A civilization that does not value its artistic expressions does not value itself. Makoto Fujimura

Exhibitions 2020

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4 October – 30 August 2020, Dom Museum, Stephansplatz 6, Wien/Vienna: Family Matters. Beziehungen zwischen Familienmitgliedern prägen unser Leben, heute wie damals. Ausgehend von dem Wandel, den der Begriff Familie durchlebt, geht die Ausstellung der Frage nach, wie sich die unterschiedlichen Familienkonstellationen, ihre Bedingungen und Auswirkungen auf Individuum und Gesellschaft in der Kunst spiegeln. Von der Ein-Eltern-Familie über Sippenverbände bis zu „gewählten“ Familien zeigt sich durch die Epochen und in unterschiedlichsten Medien – Plastik, Grafik, Malerei, Fotografie und Videokunst – ein vielschichtiges Bild von dem, was Familie sein kann. Dabei steht die innere Dynamik der zwischenmenschlichen Beziehungen im Vordergrund. Nähe und Konflikte können an feinen, innerbildlichen Nuancen abgelesen werden. Auch gesellschaftspolitische oder ökonomische Zusammenhänge erschließen sich durch die Art der Repräsentation der Individuen in der Gruppe, durch ihr Umfeld oder ihre Haltung.

1 July – 23 August, Arnulf Rainer Museum, Josefspl. 5, Baden: Revue. 90 Jahre Arnulf Rainer, 10 Jahre Museum. Anhand von 90 Werken aus acht Jahrzehnten - alle Leihgaben kommen direkt aus dem Atelier des Künstlers - bietet die Ausstellung einen umfassenden Einblick in das malerische Schaffen Arnulf Rainers. Folgende Werkphasen sind in der Ausstellung zu sehen: die surrealistischen Zeichnungen der späten 1940er-Jahre; die frühen Zentral- und Vertikalgestaltungen und die monochromen Übermalungen der 1950er-Jahre; die großen Zyklen der „Face Farces“ und „Body Poses“, der Verrenkungen, der „Frauensprache“ und der „Kunst über Kunst“ sowie die gestischen Hand- und Fingermalereien ab den 1960er-Jahren; die Übermalungen naturwissenschaftlicher und anatomischer Studien ab Mitte der 1980er; die kontemplativen Kosmos-, „Geologica“- und Schleierbilder ab den 1990er-Jahren; Arnulf Rainers Spätwerk ab 2000 bis aktuell. Öffnungszeiten:

27 August – 15 November, Albertina Museum, Albertinaplatz 1, Vienna: Van Gogh, Cézanne, Matisse, Hodler. The Hahnloser Collection. The ALBERTINA Museum is devoting its spring exhibition of 2020 to one of the most important private collections of French modernist art. The Hahnloser Collection came together between 1905 and 1936, initially on the basis of close and friendly exchange between the collecting couple of Arthur and Hedy Hahnloser-Bühler and artist-friends including Pierre Bonnard, Ferdinand Hodler, Henri Matisse, and Félix Vallotton. Later on, the collection also came to include works by their predecessors including Cézanne, Renoir, Toulouse-Lautrec, Van Gogh, and others. 10 – 18 h (We, Fr until 21 h).

26 may – 1 November, Albertina Museum, Albertinaplatz 1, Vienna: The Renaissance of Etching. From Dürer to Bruegel. The early days of printmaking were punctuated by several important innovations that ended up giving rise to a multitude of technical processes by 1500. In this context, the emergence of the etching during the late 15th century along with its subsequent swift spread during the early 16th century represents one of the most important turning points. Following development of this technique’s basic elements in the workshops of armor decorators, German printmaker Daniel Hopfer began using etched (i.e., acid treated) metal plates to produce prints on paper. Etching proved so easy to do that artists from the most varied fields found themselves able to produce their own prints— and among this new medium’s pioneers were central artistic figures of the Renaissance such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder. 10 – 18 h (We, Fr until 21 h).



20 September 2019 – 20 September 2024: St Peter’s Church, Grote Markt 1, Leuven: Between Heaven and Earth. The restored St Peter’s Church in Leuven is the setting for an experience that touches all the senses. Immerse yourself in the fascinating story of this Gothic church and renew your acquaintance with its art treasures: outstanding works by Flemish Masters in their authentic context. ‘Mixed Reality’ brings Dirk Bouts’ Last Supper to life and lets you discover the vibrant Leuven of the past and present. The Last Supper by Dirk Bouts, an absolute masterpiece, is undoubtedly the most important highlight of Saint Peter’s Church. Moreover, with the exception of The Martyrdom of Saint Erasmus, it is the only artwork by a Flemish Primitive which, 600 years after it was painted, still hangs in exactly the same place for which it was intended.

12 March – 12 July, Groeningemuseum, Dijver 12, Bruges: Van Eyck in Bruges. This exhibition is devoted to two masterpieces by the Burgundian court painter from Bruges: 'Madonna with Canon Joris Van der Paele' and 'Portrait of his wife Margaretha van Eyck'. The exhibition will familiarise you with Jan van Eyck’s Bruges period and uses authentic documents to demonstrate what kind of lifestyle the artist led in Bruges and where he lived. Technical research shows how the painter went about planning his paintings and how he occasionally made radical changes during the creative process. The exhibition also focuses on Joris van der Paele who had an impressive career at the Roman Curia during an extremely turbulent period. He bore witness to the power-games which were played out between the pope and the antipope and was involved with negotiations concerning the Hundred Years’ War and the councils. Tu – Su, 9.30 – 17 h.

