IV's era to Louis XIV's. How did one become an architect? How was a building built? What functions had drawing in the conception of a building? The are some of the questions that the exhibition tries to answer.

erto Pariani, which is kept at the Biblioteca Civica di Verona, the collection of the Banco BPM and the collection of the Gabinetto Disegni e Stampe dei Civici Musei d'Arte.

he artists in the Morgan's collection, as well as a few key loans from local collections. The show highlights the distinctive graphic styles of each artist and their influence on one another. The Morgan is particularly well-suited to tell this fascinating story as its holdings of Rubens, Van Dyck, and Jordaens are unparalleled in the United States.

en described as the “wrong-way driver” who bucked the general trend of the Renaissance: while Netherlandish and German artists, for instance Albrecht Dürer, were travelling south and taking inspiration from Italian art, de’ Barbari travelled in the opposite direction from south to north. From 1500 until his death (before?) 1516, he worked as court painter in a number of royal courts north of the Alps, including for Maximilian I in Nuremberg (1500–1503), Frederick the Wise in Wittenberg (1503–1505) and for Margaret of Austria in Mechelen (1511–1515/16), where he remained until the end of his life.

The relationship between the recently arrived Jacopo de’ Barbari and his native colleagues was not always without friction. For instance, when the Italian sought a long-term position as court artist for Frederick the Wise, he had to concede defeat to his rival Lucas Cranach. Albrecht Dürer, on the other hand, seems at first to have been reasonably taken by his Italian colleague, but when de’ Barbari refused to share his insights into the theory of proportion, Dürer reacted with annoyance.

There are 29 or 30 surviving engravings by Jacopo de’ Barbari, from which the Kupferstichkabinett is exhibiting a selection of 24 prints in a one-room show at the Gemäldegalerie. The works evidence all the variety, as well as the apparent contradictions, of the Renaissance between antique fantasies and Christian subject matter. The prints are wonderful documents of the cultural transfer of the period. In an unparalleled manner, they combine the stylistic and motific elements and characteristics of Italian, German and Netherlandish art and as such shaped the work of many other artists. Through his graphic work, de’ Barbari shows himself to be a particularly unique and influential artistic figure of a positively European dimension.

ty years ago, this exhibition will feature 150 masterpieces from public and private collections in Switzerland. Works covering five centuries, from the early Renaissance masters to contemporary artists, will provide a historical overview of this singular technique.

The visit begins with the earliest drawings retouched in pastel (Barocci, Bassano) before moving on to the golden age of portraiture in the 18th century (Carriera, Liotard, La Tour, Perronneau, Tiepolo), followed by a renewal of pastel techniques in 19th century landscapes (Boudin, Sisley) and the virtuosity of Impressionist figure drawing (Degas, Manet, Morisot). The turn of the 20th century saw a great vogue for the medium, illustrated here by works by the Nabis (Denis, Vuillard), society portraits (Helleu, Tissot) and the visionary explorations of Redon and the Symbolists (Khnopff, Lévy-Dhurmer, Delville). One room will focus on the vibrancy of Swiss art in the same period (Amiet, G. Giacometti, Grasset, Segantini, Steinlen). After considering the 20th-century avant gardes and their quest for abstraction and modernity (Giacometti, Kirchner, Klee, Kupka, Miró, Picasso), the exhibition will conclude with the contemporary scene (Chamberlain, Samaras, Sandback, Stämpfli, Mangold, Nemours, Szafran, Scully), culminating in a mural specially designed for the event by young Swiss artist Nicolas Party.

With this entirely new selection the Fondation de l’Hermitage offers the public an exclusive opportunity to explore the splendours of pastels and the range of a medium that has lent itself to experimentation of all kinds through the combined power and grace of pure colour.

Goya (1746‒1828) than for her artistic career.

Weiss was one of the few women to join the San Fernando Royal Academy of Fine Arts—as an academician of merit for History Painting—and she achieved her highest distinction in 1842 when she was appointed as drawing instructor to Isabella II and her sister, the Infanta Luisa Fernanda. She held this post for a very short time, as she died of cholera the following year.

