This fascinating Japanese armour was part of the first diplomatic gift between Japan and Britain. It is over 400 years old and one of the first documented Japanese armours to have been seen on British soil.
Learn more about this amazing object in this short film. See the armour in our exhibition Japan: Courts and Culture at The Queen’s Gallery, London from 8 April 2022 – 26 February 2023.
The Carnavalet Museum – History of Paris is celebrating the 150th anniversary of the birth of Marcel Proust (1871–1922).
Dedicated to the relationship between Marcel Proust and Paris, where he spent most of his life, the exhibition Marcel Proust, a Parisian novel will investigate the city’s place in Proust’s novel.
The first section of the exhibition will explore the world Marcel Proust inhabited in Paris. Having been born and died in Paris, Proust’s life unfurled in the very restricted area encompassed by Parc Monceau, Place de la Concorde, Auteuil, Bois de Boulogne and l’Étoile. Paris was of immense importance in the development of Marcel Proust’s literary vocation, from the time of his earliest writings in the late 1890s with his fellow-pupils at the Lycée Condorcet, to his entry into the city’s high society and encounters with people who would be decisive to his life.
The second part of the exhibition opens on the fictional Paris created by Marcel Proust. Following the architecture of the novel In Search of Lost Time and evoking emblematic places in the city, it offers a journey through the novel and the history of the capital, focusing on the book’s central characters. The city of Paris, represented poetically in the novel, is the setting for the quest of the narrator, the author’s alter ego, until the revelation of his vocation as a writer.
Behind this iconic painting by Vincent van Gogh is the artist’s inspiring story about healing, as he struggled with the challenges of a psychiatric disorder. Learn more about this period in his life in which he produced some of his most famed work.
Getty has joined forces with Smarthistory to bring you an in-depth look at select works within our collection, whether you’re looking to learn more at home or want to make art more accessible in your classroom. This six-part video series illuminates art history concepts through fun, unscripted conversations between art historians, curators, archaeologists, and artists, committed to a fresh take on the history of visual arts.
View the Getty Conversations series: https://youtube.com/playlist?list=PLi…
Learn more about “Irises” in Getty’s collection online: https://www.getty.edu/art/collection/…
• What was really behind Surrealism?
• An interview with Cecilia Alemani, Artistic Director of the Venice Biennale
• Revealing the mystery of Bassano’s Quails
• The Venice Pavilions you must see
Plus: Beyond the Biennale, greenwashing in museums, what we’re losing with Bastion House
We talk to Max Hollein, director of the Metropolitan Museum of Art, about the new plans for the museum’s wing of modern and contemporary art, including the appointment of the architect Frida Escobedo in place of David Chipperfield.
As The Art Newspaper is about to publish its annual museum attendance survey, showing that visitors are beginning slowly to return to museums after the height of the pandemic, we ask Hollein how the vision for the museum has changed following the events of the past two years. Plus, Aimee Dawson talks to the curator Sam Bardaouil about the exhibition Beirut and the Golden Sixties: A Manifesto of Fragility at the Gropius Bau in Berlin. And in this episode’s Work of the Week, as the Menil Collection in Houston, Texas, opens a major Meret Oppenheim survey, the show’s curator Natalie Dupecher discusses Oppenheim’s Surrealist object Ma gouvernante – My Nurse – Mein Kindermädchen (1936): a pair of white heels on a silver platter, trussed like a chicken.
The Art Newspaper’s visitor attendance survey is in the April print edition, and online next week at theartnewspaper.com, or on our app for iOS and Android, which you can get from the App Store or Google Play.
Beirut and the Golden Sixties: A Manifesto of Fragility, Gropius Bau, Berlin, until 12 June.
Meret Oppenheim: My Exhibition, Menil Collection, Houston, until 18 September; Museum of Modern Art, New York, 30 October-4 March 2023
A major figure on the contemporary art scene, American sculptor Charles Ray (b. 1953) opens the cultural programme of the 2022, with an exhibition running until the spring.
