mensal/ Monthly
Calouste Gulbenkian © Museu Nacional de Arte Antiga, Lisboa © Patrimonio Nacional, Palacio Real de Madrid ©Patrimonio Nacional, Palacio de la Zarzuela, Madrid
Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 914037084
Fan Museum © The Fan Museum, London
Director Geral/Director in Chief: Eduardo Silva
Julie Nester Gallery © Daniel Ochoa
Director Adjunto/Vice-director: Isabel Gore
NSU Museum of Art Fort Lauderdale © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris © New York / billedkunst.dk © 2014 Julian Schnabel / Artists
Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto
Tate Britain © Legado de Turner 1856 / Accepted by the nation as part of the Turner Bequest 1856
Director Técnico/ Art and Web Director: Luís Peixoto Colaboradores para o nr de Novembro / 2
It is with a profound regret that we communicate the departure of José Eduardo Silva, the Founder, Director and Editor of Line & Stylish Art Magazine. A man with courage, talent, a great knowledge and passion for Art . Above all José Eduardo was a friend to all, a fighter, a man with whom we have learned a lot and during a year he worked in this project presenting many Artist’s works known worldwide, and also emergent artists who deserve our utmost respect. José Eduardo will be with us forever. This way we have decided to suspend our publications for an indefinite period. We would like to thank to all Artists, Galleries, Museums, Readers, Followers who cooperated with us and without them this project couldn’t be possible. However you can visit us on our FB Page and we are going to continue to do our best, sharing Art in all its diversity. https://www.facebook.com/LineAndStylish. For now, this November number will be the last but not the least. In this edition we highlight the Solo Exhibition of DANIEL OCHOA “Stitched Images”. A young American artist born in 1980,Northern California, whose work deserves to be exalted by the quality and originality. ALFREDO BARROS, Portuguese painter, was our choice for The Artist of the Month. His mastery of technique allows him to play with images whose forms are clearly defined. The final result is a combination of academic figurative representation with signs of transgression of the norm, where the poetic content of his works is always preserved. We could not avoid mentioning WILLIAM TURNER who was for decades ignored by critics, but here we acknowledge his greatness by publishing The EY Exhibition: Late Turner – Painting Set Free on view at Tate Britain Isabel Gore (Vice-Director)
Cover: “Penelope” ALFREDO BARROS Oil on canvas, 100 x 100 cm Courtesy: Alfredo Barros 3
ÍNDEX 6.
20.
40.
Tate Britain The EY Exhibition Late Turner – Painting Set Free
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Calouste Gulbenk A Shared H Treasures from the Roy
ARTIST OF THE MONTH ALFREDO BARROS
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ART ANT
Julie Nester Gallery DANIEL OCHOA
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Fan Mus VISIONS OF
Stitched Images
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kian Museum History yal Palaces of Spain
TWERP
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NSU Museum of Art Fort Lauderdale CAFÉ DOLLY PICABIA, SCHNABEL, WILLUMSEN
82.
NOVEMBER HIGHLIGHTS
seum F BEAUTY
info@lineandstylish.com +351 914 037 084 5
The EY Exhibition: Late Turner – Painting Set Free 10 September 2014 – 25 January 2015 Tate Britain
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The EY Exhibition: Late Turner – Painting Set Free will be the first major exhibition to survey the achievements of J.M.W. Turner (1775– 1851) during his final period (1835–50). The exhibition will reassess Turner’s extraordinary body of work during this period, when some of his most celebrated works were created, and opens at Tate Britain on 10 September.
JMW Turner Ancient Rome; Agrippina Landing with the Ashes of Germanicus exhibited 1839 Oil paint on canvas. Support: 914 x 1219 mm frame: 1230 x 1530 x 140 mm Tate. Accepted by the nation as part of the Turner Bequest 1856 7
JMW T
Goldau, with the Lake of Zug in t 184 Pencil, watercolour and pen on Tate. Accepted by the nation as p 8
Turner
the Distance: Sample Study ,circa 42-3 n paper.Support: 228 x 290 mm part of the Turner Bequest 1856 9
The exhibition will begin in 1835, the year that Turner reached 60, and will c how his closing years were a time of exceptional energy and vigour, initiated from the UK and abroad, it will seek to challenge assumptions around the materials during this productive time.
