Julia Kostsova (b. 1983), “Sunset Dinner at Venetian Village,” 2015, oil on canvas, 36 x 48 in.
Neapolitan Moods: Florida Through Russian Eyes
January 17 through January 31, 2018
Naples, Florida
Plein air impressionists Irina Alexandrina, Viktorija Bulava, Julia Kostsova, Mikhail Shapovalenko, and Rustem Stahurski will participate in a colorful exhibition at East West Fine Art, for which these collections were specifically created on location. Titled “Neapolitan Moods: Florida Through Russian Eyes,” it highlights how these Russian-born artists capture the charm of Naples’s streets and the beauty of the coastline nearby.
“Julia Kostsova is a young artist from St. Petersburg who has gravitated to working in monumental sizes and epic subject matter,” the gallery says. “Her visits to Florida, she says, allow her to see the nature in a different light, tropical light. Originally, it was very difficult for her to achieve depth and the contrast, due to the bleaching effect of the southern Floridian light. She quickly learned to have her plein air sessions early in the morning or during the approaching evening to reflect [the] whole realm of the pearlescent colors of the dawn and deep, saturated palette of the tropical sunset.
Rustem Stahurski, “Naples Beach Hotel,” oil on canvas, 30 x 40
“Rustem Stahurski is a vivid representative of [the] Crimean school of impressionism, which is known for its bold experimentation with light, jewel-like colors and tendency to abstraction. Rustem’s Florida paintings are spontaneous and simple. He manages to avoid bright tropical colors, focusing on [the] play of light and shadows and bringing his restrained earthy color palette.
Mikhail Shapovalenko, “Nighttime on the Pier,” oil on canvas, 32 x 43
“Mikhail Shapovalenko is a mature and accomplished artist, chairman of the Kiev Artists’ Union, painting in the style of traditional impressionism. His art is known for its warm, earthy color palette and broad and fluid brushstrokes. Some of his Florida paintings are cozy and intimate garden scenes, while others are imposing and grand, depicting majestic sunsets and [the] vastness of the ocean.”
For more information about the exhibition and featured artists, visit eastwestfineart.com.
The Virginia Museum's first Artmobile visits Middleburg in 1962; photo courtesy Richmond Times-Dispatch
A groundbreaking initiative created in the 1950s by the Virginia Museum of Fine Arts is slated for revival this autumn. “VMFA on the Road” will update the concept of the Artmobile — which once exhibited artworks in a customized truck that visited all corners of the Commonwealth of Virginia — with new technology. Artmobile 2.0 will feature an interactive learning experience, complete with educators and virtual reality tours of the museum in Richmond.
Through January 12, 2018 American University’s Katzen Arts Center, Washington, D.C.
Steeped in history and hosted within the modern walls of Katzen Arts Center, the Washington Winter Show is the second oldest charitable antiques show in the United States. It features more than 40 dealers from the U.S. and Europe, offering a broad range of exquisite antiques and fine arts.
This year’s show — The Charm of Chinoiserie — explores our enduring fascination with chinoiserie — the imitation and evocation of Chinese artistic traditions in the west.
Chinese screen, G. Sergeant Antiques (see detail below)
Complementing this year’s theme, the board is thrilled that renowned floral designer Laura Dowling will lend her talents in creating floral installations for the show, interpreting a series of hand-painted de Gournay panels on loan for the show. A former chief floral designer at the White House (2009-2015), Dowling is known for using flowers as a strategic tool for communicating diplomatic, symbolic, and policy messages in a style that is evocative of nature and the garden.
Chinese screen (detail), G. Sergeant Antiques
Tonight, January 11, is the preview night, featuring an open bar, hors d’oeuvres, and an elegant buffet dinner. Tomorrow features a lecture and luncheon hosted by designer and author Charlotte Moss, whose 32 years of design includes licensed collections of furniture, fabrics/trims, carpet, china, and framed art. January 13 is Appraisals, Design Panel, Lecture, & Jazz Night, followed on January 14 by Sundaes on Sunday, where 8- to 12-year-olds are invited to discover the fascinating world of collecting.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine.Click here to start receiving Fine Art Today for free.
The exhibition “Picasso: Masterpieces!” answers this question by bringing together many of Picasso’s greatest works, some of which will be shown in Paris for the first time. Thanks to exceptional loans, masterpieces from collections all over the world will be displayed alongside those from the Musée National Picasso – Paris.
