Near the Cultural Center of “Santa Maria della Pietà” of Cremona, Italy, from September 24th to October 29th 2017, will be held the 9th International Engraving Exhibition – Cremona 2017. The Biennial, exclusively to invitation, curated by Vladimiro Elvieri, assisted by an International Scientific Committee, is organized by the INCISIONE SENZA CONFINI Association with the collaboration, the patronage, and the financial support of the Municipality of Cremona, with the patronage of the Ministry of Culture, the patronage and collaboration of the Prism Print International London, AIE (Italian Ex libris Association), Liceo Musicale “R. Malipiero” of Varese, Michelle Champetier Gallery, Cannes, and the contribution of private sponsor.

Exhibitions:
1 -MASTERS OF THE TWENTIETH CENTURY: Pablo Picasso, Marc Chagall, Joan Miró, Stanley William Hayter, Zoran Music, Antoni Clavé, Antoni Tàpies
A historical section that presents forty works by some of the greatest exponents of the art history of the ‘900, coming from important private collections of Cannes (Michelle Champetier Gallery) and Paris (Denise Frélaut, director of the famous Atelier Lacourière-Frélaut in Montmartre).

2 -THE SECRET GESTURE
Reserved to the most important Italian and foreign contemporary artists who are distinguished for the quality of their art graphics research. Forty prints of medium and large format, in which the engraved sign becomes a communicative gesture.

Artists (22): Alberto Balletti (Italy) – Derek M. Besant (Canada) – Alicia Candiani (Argentina) – Shu-Lin Chen (Taiwan) – Agnieszka Cieslinska-Kowecka (Poland) – Manfred Egger (Austria) – Egide (France) – Philipp Hennevogl (Germany) – Kamil Kocurek (Poland) – Silvana Martignoni (Italy) – Barbara Martini (Italy) – Rob Mazurek (USA) – Jim Monson (USA) – Herman Noordermeer (Netherlands) – Endi Poskovic (USA) – Anna Romanello (Italy) – Hector Saunier (France/Argentina) – Mario Scarpati (Italy) – Yun Jung Seo (S. Korea) – Alan Sundberg (USA/Germany) + Armando Martini (Italy) – Marco Trentin (Italy) – Minjie Zhang (Cina).

3 -PRISM 8 “Connections”
Seventy works created with various graphic techniques by 36 artists members of the Prism Print International of London, coming from seven countries (United Kingdom, Japan, Italy, Poland, Netherlands, China, S. Korea,). Itinerary show in Europe and Asia.

Prism artists (36): Pauline Aitken – Susan Aldworth - Marcin Bialas – Ian Brown – Trevor Banthorpe – Claudia De Grandi – Dolores De Sade – Vladimiro Elvieri – Yolanda Eveleens – Jin Hirosawa – Toshihiko Ikeda – Rebecca Jewell – Stanley Jones – Yuichi Kashima – Masahiro Kawara – Shizuko Kiyohara – Hideki Kondo – Tomasz M. Kukawski –Masataka Kuroyanagi – Sophie Layton – Nao Masuda – Norman McBeath – Tsutomu Morita – Hisaharu Motoda – Tetsuya Noda – Nigel Oxley – Ritsuko Ozeki – Jae Young Park – Sumi Perera – Joanna Piech – Jurjen Ravenhorst – John Read – Arianna Tagliabue – Ryoko Tanaka – Maria Chiara Toni – Jian Zhou.

4 –EX-LIBRIS CLAUDIO MONTEVERDI
A significant collection of ex-libris and small graphic of Italian and foreign authors, dedicated to the figure and work of the great composer and musician from Cremona, in the 450th anniversary of the birth (1567). Exhibition in collaboration with AIE-Associazione Italiana Ex-Libris and Liceo Musicale “R. Malipiero” of Varese.

Edgar Degas’s famous painting In a Café (L’Absinthe, 1875-6), features a dissolute bearded man whom Degas modelled on his characterful friend and fellow artist Marcellin Desboutin (1832-1902). Both men shared a passion for printmaking and this exhibition explores the Museum’s rare collection of Desboutin’s sensitively executed prints in drypoint. Depicting friends and associates, many of whom frequented the Parisian cafés and salons, Desboutin’s portraits – some drawn from life, others from photographs – capture the likenesses of influential artists, writers, critics, musicians and socialites as well as children, his own family and the bohemian figure of the artist himself.

This exhibition is showing in conjunction with the major exhibition Degas: a passion for perfection (03 October 2017 - 14 January 2018) and the accompanying show Degas, Caricature and Modernity: Daumier, Gavarni, Keene (12 September 2017 - 4 Jan 2018).