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close with his last exhibits at the Royal Academy in 1850. It will demonstrate d by one of his most extensive tours of Europe. Bringing together 150 works e idea of the ‘elderly’ artist, as well as his radical techniques, processes and
JMW Turner Regulus,1828, reworked 1837 Oil on canvas.Support: 895 x 1238 mm frame: 1135 x 1460 x 93 mm Tate. Accepted by the nation as part of the Turner Bequest 1856 11
The show will include such iconic works as Ancient Rome; Agrippina Land (National Museums Liverpool) and Heidelberg: Sunset c.1840 (Manchester C of old age, Turner maintained his commitment to the observation of nature and scientific developments of modern life, in works such as Rain, Steam, a continued to engage with the religious and historical themes that linked him
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ding with the Ashes of Germanicus exh. 1839 (Tate), The Wreck Buoy 1849 City Galleries). Rather than focusing on any assumptions about the pessimism e. He brought renewed energy to the exploration of the social, technological and Speed – The Great Western Railway 1844 (National Gallery). He also m to the cultural traditions of his era
JMW Turner Returning from the Ball (St Martha) exhibited 1846 Oil paint on canvas. Support: 616 x 924 mm, frame: 888 x 1195 x 120 mm Tate. Accepted by the nation as part of the Turner Bequest 1856 13
JMW T
The Blue R Watercolour on paper. Support: Tate. Purchased with assistance from the National Heritage Memorial Fund, th generous support from David and Susan Gradel, and from other members of th 20 14
Turner
Rigi 1841-2 297 x 450 mm on paper, unique he Art Fund (with a contribution from the Wolfson Foundation and including he public through the Save the Blue Rigi appeal) Tate Members and other donors 007 15
Joseph Mallord William Turner (1775–1851) was born in London, the son 14 before becoming a member of the RA in 1802 and Professor of Perspec watercolours and oils. Throughout his later years he continued to tour Europ Royal Academy in 1850 and died in 1851, his body being laid to rest in the c
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of a barber. He entered the Royal Academy Schools in 1789 at the age of ctive in 1807. His work was prolific and varied including drawings, prints, pe, his last trip taking pace in 1845. He exhibited his last four pictures at the crypt of St Paul’s Cathedral.
JMW Turner The Departure of the Fleet exhibited 1850 Oil on canvas.Support: 899 x 1203 mm Tate.Accepted by the nation as part of the Turner Bequest 1856 17
The EY Exhibition: Late Turner – Painting Set Free is curated by Sam Smiles Blayney Brown, Manton Curator of British Art 1790–1850, Tate Britain wi
Tate B Millb London SW United K
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s, Professor of Art History and Visual Culture, Exeter University, and David ith Amy Concannon, Assistant Curator 1790–1850, Tate Britain.
Britain bank W1P 4RG Kingdom
JMW Turner The Visit to the Tomb exhibited 1850 Oil on canvas.Support: 914 x 1219 mm frame: 1230 x 1535 x 150 mm Tate.Accepted by the nation as part of the Turner Bequest 1856 19
ALFREDO BARROS Porto, Portugal
Choosing a Path After graduating in Fine Arts from Oporto University, Alfredo Barros taught in that University and presently teaches at The Higher School of Art and Design in his hometown. Alfredo Barros made what would end up being one of the most important decisions of his career – to follow the avant-garde movements, popular at the time, and being espoused by the academics from whom he learned, or to take the path less travelled and work with traditional figuration.
ALFREDO BARROS Courtesy: Alfredo Barros 20
Barros, fortunately, decided to follow the more traditional path and that has made all the difference.
