This spring, the Musée Jenisch Vevey gives free rein to Ulla von Brandenburg (b. 1974), an internationally renowned German artist based in Paris. Better known for her films than her drawings, the artist will be turning the spotlight on this less visible aspect of her work. Collages, large watercolour drawings and shadow puppetry figures will form part of a large-scale installation specially created for Vevey, in which the exhibition space is transformed into a wasteland theatre where temporalities and cultures blend together. Part workshop and part cabinet of curiosities, the project is a tribute to Fanny Jenisch, the woman to whom the museum owes its existence and who, like the artist, was attached to the city of Hamburg.

In conjunction with the exhibition now on view, "Lines of Inquiry: Learning from Rembrandt's Etchings," the Allen Memorial Art Museum at Oberlin College is hosting two related programs.

On Thursday, April 5 at 5:30pm, a public lecture will be offered as part of the museum's First Thursdays series:

'Rembrandt: The Last Renaissance Artist'
Catherine Scallen, Andrew W. Mellon Associate Professor in the Humanities and associate professor of art history at Case Western Reserve University

Rembrandt Harmensz. van Rijn was an innovative Dutch printmaker and painter of the 17th century, but his choice of subjects and thematic presentation allied him more with earlier Renaissance art. This lecture examines this retrospective side of Rembrandt's art and offers possible motivations, centering on his personal ambition as an artist.

On Friday, April 6, the Allen will host a Rembrandt Study Day for specialists and advanced students. Three workshops led by invited scholars will be held in the exhibition. You can find more information on the program and registration here.

The Study Day event is free, but requires registration by March 23. Due to the small size of the gallery and the prints to be discussed, the workshops are limited to 15 participants each.

If you have questions about these programs, please contact Jill Greenwood, Eric & Jane Nord Family Curator of Education at jgreenwo@oberlin.edu or Andaleeb Badiee Banta, Curator of European and American Art, at abanta@oberlin.edu.


The accompanying exhibition catalogue ($30) is also available for order. Co-authored by myself and Andrew C. Weislogel, The Seymour R. Askin, Jr. '47 Curator of Earlier European and American Art at the Herbert F. Johnson Museum of Art at Cornell University, the publication may be purchased by emailing member.amam@oberlin.edu or calling 440-775-8665.

The Cabinet d’arts graphiques of the Museum of Art and History is exhibiting some 130 paintings, oil studies, watercolours, drawings and lithographs by painter and teacher Barthélemy Menn (1815-1893). This selection, drawn from some 3000 examples of his work in the holdings of the MAH, is complemented by important pieces by the artist from private and public collections, including those of the Aargauer Kunsthaus and the Victoria & Albert Museum in London.

The exhibition is structured around the landscape and the gure, their representation and their reciprocal relationship, while the central focus is Menn’s artistic research. A student of Lugardon and Ingres, he studied existing models, the gure and nature. Menn rst tried to deepen his understanding and then to capture the form systematically, and to organise and give rhythm to the pictorial surface. As a passionate teacher, he managed to impart to Ferdinand Hodler and many others the fundamentals of imagination and composition.

How is a work of art made? How does an artist progress from the initial idea to the finished masterpiece? That is the question addressed by this winter’s major exhibition at SMK.

Rembrandt, Edgar Degas, Nicolai Abildgaard, Bertel Thorvaldsen, Christen Købke, P.S. Krøyer and many more. You can examine the works and methods of some of the greatest figures of art history in this winter’s major special exhibition at SMK.

The exhibition delves into the methods used by various artists, giving you rare insight into the artistic process right from the initial ideas to the fully finished work. A stellar selection of major masterpieces accompanied by rarely-seen sketches and studies allows you to trace the artists’ works and methods, exploring why and how these works ended up looking as they do.

More than 150 drawings, prints and paintings from the 15th to the 20th century enable you to scrutinise the links between sketches and finished art works, exploring how artistic creativity has unfolded itself in different ways through the ages.

Born in 1845 in Rouen, Jules Adeline, architect and illustrator, is recognized in the late nineteenth century for its multiple collections of graphic arts and Japanese but also for his home. In January 1874 in Paris etching, Richard Lesclide described the architect as "an exile who lives in Normandy in a workshop carved like a chest of the Renaissance. "Inspired by the discovery of the habitat of Flanders, the Adeline will transform their house at museum attempts and then claim it as home museum echoing the book published in 1881 by Edmond de Goncourt: The House of artist.

