In this free lecture at the Albany Institute History & Art, Picasso | Encounters curator Jay A. Clarke investigates how Pablo Picasso’s creative collaborations fueled and strengthened his art, challenging the notion of Picasso as an artist alone with his craft. Clarke explores some of the many printers with whom Picasso worked, as well as the muses who inspired him.

The symposium is themed to 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 address how cross-disciplinary projects and collaborative research in academic collections can inspire new methods of learning and 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.

Presenters will include:
- Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
- Susan Donahue Kuretsky, Professor of Art on the Sarah Gibson Blanding Chair, Vassar College
- Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, Metropolitan Museum of Art
- Margaret Holben Ellis, Eugene Thaw Professor of Paper Conservation, Institute of Fine Arts, New York University
- Elizabeth Nogrady, Andrew W. Mellon Curator of Academic Programs, Frances Lehman Loeb Art Center, Vassar College
- C. Richard Johnson, Jr., Jacobs Fellow in Computational Arts and Humanities, Cornell Tech, New York, and Geoffrey S. M. Hedrick Senior Professor of Engineering, Cornell University
- Stephanie S. Dickey, Bader Chair in Northern Baroque Art. Queen’s University
(Complete schedule and talk topics to be announced.)


At Cornell, major funding for the exhibition has been provided by Dale Reis Johnson and Dick Johnson; Seymour R. Askin, Jr.; Nelson Schaenen, Jr., and Nancy Schaenen; and Joseph W. Simon and Ernest F. Steiner in honor of Vera C. Simon. Additional support has been provided by Malcolm and Karen Whyte, and a gift endowed in memory of Elizabeth Miller Francis ’47. Support for the symposium has been provided by Ronni Lacroute.

At Oberlin, support for the exhibition has been provided by the Gladys Krieble Delmas Foundation and the Robert Lehman Foundation, Inc. Additional support has been provided by Maryan and Chuck Ainsworth, Elaine A. Bridges, Andrew Butterfield and Claire Schiffman, Pamela and James Elesh, Sarah G. (Sally) Epstein and Donald Collins, Suzanne Hellmuth and Jock Reynolds, Brian and Mary Kennedy, Donald Oresman, Betsy Pinover Schiff, Deborah and Andy Scott, Katherine Solender and Willie Katzin, Sietske and Herman Turndorf, Gloria Werner, the John H. and Marjorie Fox Wieland AMAM Support Fund, and the Friends of Art Fund.

A selection of the most beautiful prints from the Fondation William Cuendet & Atelier de Saint-Prex.

On view for the first time in France, the exceptional print collection from the Cuendet Foundation will be hosted by the Museum of Lodeve.
Consisting of a hundred masterpieces from the fifteenth to the twenty-first centuries, the exhibition will include works by Rembrandt, Durer, Canaletto, Corot, Goya, Degas, Morandi, Bonnard and Vuillard, as well as prints by modern masters.

The exhibition will be themed to explore the 'double life' of printing: On one hand its close ties with book-development and its contribution to the expansion of knowledge. On the other, its artistic dimension - expressed through landscapes, portraits and studies where works of contemporary masters counterpoint masterpieces from the past. Exhibition-goers will be offered a near-complete array of the entire range of printing techniques – woodblock, etching, engraving, lithography – from ancient to modern.

This exhibition features 91 works of art (ceramics and prints) on loan from the Picasso Museo Casa Natal in Málaga. About half the exhibition is devoted to the inspiration Picasso drew from bull-fighting and its rituals and includes his series of Toro lithographs from 1945-1946, which encompass naturalistic, cubist and surreal representations of the animal. Two other sections focus on the influence of Greco-Roman antiquity on Picasso’s nudes and mythological figures and the final section includes works showing the influence of ancient cultures including that of the Arab world.

The Kunsthaus Zürich presents an overview of the development of Mexican graphic art, from late 19th-century figurativism to the earliest abstract works in the 1970s, thanks to a collection of Mexican graphic art donated by the Swiss photographer Armin Haab. This collection comprises works (drawings and prints) by 65 artists who were born or lived in Mexico. The exhibition presents selected pieces from this collection, centring on important prints produced in a variety of techniques from the late 19th century to the 1970s. Some outstanding works come from the Taller de Gráfica Popular – a people’s graphic art workshop established in 1937 by a collective of international artists in Mexico, whose members produced flyers and posters for the masses supporting trade unions, popular education and socialist issues in the country. Revolutionary ideas and engagement with socio-cultural and socio-political concerns play a key role in the history of Mexican art. The editions published by the Taller de Gráfica Popular/La Estampa Mexicana on show at the Kunsthaus exemplify the typical Mexican tradition of black-and-white woodcuts and linoleum prints. The images depict Mexican life and the customs and characteristics of its indigenous populations, but also include the country’s first forays into abstract art.