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“After thinking about it for a while, I decided to embark on a figurative representation with a huge commitment with reality from which I was creating my own reality”, says Barros. “I am concerned with coherence of all my work. My paintings have different themes but the relation with the viewer is always the same”
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ALFREDO BARROS
Estudo para um Tubo de Tinta (Study for a Color Tube) Oil on canvas,100 x 100 cm Courtesy: Alfredo Barros 23
For Barros, this relationship between the artist and the audience is of utmost importance. “I think that painters should create a dialogue between them and the viewers”, says Barros. “I don’t want to tell a history because each viewer has its own interpretation.” Barros’ work, however weaves together several different strands of art. While done in a highly realistic and almost Trompe l’Oeil style, Barros bisects the image with other pictorial elements to create a more contemporary look and feel to the canvas.
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ALFREDO BARROS
A Festa (The Party) Oil on canvas,100 x 100 cm Courtesy: Alfredo Barros 25
“By this realistic expression, I would like the people to agree with the fact that art is timeless”, says Barros. “Meaning that art has always been modern in every era. Only the concepts and the technical processes change. By illustrating my idea, I quote the case of Vermeer, who used as an auxiliary to his works, the magic lantern” Courtesy: American Art Collector Magazine, International Artist and Alfredo Barros.
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ALFREDO BARROS
Natureza Morta (Still Life) GRAND PRIZE WINNER - Internacional Artist - American Art Collector Magazine, USA June 2014 Oil on canvas, 100 x 100 cm, 39” x 39” Courtesy: Alfredo Barros 27
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ALFREDO BARROS
Atlântida Oil on canvas,100 x 100 cm (De Açoriana Memória) Courtesy: Alfredo Barros 29
STATEMENT
My Inspiration My fascination for things, those objects that play a role in the daily life of man and artist, are the nuclear reason of the poetics in which my work is grounded. The color interdicts to see in my painting a denotative language, rather it is immediately a connotation, since I seek ways that transcend a mere description something that goes beyond the physical, trying to reach a metaphysical condition. Through the color I search a quietness that formulates and brings a taste of a veiled anguish and even latent threat. The threat and anguish of the excessively clear evidence.
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ALFREDO BARROS
Ilha Dos Mortos (Isle of the Dead) Tribute to Arnold Bรถcklin Oil on canvas, 65 x 75 cm Courtesy: Alfredo Barros 31
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ALFREDO BARROS
Cinco Planetas e Um Cรฃo (Five Planets and A Dog) Oil on canvas, 100 x 100 cm (Furnas de S.Miguel, Aรงores) Courtesy: Alfredo Barros 33
STATEMENT
My Design Stratagey I try that my paintings have an objective look, a photographic one, paradoxically with a conceptual approach. The “Naturalness” of things represented and perceived, is contradicted by an underlying geometry of the composition. I try to create images that lead the viewer to combine two registers of the relationship time- space including by resorting to the presence of trivial objects and with no story. This way I pretend to mock, orderly, with everything that seems to be a realistic representation. It’s like a provocation to the levels of knowledge, trying a disquieting relationship of all artwork between the visible and invisible.
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ALFREDO BARROS
PenĂŠlope Oil on canvas, 100 x 100 cm Courtesy: Alfredo Barros 35
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ALFREDO BARROS
Natureza Morta (Still Life) Tribute to Eduardo Serra Oil on canvas, 35 x 45 cm Courtesy: Alfredo Barros 37
STATEMENT
My Working Process My works are thought for a long time, and just when I think the idea can be realized, than I move on to the execution phase. I start by making sketches with colored pencils or watercolor and after some studies I begin working on canvas. This is the most academic and common process. In more detailed works I turn to other resources, such as photography and image processing programs. I begin to photograph the chosen model and after having a composition that pleases me, than I take the picture to computer dealing with the images as if it they were puzzles. I mean, I play with several images inserting them in a new context and then I copy the images to the canvas, using a traditional process and from that moment I work the drawing using the same material, oil on canvas. Sometimes I also fill the drawing with pastel, fixed it pretty well and then I start the oil painting – Alfredo Barros.
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ABOUT ALFREDO BARROS Alfredo Barros has participated in several solo and group exhibitions in Portugal and abroad, namely in Spain, France, Belgium, USA and other countries. In 2009 he received the “Career” award from Progetto Athanor (Italy) and Binghamton University, New York. This distinction was disclosed in critical articles about his work in several Italian newspapers.
