ilar compositions, this exhibition reveals how contact with Mughal art inspired Rembrandt to draw in an entirely different, refined style prompted by his curiosity for a foreign culture.

as well as lesser-known individuals such as the engraver Bléry.

Organized with special support from the Bibliothèque Nationale de France and the cooperation of the Musée d’Orsay, the exhibition puts on display over 100 drawings and etchings, and some thirty sketchbooks—the “plein-air’ painter’s quintessential tool.

The practice of drawing “en plein air” or “in the open air”, “from the motif”, first recorded in 17th-century France (and Europe), became common in the 18th century, and was considered an integral part of every young artist’s training in the 19th. The constantly evolving art movement eventually came to be seen as exceptionally important in the history of drawing. The meaning of expressions such as “from nature”, “after nature” and “from the motif” was fluid, vague: just as easily referring to observational and scientific drawings, as to studies, students’ practice drawings, architectural surveys, military sketches, drawings from memory, travel notes or the faint outlines of a fleeting impression.

Drawings from nature gradually came to be viewed as artworks in their own right; finished pieces with their own justification and purpose. This change in perception led to the 1861 publication of Charles Daubigny’s Voyage en bateau, a collection of rapid sketches depicting his outings on the rivers Seine and Oise aboard his studio-boat the Botin, which provided an ideal setting for drawing from nature.

The line between the studio and the outdoors was not always clear, with artists often swinging back and forth between the two. A prime example of this vague state: the work of landscape painter Corot. While his subject matter was significantly different to that of “plein-air” artists, he shared their preoccupation with color, which could either be applied directly “from the motif”, or reworked at the studio with the help of notes taken on site.

a public museum. They chose thirty works by thirty artists in a variety of mediums and selected the Moderna Museet in Stockholm as the recipient due to its strong history of support for American contemporary art. To help raise the funds necessary to build the collection, E.A.T. asked each of the selected artists to create a print as part of a portfolio of lithographs and silkscreens—The New York Collection for Stockholm—which was sold in an edition of 300. This exhibition presents the complete portfolio, which includes works by Lee Bontecou, Dan Flavin, Hans Haacke, Ellsworth Kelly, Louise Nevelson, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Richard Serra, and Cy Twombly, among others. The portfolio is significant for the cultural, political, and social history that surrounds it and for the generosity and cooperation that it represents among a distinguished cross section of avant-garde artists.

This Teaching Gallery exhibition is curated by Lisa Bulawsky, professor of art and director of Island Press, and Tom Reed, senior lecturer and master printer of Island Press, both in the Sam Fox School of Design & Visual Arts, in conjunction with the course taught by Reed titled “The Printed Image,” offered in spring 2018.

Also on view at the Museum:
** "Postwar Prints and Multiples: Investigating the Collection" (on view February 2, 2018 - April 16, 2018)
** "Island Press: Three Decades of Printmaking" (on view February 2, 2018 - April 16, 2018)

ection II: MATERIALITY - Close to the object
Section III: MATERIALITY - Object and Museum

Friday, 03.16.2018 // Section IV a: NEW METHODS IN THE DRAWING RESEARCH
Section IV b: NEW METHODS IN THE DIGITAL HUMANITIES
Section V: METHODS


The following are presentations related to the graphic arts which have been highlighted below ---

Thursday, 03.15.2018
14.10 -- Frederike Steinhoff (Berlin): "Print, cut, glue - Early Italian prints and furniture decoration"

Friday, 03.16.2018
09.00 -- Samuel Vitali (Florence): "Considerations on the methodology of attribution the example of the drawings, the Carracci in Gabinetto Disegni e Stampe Uffizi"


***Please click on the 'External Link' below for full conference schedule and papers.***

ernational Art Nouveau movement.

The exhibition examines how Mucha’s work helped shape the aesthetics of French Art Nouveau at the turn of the century. Art Nouveau, or New Art, describes a style in architecture, and visual and decorative arts that flourished from the 1890s through 1910. It emphasized the beauty of natural forms in everyday life. Art Nouveau featured a sinuous or “whiplash” line, flattened space, and botanical shapes and patterns.

“Mucha’s early work is centered on the epitome of beauty,” said Jonathan Canning, director of Curatorial Affairs and Programming at The Hyde Collection. “With use of subtle color schemes, lavish scrolling text, and exquisite women, he defined the Art Nouveau movement."

Many of the works in the exhibition feature beautiful women, dramatic curving lines, flowers, and plants. Mucha worked across many media and those are revealed in the exhibition, which includes lithographs, drawings, paintings, books, and advertisements. Highlights include four versions of a poster Mucha created for actress Sarah Bernhardt in 1894 — an assignment largely believed to have launched Mucha's prolific career — and two posters advertising Job cigarette papers from 1896 and 1898.