Treasured for their innovation and their perceptive portrayal of the human psyche, Rembrandt’s etchings have long inspired curatorial research, technical investigation, and multidisciplinary teaching approaches in university and college art collections in the United States, edifying generations of emerging scholars. Through consideration of connoisseurship, reception, and the history of collection-building as well as increasingly quantitative approaches, this multifaceted exhibition will highlight both the scope and the subtlety of Rembrandt as an etcher who employed a wide range of subject matter, process, and materials.

More than sixty impressions from across Rembrandt’s oeuvre will offer a range of subject matter, state groupings, and printing supports, including portraiture, genre scenes, religious narratives, landscapes, study plates, and nudes. Loans highlight the collections of various academic collections—including those of Cornell, Harvard, Princeton, Syracuse, and Yale Universities, Oberlin and Vassar Colleges, and the University of Kansas—as well as the Morgan Library & Museum and private collections.

The accompanying catalogue will incorporate new research and initiatives that examine the status of the printmaker, including an overview of Rembrandt print collecting by American academic collections, a documented account of Oberlin’s secret guardianship of the Morgan Library & Museum’s Rembrandt prints during World War II, and an introduction to Cornell’s Watermark Identification in Rembrandt’s Etchings (WIRE) project, a collaboration among museum staff, faculty, and students dedicated to digitally facilitating access to Rembrandt watermark scholarship.

This exhibition will travel to the Allen Memorial Art Museum, Oberlin College (on view February 6, 2018 – May 13, 2018).

As an outstanding connoisseur of art and a key figure in the history of the Berlin museum landscape, Max J. Friedländer significantly enriched the inventories of Berlin’s museums, in particular the Gemäldegalerie and the Kupferstichkabinett, where he served as director from 1908 to 1930. Friedländer’s keen eye, his passion for the arrangement of images and his contacts among art dealers led to a whole range of significant finds and to the acquisition of unique masterpieces. To mark 150 years since Friedländer’s birth, the Kupferstichkabinett is presenting an exhibition entitled "On Art and Connoisseurship. In Memory of Max J. Friedländer – A Key Figure in the History of Berlin Museums" in the Gemäldegalerie. A number of documents, interesting finds, and a small selection of Friedländer’s acquisitions for the various collections will be on show, including a little gem from the Gemäldegalerie, Friedländer’s favourite picture, Geertgen tot Sint Jans’s melancholic, contemplative John the Baptist.

“There are no rules, that is one thing I say about every medium, every picture . . . that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules, that is what invention is about.” Helen Frankenthaler

No Rules explores Helen Frankenthaler’s inventive and groundbreaking approach to the woodcut. The artist began creating woodcuts after her previous experimentations with lithography, etching, and screen printing. Throughout her career, Frankenthaler collaborated with a variety of print publishers to push the medium in new directions. In 1983, she traveled to Japan and worked with the expert woodcarver Reizo Monjyu and the printer Tadashi Toda. These efforts resulted in an entirely new, layered approach to color, which differed from traditional forms of woodcut in which images are pulled from a single carved block or from several different color blocks.

In the 1990s and early 2000s, Frankenthaler continued to experiment in woodcuts like Freefall (1993), working with dyed paper pulp printed with color blocks to create layers of color. For Tales of Genji (1998) and Madame Butterfly (2000), she combined a dazzling array of blocks and papers, collaborating again with an expert Japanese carver, printers, and papermakers to produce a series of prints that are landmarks in the evolution of the woodcut medium. Never confining herself to tradition, nor to “rules,” Frankenthaler expanded the formal possibilities of the woodcut and remains one of the medium’s greatest innovators.

No Rules is made possible by the generous contribution of Denise Littlefield Sobel. Major support is provided by Dena and Felda Hardymon, with additional support from Richard and Carol Seltzer. The Clark is grateful to the Helen Frankenthaler Foundation and the Williams College Museum of Art for their generous loans.

01. - 02.09.2017
Registration deadline: Aug 15, 2017

Das Buch als Medium – Mittelalterliche Handschriften und ihre Funktionen
Interdisziplinäre Graduiertentagung

Universität Wien
Institut für Kunstgeschichte
Altes AKH
Spitalgasse 2, Hof 9
1090 Wien

Die Teilnahme ist kostenlos. Aus organisatorischen Gründen bitten wir um formlose Anmeldung bis 15. August 2017 via
tagung.buchfunktion.kunstgeschichte@univie.ac.at

PROGRAMM

Freitag, 01. September 2017

08:30 – 09:00 Uhr: Registrierung, Kennenlernen, Kaffee
09:00 – 09:15 Uhr: Grußworte