Donatello in Florence, the Biennale of Sydney and Eduardo Navarro’s seed installation.
This week, as the Palazzo Strozzi and Museo Nazionale del Bargello in Florence present a survey of Donatello, one of the greatest of all Italian Renaissance masters, we talk to Arturo Galansino, the Strozzi’s Director General, and Paola D’Agostino, Director of the Bargello museum, about the show. The Biennale of Sydney in Australia has just opened, with the theme of rīvus, meaning stream in Latin. José Roca, the Biennale’s artistic director, and Alessandro Pelizzon, co-founder of the Global Alliance for the Rights of Nature, discuss the Biennale’s concept, bringing rivers and other “aqueous beings”, as Roca and his curatorial colleagues call them, into dialogue with artists, architects, designers, scientists, and communities. What does it mean if you grant rivers and other natural forms rights? And this episode’s Work of the Week also explores nature, ecology and the relationship between humans and natural phenomena. We speak to curator Bárbara Rodriguez Muñoz about The Photosynthetics, an installation by Eduardo Navarro in Rooted Beings, the latest exhibition at London’s Wellcome Collection.
Donatello: The Renaissance, Fondazione Palazzo Strozzi and the Museo Nazionale del Bargello in Florence, 19 March-31 July. Gemäldegalerie, Berlin, 2 September-8 January 2023. The Victoria and Albert Museum in London will stage its variation of the exhibition in 2023
The Biennale of Sydney: Rīvus continues until 13 June. And José and Alessandro will take part in a panel discussion on 10 May titled Reclaiming Rivers’ Rights. Find out more at biennaleofsydney.art
Rooted Beings, Wellcome Collection, London, 24 March-29 August
“One of the hopes of this exhibition was really to try to enlist visitors’ bodily experience in their understanding of these works of art that can sometimes seem a little bit like they live entirely in our heads, a little bit intellectualized.”
Although Nicolas Poussin is widely regarded as the most influential painter of the 17th century—the father of French classicism—he is not as well-known as many of his contemporaries, such as Rembrandt, Rubens, and Caravaggio. This is due, in part, to Poussin’s austere painting style and erudite subject matter, which often came from Roman history or the Bible. As a result, his work can sometimes feel a bit cold or remote to today’s audiences.
But earlier in his career, Poussin was inspired by dance. His paintings of wild revelry, filled with dancing satyrs and nymphs, emerged as his signature genre from that time. Poussin and the Dance, organized by the Getty Museum and the National Gallery in London, is the first exhibition to explore the theme of dance in Poussin’s work. By supplementing his delightful dancing pictures with new dance films by Los Angeles–based choreographers—this unique exhibition invites viewers into the world of Poussin in a fresh, relatable way.
In this episode, Emily Beeny, curator in charge of European paintings at the Fine Arts Museums of San Francisco and curator of Poussin and the Dance, joins Sarah Cooper, public programs specialist at the Getty, to delve into Poussin’s process and love of dance.
The exhibition, which received generous support from the Leonetti/O’Connell Family Foundation and is sponsored by City National Bank, is on view at the Getty Center through May 8, 2022.
Join Jane Panetta, the Nancy and Fred Poses Curator and Director of the Collection, as she discusses key works from Jennifer Packer’s exhibition of paintings and drawings.
Jennifer Packer is an American painter living and working in New York City. In 2020, she won the Hermitage Greenfield Prize and the Rome Prize. Packer won the Rome Prize at the American Academy in Rome 2020-2021.
Jennifer Packer: The Eye Is Not Satisfied With Seeing was initiated by Serpentine and curated by Melissa Blanchflower, Curator, Exhibitions and Public Art with Natalia Grabowska, Assistant Curator. The presentation at the Whitney is organized by Rujeko Hockley, Arnhold Associate Curator, and Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, with Ambika Trasi, Curatorial Assistant.
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