Mucha (July 24, 1860-July 14, 1939), the most successful decorative graphic artist of his day, considered his life’s masterpiece to be Slav Epic, twenty large-scale paintings depicting the history of the Czech lands and people. The latter part of Mucha's career is also included in the exhibition, with samples of his work after returning to his homeland in the early part of the twentieth century, including bank notes and one of the Slav Epic panels.

This exhibition is a selection from the Dhawan Collection and was organized by Landau Traveling Exhibitions, Los Angeles, CA.

her own life at the age of 21 – she produced a remarkable body of graphic works, and one book titled Le pays où tout est permis [The Country Where Everything Is Permitted], 1972. An autodidact savant, she wrote in an uninhibited, provocative and expressive style about life, popular culture and conformist society.

While writing and drawing were inextricably intertwined for Podolski, during her lifetime she was mostly seen as a poet. The exhibition at WIELS places an emphasis on her visual practice and highly personal iconography, bringing this compelling work out of obscurity. The exhibition consists of over 100 works on paper, including those made with ink, pastels or coloured pencil, as well as the etchings that are among her earliest works and the original manuscript of her singular book.

Sophie Podolski was born in Brussels in 1953, where she died in 1974. On the occasion of this exhibition, a book is published by WIELS featuring contributions by Lars Bang Larsen, Jean-Philippe Convert, Caroline Dumalin, Chris Kraus and Erik Thys. Design by Salome Schmuki.

Massachusetts. The works in this exhibition demonstrate Ryan’s approach to the large-scale woodcut. Each print is the result of his exploration of images as simple as a vase with nine poppies and elegant birds seen in profile.

Ryan is Associate Professor of Art, Painting, at Boston University. He has been a visiting artist at numerous academic institutions nationwide and received many awards and grants for his work including a John Simon Guggenheim Memorial Foundation Fellowship and a National Endowment for the Arts Fellowship Grant. His artwork has been included in one-person and group exhibitions in New York, San Francisco, Boston, among others.

In discussing the Nine Blue Poppies print, the artist wrote, “The woodcut project began as a gouache study for a large painting. That year was a good year for our poppy plants: the flowers were large and particularly malevolent.” He continues to explain how their dark beauty generated thoughts of “various forms of meanings, ironies, and paradoxes. I thought this would do for a start.” The bon à tirer prints in this exhibition are from the Center Street Studio Archives in the Joel and Lila Harnett Print Study Center, University Museums.

Valois series, a set of drawings of courtly pageantry here reunited for the first time, the display showcases the way in which the powerful and influential Catherine promoted herself and her dynasty through a series of lavish courtly events.

Though not a court artist, Caron worked at the court of the Valois family, first at the Château de Fontainebleau, and then at the Château d’Anet where Henri II’s mistress Diane de Poitiers lived. He also contributed to the designs of the ephemeral decorations for the ceremonial entry into Paris of the young King Charles IX in 1571, and two years later to the celebrations of the election of his brother Henri to the throne of Poland and Lithuania. In 1581, Caron was the official painter for the wedding of the king’s favourite Anne d’Arques, duc de Joyeuse.



At the centre of this exhibition are six drawings that evoke the Valois Magnificences, complex festivals organised by the French court between 1573 and 1581, during the reigns of Catherine’s sons King Charles IX and King Henri III. The drawings capture in minute detail the jousts, tournaments, and a mock naval battle staged as part of these lavish spectacles. The compositions of the drawings were later readapted as designs for a set of tapestries.

These works, together with other drawings by Caron included in this display, showcase the ways in which the artist helped Catherine to achieve her goal of promoting her progeny. The importance of these drawings cannot be overemphasised, not only because they give us invaluable insights into the fashion, behaviour, protocol and the elaborate apparatus of the Valois ‘Magnificences’, but especially because they bear witness to Catherine’s insatiable desire to promote her legacy through powerful and arresting spectacles.

onism to Symbolism.

The pastel technique, which is endlessly seductive due to the material itself and its colours, allowed artists to quickly produce works in a wide variety of styles. From simple coloured sketches to highly accomplished works of art, pastel is at the crossroads between drawing and painting.

The majority of the pieces on display date from 1850 to 1914 and illustrate the resurgence of pastel in the second half of the 19th century. The exhibition is also an opportunity to initiate visitors to the pastel technique and highlight the difficulties in conserving works on paper that are particularly sensitive to light and can therefore not remain on permanent display.