It was during this period of time, from 1887 to 1890, that Van Gogh’s greatest masterpieces were created, forever changing in the history of modern art. Surrounded by artists, dancers, musicians, actors and writers in Montmartre, Van Gogh abandoned the dark palette that dominated many of his early paintings in Holland and replaced it with a newfound love of color.
Times Literary Supplement @TheTLS (May 5, 2023) – This week’s @TheTLS features Bruno Schulz – a writer from another Europe; Patrick O’Brian’s bleak vision; Vermeer – a great but flawed exhibition; extreme fandom and Derek Parfit, eccentric genius.
It’s more than a little discomfiting to read the great Polish novelist Witold Gombrowicz’s description, in his diary from the early 1960s, of his not-quite-friend Bruno Schulz: “A tiny gnome with enormous head, appearing too scared to dare exist, he was rejected by life and slouched along its peripheries”. Written for publication two decades after Schulz was gunned down by a Nazi just outside the ghetto of his occupied native town of Drohobych in November 1942, these words cannot help but seem impious.
Guitarists: Dante Bignoli, Tarcisia Bonacina, Davide Crenna, Gianluigi Ubezio
To compose this piece in 1899, Maurice Ravel was inspired by the Princess of Polignac. The title refers to Ravel’s idea of describing “a pavana that a little princess may have danced in the old times at the Spanish court”. But It is also said that Ravel chose the title because he was fascinated by the sound of its pronunciation.
The piece is original for piano but the composer made an orchestral version too. We present our own transcription for guitar quartet, performed at the “Salone dell’Arengo” (Novara), a magical hall dating back to the 12th century. We hope you like It.
The Burlington Magazine – May 2023: Anxiety about the future of the two great photographic libraries housed in the Courtauld Institute of Art, London, can be traced back at least thirty years. In October 1992 we published an Editorial, ‘The Witt and Conway libraries under threat’, which was prompted by a demand from the University of London that the Courtauld – not yet a self-governing and self-financing entity – produce a business plan that would show how the libraries could develop commercial opportunities to offset a threatened reduction in university funding.
Mey Rahola: Desire for Horizons
Although Mey Rahola (1897–1959) was one of the first women to become renowned for art photography in Spain, she remains a little-known figure today. Two linked exhibitions with a single catalogue dedicated to the Catalan photographer set out to rectify this and liberate an overlooked artist from the shadow of anonymity. Working with Rahola’s family, the curators, Lluís Bertran Xirau and Roser Martínez Garcia, have assembled 550 items from her collection, including 250 negatives and a number of photograph albums. That this material had been handed down and divided between the artist’s friends and family is testimony to her interest in her posterity. The fact that, nonetheless, Rahola has remained largely unknown, one is reminded in the exhibition catalogue, is a result partly of her status as a female photographer operating in the early twentieth century and partly of the events of the Spanish Civil War, which ruptured her burgeoning career.
The Bayeux Tapestry photographed
Both his technical approach to painting and his perception of the world from 1930 onwards are greatly informed by the Cape. Cobb’s Barns, South Truro derives its bright palette and topographical features from Hopper’s immediate environment, and is emblematic of the profound influence that life in South Truro had on his manner of painting.
Group of Houses, dated 1923-24, stems from a pivotal stage in the development of Edward Hopper’s career. Residential homes occupy much of Hopper’s subject matter in these early watercolors, and Group of Houses is no exception. These charming saltbox houses are typical for the Cape Ann region, whose architectural style reflects its coastal New England atmosphere.
The Battery, Charleston, S.C., dated 1929, is the result of Hopper’s three-week stay in the charming southern city, which is renowned for its Georgian-style architecture and cobblestone streets lined with lush palm trees. His Charlestown pictures possess an inherently tropical feeling, which sets them apart from his otherwise New England-focused oeuvre.