Crawford Alexander Mann III has joined the curatorial staff at the Smithsonian American Art Museum as the curator of prints and drawings. He began work April 3. Mann joins 12 curators currently on staff for contemporary art, photography, sculpture, contemporary craft, folk and self-taught art, Latino art, 19th-century painting, a chief curator who specializes in 20th-century art and a curator of contemporary interpretation.

Mann’s responsibilities include research, exhibitions and acquisitions related to the museum’s collection of prints, drawings and watercolors dating from the 18th century to the present. His research interests include Italian American artistic exchange on the Grand Tour, artists of the American South, the impact of East Asian watercolor and printmaking traditions on American art and the evolving visual constructions of masculinity, femininity and gender.

“Alex brings a global approach to American graphic arts,” said chief curator Virginia Mecklenburg. “His expertise in the relationship between American and international artistic currents, as well as the reciprocal influences among graphic arts, painting and sculpture will enrich the museum’s presentation of exceptional prints and drawings. We are delighted to welcome him.”

Before joining the museum staff, Mann was the Joan and Macon Brock Curator of American Art at the Chrysler Museum of Art in Norfolk, Va., from 2011 to 2017. While there he curated exhibitions about Abraham Lincoln, Georgia O’Keeffe and the civil rights movement, as well as oversaw a full reinstallation of the museum’s American art galleries, which reopened in 2014.

Mann earned a bachelor’s degree in art history and religious studies from the University of North Carolina at Chapel Hill in 2002. He received a master’s degree in art history in 2003 and a master’s degree in philosophy from Yale University in 2005. He was a Terra Foundation Predoctoral Fellow in American Art at SAAM in 2008. Currently, he is a doctoral candidate at Yale University where he is completing his dissertation titled “When in Rome: Italian Travel and the Pursuit of the Ideal Male Body in Antebellum American Art.”

Seattle art collector Albert Feldmann has gifted the Henry with 204 European prints including, Dürer, Callot, Goya, Hogarth, and Piranesi. With this generous gift of prints dating from the 15th to 18th centuries, the Henry’s collection, which already had strong holdings in the 19th and 20th centuries, now offers a complete timeline of the history of printmaking.

“This is a truly transformative gift,” says Sylvia Wolf, John S. Behnke Director of the Henry Art Gallery. “For over fifty years, Mr. Feldmann collected works of the highest quality and finest condition. We are deeply grateful to him for the gift of this extraordinary collection, which will serve as a resource and inspiration for artists, scholars, students, and enthusiasts of the art of printmaking for generations to come.”

Albert Feldmann, a long-time resident of Seattle, was a mechanical engineer of some renown. He built the first laser and was instrumental in the development of the atomic clock. He later worked as a senior engineer at Boeing. In parallel, he amassed an exquisite collection of European master prints and an impressive library of books on the subject. He chose the Henry as the recipient of this gift as he wished the collection to remain local and accessible to students.

Daringly modern artist Henri Matisse experimented with many mediums and devoted a major part of his career to reimagining books as art objects in their own right. He brought to life some of the greatest works of French literature, interpreting poetry and myths with playfully looping gestures, elegant lines, and brightly colored shapes in a way that is always distinctly his own. The CMA is proud to present 81 works in a sweeping exhibition that celebrates four of the artist’s books, including his most famous, the colorful Jazz portfolio from 1947. Together, these pages offer meditations on life, love, hardship, and utter joy.

Modernism is presenting a major exhibition of prints and drawings by the legendary Norwegian artist Edvard Munch (1863-1944). Encompassing thirty works produced between 1894 to 1930, the exhibition complements a concurrent retrospective of Munch's paintings at the San Francisco Museum of Modern Art. The Modernism exhibition features some of Munch's most famous images, including The Sick Child, Madonna, and The Kiss – painted versions of which are simultaneously on view at SFMOMA – affording viewers a rare opportunity to see how he treated key themes including death and love in diverse media.

Printmaking was central to Munch's practice, and works on paper were as significant to him artistically as oils on canvas. Over the course of five decades, beginning in 1894, he printed some eighteen thousand impressions, representing hundreds of motifs, realized as etchings, lithographs, woodcuts, and mixtures of these techniques. The bulk of this oeuvre is now in Oslo's Munch-museet, which inherited his personal collection upon his death. Decades of scholarship by that museum, as well as institutions such as the National Gallery of Art in Washington DC – have revealed the extraordinary richness of his graphic art, and its intimate relationship to his paintings and drawings. As Munch wrote in an 1889 diary entry, his artistic aim was to show "living people who breathe, feel, suffer and love". By creating multiple variations on a print over a period of decades – and using prints as inspiration for subsequent drawings and paintings and prints – he was able to explore his innermost feelings through countless expressionistic permutations on the living people who stirred his own love and suffering.