Curated by Carlos Sánchez Díez, the display brings together works from the Biblioteca Nacional, the Museo Lázaro Galdiano, the Bibliothèque municipale de Bordeaux, the Museo del Prado, the Museo del Romanticismo and private collections, as well as pieces from other museums and Spanish public institutions.

This exhibition has been organised by the Biblioteca Nacional de España, Museo Lázaro Galdiano and Centro de Estudios Europa Hispánica.

developing highly textured surfaces, veils of color, and screens of drip marks that transform the figures in each composition. Describing printmaking as “poetry,” she emphasizes the spontaneity of the layering process, which allows each image to build organically with each successive layer.

Before immigrating to California in 1984, Liu grew up during Mao Zedong’s Cultural Revolution in China, where she worked alongside fieldworkers and trained as a painter. Adapting figures from historical Chinese photographs, Liu reimagines antique depictions of laborers, refugees, and prostitutes. Her multifaceted oeuvre probes the human condition and confronts issues of culture, identity, and personal and national history.

Best known as a painter, Liu ably translates the “weeping realism” that characterizes her canvases into the medium of prints. This focus exhibition highlights selected prints from the collection of the National Museum of Women in the Arts as well as the artist’s related tapestry designs.

Hung Liu In Print, presented in the Teresa Lozano Long Gallery of the National Museum of Women in the Arts, is organized by the museum and generously supported by its members.

ts the official unveiling of this remarkable gift. The exhibition features 38 works by leading contemporary artists from around the world including Roger Brown, John Buck, Christo, Lesley Dill, Jim Dine, Helen Frankenthaler, Red Grooms, Sol LeWitt, and Barbara Takenaga William T. Wiley, and by younger artists such as Brad Brown, Enrique Chagoya, Tom Huck, Jiha Moon, and Hans Schabus. Some artists are leading printmakers while others work primarily in other media, but became interested in collaborating with master printers in order to realize their ideas in print-based formats. The KMA’s selection includes great examples of each artist’s work, prints produced in small editions, and those representing a broad range of printmaking techniques and formats (including sculptural and book format prints).

The Novak’s collection includes thousands of contemporary prints acquired over a period of more than 30 years. The collection is noteworthy for its size and breadth, and because of Russell Novak’s close ties to such prominent master printers Jack Lemon and Bud Shark, who run two of the country’s premier print studios—Landfall Press and Shark’s Ink, respectively. Each year, Lemon and Shark would send the Novaks limited edition print portfolios, out of which the couple selected certain prints to be matted and framed for display. The collection has grown to a point at which framed works fill the walls of their home and of Russell’s corporate office space housing the accounting firm of Novak/Costello.

The Novaks chose to donate works to the KMA rather than area Chicago museums for several reasons. First, they became interested in the KMA thanks to Helen’s childhood friend, Knoxville educator Marilyn Liberman, who introduced Helen to the KMA. Marilyn also alerted the KMA about the Novaks and their collection, especially after learning that Helen had expressed interest in placing portions of the collection with suitable museums. The Novaks soon realized their gift to the KMA could eventually become a centerpiece for the museum’s works on paper collection. Their interest in placing the works at the KMA was heightened by the museum’s long association with contemporary printmaking (Dulin Gallery’s print competition ran from the early 1960s until the late 1980s), and the presence in Knoxville of the UTK School of Art’s Printmaking Program (ranked #2 in the country in 2017 by U.S. News & World Report). In this way, Press Ahead celebrates the Novak’s generosity, and underscores the important role of their gift in enabling KMA visitors to explore contemporary printmaking and the exciting range of expressive possibilities and technical approaches it encompasses.

ck Hammersley Artist Residency at Tamarind. All events will be free and open to the public in various locations. The Albuquerque Wonder Cabinet is supported by the Frederick Hammersley Foundation.

All events are free and open to the public. RSVP via Eventbrite required. Please visit 'External Link' below for full schedule and speakers.

echnological advancements.