Some selected Awards NORBICETA support by “Sustainable House in Europe” 2005- 2008 QUINTA DA BOA VISTA in Vila Nova de Gaia, Portugal,2008 In 2009 he was honored by the magazine COMMON CAUSES, publication on Housing and Urban Renewal. He has published several articles about other artists’ work, including catalogs and has a major activity as illustrator of children’s literature and didactics for ASA Publishers, Porto Editora and Gulbenkian Foundation. While City Councilman for Culture and Education he was responsible for the installation process of higher education, namely ESAD in his hometown, Matosinhos, Portugal In 2014, he received the GRAND PRIZE WINNER - International Artist - American Art Collector Magazine, USA Translation: L&S alfredo.barros1@gmail.com www.alfredo-barros.tumblr.com 39
Solo Exhibition of Artist
Daniel Ochoa
Stitched Images 1November 12 – December 16, 2014 Julie Nester Gallery
Ochoa’s work tests the limits of abstraction and representation by layering distorting effects from multiple technologies onto a single image. His ‘street view’ paintings exist in a territory between fidelity and misrepresentation, frequently fluctuating between the two. The series employs blurred, stitched, and disjointed images produced by glitches in Google’s ambitiously extensive street mapping technology as source material. Ochoa then modifies realistic rendering with visceral abstract paint application and masking techniques. Identity, privacy, and authenticity are problematized and boundaries between viewer and producer are dissolved through this complex body of work.
Daniel Ochoa (b. 1980, Santa Rosa, CA) earned his MFA from the Academy of Art University, San Francisco, CA in 2008. He currently lives and works in Brooklyn, New York. He is represented by Arcadia Contemporary (New York), Hespe Gallery (San Francisco) and Julie Nester Gallery (Park City, UT). In addition to representation with these galleries, in 2014 his work was presented at SCOPE Art Fair, NYC; Art Market San Francisco; Art Wynwood and LA Art Show. 40
Daniel Ochoa “P.2.10.14-1” Oil on paper, 14x11in Courtesy Daniel Ochoa 41
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Daniel Ochoa “P.9.9.14” Oil on paper, 14x11in Courtesy Daniel Ochoa 43
Daniel “Divisade Oil on canva Courtesy Da 44
Ochoa ero� 2014 as, 62x50in, aniel Ochoa 45
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Daniel Ochoa “Navy Yard” 2014 Oil on canvas, 50x50in Courtesy Daniel Ochoa 47
About Julie Nester Gallery Julie Nester Gallery is located in the resort town of Park City, UT. This is the gallery’s 10th year of business and it specializes in contemporary art and represents a number of emerging, midcareer and established artists from around the United States. Our art encompasses a diversity of styles including figurative, landscapes and abstracts. The gallery offers an exceptional selection of original paintings, mixed media prints, photography and sculpture.
Julie Nester Gallery 1280 Iron Horse Drive Park City, Utah 84060 48
Daniel Ochoa “Shipwreck with Oro” 2014 Oil on canvas, , 44x44in Courtesy Daniel Ochoa 49
A Shared History Treasures from the Royal Palaces of Spain From 22 Oct 2014 to 25 Jan 2015 Calouste Gulbenkian Museum
This exhibition is due to the initiative of Spain’s Património Nacional, an institution that preserves the palaces used today by the royal family, several convents founded by the royal house and their respective archives.
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Joos van Cleve (?) Portrait D. Isabel of Portugal, Séc XVI,after 1534 Oil on wood © Museu Nacional de Arte Antiga, Lisboa 51
Placing particular emphasis on collecting and on the patronage practised by the monarchs and members of Spain’s royal family, this exhibition has a third underlying theme in that it evokes and illustrates the political and matrimonial relations between the two Iberian royal houses.
