pies, never printed as such.

The objects are not shown based on chronology, but on appearance: visual and pictorial affinities justify the correlation of, for instance, a cuneiform tablet and one of Frédéric Bruly Bouabré’s works. Beyond text and substance, universes written, drawn, traced and colored are shown in notebooks and diaries creating visual ties – a pictorial friendship – among one another.

The exhibited contemporary works are essentially part of the MAMCO (Geneva Museum of Modern and Contemporary Art) collection and from the Martin Bodmer Foundation, which lend the exhibition the historical perspective.

t have never been on view to the public.

As the Bechtler gets closer to its 10th anniversary on January 2, 2020, the museum has still not exhibited a sizeable portion of its holdings. In response to the ongoing inquiries about these never before seen works, this exhibition will explore the depth of the collection by highlighting works from well-known artists such as Joan Miró, Georges Braque, Jean (Hans) Arp and Pablo Picasso as well as extraordinary pieces by several artists whose works are rarely seen in the country.

There is much to these works that underscore the private aspects of collecting – certain treasures best appreciated up close in one’s home as has been the Bechtler’s approach in countless instances. Elegant portfolios of exceptional prints in virtually all media in that discipline; artist’s books celebrating the thoughtful and sometimes mysterious union between text, images and meaning and publications to honor figures, like Daniel-Henry Kahnweiler, who helped nurture the very emergence of the Modern movement.

There are rare pieces by artists who were early guides for the Bechtlers at the start of the family’s collecting, including the great playwright and Expressionist painter Oscar Kokoschka. Others marry the traditional aesthetic vocabularies of their native, non-European heritage with their experiences in modern Paris such as Kumi Sugaï (Japan), Rufino Tamayo (Mexico) and Wou-Ki Zao (China).

This exhibition reminds us of the broad range of the Bechtler collection. Naturalistic depictions are woven among works of increasing abstraction with themes ranging from the idyllic to the terrifying emphasizing the encyclopedia aspect of their interests.

for Cosimo di Medici in Florence and later for the royal courts of Lothringen, Paris, the Netherlands, and Spain.

Few other artists have succeeded in attaining world renown through their engraving artistry. Callot loved theatrical grotesques and elegant courtly scenes. His works are characterized by a tireless richness of detail that the beloved engraver endowed with a sense of monumentalism and captivating presence. His Disasters of War cycle has influenced artists from Francisco de Goya to Otto Dix. His oeuvre includes 1,428 graphic works; with its 500 engraving, the Kunsthalle Mannheim holds a good third of this total. In the exhibition "CALLOT: Graphic Monuments", the Kunsthalle Mannheim presents approximately 100 prints by Jacques Callot for the first time. Numerous prints have been restored ahead of the exhibition thanks to generous support from the Landesstelle für Museumsbetreuung Baden-Württemberg.

g the war-torn nation enabled Japanese artists to travel abroad to teach and study, and newly established exhibitions introduced their work to audiences all over the world. Printmaking continues to be a vibrant and ever-changing art form well into the 21st century.

This exhibition draws the Ringling Museum of Art’s extensive holdings of postwar Japanese prints and local collections. Established in the 1960s, the Ringling’s collection has continued to grow through the generosity of successive generations of discerning and passionate individuals. On display will be works by key artists including Onchi Kōshirō, Hiratsuka Un’ichi, Saitō Kiyoshi, Yoshida Chizuko, and Hoshi Jōshi, including a number of new acquisitions and never-before exhibited pieces.

Special thank you to Douglas B. Thweatt for the establishment of the Paul Grootkerk Memorial Endowment for exhibition support. Support for this exhibition has been generously provided in part by the Gulf Coast Community Foundation, Ringling Museum and the John and Mable Ringling Museum of Art Foundation.

of the earliest exponents of Italian monumental art was Andrea Mantegna, among whose major works is the ‘Triumph of Caesar’, made up of ten, large-scale panels which were originally mounted on one wall. Around 1500, Mantegna, ever the innovator, also produced a version of this work as a copper engraving. From then on, wall and ceiling paintings of all sorts were reproduced as prints. Out of an old art form a new one was born, one whose aim was to translate large and complex works into a format which was easy to comprehend and to handle. The printed sheets could be admired anywhere and they conveyed the concept of the artworks they represented in a way which was easier to grasp than the originals themselves. The exhibition presents around 120 works which are astonishing for their size and for their extraordinarily striking appeal as fully developed works of art.

The instability of their incarnations in constant metamorphosis offers to the public an inexhaustible and enjoyable playground.

ing earthquake, and the onset of world war—continued to influence Japanese prints. This exhibition explores Japanese artists’ reactions to the challenges of modernity from the late nineteenth to mid-twentieth century. It first examines the collapse of the traditional woodblock-printmaking industry in the face of the printing press and photography. Then, it traces the medium’s resurrection as an art form, through which printmakers recorded scenes of their changing country in striking new ways. Complemented by Japan Modern: Photography from the Gloria Katz and Willard Huyck Collection

prints and the Center works with auction houses, private clients and museums to provide accurate information. An archive of papers belonging to Dr. Alex Rosenberg , a publisher of prints by Dalí, exists at the Center and provides additional reference material for the Center’s work. Dr. Paul Cardile is the Center’s President.


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works to the Kunstmuseum Basel’s Kupferstichkabinett (Department of Prints and Drawings). They are especially fond of the Expressionists, above all Emil Nolde, and contemporary artists who create figurative work such as A. R. Penck, Jonathan Borofsky, Marlene Dumas, and Rosemarie Trockel. The key themes in the collection reflect the Raguse-Stauffers’ personal passions and interests; many works probe existential experiences such as love, death, and spirituality. In honor of their generosity, we present a selection of around seventy drawings and watercolors from the ample ensemble donated to the museum.

e, even the most acerbic satirists treat their subject with respect, while the mildest- mannered landscape artist can rail against the established order. Nevertheless, our aim is not to find parallels where there are none: some artists only produce political drawings, others devote themselves entirely to landscapes.
In this encounter between political draw- ings and poetic landscapes, it is the unfore- seen and surprising that gives the exhibition its direction, as if the works themselves were creating their own dialogue. Invisible threads are woven and unravelled, as Goya addresses Siné, Tomi Ungerer responds to Camille Corot, Alberto Giacometti strikes up conversation with Otto Dix and Paul Klee confides in Martial Leiter. As we discover, the language of drawing knows no bounds.