This assembled collection offers a new look at Picasso’s creativity with particular attention to the critical reception of his work. It explores the exhibitions, articles, and publications that accompanied the artworks and that helped forge their reputation as masterpieces over the years. The Musée national Picasso – Paris archives play an essential role in telling this story.
“Picasso: Masterpieces!” is on view at Musée National Picasso – Paris September 4, 2018 – January 13, 2019. For more information, please visit www.museepicassoparis.fr/en/.
Lawrence Alma-Tadema, “The Finding of Moses,” oil on canvas, 53 3/4 by 84 in.
Ancient Rome in Victorian London: Time-Traveling with the Painter Lawrence Alma-Tadema
Tuesday, January 23, 2018
The General Society Library, Manhattan, New York
The Royal Oak Foundation announces a special lecture with Peter Trippi, Independent curator and editor-in-chief of Fine Art Connoisseur on “Ancient Rome in Victorian London: Time-Traveling with the Painter Lawrence Alma-Tadema.”
“Alma-Tadema has always intrigued viewers with the immediacy of his settings and the tactility of his artifacts,” Trippi says. “Now, in this era of 3-D movies and virtual reality, his vision is more appealing than ever, and I look forward to more fully exploring these themes during my lecture.”
Lawrence Alma-Tadema, “Unconscious Rivals,” 1893, Bristol Museums & Art Gallery
“The High Victorians were fascinated with ancient Rome because they saw the British Empire as a bigger, more benevolent version of Rome’s,” says the foundation. “No one reanimated Rome more convincingly for them than the London-based painter Sir Lawrence Alma-Tadema, R.A. (1836–1912).
“Acclaimed for the painstaking realism of the expensive pictures he exhibited at the Royal Academy, Alma-Tadema immersed his viewers in a vanished world through compelling compositions full of carefully researched costumes and artifacts. Ultimately he extended his vision to grand theatre productions, working closely with stars such as Dame Ellen Terry, whose mementos of their partnership can be seen at Smallhythe, now a National Trust property.
“Alma-Tadema’s wife and two daughters were equally friendly with Terry: all of them proudly wore the loose-fitting ‘artistic’ clothing that Alma-Tadema painted and designed. Not surprisingly, filmmakers were captivated, too: they transferred his scenes to the screen while he was still alive and have continued to do, most recently in the sumptuous ‘sword-and-sandal’ movies of Sir Ridley Scott.”
Cost: $30 members; $40 non-members. Fine Art Today readers are invited to enjoy the Royal Oak Foundation member price ($30) by using the promo code TADEMA when calling to register.
Call 212-480-2889 x 201 to register and learn more at www.royal-oak.org.
Nicolas Lancret (1690–1743), “Winter,” c. 1719–21, oil on canvas, 45 1/4 x 37 in., estimate $1,500,000–$2,000,000
Evening Sale of “Winter” by Nicolas Lancret at Sotheby’s
February 1–2, 2018 (Preview exhibition January 26)
New York, New York
Sotheby’s will soon auction a range of Old Master and 19th-century paintings and sculptures. At the evening sale, the highlight will be “Winter” from Nicolas Lancret’s “Four Seasons” cycle, a masterwork unlocated since 1889. “Winter” was commissioned from the artist by Jean-François Lériget de la Faye (1674–1731), Paris.
The day sale’s highlight also dates from the 18th century: Pierre-Antoine Demachy’s “Book Market Beneath the Louvre Galleries” (estimate $100,000–$150,000). Both auctions will include impressive British portraits and Dutch paintings.
Altar Frontal, New Julfa, 1741, Gold, silver, and silk threads on silk, 26 9⁄16 × 38 3⁄8 in. (67.5 × 97.5 cm), Mother See of Holy Etchmiadzin, Armenia (626) Photo: Hrair Hawk Khatcherian and Lilit Khachatryan
Opening September 22 at the Metropolitan Museum of Art, “Armenia!” explores the arts and culture of the Armenians from their conversion to Christianity in the early fourth century through their leading role on international trade routes in the 17th century. The exhibition emphasizes how Armenians developed a distinctive national identity in their homeland at the base of Mount Ararat (widely accepted as the resting place of Noah’s Ark) and how they maintained and transformed their traditions as their communities expanded across the globe.