Dutch Drawings on the Horizon: A Day of Talks in Honor of George S. Abrams

This symposium brings together international experts on 17th-century Dutch drawings in honor of George S. Abrams (Harvard College ’54, Harvard Law ’57). Mr. Abrams and his late wife, Maida, pioneered the collecting of Dutch drawings in the United States and have been a unifying force for study and scholarship in the field. Their generous gift of 110 works in 1999 transformed the Harvard Art Museums’ Dutch drawings collection into one of the most comprehensive in any U.S. museum. Speakers will use the vast breadth and depth of the Abrams Collection as a touchstone for discussing the exceptional draftsmanship of the Dutch Golden Age, from Goltzius to Rembrandt.

SCHEDULE

9:30am Doors open. Seating for the day is first come, first served.

10am Director’s Welcome and Introductory Remarks

Martha Tedeschi, Elizabeth and John Moors Cabot Director
Edouard Kopp, Maida and George Abrams Curator of Drawings

Morning Session I

Chair: Arthur Wheelock
Curator of Northern Baroque Paintings, National Gallery of Art, Washington, D.C.

“Drawing from Life and from Imagination”
Peter Schatborn
Head of the Rijksprentenkabinet, emeritus, Rijksmuseum

“Esteemed and Appreciated: The Figure Studies of Cornelis Dusart”
Susan Anderson
Curatorial Research Associate for Dutch and Flemish Drawings, Harvard Art Museums; and Curator, Maida and George Abrams Collection

“Bakers’ Dozen: Natural Delights by Johannes Bronkhorst and the Henstenburghs”
Jane Turner
Head of the Rijksprentenkabinet, Rijksmuseum; and Editor, Master Drawings

Morning Session II

Chair: Benjamin Weiss
Director of Collections and Leonard A. Lauder Curator of Visual Culture, Museum of Fine Arts, Boston

“Cornelis Visscher’s Bohémienne: From Print to Drawings”
Stijn Alsteens
International Head, Department of Old Master Drawings, Christie’s

“With Astonishing Speed and Great Elegance”: Wallerant Vaillant’s Portraits at the Diet of Frankfurt, 1658”
William W. Robinson
Maida and George Abrams Curator of Drawings, emeritus, Harvard Art Museums

12:30pm Lunch Break

2pm Afternoon Session

Chair: Peter C. Sutton
The Susan E. Lynch Executive Director, Bruce Museum

“10 Drawings Attributed to Rembrandt: Critiquing the Abrams Collection”
Martin Royalton-Kisch (in absentia)
Former Senior Curator of Prints and Drawings, The British Museum

“Pen-and-Ink Figure Drawings by Jan Lievens: Issues of Style, Attribution, and Dating”
Gregory Rubinstein
Senior Director and Head of Old Master & Early British Drawings, Sotheby’s Worldwide

“Collecting Netherlandish Drawings—Frits Lugt and Maida and George Abrams”
Ger Luijten
Director, Fondation Custodia, Frits Lugt Collection

Roundtable Discussion with George Abrams and Speakers
Moderator: Peter Sutton

The conference is scheduled to end at 4PM

The symposium coincides with the installation "The Art of Drawing in the Early Dutch Golden Age, 1590–1630: Selected Works from the Abrams Collection", on view at the Harvard Art Museums from September 9, 2017 to January 14, 2018.

The symposium will take place in Menschel Hall, Lower Level. Please enter the museums via the entrance on Broadway. Doors will open at 9:30am.

Free and open to the public. Limited seating is available on a first-come, first-served basis.

Support for this program is provided by the Stanley H. Durwood Foundation Support Fund

A didactic exhibition to discover printmaking techniques.

The exhibition on the German artist Käthe Kollwitz at the IKON gallery in Birmingham is accompanied by an academic symposium with speakers from Museum, Art History and German Studies.

This symposium explores the life and work of the German artist Käthe Kollwitz (1867-1945). It examines her extensive and varied oeuvre, which encompassed printmaking, drawing and sculpture, and discusses this in relation to wider socio-political and cultural contexts in Germany and beyond. Kollwitz’s works are considered through a series of short papers and roundtable discussion. This is a unique chance to listen to academics, curators and writers talking about the impact of Kollwitz in a gallery setting surrounded by the artist’s own work.