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Diego Rodríguez de Silva y Velázquez (1599-1660) Portrait of a White Horse, 1634-1638 Oil on canvas, H 310 cm; W. 243 cm Patrimonio Nacional, Palacio Real de Madrid Inv. 10010145 © Patrimonio Nacional 53
Francisco de Go Manufacture of Bullet Oil on wood Patrimonio Nacional, Pala Inv. 100 漏 Patrim贸n 54
oya (1746-1828) ts, Spain , c. 1811-1814 d,33 x 52 cm acio de la Zarzuela, Madrid 009053 nio Nacional 55
Michelangelo Merisi da Salome with John Bapt Oil on canvas, Patrimonio Nacional, P Inv. 100 漏 Patrim贸n 56
Caravaggio (1571-1610) tist’s Head, 1606-1607 , 114 x 137 cm Palacio Real de Madrid 010026 nio Nacional 57
‘Shared History’ covers 350 years, beginning in the era of Isabella I of Castile (1451-1504, r. 1474-1504), a key figure in establishing Spain as a European power following the unification of the Iberian kingdoms under her reign. Another Isabella, the Infanta Maria Isabel of Portugal (1797-1818), married Ferdinand VII of Spain and, unbeknownst to many Portuguese, founded the Prado Museum. The museum itself recalls this fact with enthusiasm and gratitude.
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Calouste Gulbenkian Museum Av. de Berna 45A 1067-001 Lisboa
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ART ANTWERP INTERNATIONAL ART & DESIGN FAIR The New Edition Art Antwerp offers the Art Fair World a Brilliant and Refreshing Perspective – Get with the Times! What is Art Antwerp? – Art Antwerp International Art & Design 2014 (AA’14) is an innovative event and global platform for creators, galleries, art-lovers, collectors, dealers, art & design experts and journalists, and worldwide marketing. Essentially, it is an 8 day long cultural fair at once inclusive (of multiple types of art & design) and exclusive (in the sense of professional and creative quality - exhibition, publishing and clientele). AA’14 promises you much more than a regular art fair! The first edition has already kicked-off with an intro event at the Royal Paleis op de Meir of Antwerp; Diamonds for Life was a highly successful charity event fusion exhibition of art, design & jewel craft, from many nations and levels of experience, and an array of creative styles / techniques. Visitors varied from curious sightseers to local and international collectors, political figures, and foreign diamond traders. In the same light, Art Antwerp fair offers a variety exhibition for everyone, all the while maintaining an attractive and harmonious layout, program and presentation.
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Where and when? – From December 5th to 12th, Art Antwerp will take place at the Antwerp-Expo forum (Antwerp, Belgium), alongside museums, historical buildings, art galleries, antique showrooms and jewellery crafters. The port city is highly central and is home to many collectors and trend-setters with a high flux of visitors and vacationers. Antwerp City is the exemplary in the balance between traditional and modern art culture. Who is Art Antwerp? – The AA’14 organizers are a group of international, innovative experts in art & design, publishing, marketing and business. Art Antwerp founder, Thomas Maes, is a passionate entrepreneur and artist, as are many of the AA’14 collaborators. Why this new approach, and why now? – Exponential population growth and a constant demand for innovation and variety have brought on an era of heightened connectivity, multiplicity and shared knowledge; Art Antwerp presents visitors and buyers an up-to-date art fair and educational, networking platform, a show of cultural diversity and an excellent spectrum of investment opportunities for all. Art Antwerp is built for a progressive society and promotes art world evolution. The ‘How’– While embracing a proactive, progressive approach, Art Antwerp 2014 interacts with compassion toward exhibitors, guests and collaborators; attention to image, and an understanding of the client’s product and statement allows for a clear perspective, placement advising and showroom balance. The Art Antwerp mission is fresh, sophisticated, smart, comprehensive, selective, open and respectful. With this conduct and the steadfast list of collaborators, networks and connections, Art Antwerp is unquestionably a worldclass organization. 62
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AA’14 offers the following events and publications:
Art Antwerp International Art & Design 2014 (5-12 December) Cultu International Art Exhibition of Fine Art, Contemporary Art, Art-Nouv world professionals.