Portrait of Prince Vasak and His Family Second Prince Vasak Gospel Book, Sis, 1268–85, Ink, tempera, and gold on parchment; 323 folios 10 1⁄4 × 7 7⁄8 in. (26 × 20 cm), Armenian Patriarchate of Jerusalem, (ms 2568/13), fol. 320r, Photo: Courtesy of the Armenian Patriarchate of Jerusalem
More than 140 opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, liturgical furnishings made of precious materials, khachkars (cross stones), church models, and printed books demonstrate Armenia’s distinctive imagery in their homeland and other major Armenian sites, from the Kingdom of Cilicia on the Mediterranean to New Julfa, in Safavid Persia. Selected comparative works display Armenian interaction with other cultures.
Major Armenian repositories of their culture provide almost all the works in the exhibition. Most are on view in the United States for the first time; many have not traveled for centuries.
Fragmentary Capital, Dvin, 5th–7th century, Tuff, 23 5⁄8 × 13 13⁄16 × 16 9⁄16 in. (60 × 35 × 42 cm) History Museum of Armenia, Yerevan (2604-7) Photo: Hrair Hawk Khatcherian and Lilit KhachatryanBas-Relief of Amir Hasan Hunting on Horseback Church of the White Virgin (Spitakavor Astuatsatsin), Monastery of Spitakavor, Siwnik‘, early 14th century Felsite, 37 × 53 9⁄16 × 13 3⁄8 in. (94 × 136 × 34 cm), History Museum of Armenia, Yerevan (1320–22) Photo: Hrair Hawk Khatcherian and Lilit KhachatryanArm Reliquary of Saint Nicholas, Cilicia, probably Sis, 1315, Silver with parcel-gilded silver sheet, twisted filigree, and gemstones, 18 11⁄16 × 3 3⁄4 in. (47.5 × 9.5 cm), Holy See of Cilicia, Antelias, Lebanon (2v), Photo: Hrair Hawk Khatcherian and Lilit Khachatryan
“Armenia!” focuses on major Armenian centers of production from their homeland west and east, with emphasis on images of Armenians, from self-portraits to depictions of male and female rulers, donors, theologians, and historians. Special attention is given to works by major artists such as Toros Roslin, Sargis Pidzak, Toros Taronatsi, and Hakob of Julfa working in the Armenian homeland, the Kingdom of Cilicia, and New Julfa.
Albert Marquet (1875–1947), “Venise le Vaporetto,” 1936, oil on canvas, 25 3/4 x 31 3/4 in., Hélène Bailly Gallery, Paris
The Brussels Art Fair (BRAFA) searches out and features top-level works of art and discoveries in multiple disciplines, crossing media, cultures, and even centuries. View paintings, drawings, sculptures, glassware, ceramics, and other artful objects from 134 art dealers and galleries now through February 4.
The BRAFA credo is “that of the highest possible quality,” reflected by galleries that are both historically represented and new to the show. The organization’s president, Harold t’Kint de Roodenbeke, says, “It’s really a great source of pride for BRAFA to be able to present such a panel, comprising so many galleries of international renown and such strong sections. I think the quality will never have been as high, and I am delighted at the prospect. We are looking forward with great anticipation to being able to open our doors to our visitors!”
New to BRAFA this year are:
ArtAncient (London — archaeology, numismatics) Galeria Bernat (Madrid/Barcelona — Haute Epoque) Galerie Chastel-Maréchal (Paris — 20th-century decorative arts) Galerie Philippe David (Zurich — modern and contemporary art) Gladstone Gallery (Brussels — contemporary art) Galerie Maeght (Paris — 20th-century paintings and sculptures) Guilhem Montagut Gallery (Barcelona — tribal art) Renaud Montméat (Paris — Asian art) Osborne Samuel Gallery (London — modern British painting and sculpture) Galerie de la Présidence (Paris — 20th-century masters and figurative painters of the 1950s) Galerie Ratton (Paris — tribal art) Repetto Gallery (London — Italian post-war art, Arte Povera, Land Art) Galerie Schifferli (Geneva — 20th-century paintings and works on paper) Theatrum Mundi (Arezzo — 21st-century cabinet of curiosities) Tornabuoni Arte (Florence — modern and contemporary art)
Created in 1956, the Brussels Art Fair is one of the world’s oldest art fairs, known for the superb art, antiques, and design objects its international exhibitors offer. It is held at Tour & Taxis, an impressive 19th-century complex of warehouses surrounding a former train station.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine.Click here to start receiving Fine Art Today for free.
