Painted along the banks of the Seine, Le bassin d’Argenteuil captures the rise of the middle class and the founding tenants of Impressionism Painted in 1874, Le bassin d’Argenteuil provides a glimpse into the ‘golden’ era of Impressionism. During this time, Claude Monet and his fellow Impressionists, including Pierre-Auguste Renoir, Edouard Manet and Alfred Sisley, codified their ideas while painting along the banks of the Seine. Expressing the dynamism of nature and the modernity of the Third Republic, Le bassin d’Argenteuil combines light and leisure to evoke the excitement of a new visual language. The painting, which brings together the artist most synonymous with Impressionism and the town identified with its origins, will be sold at Christie’s on 11 November as part of The Cox Collection: The Story of Impressionism. Learn More: https://www.christies.com/features/cl…
Join Chief Curator Scott Rothkopf as he shares some of his favorite works from Jasper Johns: Mind/Mirror, the most comprehensive retrospective ever devoted to Johns’s art. Jasper Johns: Mind/Mirror is organized by the Whitney Museum of American Art and the Philadelphia Museum of Art. The exhibition runs through February 13, 2022.
L’Estaque aux toits rouges by Paul Cézanne is one of the finest views of L’Estaque, the Provençal fishing village where the artist forged a radical new way of depicting the world around him.
Exhibited in 1936 and hidden away ever since, this remarkable piece will finally come back on view as part of The Cox Collection: The Story of Impressionism, taking place at Christie’s New York on 11 November.
While Cézanne is primarily associated with Aix-en-Provence, the village of L’Estaque near Marseille was a place that he returned to again and again when he sought sanctuary. His relationship with the village began when he holidayed there as a child with his mother. Then, in 1870, when Cézanne left Paris to avoid conscription into the army following the start of the Franco-Prussian War, he escaped to L’Estaque.
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FEATURES | Jonathan Griffin on mysticism and modern art; Yasmine Seale watches Sheila Hicks at work; Andrew Lloyd Webber gives Sophie Barling a tour of Drury Lane; Eve M. Kahn at the Phillips Collection in Washington, D.C.; Valeria Costa-Kostritsky on the Museum of Homelessness
|REVIEWS | Susan Owens on Gustave Moreau’s fables at Waddesdon; Aimee Ng on the Medici at the Met; Emilie Bickerton on Georges Méliès at the Cinémathèque Française; Peter Parker on Richard Chopping in Salisbury; Tom Stammers on history in the age of Romanticism; Kitty Hauser on the life of Francis Bacon; David Ekserdjian on Italian paintings at the Norton Simon; Sameer Rahim on the Umayyad Mosque in Damascus; Rebecca Ann Hughes on the tricks of the white-truffle trade|
|MARKET | Jo Lawson-Tancred selects her highlights of TEFAF Online; and the latest art market columns from Susan Moore; Emma Crichton-Miller and Samuel Reilly|
|PLUS | Susan Moore and Niru Ratnam ask if the art world has a sense of humour; Diane Smyth on the rise of falling in photography; Martin Herbert at the restored Neue Nationalgalerie in Berlin; William Dunbar on a cave monastery in Georgia; Gillian Darley on the visions of Joseph Gandy; Robert O’Byrne on the forgotten art of Ignazio Hugford|
Caravaggio, or more accurately Michelangelo Merisi da Caravaggio (1571–1610), was always a name to be reckoned with. Notorious bad boy of Italian painting, the artist was at once celebrated and controversial: violent in temper, precise in technique, a creative master, and a man on the run. Today, he is considered one of the greatest influences in all art history.
This edition offers a neat and comprehensive Caravaggio catalogue raisonné. Each of his paintings is reproduced from recent top-quality photography, allowing for a vivid encounter with the artist’s ingenious repertoire of looks and gestures, as well as numerous detail shots of his boundary-breaking naturalism. Five accompanying chapters trace the complete arc of Caravaggio’s career from his first public commissions in Rome through to his growing celebrity status and trace his tempestuous personal life, in which drama loomed as prominently as in his canvases.
Sebastian Schütze was a longtime research fellow at the Bibliotheca Hertziana (Max Planck Institute for Art History) in Rome. He is a member of the academic board of the Istituto Italiano per gli Studi Filosofici in Naples, and a member of the Österreichische Akademie der Wissenschaften. From 2003 to 2009 he held the Bader Chair in Southern Baroque Art at Queen’s University in Kingston. In 2009 he was appointed professor of early modern art history at Vienna University.
Cara Manes, Associate Curator in the Department of Painting and Sculpture, discovers a haven from the chaos of the everyday amid the “silence” and imperfection of Vasudeo S. Gaitonde’s “Painting, 4.”
Vasudeo S. Gaitonde was regarded as one of India’s foremost abstract painters. He received the Padma Shri Award in 1971.
Gustav Klimt was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism.
Mount Fuji has long been a centerpiece of Japanese cultural imagination, and nothing captures this with more virtuosity than the landmark woodblock print series Thirty-six Views of Mount Fuji by Katsushika Hokusai (1760–1849).
The renowned printmaker documents 19th-century Japan with exceptional artistry and adoration, celebrating its countryside, cities, people, and serene natural beauty. Produced at the peak of Hokusai’s artistic ambition, the series is a quintessential work of ukiyo-e that earned the artist world-wide recognition as a leading master of his craft.
The prints illustrate Hokusai’s own obsession with Mount Fuji as well as the flourishing domestic tourism of the late Edo period. Just as the mountain was a cherished view for travelers heading to the capital Edo (now Tokyo) along the Tōkaidō road, Mount Fuji is the infallible backdrop to each of the series’ unique scenes. Hokusai captures the distinctive landscape and provincial charm of each setting with a vivid palette and exquisite detail. Including the iconic Under the Great Wave off Kanagawa (also The Great Wave), this widely celebrated series is a treasure of international art history.