AA'14 VIP Vernissage Reception (December 5th) First Viewing Grand Opening, Ribbon-Cutting Ceremony, Press Conference Hors D’oeuvres and Cocktail Service, Live Art & Dance Performances, Cl Art Auction benefiting good causes as the Belgium cancer foundation &…
Art Antwerp Magazine (To Be Launched on December 5) Showroom catalogue in the form of a Biennial Magazine - second edition t Interviews, Partner Ads To be Sold and Distributed Globally
Art Antwerp Times AA’14 newspaper launched in February and mailed to 5000+ recipients, Antwerp, and various luxury shops and travel agencies. A second edition w
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ural Fair veau, Interior Design, Jewel Design, and more. Featured Seminars with art
lassical Music Performances, ‌
to be printed in March of 2015 Includes Full Page Artwork Images, Articles,
, distributed by the Antwerp Hilton Hotel, The Royal Paleis op de Meir of will be published and distributed this summer and another at the fair itself.
Contact: info@artantwerp.com www.artantwerp.com www.tmartfinearts.com 65
VISIONS OF BEAUTY 30.09.2014 - 22.02.2015 Fan Museum
VISIONS OF BEAUTY brings together an exceptional diversity of fans both to question & celebrate impressions of beauty and desirability. From graceful depictions of mythological goddesses to sinuous fin- de –siècle society belle , the fans on display echo changing canons of beauty ,from the mid 17th century onwards. The exhibition looks also to the spaces in which beauty is typically ‘constructed’ –the toilette/boudoir–and subsequently ‘performed’ – Fête galantes, city parks & gardens, court balls and the opulent arenas of opera and theatre. At a time when the UK cosmetic industry is thought to be worth in excess of £2.2bn, Visions of Beauty vividly illustrates that the emphasis placed upon pursuing & retaining beauty is by no means a modern phenomenon.
The Fan Museum 12 Crooms Hill, Greenwich London SE10 8ER 66
La Folie des Dames de Paris.
Ivory fan, the monture elegantly carved and silvered. The double paper leaf is painted on both sides, the obverse with five vignettes framed in gold on a dark background with flowers and gilt motifs. The central oval is inscribed with the above title and shows a seated lady al fresco, having her tall wig powdered by a hairdresser perched atop a ladder. She sits before her mirror which is placed on a table set out with scissors and tongs, combs, pins and other tools of the barber/hairdresser. A gentleman observes the scene through a telescope. The reverse is painted with a vignette of a landscape, hung from a purple ribbon and flowers. French, c. 1770. Length 27 cm The Fan Museum, HA Collection 159 Š The Fan Museum, London 67
La Petite ChaumiĂŠre
Fruitwood fan with reinforced head. The double paper leaf is printed and hand coloured on one side only with Directoire couples parading in the direction of a small thatched building which two of them are about to enter. Two of the ladies carry reticules (handbags) in which a small fan, smelling salts and a handkerchief could be stored. French, c. 1795. Length 24 cm The Fan Museum, HA Collection 1813 Š The Fan Museum, London 68
Dawn
Horn fan applied with a mother of pearl carved head of a sleeping woman with long hair. The double fabric leaf is painted on one side only with a young woman in a scanty shift, her long hair held back by two large flowers. The blue-eyed beauty rests among tall white poppies, the blue background painted with tiny gold stars. Signed LUC F. French, c. 1900. Length 27 cm. The Fan Museum, HA Collection 1328 Š The Fan Museum, London 69
Fragrant Night
Horn fan, one guard applied with a gilt mother of pearl female face, framed by coiled, long golden hair. The other guard is applied with a mother of pearl lily. The double fabric leaf is painted on one side only with a young woman smelling a flower, her long red hair unbound and blowing in the breeze. The purple background is scattered with small gold stars and, besides poppies, there are lilac and carnations (flowers which release their scent during the night). Signed LUC F. French, c. 1900. Length 27 cm The Fan Museum, HA Collection 629 Š The Fan Museum, London 70
Dawn
Mixed monture fan, the guards of carved and gilt tortoiseshell, the sticks of alternating pierced and gilt tortoiseshell and mother of pearl with a bold gold line and gold dots. The double paper leaf is painted on the obverse to resemble striped fabric or wallpaper with scattered flowers and three vignettes in gold ‘frames’. The central one, inspired by one of the caricatures of the period, shows a hairdresser atop a ladder putting finishing touches to a lady’s coiffure while a maid brings her a birdcage and a little dog leaps up excitedly. The clock above the dressing table indicates the lady is getting ready to go to a ball or the opera. The reverse is freely painted with a landscape. French, c. 1775. Length 27 cm The Fan Museum, HA Collection 93 © The Fan Museum, London 71
CAFÉ DOLLY PICABIA, SCHNABEL, WILLUMSEN October 12, 2014 – February 1, 2015 NSU Museum of Art Fort Lauderdale Bringing together the work of French artist Francis Picabia (1879– 1953), American artist Julian Schnabel (b. 1951), and Danish artist Jens Ferdinand Willumsen (1863–1958) for the first time in the United States, the exhibition Café Dolly: Picabia, Schnabel, Willumsen reveals surprising connections between stylistic and painterly concerns that span generations and geography. Café Dolly is organized by the J.F. Willumsens Museum, Frederikssund, Denmark and is curated by visual artists Claus Carstensen and Christian Vind, as well as Ann Gregersen, PhD., researcher at the University of Copenhagen and J.F. Willumsens Museum.