The symposium is free of charge – booking is essential. Please book online or call IKON on 0121 248 0708. Please note that online booking closes at 5pm on Friday 13 October.

Programme

10.00 -10.30am
Coffee and registration

10.30am
Jonathan Watkins (Ikon)
Frances Carey (British Museum)

11.15-11.45am
Dorothy Price (University of Bristol): Imagining the Maternal

11.45-12.15pm
Elizabeth Kajs (University of Bristol): Motherhood at the Centre: Connecting Creativity and Reproduction in Käthe Kollwitz’s Artistic Practice

Discussion – Chair Frances Carey

12.35-2pm
Lunch (own arrangements) and Kollwitz exhibition

2.00-2.30pm
Shulamith Behr (Courtauld Institute of Art): Kollwitz through the Eyes of Women Art Critics: The “Hieroglyphic Language of Drawing” and Gendering of Authorship

2.30-3pm
Nina Lübbren (Anglia Ruskin University): Kollwitz: A Printmaker's Sculpture

Discussion – Chair Camilla Smith

3.20-3.50pm: Tea/coffee and comfort break

3.50-4.20pm
Nicholas Martin (University of Birmingham): Petrified Grief: The First World War in Käthe Kollwitz’s Art and Writing

4.20-4.50pm: Camilla Smith (University of Birmingham): Kollwitz during the 1930s: An Artist between Resistance and Conformity

Discussion – Chair Dorothy Price

5.15-6pm: Round table discussion: Kollwitz, legacy and sites of remembrance Lord Max Egremont and Frances Carey (chaired by Jonathan Watkins)

*NOTE: Due to unforeseen circumstances, the date of this program has been changed*

Learning and Teaching with Rembrandt: Cross-Disciplinary Approaches to the Master Etcher
New date!
Saturday, October 28, 2017 at the Johnson Museum

This daylong symposium will examine how both pedagogical approaches and increased watermarks data for Rembrandt's prints can be used along with traditional connoisseurship to answer questions about Rembrandt as a printmaker--and raise new ones. Speakers will discuss cross-disciplinary projects and collaborative research in academic collections, and how they extend the reach of existing knowledge about Rembrandt's practice. A panel discussion will explore the teaching of Rembrandt's prints from a variety of perspectives in different settings, including the university, the encyclopedic museum, and the conservation studio.

Registration is free; contact Elizabeth Saggese at eas8@cornell.edu or 607-254-4642 to reserve a space.


Keynote presenters

Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
"Rembrandt's Paper: State of the research and where we go from here"

Susan Donahue Kuretsky, Professor of Art on the Sarah Gibson Blanding Chair, Vassar College
"In Love with Line: Tales of Teaching with Rembrandt"

Additional presentations by Andaleeb Badiee Banta, Allen Memorial Art Museum, Oberlin College; Stephanie Dickey, Queen's University; Margaret Holben Ellis, Institute of Fine Arts, New York University; C. Richard Johnson, Jr., Cornell University; Elizabeth Nogrady, Frances Lehman Loeb Art Center, Vassar College; Nadine Orenstein, Metropolitan Museum of Art; Gregory Page, Cornell University; Lisa Pincus, Cornell University; and Andrew C. Weislogel, Johnson Museum of Art, Cornell University.

Support for this symposium has been generously provided by Ronni Lacroute, Cornell Class of 1966.

http://museum.cornell.edu/calendar/learning-and-teaching-rembrandt-cross-disciplinary-approaches-master-etcher


Lines of Inquiry: Learning from Rembrandt's Etchings
Exhibition on view September 23-December 17, 2017

In this exhibition, more than sixty impressions from across Rembrandt's oeuvre will show the artist's process, including how he made changes to his plates, and detail his use of a variety of printing supports.

Works from the collections of Cornell, Harvard, Princeton, Syracuse, and Yale Universities, Oberlin and Vassar Colleges, the University of Kansas, the Morgan Library & Museum, and private collections will feature subject matter ranging from portraits and self-portraits to genre scenes, religious narratives, landscapes, study plates, and academic nude studies.

Lines of Inquiry has been organized by the Johnson Museum in collaboration with the Allen Memorial Art Museum, Oberlin College, where it will be on view in 2018.

http://museum.cornell.edu/exhibitions/lines-of-inquiry-learning-from-rembrandt-etchings
http://www2.oberlin.edu/amam/LinesofInquiry.html