Emil Nolde (1867-1956) was one of the greatest colourists of the twentieth century. While he was passionate about his north German home near the Danish border with its immense skies, flat, windswept landscapes and storm-tossed seas, he was equally fascinated by the demi-monde of Berlin’s cafés and cabarets, the busy to and fro of tugboats in the port of Hamburg and the myriad peoples and the places he saw on his trip to the South Seas in 1914.

This exhibition, comprising about 100 paintings, drawings, watercolours and prints, drawn from the incomparable collection of the Emil Nolde Foundation in Seebüll (the artist’s former home in north Germany), covers Nolde’s complete career, from his early atmospheric paintings of his homeland right through to the intensely coloured, so-called ‘unpainted paintings’, works done on small pieces of paper during the Third Reich, when Nolde was branded a ‘degenerate’ artist and forbidden to work as an artist.

This exhibition is organised by the National Galleries of Scotland in collaboration with the Nolde Stiftung Seebüll, and the National Gallery of Ireland.

Britain’s Discovery of the Master, an exclusive new exhibition that will only be shown in Edinburgh, reveals how the taste for Rembrandt’s work in Britain evolved over the past 400 years.

The artist’s genius was equally apparent in his mastery of printmaking and drawing as in his painting; alongside 16 key works in oil (and further oils by his workshop) will be an extensive selection of more 13 fine drawings and more than 20 prints, including some of his most celebrated etchings, such as Christ Presented to the People (1655), The Three Trees (1643) and Portrait of Jan Six (1647).

Among the British artists represented in the exhibition will be William Hogarth (1697-1764) and Sir Joshua Reynolds (1723-92), both of whom betray a heavy debt to Rembrandt, seen here in works such as Reynolds’s Self-Portrait when Young (1753-8). Reynolds also wrote extensively about Rembrandt’s work and was an avid collector of it himself (A Man in Armour (1655), which he owned, will be on loan from Kelvingrove Art Gallery and Museum). Reynolds helped to burn Rembrandt’s fame in the British psyche, and it has endured through the nineteenth and twentieth century to the present day. The exhibition will include a powerful version of A Woman bathing in a Stream (1654) by the renowned British painter Leon Kossoff (b.1926), as well as the work of artists such as John Bellany (1942-2013), Eduardo Paolozzi (1924-2005), and Frank Auerbach (b.1931).

The Biggs Museum is proud to display over 50 original Audubon prints made for his two best-known publications, the monumental Birds of America and the ambitious Viviparous Quadrupeds of North America. Rarely seen hand-painted etchings from the collection of Winterthur Museum and Library and lithographs from the Huntsville Museum of Art illuminate Audubon's ideas about scientific examination, depicting birds and animals within the emerging United States and their relationship to the vast wilderness of early America. A contemporary perspective on Audubon's legacy is also explored with display of artworks by living artists influenced by this paragon of 19th-century naturalist art.

This display commemorates the centenary of Christopher Richard Wynne Nevinson’s gift of twenty-five of his prints to the British Museum in 1918. It celebrates his graphic work, which was often considered superior to his paintings.

The majority of the prints shown here are a selection from the gift, documenting Nevinson’s experiences during the First World War in Flanders and northern France. Also on display are prints created after the war when Nevinson made his first visit to New York producing some of his most dynamic urban cityscapes. Shown alongside are the artist’s later prints of Paris, a city he held in great affection as well as two of his most evocative lithographs of London.

Nevinson began making prints in 1916. However just as critical acclaim for his graphic work reached its height in the late 1920s, he was forced to give up printmaking for health reasons. Nevinson produced around a hundred and fifty prints, many of which are smaller versions of his paintings. He often made a smaller sketch of a painting in order to see how it would appear in print form.

By the 1930s it was clear that Nevinson had become a ‘celebrity’ artist, often appearing in the popular press giving his opinion or writing articles on various topics of the day. In 1937 he published his highly entertaining autobiography, Paint and Prejudice. Suffering from ill health towards the end of his life he had two strokes and died in 1946. Nevinson never really retained the status that he had achieved in the early part of his career and as his paintings became more conventional his reputation suffered. Yet his stark black and white images of the First World War retain a power that still resonates today and are testament to Nevinson’s natural gifts as a printmaker.

