Artist Henri de Toulouse-Lautrec and performer Aristide Bruant were among the best image-makers in Paris in the 1890s. Bruant’s clever self-fashioning and Lautrec’s brilliant artistic abilities were perfectly suited to the medium of the color poster, together producing some of the most revolutionary and iconic images of the time. Mary Weaver Chapin explores the role of the poster in the nascent celebrity culture, focusing on the remarkable partnership between Lautrec and Bruant while also considering the broader climate of entertainment and promotion in fin-de-siècle Paris.

The Italian Giovanni Battista Piranesi (1720–1778) is considered to be the greatest print artist of his time. For the first time in a decade, a large Piranesi exhibition will be shown in the Netherlands. The Kunsthal is presenting over seventy large-format prints by Piranesi from the impressive graphic art collection of Museum Boijmans Van Beuningen. As an artist, Piranesi became known in the eighteenth century for his ‘Vedute di Roma’, an extensive series of etchings of impressive views of the ruins and monuments of Rome. In his famous series of prints featuring imaginary prisons, the ‘Carceri d’Invenzione’, Piranesi – who was originally an architect – expressed his spatial fantasies. Prints of rare quality are shown from both these series, as well as eight colossal books that highlight the dizzying imagination of Piranesi – as an artist, researcher and designer.

The Kunsthal helps in keeping the collection of Museum Boijmans Van Beuningen visible as part of the city-wide project ‘Boijmans Next Door’, in which eight locations are participating. Between January 2019 and January 2020, the Kunsthal will collaborate with Museum Boijmans on realising three exhibitions. After ‘Picasso on Paper’, an exhibition of prints by Giovanni Battista Piranesi will be shown from 25 May and an exhibition on the subject of landscapes will follow in the autumn.

This exhibition introduces audiences to the work of early modern painter-etchers of Irish birth or heritage. These artists made a significant contribution to the so-called Etching Revival of the 1880s, earning the recognition of their peers and contemporary art critics. Key works by Robert Goff, Edward Millington Synge, Percy Gethin, Roderic O’Conor, William Booth Pearsall, Estella Solomons, and Stella Steyn are included. The etchings of Irish artists are shown alongside examples by Whistler, Séguin and other Etching Revival printmakers who had a direct influence on their work.

An illustrated catalogue presents new research on this all-but-forgotten aspect of Irish art, addressing the motivations and challenges faced by Irish printmakers within the context of the Etching Revival and contemporary Irish art.

The exhibition features material from the National Gallery of Ireland, The Hugh Lane Gallery, the National Library of Ireland, Trinity College Dublin and the Crawford Art Gallery, Cork as well as prints from the British Museum and the University of Glasgow: The Hunterian.

The history of printmaking has been punctuated by moments of great invention that have completely changed the course of the medium. The beginning of etching in Europe in the late fifteenth and early sixteenth centuries—when the technique moved out of the workshop of armor decorators and into those of printmakers and painters—represents one of those pivotal moments. Etching, essentially drawing on the surface of a metal plate, had an ease that opened the door for all kinds of artists to make prints. The pioneers of the medium included some of the greatest painters of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder.

This exhibition will trace the first seventy years of the etched print (circa 1490 to circa 1560), from its emergence in the workshop of the German printmaker and armor decorator Daniel Hopfer to the years when a range of artists from Germany, Flanders, Italy, and France began experimenting with etching. Approximately 125 etchings, produced by both renowned and lesser-known artists, will be displayed alongside a number of drawings, printing plates, illustrated books, and armor.

The exhibition Louise Bourgeois: Ode to Forgetting focuses on prints and textile works the artist made in her 80s and 90s. Many of the works incorporate fabrics and embroidery, reflecting a lifelong interest in textiles connected to Bourgeois’ childhood years in her family’s business of tapestry restoration. Explorations of time and memory were of importance throughout her life and career, and are especially palpable in these late works.

Louise Bourgeois (1911-2010) is one of the most renowned artists of the 20th century. For more than ninety years, Bourgeois made drawings daily, beginning in childhood and continuing until her death at age 98. She made art because she had to, and described her practice as a means of survival, a lifelong managing of vulnerabilities, traumas and nightmares. As she put it directly, “Art is a guarantee of sanity.”

Bourgeois’ artistic career spanned more than seventy years, although she practiced in relative obscurity until the 1970s. Through these decades she continually transformed personal experience and dream imagery into a visual language distinctly her own. Bourgeois is perhaps best known for powerful sculptures, including monumental spiders, human figures, and anthropomorphic shapes, but she made drawings daily, and returned regularly to printmaking.