Berthe Morisot. "The Garden at Maurecourt," about 1884. Oil on canvas. Toledo Museum of Art, purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1930.9. Photo courtesy Toledo Museum of Art.
Major Exhibition of Work by Under-recognized Founding Member of Impressionist Art to Make U.S. Premiere at Barnes Foundation
The Barnes Foundation will present the U.S. debut of a landmark exhibition exploring the significant yet under-recognized contributions of Berthe Morisot (1841–1895), one of the founders of impressionism. The first monographic exhibition of the artist to be held in the U.S. since 1987, “Berthe Morisot: Woman Impressionist” provides new insight into a defining chapter in art history and the opportunity to experience Morisot’s work in context of the Barnes’s unparalleled collection of impressionist, post-impressionist, and early modernist paintings. The internationally touring exhibition is co-organized by the Barnes Foundation, Dallas Museum of Art, Musée national des beaux-arts du Québec, and the Musées d’Orsay et de l’Orangerie, Paris. It will be on view at the Barnes from October 21, 2018, through January 14, 2019.
Berthe Morisot. “Woman at Her Toilette,” 1875–1880. Oil on canvas. The Art Institute of Chicago, Inv. no. 1924.127. Photo courtesy The Art Institute of Chicago / Art Resource, NY.
Morisot was celebrated in her time as a leader of the movement, and her innovative works were coveted by dealers and collectors alike. Despite her accomplishments, today she is not as well-known as her impressionist colleagues, a group that includes Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. Co-curated by Sylvie Patry, consulting curator at the Barnes Foundation and chief curator/deputy director for curatorial affairs and collections at the Musée d’Orsay, Paris, and Nicole R. Myers, the Lillian and James H. Clark curator of European painting and sculpture at the Dallas Museum of Art, “Berthe Morisot: Woman Impressionist” will both illuminate and reassert Morisot’s role as an essential figure within the impressionist movement and the development of modern art in Paris in the second half of the 19th century.
Berthe Morisot. “Cottage Interior,” 1886. Oil on canvas. Musée d’Ixelles, Gift of Fritz Toussaint, F.T. 104. Photo courtesy Collection Musée d’Ixelles.
“We look forward to fleshing out the story of impressionism represented in our holdings with the presentation of this groundbreaking exhibition,” says Thom Collins, executive director and president of the Barnes Foundation. “This international collaboration introduces important new scholarship that contributes to a more complete understanding of impressionism and Berthe Morisot as a revolutionary figure within the movement.”
Berthe Morisot. “In England (Eugène Manet on the Isle of Wight),” 1875. Oil on canvas. Musée Marmottan Monet, Denis and Annie Rouart Foundation. Photo by Erich Lessing / Art Resource, NY.
“Berthe Morisot: Woman Impressionist” focuses on the artist’s figure paintings and portraits, with approximately 70 paintings from public and private collections on view. The exhibition traces the exceptional path of a female painter who, in opposition to the norms of her time and social background, became an important member of the Parisian avant-garde from the late 1860s until her death in 1895. Through her portrayal of the human figure, Morisot was able to explore the themes of modern life that came to define impressionism, such as the intimacy of contemporary bourgeois living and leisure activities, the importance of fashion and the toilette, and women’s domestic work, all while blurring the lines between interior and exterior, public and private, finished and unfinished.
“Though Berthe Morisot held an important place at the heart of the impressionist movement, she has historically enjoyed far less acclaim than her male counterparts,” says Patry. “Through this landmark exhibition, together with colleagues at our partner museums around the world, we are thrilled to bring renewed international attention to the significant work of Morisot.”
A native of Utah, Kirk’s works depict a sense of place. He is known for painting sweeping landscapes and vivid skies, showcasing the intense beauty and reflective light of the West. His artistic career spans decades, including 28 years as a participant in the Celebration of Fine Art. Come watch him and 100 other artists create at the Celebration of Fine Art, where art lovers and artists connect, in Scottsdale, Arizona, January 13-March 25, 2018. Contact us at 480.443.7695 or [email protected].
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