Tag Archives: Metropolitan Museum of Art

Artists: Painter “Gerhard Richter” At Metropolitan Museum Of Art (Video)

Watch a video preview of Gerhard Richter: Painting After All, on view at The Met Breuer from March 4 through July 5, 2020. The exhibition, which considers Richter’s six-decade-long preoccupation with the dual means of representation and abstraction to explore the material, conceptual and historical implications of painting, spans the entirety of Richter’s prolific and innovative career, and presents over one hundred works that focus on his specific commitment to the medium, as well as his related interests in photography, digital reproduction, and sculpture.

Exhibitions: 88-Year Old Gerhard Richter “Painting After All” – Landscape As A Site Of Memory (The Met)

Gerhard Richter Painting After All March 2020Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post–Second World War Germany, in both broad and very personal terms.

This handsomely designed book features approximately 100 of his key canvases, from photo paintings created in the early 1960s to portraits and later large-scale abstract series, as well as select works in glass.

Gerhard Richter Paintings Facebook

Metropolitan Museum Of ArtNew essays by eminent scholars address a variety of themes: Sheena Wagstaff evaluates the conceptual import of the artist’s technique; Benjamin H. D. Buchloh discusses the poignant Birkenau paintings (2014); Peter Geimer explores the artist’s enduring interest in photographic imagery; Briony Fer looks at Richter’s family pictures against traditional painting genres and conventions; Brinda Kumar investigates the artist’s engagement with landscape as a site of memory; André Rottmann considers the impact of randomization and chance on Richter’s abstract works; and Hal Foster examines the glass and mirror works. As this book demonstrates, Richter’s rich and varied oeuvre is a testament to the continued relevance of painting in contemporary art.

Metropolitan Museum of Art website

Gerhard Richter was born in Dresden on 9th February 1932, the first child of Horst and Hildegard Richter. A daughter, Gisela, followed four years later. They were in many respects an average middle-class family: Horst worked as a teacher at a secondary school in Dresden and Hildegard was a bookseller who liked to play the piano.1 In an interview with Robert Storr, Richter described his early family life as “simple, orderly, structured – mother playing the piano and father earning money.”2

In 1935, Horst accepted a teaching position at a school in Reichenau, a town which today is known as Bogatynia in Poland, at the time located in the German province Saxony. Settling in Reichenau was a drastic change for the family, which was accustomed to the vivid cultural life of the larger Dresden.3 Yet, it was also a move which would keep the family largely safe from the coming war. In the late 1930s Horst was conscripted into the German army, captured by Allied forces and detained as a prisoner of war until Germany’s defeat. In 1946, he was released and returned to his family, who had again relocated, this time to Waltersdorf, a village on the Czech border.

Fine Arts: “Metropolitan Museum Of Art” 150th Anniversary (1870 – 2020)

The MET 150Watch Episode 1, “Looking back to look forward,” in which Met image archivist Stephanie Post, educator and former-Project Runway host Tim Gunn, and New York City Ballet dancer Silas Farley share how their encounters with history and the Museum inform their sense of self and their creative practices.

As part of The Met’s 150th anniversary, Met Stories is a new video series and year-long social media initiative that shares unexpected and compelling stories gathered from the many people who visit The Met, whether artists, teachers, curators, actors, museum staff, designers, thought-leaders, or public figures.

Website

Art Criticism: “A Poet’s Response To Carpeaux’s ‘Why Born Enslaved!'” (MetCollects Video)

“It is critical to reckon with the power imbalance enacted when a white male artist transposes the body of a black woman into an emblem of enslavement.”

Why Born Enslaved! was first conceived in 1868 by Jean-Baptiste Carpeaux, one of the greatest French sculptors of the nineteenth century. The bust portrays a woman straining against a rope pulled taut around her arms, back, and breast. Her shoulders project forward and the right tendon of her neck protrudes as she twists her body in one direction and turns her head sharply in the other.

A poet's response to Carpeaux's Why Born Enslaved! MetCollects Video

In The Gallery by Wendy S. Walters

The figure’s defiant, uplifted gaze extends her spiraling movement and conveys her perseverance through pain as the work’s rhetorical title, inscribed on the sculpture’s base, proclaims, “Pourquoi Naitre Esclave!”