This symposium coincides with a major exhibition devoted to Edvard Munch’s innovative prints, "Edvard Munch: Love and Angst", on view at the British Museum until July 21, 2019.

A group of international scholars will discuss the critical influence of Munch’s early years in Kristiania, his interest in travel and the inspirational effect of the cultural avantgarde and new ideas in technology and science on his art and printmaking techniques.

PROGRAM

9:30 Registration

10:00
Welcome
Hartwig Fischer, Director, British Museum

10:05
Introduction
Stein Olav Henrichsen, Director, Munch Museum

10:15
Keynote
Patricia Berman, Wellesley College
'Reading Munch’s Interruptions: Memory, Matter, and the Self'

11:15
Anna Schultz Akademie der Kuenste, Berlin
'From Eugène Carrière to Max Klinger: Symbolist printmakers within the orbit of Munch'

11:40
Elin Kittelsen (Oslo)
'A Ticket to Ride: The restless modernity of Munch’s literary universe'

12:00
Questions and discussion

12:30 Lunch (not provided)

14:00
Allison Morehead (Queen’s University)
'Sick Prints'

14:25
Ute Kuhlemann Falck (Munch Museum, Oslo)
'Idea and Reality: Edvard Munch and the Woodcut Technique'

14:45
Questions and final discussion

Please visit the 'External Link' below for more information and to register.

In conjunction with the exhibition "Rembrandt: Thinking on Paper" at the British Museum (Gallery 90, February 7–August 4, 2019), this study day at the Warburg Institute is an in-depth exploration and re-evaluation of Rembrandt’s graphic oeuvre, intended for graduate students, post-graduate researchers, curators, and museum professionals. The morning program comprises six lectures pertaining to questions of production, collecting, reception, cataloging and connoisseurship of Rembrandt’s prints and drawings.

About the Exhibition
The exhibition reveals the immediacy and personal nature of his prints and drawings which, unlike his paintings, were usually made on his own initiative. Dutch artist Rembrandt van Rijn (1606–1669) is among the best-loved artists in the world. The British Museum has one of the greatest collections of Rembrandt’s works on paper and a selection of these treasures is being exhibited to mark this milestone anniversary. Thematic displays of self-portraits, landscapes, portraits and biblical scenes showcase his artistic development and working methods, while chronological comparisons reveal how he tirelessly pushed boundaries. Comprising 65 prints and drawings, this stunning exhibition will highlight Rembrandt’s technical and creative ingenuity on paper.

Please visit the 'External Link' below to view the program and to register.

This retrospective exhibition gathers nearly 300 works on paper in various media (painting, ink wash, pencil, red chalk, lithography, etc.) covering more than 50 years of creation. Edmond Quinche (Swiss, born 1942) is a master printer who specializes in lithography. Trained at the École cantonale d'art de Lausanne, Switzerland, he participated in the following artistic groups devoted to the promotion of printmaking: L'Épreuve (founded in 1964) and the Atelier de taille-douce et de lithographie in Villette (then the Atelier de Saint-Prex; founded in 1971).

This special exhibition provides a rare look at over 100 original works on paper by the pioneering artist and his circle of friends. From the private collection of curator Robert Flynn Johnson and organized by Landau Traveling Exhibitions, Los Angeles, CA in association with Denenberg Fine Arts, West Hollywood, CA, Edgar Degas: The Private Impressionist offers unique insights into Degas’ inner world. Johnson’s collection includes more than 50 works by Degas himself along with a collection of drawings, prints, photographs, and monotypes created by Degas’s inner circle of artists. Pieces offering a fascinating look at the artist’s life and time include works by Mary Cassatt, Édouard Manet, Jean-Léon Gérôme, Alfred Stevens, Camille Pissarro, and Paul Cézanne to name a few.

A fully illustrated catalog written by Degas scholar and Curator of the Royal Academy of Art, Ann Dumas accompanies the exhibit.

Helen Frankenthaler Prints: Seven Types of Ambiguity celebrates the generous gift of ten prints and five related trial proofs from the Helen Frankenthaler Foundation to the Princeton University Art Museum. Spanning five decades and more than a dozen distinct technical processes, these works represent the continuous and generative role of printmaking in Frankenthaler’s oeuvre while also tracing the ascendance of the American Print Renaissance and the emergence of a critical discourse for abstraction in the latter half of the twentieth century. Featuring approximately fifty works in total, the exhibition draws the prints from the Foundation’s gift into conversation with additional works variously focusing on Frankenthaler’s compositional language, working process, collaborations, evocations of place, and historical referents, revealing the vitality of the artist’s work in prints throughout her remarkable career.