09:15 – 10:15 Uhr: Keynote
09:15 – 10:15 Uhr Kathryn Rudy (St. Andrews)

10:15 – 10:30 Uhr: Pause

10:30 – 12:00 Uhr: Vorträge (Moderation: Gerd Micheluzzi)
10:30 Uhr
Kristina Kogler (Wien): Vidal Mayor – Die Bebilderung einer aragonesischen Rechtshandschrift
10:50 Uhr Diskussion
11:00 Uhr
Bernhard Kjölbye (Graz): Über den Bildschmuck der ‚Zwettler Bärenhaut‘ aus genealogischer Sicht
11:20 Uhr Diskussion
11:30 Uhr
Philippa Sissis (Berlin): Zwischen Lesen und Schreiben – Humanistische Inszenierung in Relation zum Text
11:50 Uhr Diskussion

12:00 – 14:00 Uhr: Mittagspause

14:00 – 18:30 Uhr: Ausflug zum Augustiner-Chorherrenstift Klosterneuburg (für Mitwirkende)

19:00 Uhr: Abendessen

Samstag, 02. September

08:45 – 09:00 Uhr: Kaffee

09:00 – 10:30 Uhr: Vorträge (Moderation: Christina Jackel)
09:00 Uhr
Sophie Zimmermann (Wien): Büchergenealogien. Über imaginierten und tatsächlichen Verlust deutschsprachiger Texte und Handschriften
09:20 Uhr Diskussion
09:30 Uhr
Timo Bülters (Oxford): Auf Spurensuche im Kloster – Ein niederdeutsches Kräuterbuch in Nonnenhand
09:50 Uhr Diskussion
10:00 Uhr
Giulia Rossetto (Wien): Using and Re-Using Parchment Manuscripts: The Case of the Byzantine Prayer-Books
10:20 Uhr Diskussion

10:30 – 10:50 Uhr: Pause

10:50 – 12:20 Uhr: Vorträge (Moderation: Lena Sommer)
10:50 Uhr
Alexander Hödlmoser (Wien): Die Österreichische Chronik der Jahre 1454 bis 1467. Editorische Anmerkungen zur Arbeit am Text – damals und
heute
11:10 Uhr Diskussion
11:20 Uhr
Eszter Nagy (Budapest): The Function of Mythological Images in Books of Hours from Rouen
11:40 Uhr Diskussion
11:50 Uhr
Irina von Morzé (Wien): Eine Weltgeschichte für den Kaiser: Rom, BAV, Vat. lat. 5697 (vor 1437)
12:10 Uhr Diskussion

12:20 – 13:45 Uhr: Mittagspause

13:45 – 14:45 Uhr: Vorträge (Moderation: Sophie Dieberger)
13:45 Uhr
Lisa Horstmann (Heidelberg): Der »Welsche Gast« von Thomasin von Zerclaere. Veränderung der Bild-Text-Relation in 300 Jahren
Überlieferungsgeschichte
14:05 Uhr Diskussion
14:15 Uhr
Maximilian Wick (München): Die Leidener Wigalois-Handschrift – Ausdruck einer subversiven Theologie?
14:35 Uhr Diskussion

14:50 – 15:10 Uhr: Pause

15:10 – 16:10 Uhr: Vorträge (Moderation: Silvia Hufnagel)
15:10 Uhr
Stefanie Krinninger (Göttingen): „Het ich nu kunsten spyse / in mir, daz ich […] / in ditz buch […] / Ein rede kunde getichten …“. Zum
Kunstbegriff des späten Mittelalters und der Frühen Neuzeit
15:30 Uhr Diskussion
15:40 Uhr
Dennis Wegener (Wien): Das handschriftlich nachgetragene 117. Kapitel des Theuerdank-Drucks Rar. 325a der Bayerischen Staatsbibliothek München
16:00 Uhr Diskussion

16:10 – 16:30 Uhr: Pause

16:30 – 17:30 Uhr: Vorträge (Moderation: Andrea Riedl)
16:30 Uhr
Justyna Kuczyńska (Krakau): The Franciscan Breviary (Ms. Czart. 1211) in the Library of Princes Czartoryski in Kraków as a Masterpiece of the Neapolitan Illumination Art under the Aragonese Dynasty
16:50 Uhr Diskussion
17:00 Uhr
Christina Weiler (Wien): Die Meditationes vitae Christi – Franziskanische Devotionshandschriften des Trecento
17:20 Uhr Diskussion

17:20 – 18:00 Uhr: Abschlussdiskussion

This presentation of eight engravings by Andrea Mantegna (1431-1506) from the collections of the Bibliothèque nationale de France aims at showing that he was one of the first Italian artists to make prints as a medium in itself. They are complemented by two painted panels by Mantegna that belong to the Musée des Beaux-Arts de Tours.