For the first time in Italy, an exhibition presents the works of Utagawa Kuniyoshi (1797-1861), the eccentric Japanese Floating World master. It explores the great variety of his work, drawing attention to his inventiveness and technical ability with a selection of 165 polychrome woodcuts.

The exhibition project is split into themes and will invite the visitor to appreciate the fascination and artistic importance of the bohemian painter who, without adhering to any school, knew instinctively how to create a new and provocative realism, an extreme synthesis of form, colour and movement. The author's stylistic evolution, of aristocratic origins but influenced by Paris's decadent life of the ‘urban-underclass’, will be outlined in all its phases, from painting to graphic design, with particular reference to Toulouse-Lautrec’s profound knowledge of Japanese prints and his passion for photography. Over 250 of Toulouse-Lautrec’s works, featuring 35 paintings, along with lithographs, etchings and the complete series of 22 posters made by the 'cursed' artist on loan from the Toulouse-Lautrec Musée of Albi and important museums and international collections.

Honoré Daumier (1808 – 1879) stands with his prolifi c body of work characterized by a way of describing reality that is at once detached and empathetic, alongside Gustave Courbet and Jean-François Millet as one of the fathers of Realism – the cultural movement that emerged out of positivism in France around 1840.

Daumier was also a great popularizer of ideas, a journalist who used images rather than words, a newspaper cartoonist who, like those of today, reacted to current events – current events that seem, strangely, not so very different from those of our own times. The exhibition presents about 180 or so of the artist’s engravings and drawings, including sculptures, grouped thematically with a particular focus on the development of a society avid for entertainment and its casualties, the development of the press, the world of art and artists and the birth of the European nations, not forgetting the famous series of lawyers and justice.

Wenceslaus Hollar (1607–1677) left the Czech lands for England in 1636 to become a servant of Lord Thomas Howard, Earl of Arundel and Surrey, who was a pre-eminent art collector. Hollar catalogued Arundelʼs rich collections, at the same time creating renditions of his seat and the surrounding landscape. He also published a portrait of his donor. With the outbreak of the English Civil War, Hollar replaced England for Antwerp in 1646, and continued to produce works of the same kind prolifically, creating numerous prints based on the works held in the Lordʼs collections. These were, for example, his famous series with butterflies and other insects and a cycle of rendered designs for applied arts from Hans Holbein. Hollar, however, also worked for the members of the royal House of Stuart and other commissioners from the circles of the royal court and the Earl of Arundel.

The cabinet will present the most distinguished examples of various prints which Hollar published in the services of English nobility.

‘Of Fragments and Impressions’ is a ground-breaking exhibition staged by STPI and award-winning Brisbane- and Manila-based installation artist duo Alfredo and Isabel Aquilizan in conjunction with STPI’s 15th anniversary. Impressive in scale and pivotal in its undertaking, the extensive oeuvres see the prolific artists breaking new frontiers by transforming fragments of their widely-acclaimed temporal installations into permanent material works for the very first time. From a sweeping installation of cardboard pulp and steel metal rods, to gritty shanty town houses constructed with compressed cardboard, to spectacular large-scale cyanotype collages of wings, the artists turned the STPI gallery into a stellar showcase which embodies their decades-long practice.

Fragments after In-Habit, a new series of collagraphs, reuses squashed cardboard from a 2012 collaborative artwork which toured around Australia for three years and travelled to Japan, where visitors created cardboard dwellings that were assembled onto the original work. The sickle and slippers motifs in their Left Wing and Wings series extend from significant ephemeral works such as Belok Kiri Jalan Terus (2015) and Wings (2009), which reflect the complex social realities facing agrarian communities and draw reference to countries with leftist political histories. Lastly, the Northwind series follow the trajectory of the artists’ early works in the late 90s, demonstrating the universal longing of homesickness and separation.

A milestone achievement, these outstanding works chronicle the artists’ personal history and are triumphant testaments to their artistic breadth.

This show is generously supported by the Friends of STPI.

Join Kemper Curator Meredith Fluke and Simon Grote, Assistant Professor of History at Wellesley College for a discussion of Martin Luther, the Reformation, and the books and prints that were both a result of and an agent for the historical changes of the 16th century.

The Museo Thyssen-Bornemisza presents Picasso/Lautrec, the first monographic exhibition devoted to comparing these two great masters of modern art. Although their artistic link has been repeatedly established by literature and contemporary critics, this is the first time their works have been displayed alongside each other in an exhibition. The show also examines this fascinating relationship from new viewpoints, as it does not merely explore the cliché of the young Picasso as an admirer of Lautrec in Barcelona and his early years in Paris, but traces the latter’s lingering influence throughout the Spanish artist’s lengthy career, including his final period.

Curated by Professor Francisco Calvo Serraller, professor of the department of Art History at the Universidad Complutense in Madrid, and Paloma Alarcó, chief curator of Modern Painting at the Museo Thyssen-Bornemisza, Picasso/Lautrec brings together more than a hundred works from some sixty public and private collections from all over the world, grouped around the themes that interested both artists: caricature portraits; nightlife in cafés, cabarets and theatres; the harsh reality of marginal individuals; the spectacle of the circus; and the erotic universe of brothels.

The exhibition includes a number of prints and drawings by each artist.

Friday, October 27, 2017 at 5:30 PM
River Pavilion Program Space, Javits Center

Everything you need to know to move “beyond contemporary” and forge a connection with the expressive force of fine art created before our time.

Panelists include: Dr. Victoria Sancho Lobis, Print Trust Curator at the Art Institute of Chicago, collector David Baum and Armin Kunz, Owner, C.G. Boerner. Moderated by Dr. Rhoda Eitel-Porter, Editor, Print Quarterly. Complimentary wine and tour of Old Masters at the Fair immediately following. Organized with the Association of Print Scholars.

This collection of prints by Rembrandt has been assembled by British collector, Neil Kaplan, who began acquiring works in 1984. The collection consists of 68 works on paper, mostly portraits. In 2017, the collection was acquired by the Fonds Glénat pour le Patrimoine et la Création, and the prints are being exhibited for the first time, after which they will be on display on permanent rotation in a gallery.

In around 1985, Franz Gertsch (b. 1930) invented a woodcut technique that creates a kind of “dotted manner”. The astonishing stippled woodcuts by the painter and printmaker from Bern, often in very large format, look almost like photographs, their subtle contours and nuances bathed in the warmth of a “monochrome” colour. Drawing on the museum’s own holdings and loans from Swiss collections, the exhibition retraces thirty years of creativity that combine monumental faces with images of nature. In his portraits, which can be read just like landscapes, views of undergrowth, water and plants that are as precise as they are meditative, Franz Gertsch constantly transposes the beauty of the world into the inexhaustible space of art.