To read more: https://www.metmuseum.org/art/online-features/metcollects/why-born-enslaved

Metropolitan Museum: “Mechanical Marvels – Automation” From 17th & 18th Century (Videos)

The mahout (elephant keeper), the turbaned Ottoman warriors, and the crowning crescent all allude to the Eastern origins of the elephant. Within the Kunstkammer the elephant represented rulership. This automaton clock, which strikes at both the quarter hour and the hour, is driven by a movement connected to a wheel mounted on the walkway of the howdah (saddle). On the hour, the four Muslim warriors revolve around the brickwork tower. The mahout thumps his arm up and down, as though he were leading the animal, and his counterweighted eyes move back and forth as the machine travels.

Presented to Empress Maria Theresa in Vienna in 1760, this automaton was made at the height of the “century of writing.” Written communication connected scientists, dignitaries, scholars, and artists across long distances, and the act of writing was celebrated in every form. This piece is the last in a series of increasingly complicated ones that Friedrich von Knaus produced during his tenure as Austrian court machinist; he presented other examples to dignitaries such as the French king Louis XV and Duke Charles Alexander of Lorraine.

The machine writes through the hand of the small statuette seated at its top, one of the first mechanical writing figures in human form. This video shows the mechanisms inside the sphere that produce its precise movements. Up to 107 words can be preprogrammed by the arrangement of pegs on a barrel. The figure can also be set via a hand-worked control to appear to write from dictation; this technology that presaged the first typewriter.

Duke Charles Alexander of Lorraine, who bought this automaton clock in 1777, collected luxury objects made in his realm that demonstrated local technical advances. The self-moving components of this timepiece represent the height of Flemish invention in a fashionable Neoclassical style. Mechanically complex and visually impressive, this sparkling clock was a worthy addition to the duke’s collection of timepieces and scientific instruments.

This video shows the movement of the dials for hours, minutes, and seconds; days of the month; and phases of the moon, as well as that of the seven dynamic design elements. The cross-of-Lorraine pendulum swings steadily over the main dial, underneath a dancing letter M. Above the calendar dial turns a Catherine wheel, while the four dragons supporting the obelisk flap their wings and spit pearls. Another Catherine wheel spins above the moon-phase dial, and the entire obelisk is topped by a rotating planetarium. The fourth dial shows the maker’s signature.

Website: https://www.metmuseum.org/exhibitions/listings/2019/making-marvels-science-splendor

 

Artist Profiles: Watercolor Painter Thomas W. Schaller Interviewed By The Met

From a MyModernMet.com online article:

Thomas W Schaller Fine Art in WatercolorSince I work as a fine artist now, there are fewer commercial entities to please, so I’ve discovered something that should have been very obvious. If you want to engage the viewer, don’t tell them everything, encourage them to ask their own questions. An artist should not describe—he or she should interpret. If you design into your work a bit of mystery—areas where the viewer must “fill in the blanks”—you set up an unspoken dialog with your viewers and an emotional weight will begin to develop organically. This is just one example of course, but an important one.

Artist Thomas W. Schaller combines a passion for architecture and storytelling into emotional landscape watercolor paintings. Originally trained as an architect, he found himself drawn to images of the built environment and eventually left designing behind to pursue fine art on a full-time basis. His education places him in an ideal position for architecture painting. Schaller understands how to design structures and knows what attributes to include and what he should leave out. At the same time, he’s able to tap into the feelings we get from visiting a city—such as a sentimentality—to produce pieces that are both beautiful and alluring.

To read more: https://mymodernmet.com/thomas-schaller-watercolor-paintings/?utm_source=email&utm_medium=link&utm_campaign=newsletter&utm_term=2019-10-29

Museum Exhibitions: “The Renaissance Of Etching” At The Metropolitan Museum Thru Jan. 20, 2020

From a MetMuseum.org online release:

The Renaissance of Etching Metropolitan Museum NYThis exhibition traces the first sixty years of the etched print (circa 1490 to circa 1560), from its emergence in the workshop of the German printmaker and armor decorator Daniel Hopfer to the years when a range of artists from Germany, Flanders, Italy, and France began experimenting with etching. Approximately 125 etchings, produced by both renowned and lesser-known artists, are displayed alongside a number of drawings, printing plates, illustrated books, and armor.

The history of printmaking has been punctuated by moments of great invention that have completely changed the course of the medium. The beginning of etching in Europe in the late fifteenth and early sixteenth centuries—when the technique moved out of the workshop of armor decorators and into those of printmakers and painters—represents one of those pivotal moments. Etching, essentially drawing on the surface of a metal plate, had an ease that opened the door for all kinds of artists to make prints. The pioneers of the medium included some of the greatest painters of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder.

To read more: https://www.metmuseum.org/exhibitions/listings/2019/renaissance-of-etching