The Musée d'art et d'histoire presents for the first time items from the large collection of prints collected by the archeologist Clemens Krause. These about 150 prints from the 16th to the 19th century document Ancient Rome and the city of the Popes during the Renaissance and Baroque times. The most famous monuments are depicted such as the Pantheon and the Coliseum.

The work of artists Didier William (b. 1983) and Nestor Armando Gil (b. 1971) beckons viewers, as an imperative, to physically and intellectually “swarm” conceptions of colonialism in order to disarm such narratives of power. The artists’ mixed media practices in printmaking, painting, collage, sculpture, installation, and performance are inflected by their Haitian and Cuban heritages as well as the diasporic communities they call home in the United States.

Didier William, born in Haiti and active in the United States, is a painter and printmaker, whose work critiques the historical narratives of colonialism through strategies of mythmaking. Nestor Armando Gil was born to Cuban immigrants in Florida and currently resides in the United States. His work examines movement, memory, and loss within diasporic communities in sculpture and performance.

Their experiential works provide encounters with constructed and imaginary histories of immigration. Together, their work allows for an inclusive viewing experience that disables the divisive logic of “we” versus “them” embedded within past and current discussions of immigration. Rather than adhering to previous historical outcomes, William and Gil investigate the processes of building community across diaspora, dislocation, and relocation.

This exhibition will take place in the Historic Landmark Buildings. It will be accompanied by a series of programs and an online publication.

Rauschenberg and Johns: The Blurring of Art and Life presents rarely-shown prints from the Museum's collection by two giants of twentieth-century art, providing a fascinating new insight into the innovative, mutually influential practices of two artists.

The Blurring of Art and Life showcases works on paper, including lithographs, silkscreens, screen prints, and collage, by neo-Dada artists Robert Rauschenberg and Jasper Johns that present a lesser-known side of their artistic practices. These works detail a fascinating visual conversation between two of modern art’s most influential creators, evident in their comparable use of collage and mixed media in service of multiple, often uncertain, meanings.

Rauschenberg and Johns met in 1953 in New York City. The two artists created alongside each other and collaborated for years, first as friends and then as romantic partners from 1954 to 1961. Both artists also spent time at the workshop Gemini G.E.L. (Graphic Editions Limited) in Los Angeles, which influenced their mutually collaborative approach to printmaking. As a result, they inevitably grew to create art that bears obvious similarities. Evident in the prints on display, Rauschenberg and Johns often stacked images upon images to create visually complex compositions that suggest meanings that are fluid, if not wholly undefined.

Rauschenberg and Johns: The Blurring of Art and Life is organized by Phoenix Art Museum. It is made possible through the generosity of donors to the Museum’s annual fund.

This exhibition presents 150 works from the Louvre collections. The musée du Louvre holds the most important collection of European pastel drawings from the 17th and 18th century in France. Most of them had been created under Louis XV and Louis XVI.

Drawn from the DMA’s collection, Word and Image: Works on Paper from the 15th Through 20th Centuries focuses on artists who blurred the boundaries between art and text. Biblical journeys, whimsical adventures, and cautionary tales are among the subjects depicted by artists including Pierre Bonnard, Rembrandt van Rijn, Eugène Delacroix, Olga Vladimirovna Rozanova, and Salvador Dalí. Artists began experimenting with etching and engraving techniques after the introduction of the printing press in 1440. The works on view in Word and Image explore this experimentation beginning in the 15th century and continuing to the breakthrough of new technologies in the 19th and 20th centuries.

Today only about 200 complete sets of The Birds for America exist. The Museum’s set, bound in four leather portfolios, was acquired by the State of North Carolina in 1848 and kept for more than a century at the State Library before being transferred to the Museum. The hand-colored engravings were recently conserved and rebound. In the new Audubon Gallery, the NCMA presents Audubon’s work in special cases designed for each of the enormous “double elephant” volumes, with hydraulic lifts that allow staff access so that the pages can be turned periodically to display a new selection of birds.

Organized by the North Carolina Museum of Art. Support is provided by the Henry Luce Foundation and the William R. Kenan Jr. Charitable Trust. Additional support is provided by the North Carolina Department of Natural and Cultural Resources and the North Carolina Museum of Art Foundation, Inc. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.