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Session at the CONF: Amenagement interieur (Paris, 19 Mar 18)

AMENAGEMENT INTERIEUR ET COHABITATION DES STYLES
AUX EPOQUES MODERNE ET CONTEMPORAINE

Galerie Colbert, Salle Vasari
Lundi 19 mars 2018
9h30-17h - Entrée libre

Journée d'étude organisée par Claire Hendren, Barbara Jouves et Hadrien Viraben

This workshop proposes to question the usual manner and pragmatic fit in a domestic space objects that were originally not intended to meet, despite playing with them or dissimilarity.

If art history often puts us in the presence of decorative interiors where the harmony is designed according to the ideal of a "total work of art" that here is an opposite side that will exéminé. It is indeed to offer several reflections from unexpected and sometimes surprising parallels that can elicit heterogeneous sets of objects from nature and from different eras. This topic joins the history of taste and collections: he places in the heart of the debate practical need for a collector, dealer or particular, to compose an interior from disparate elements by their age, shape or use.

The summoned cases show the range of possibilities, some have chosen to associate their old furniture to modern art, other modern furniture to old works, or to mix different collections more widely typologies in same space, while suggesting the sake of the whole effect. Teeming and eclectic, these inner advocate as it organized disorder. Similarly, their components, and works of art, sometimes seen as sources of pleasure, sometimes considered with a more trivial purpose, are presented in constant mutation. They then become problematic for the historian who interpret consistently, often tempted to categorize and fix a one-way in time and space.

This day and for researchers who study part of receiving the articles and its impact on their perception, their use and history, as well as people interested in the layout of the space itself. This international and sub-national panorama of modern and contemporary is organized in four frames: the object, as part of internal heterogeneous or subject itself to different influences; the part, through the typical case of the library; the house as a whole; Finally, the image and its role in the public dissemination of these developments.

Co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art
Location: Dahesh Museum of Art, 145 Sixth Avenue, New York City
Special thanks to the Dahesh Museum of Art for the Dahesh Museum Art Prize for the Best Paper, a gift from the Mervat Zahid Cultural Foundation

10 AM: Welcome
Peter Trippi, President of Association of Historians of Nineteenth-Century Art

10:15 AM – 11:30 AM: First Morning Session & Discussion
Marilyn Satin Kushner, New-York Historical Society, Moderator

Lucie Grandjean, Université Paris Nanterre, “John Vanderlyn and the Circulation of Panoramic Images in Nineteenth-Century America: Promoting and Diffusing ‘a love and taste for the arts’”

Remi Poindexter, The Graduate Center, City University of New York, “Martinique's Dual Role in Alcide Dessalines d'Orbigny's Voyage Pittoresque”

Alexandra Morrison, Yale University, “Unfaithful: Julie Duvidal de Montferrier’s Copies”

11:30 AM - 11:45 AM: Break

11:45 AM - 12:45 PM: Second Morning Session & Discussion
Roberto C. Ferrari, Columbia University, Moderator

Siddhartha V. Shah, Columbia University, “Tooth and Claw: Chivalry and Chauvinism in the Jungles of British India”


Clayton William Kindred, Ohio State University, “The Harem in Absentia: Analyzing Race, Gender, and Sexuality in Jean Lecomte du Nouÿ’s The Gate of the Harem”
Scholarship has highlighted the prevalence of harem imagery throughout nineteenth-century art. However, few works have addressed images of the harem that problematize traditionally associated ideas of heterosexual fantasy and phallic control. This paper explores such problems as presented in Lecomte du Nouÿ’s 1876 painting The Gate of the Harem.

12:45 PM – 2:15 PM: Lunch Break

2:15 PM – 3:30 PM: First Afternoon Session & Discussion
Patricia Mainardi, Graduate Center, City University of New York, Moderator

Jennifer Pride, Florida State University, “The Poetics of Demolition: The Pickax and Spectator Motifs in Second Empire Paris”

Kathryn Kremnitzer, Columbia University, “Tracing Mlle Victorine in the Costume of an Espada”
*** Throughout the 1860s, Edouard Manet employed watercolor as an intermediary between painting and printmaking, enabling pictorial revision from canvas to copperplate. This presentation will explore his largely overlooked corpus of watercolors, thus augmenting our understanding of his conceptual and compositional concerns across media.

Galina Olmsted, University of Delaware, “’Je compte absolument sur vous’: Gustave Caillebotte and the 1877 Exhibition”

3:15 PM – 3:30 PM: Break

3:30 PM – 4:45 PM: Second Afternoon Session & Discussion
Petra ten-Doesschate Chu, Seton Hall University and Nineteenth-Century Art Worldwide, Moderator

Maria Golovteeva, University of St. Andrews, “Photography as Sketch in the Works of Fernand Khnopff”

Isabel Stokholm, University of Cambridge, “Fathers & Sons? Two Old Peredvizhniki and a New Generation of Russian Artists, 1890–1914”

The 2018 jury consists of Petra ten-Doesschate Chu, Marilyn Satin Kushner, Roberto C. Ferrari, Patricia Mainardi, and Peter Trippi. The symposium committee includes Caterina Pierre and Margaret Samu. Special thanks to Amira Zahid and Alia Nour of the Dahesh Museum. The symposium is free and open to the public; reservations are suggested but not required.