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J.F. Willumsen Woman Playing with a Black Cat, 1945 Oil on canvas J.F. Willumsens Museum Š 2014 Artists Rights Society (ARS), New York / billedkunst.dk 73
Francis Picabia Pierrot pendu, c. 1941 Oil on wood Private collection, Brussels Š 2014 Artists Rights Society (ARS), New York / ADAGP, Paris 74
J.F. Willumsen The Birthday Cake, A Joke, 1943 Oil on canvas J. F. Willumsens Museum Š 2014 Artists Rights Society (ARS), New York / billedkunst.dk 75
Featuring approximately 75 paintings, Café Dolly presents works dating from 1926-1951 by French artist Picabia, whose contributions to the avant-garde Dada and Surrealist movements are widely known, but whose paintings from his later figurative period remain relatively obscure in the United States. The exhibition also includes paintings from the late 1980s to the present by New York artist Julian Schnabel, including works on a collaged surface of broken plates, resin-coated figurative paintings, enormous canvases based on paintings found in thrift stores, and paintings that conflate figuration and abstraction. In addition, the exhibition includes paintings from the late 19th- to mid-20th century by visionary Danish artist J. F. Willumsen. Each artist’s work conveys an intensely painterly language with recognizable motifs, clear contours, and raw colors in bold combinations, along with a need to explore and challenge the tradition of painting. The three artists’ work with figuration, narrative, and portraiture during periods dominated by abstraction has at times made them controversial. These hybrid paintings demonstrate alternative paths of modern art and the progress of painting in the 20th century. The exhibition’s title references the world’s first cloned sheep, Dolly, whose birth in 1996 sparked international controversy and called into question cultural ideas about ethics and materiality. In a visual arts context, Picabia, Schnabel, and Willumsen challenge the same concepts in their unprejudiced treatment of the traditions of art history and mass media images as well as private photographs and stories. 76
Julian Schnabel Las NiĹˆas, 1997 Oil, resin, and enamel on canvas Collection of the artist Š 2014 Julian Schnabel / Artists Rights Society (ARS), New York 77
Julian Schnabel Large Girl with No Eyes, 2001 Oil and wax on canvas Collection of the Artist Š 2014 Julian Schnabel / Artists Rights Society (ARS), New York 78
Francis Picabia Autoportrait, ca. 1940-42 Oil on cardboard Lucien Bilinelli Collection, Brussels /Milan Š 2014 Artists Rights Society (ARS), New York / ADAGP, Paris 79
Francis Picabia (1879 –1953) Born in Paris, the son of a Cuban-born Spanish father and a French mother. Picabia was one of the leading figures of Dada and Surrealism and one of the first abstract artists of the 20th century. In 1911, he began a friendship with artist Marcel Duchamp and became part of the avant-garde artists’ association, Groupe de Puteaux. From 1915 until the early 1920s, Picabia was one of the leaders of the Dada movement and a co-author of many of its manifestos. He embarked on a more figurative phase in the 1920s, and by World War II he was incorporating motifs from erotic magazines and popular culture. Deemed regressive by his fellow Dadaist artists, Picabia was ostracized from the movement. Peace was famously made on Picabia’s deathbed, with a note from Marcel Duchamp that read, “A bientôt, cher Francis. – Marcel.”