Red Barn in Autumn Landscape is among the limited number of watercolors that Hopper completed during the fall of 1927 in Vermont, and embodies the rustic quality of the New England scenery that drew Hopper to this region in the first place. Hopper routinely sketched his surroundings in coastal towns on the Cape or along the Maine shore, but Red Barn in Autumn Landscape is quite unique in that it captures a specific fall moment as the leaves gradually fade from green to burnt orange and red. The present work is emblematic of the simplicity and charm that characterize Hopper’s New England watercolors.
Literary Review – May 2023 issue: Donald Rayfield surveys the life and work of the Russian poet Osip Mandelstam and R W Johnson reviews the Mandela’s…
‘Osip Mandelstam: A Biography’ By Ralph Dutli
When in 1960 I first came across Osip Mandelstam’s poetry, nobody in the USSR had enjoyed access to his work since the early 1930s and few even knew of his existence, let alone of his death, as he had predicted, in Stalin’s Gulag. His books had been removed from libraries and bookshops.
‘Winnie and Nelson: Portrait of a Marriage’ By Jonny Steinberg
Under apartheid, aspiring South African writers frequently marketed themselves to the world as committed and heroic anti-apartheid activists. The enormous success of Alan Paton’s Cry, the Beloved Country (fifteen million copies sold and counting) showed the way, though Paton was the real McCoy, a committed liberal who suffered for his beliefs.
This exhibition is the first New York retrospective of Jaune Quick-to-See Smith (b. 1940, citizen of the Confederated Salish and Kootenai Nation), an overdue but timely look at the work of a groundbreaking artist. Jaune Quick-to-See Smith: Memory Map brings together nearly five decades of Smith’s drawings, prints, paintings, and sculptures in the largest and most comprehensive showing of her career to date.
Smith’s work engages with contemporary modes of making, from her idiosyncratic adoption of abstraction to her reflections on American Pop art and neo-expressionism. These artistic traditions are incorporated and reimagined with concepts rooted in Smith’s own cultural practice, reflecting her belief that her “life’s work involves examining contemporary life in America and interpreting it through Native ideology.” Employing satire and humor, Smith’s art tells stories that flip commonly held conceptions of historical narratives and illuminate absurdities in the formation of dominant culture. Smith’s approach importantly blurs categories and questions why certain visual languages attain recognition, historical privilege, and value.
As Prince of Wales, Charles was always ready with an opinion. Now, with his coronation at hand, his job is to have none.
“My great problem in life is that I do not really know what my role in life is,” Charles once said, adding, “I must find one.”Photo illustration by Alma Haser for The New Yorker; Source photographs from Getty
The artist discusses being young and adrift in London, and gives King Charles tips for painting with watercolors.
New Yorker covers don’t always reflect current events, but some staged proceedings, both anachronistic and immemorial, can be catnip for cartoonists and commentators alike. King Charles III automatically acceded to the throne when his mother, Queen Elizabeth II, died on September 8, 2022. Charles, the longest-serving heir apparent in Britain’s history, spent seven decades preparing for the role of monarch. He became the next in line to reign over the United Kingdom at three years old, when Elizabeth became queen, in 1952.
Many of the thirteen works have not been on view since they were shown at one of her five solo exhibitions at Betty Parsons Gallery, including the large-scale center piece to the show entitled, Prometheus (1959). Ethel Schwabacher: Woman in Nature(Paintings from the 1950s) focuses on Schwabacher’s unique brand of abstraction, which is characterized by both automatic drawing and sweeping brushstrokes that swirl across the surface of the canvas and which explores themes of motherhood, landscape, and creativity.
As part of the resurgence of women artists, Ethel Schwabacher was one of the twelve women artists included in the landmark traveling exhibition Women of Abstract Expressionism organized by the Denver Art Museum in 2016. Concurrently with the Berry Campbell exhibition, Action! Gesture! Paint! is on view at the Whitechapel Gallery in London featuring 91 international women artists, including a major Ethel Schwabacher painting from the 1950s.
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