Brandywine Workshop and Archives presents a first-time solo exhibition –a comprehensive survey of etchings and lithographs by artist William Majors (1930-82). Selected from the artist’s extensive estate collection, the exhibited prints span nearly two decades of creative work. They highlight his masterful, disciplined craftsmanship, exploring a variety of traditional and experimental techniques.

Following art school training in painting Majors left his mid-West home base and set out in 1959, supported by a John Hay Whitney foundation fellowship, to live in Florence, Italy. There, he studied first-hand the work of Renaissance artists who became one of the enduring inspirations in his work. Returning to the U.S. he settled in New York in 1962 and enjoyed new friendships with musicians, performers and artists including fellow members of the historic African American artists’ collective, Spiral.

During the 1960s Majors gained valuable recognition from curators, particularly at The Museum of Modern Art, which published a limited edition portfolio of his etchings in 1965. The following year, the print portfolio received the Grand Prize in Graphic Arts at the First World Festival of Negro Arts, Dakar, Senegal and in 1970 it was exhibited in the U.S. Pavilion, 35th Venice Biennale.

Dedicated to the classroom as well as the studio, Majors re-located several times during the 1960s and ‘70s teaching and lecturing from coast to coast: State University of New York; The New School; Art Institute of The Museum of Modern Art; Cornell University; University of Iowa; California State College, Hayward; Oakland College of Art; University of New Hampshire; Dartmouth College; Rhode Island School of Design; University of Connecticut. A John Simon Guggenheim Fellowship in 1973-74 enabled him to equip his New Hampshire painting and printmaking studio where most of the prints in this exhibition were finally published.

Majors’ prints as well as paintings, collages and drawings have been collected and exhibited widely in numerous major museums throughout the U.S. and internationally. The Museum of Modern Art; The Metropolitan Museum of Art; Boston Museum of Fine Arts; Indianapolis Museum of Art; Roy Neuberger Museum, Purchase; The Newark Museum; The Library of Congress; Zimmerli Art Museum; Mott-Warsh Collection; Studio Museum in Harlem.

A free opening reception will be held Wednesday, February 28, 5:30-8:00 PM

In a free public program, Wednesday, March 14, 6:30 – 8:00 PM, Majors’ close friends, sculptor Melvin Edwards, and Susan Stedman, the late artist’s collaborator and executor of his estate, will discuss the creative practice and life of William Majors.

Several photographs of the artists and print images are available upon request.

A catalogue will also be available at the opening reception.

Lawrence Weschler, author and director emeritus, New York Institute for the Humanities at New York University will open the Wonder Cabinet with a lavishly illustrated talk (originally fashioned as the keynote for a National Science Foundation symposium), ART & SCIENCE AS PARALLEL AND DIVERGENT WAYS OF KNOWING. After the talk, the public is invited to Tamarind Institute for the opening reception for TWO-FOLD: A PAIRING OF FREDERICK HAMMERSLEY + MATTHEW SHLIAN.

For more information, visithttp://tamarind.unm.edu/wondercabinet. To RSVP click on the 'External Link' below.

The Schweizerische Graphische Gesellschaft (SGG) strikes a balance between constancy and change. For a hundred years, it has has been commissioning selected contemporary artists to create an original work that is then published in a limited edition of 125 and distributed to all SGG members. Moreover, for a hundred years, this society has not only been supporting and promoting both traditional and new approaches to the art of the print, but has also been rigorously challenging and debating its own decision criteria. The centenary jubilee exhibition reflects this by placing the focus on crucial turning points in the history of the SGG, presenting works that have marked a new departure and have, at times, caused controversy. The ETH Zürich‘s Collection of Prints and Drawings is marking the centenary of the SGG with an exhibition that looks back on decades of patronage devoted to the art of the print and examines the selection criteria applied by the society. At what times were these criteria the subject of intense debate? And in what ways have the selection criteria changed? In six chapters, the exhibition charts the most notable turning points.

Swiss-born Genêt Mayor (*1976) draws everyday. His A4 drawings bear a kind of teenage spirit and dark humor. Simple, direct, colorful, they mingle words with images into funny pictures. The Musée Jenisch Vevey presents a selection of this series started in 2001 along with sculptures.