Julian Sc (19
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NSU Museum of A One East Las O Fort Lauderda 80
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J.F. Willumsen (1863 –1958) A controversial figure in Danish art, J.F. Wilumsen’s active artistic life spanned more than 70 years. A contemporary of Picabia and a cofounder of the rebellious artists’ association, Den Frie Udstilling (The Independent Exhibition) in Copenhagen in 1891, he spent the majority of his life in France. There, Willumsen developed a powerfully personal style with links both to older art and to the modern visual world that included monumental works with expressive figures. Known in his Danish homeland as a symbolist in the 1890s, his late works have long been overlooked by an international public, relegated to the realm of kitsch.
Art Fort Lauderdale Olas Boulevard, ale, FL 33301 81
NOVEMBER H Erstein, France
Venice, Italy
Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein
Irving Penn: Resonance April 13 – December 31, 2014 Palazzo Grassi Campo San Samuele 3231, 30124 Venice
Paris, France
Lisboa, Portugal
Art Brut 18 Oct 2014–18 Jan 2015 La Maison Rouge Fondation Antoine de Galbert 10 bd de la Bastille Paris 75 012 France
Uma História Partilhada Tesouros dos Palácios Reais de Espanha From 22 Oct 2014 to 25 Jan 2015 Calouste Gulbenkian Museum Av. de Berna 45A 1067-001 Lisbon
Paris, France
London UK
David LaChapelle: Land Scape Galerie Daniel Templon Impasse Beaubourg 30 Oct–23 Dec 2014 Paris 75003 France
Danny Fox Painting 17th October – 8th November, 2014 Cock ‘n’ Bull Gallery Tramshed, 32 Rivington Street, Shoreditch, London EC2A 3LX
Florence, Italy
London, UK
Picasso and Spanish Modernity 20 Sep 2014–25 Jan 2015 Palazzo Strozzi Piazza degli Strozzi, 50123 Firenze, Italy
Visions of Beauty 30.09.2014 - 22.02.2015 The Fan Museum 12 Crooms Hill, Greenwich London SE10 8ER
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HIGHLIGHTS London UK
Indiana, USA
The EY Exhibition: Late Turner – Painting Set Free 10 September 2014 – 25 January 2015 Tate Britain Millbank London SW1P 4RG United Kingdom
Contemporary Realism Biennial
September 20 – November 30, 2014 The Fort Wayne Museum of Art 311 E Main St, Fort Wayne, IN 46802 Usa
Oxford, UK
New York, USA
William Blake. Apprentice & Master 4 December 2014–1 March 2015 Ashmolean Museum Beaumont St Oxford OX1 2PH United Kingdom
Killer Heels: The Art of the High-Heeled Shoe September 10, 2014–February 15, 2015 Brooklyn Museum 200 Eastern Parkway, Brooklyn New York 11238-6052
Dubai, United Arab Emirates
New York, USA
Thaier Helal. Landmarks 27 Oct 2014–10 Jan 2015 Ayyam Gallery Dubai International Financial Centre Gate Village Building 3 Dubai, United Arab Emirates
Early Paintings and Woodcuts by Vasily Kandinsky Kandinsky Before Abstraction, 1901–1911 June 27, 2014–Spring 2015 Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York
Florida, USA
Philadelphia, USA
Café Dolly: Picabia, Schnabel, Willumsen October 12, 2014 – February 1, 2015 NSU Museum of Art Fort Lauderdale One East Las Olas Boulevard, Fort Lauderdale, FL 33301
Patrick Kelly: Runway of Love April 27–November 30, 2014 Special Exhibitions Gallery, Perelman Building 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 83
NOVEMBER HIGHLIGHTS Erstein, France
Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein
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November, 2014
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