In this episode of “Cocktails with a Curator,” Xavier F. Salomon, Peter Jay Sharp Chief Curator, hosts us again for happy hour at his apartment. The subject of tonight’s presentation is the mysterious “Polish Rider ” by Rembrandt, and the complementary cocktail is the Szarlotka, a Polish drink made with Żubrówka (vodka infused with bison grass).
From The Iris (Getty Museum – April 17, 2020):
To work out the details of all the figures in pen and ink would have been extremely labor-intensive, and sharpening quills and mixing inks would’ve added an additional distraction. Drawing in chalk necessitated great skill, but it also allowed Michelangelo a flexibility. He could create subtle tonal variations by applying more or less pressure onto the chalk or by wetting it. The red chalk also provided an immediate mid-tone on the paper and could be easily blended when modeling and shading forms. Being a naturally occurring material that was available to artists in sticks that could be sharpened as desired, it was also convenient and portable.
During his lifetime, Michelangelo likely produced tens of thousands of drawings. But being protective of his ideas, and to give an impression of effortless genius, he destroyed many of them. Today only about 600 drawings by the Renaissance artist survive. A Getty exhibition highlighted 28 of them, giving viewers a window into Michelangelo’s artistic process. “He used drawings to record his observations, to explore certain ideas, to further develop these ideas, to reconsider them entirely,” said Assistant Curator Edina Adam.
The exhibition included a relatively high number of drawings in red chalk, which prompted the question: Why did Michelangelo use this particular drawing material?
In Van Gogh Questions, our researcher Bregje Gerritse answers the most frequently asked questions about Vincent van Gogh.
Curator Helen Burnham, Pamela and Peter Voss Curator of Prints and Drawings, introduces us to the celebrities of 19th-century Paris made famous by Henri de Toulouse-Lautrec and his contemporaries. The exhibition features the rich holdings of the MFA and its organizing partner, the Boston Public Library.
“It would not be a commonplace portrait at all, but a carefully composed picture, with very carefully arranged colors and lines. A rhythmic and angular pose. A decorative Félix, entering with his hat or a flower in his hand.”
With these words, in 1890, Paul Signac described to Félix Fénéon the extraordinary portrait he was dedicating to him. In it, Signac paid homage to Fénéon’s distinctive appearance, his generous but enigmatic personality, and his innovative approach to modernism.
This painting, a masterpiece in the Museum’s collection, will be the centerpiece of Félix Fénéon, the first exhibition dedicated to Fénéon (1861–1944). An art critic, editor, publisher, dealer, collector, and anarchist, Fénéon had a wide-ranging influence on the development of modernism in the late 19th and early 20th centuries.
In the late 1880s, he played a key role in defining the new movement known as Neo-Impressionism, a term he coined himself, whose artists, including Signac, used tiny dabs of color that would mix in the eye of the viewer. Over the next five decades, he championed the careers of artists from Georges-Pierre Seurat and Signac to Pierre Bonnard, Henri Matisse, and Amedeo Modigliani.
He amassed a renowned collection of paintings by these artists and many others, and he was also a pioneering collector of art from Africa and Oceania. The exhibition will feature some 130 objects, including major works that Fénéon admired, championed, and collected, as well as contemporary photographs, letters, and publications that trace key chapters in his biography. Together these works reveal the profound and lasting legacy of Fénéon’s keen eye and bold, forward-looking vision.
The way Titian painted was unlike other artists of his day. With little in the way of preliminary drawings, Titian worked very freely straight onto the canvas. Watch artist Andy Pankhurst show us how Titian would have worked.
Tiziano Vecelli or Vecellio, known in English as Titian, was an Italian painter during the Renaissance, considered the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno. During his lifetime he was often called da Cadore, ‘from Cadore’, taken from his native region.
In Van Gogh Questions, our researcher Bregje Gerritse answers the most frequently asked questions about Vincent van Gogh.
Maryland and Delaware are two small states of great historical significance. Highlighted by the great bays of the eastern seaboard: Chesapeake and Delaware, both states are defined by the legacies of their colonial pasts. This aerial journey reveals their giant stature in the history of America.
In this special Covid-19 edition of The Florentine, rejoice in a renewed humanism from Florence, of learning, words, thoughts and creativity, with articles, poems and short stories penned by the city’s international community, plus ideas and considerations for the future from Tuscany’s leaders and institutional figures, all interspersed with iconic photography of Florence at its most restful.
Curator An Van Camp tells us about Rembrandt’s obsession with self portraits and how he improved his skill throughout his life.
Rembrandt Harmenszoon van Rijn; 15 July 1606 – 4 October 1669) was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt’s works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, and biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer.
From Wikipedia
Boomers Daily 