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6 December 2019 – 19 April 2020, St. Agnes Convent, National Gallery, U Milosrdných 17, Prague: Beautiful Madonnas. Beauty as an external characteristic, but also as a bearer of theological meanings, stood at the inception of the concept of “The Beautiful Style”. The term captures the specific appearance of artworks dating from c. 1400. The visual renderings of two Marian themes – the Madonna and the Pietà – are especially compelling. Whereas in Prague and Bohemia, sculptors and clients preferred the extraordinarily fine limestone that was extracted in the environs of Prague, in Salzburg – due to the lack of suitable natural stone – an artificial substitute was made of local ground limestone. Sculptures of Beautiful Madonnas, Pietàs and saints were then produced in great numbers from this artificial cast stone in Salzburg. Their creators often drew on the Prague types and models, and fashioned what is today a widely dispersed group of high-quality works. The exhibition displays sometwenty major artworks in the Beautiful style of Salzburg type some of which were discovered only in the recent years. Some are presented for the first time, others are shown side by side with the works most closely related with them. Their charm and beauty, but also iconographic differences, seeming naturalness and stylization of these sculptures offer a rare aesthetic experience. The project is a product of cooperation of the Mining and Gothic Museum (Bergbau und Gotikmuseum) in Leogang, the National Gallery Prague, the Academy of Sciences of the Czech Republic, the Chancellery of Austria in Vienna and other museums, religious institutions and private collectors. Tu – su, 10 – 18 h (we until 20 h).



20 January – 11 April, Centre for Human Flourishing, Sarum College, Salisbury: AWE: Paintings by Peronel Barnes in Response to Creation. Based on an experience of remote bothy life in Shetland, surrounded by sea and sky. Peronel experienced the rawness of elements which are the starting point for her paintings and drawings. Peronel Barnes is an award-winning painter based in Oxford, who has exhibited at the Royal Watercolour Society and the Royal Institute of Painters in Water Colours where she collected the Outstanding Watercolour Award in 2011. Her work hangs in private and public collections across the world. Visit her website at This exhibition is free and open to the public, all works for sale. Mo – Sa, 9 – 17 h, Su, 10 – 16 h.

7 February – 24 April, The Manger Gallery, 6 Kings Newton Fields, Kings Newton Lane, Melbourne, Derbyshire: Reaching Towards. An exhibition of work produced during Michael Cook's residency at The Community of the Resurrection, Mirfield. Mostly on the theme of the raising of Lazarus, the exhibition includes charcoal, pencil and ink drawings, and acrylic and oil pastel paintings. Accompanying booklet available from Mirfield Bookshop or Manger Gallery. Gallery open on request. Contact email / 01332 862365 ahead of your visit.

22 February – 31 May, The National Gallery, Trafalgar Square, London: Nicolaes Maes: Dutch Master of the Golden Age. Share a knowing look with mischievous eavesdroppers and peer behind the doors of 17th-century Dutch households... From illicit goings-on in servants’ quarters to portraits of high society, Nicolaes Maes captured life upstairs and downstairs in the Dutch Golden Age. Starting his career as one of Rembrandt’s most talented pupils, this exhibition – the first in the UK devoted to Maes – charts the artist’s rise to fame. Through nearly 50 paintings and drawings, it follows Maes’s move away from paintings of historical and biblical scenes, where Rembrandt’s influence is most clear, to the scenes of everyday life and portraits that made him one of the most sought-after artists of his time. Maes was an astute businessman, and produced over 900 portraits, adapting his style to reflect the high fashion and decoration of the second half of the 17th century. But it is his ‘genre’ scenes – which often feature the central character eavesdropping and breaking the fourth wall to interact directly with the viewer – which best reveal Maes’s inventive and distinct style. Exhibition organised by the National Gallery, London and the Mauritshuis, The Hague. 10 -18 h (Fr until 21 h).

27 February – 7 June, Ashmolean Museum, Beaumont St, Oxford: Young Rembrandt. Witness the meteoric rise of Rembrandt, from his first tentative works as a teenager in his hometown of Leiden, to the sublime masterpieces he produced in Amsterdam ten years later.
Beginning with his earliest known paintings, prints and drawings made in the mid-1620s, and ending at the moment he rockets to stardom in Amsterdam in the mid-1630s, this exhibition charts an astonishing transformation. This is the largest collection of works devoted to the young Rembrandt and includes over 30 of his paintings, and 90 drawings and prints from international and private collections. Don’t miss this unprecedented opportunity to examine young Rembrandt’s work and observe his remarkable metamorphosis from insecure teenager to the greatest Dutch painter of all time. 10 – 17 h.

28 February – 9 April, Oxford: Re-imagining the Stations of the Cross – Passion and Compassion. University Church of St Mary the Virgin, Oxford. A website and mobile app developed by the University Church in Oxford for Lent 2020 to encourage reflection on the narrative of the Passion. Weave your way around the city, from churches to museums, gardens to city rooftops, accompanied by meditations from leading academics, theologians, and artists. An exhibition introducing the project is on show in the Adam de Brome Chapel of the University Church until Easter (Mo – Sa, 9.30 – 17 h, Su, 12 – 17 h).

2 March – 3 April, Peterborough Cathedral, Minster Precincts, Peterborough: ‘Broken’ - paintings and drawings by Jennifer Bell. Jennifer Bell is a successful muralist, painter and book illustrator in her commercial work. However, this exhibition is a collection of smaller paintings and drawings that express her love for the language of metaphor, and imagery that draws on her own faith. Jennifer: "I want to explore the crossover between the real world and the spiritual. I delight in thinking in metaphor; preferring to imagine situations and narratives (particularly scripture) in pictures. I believe that we are all visionary – that God can speak to us powerfully through our visual imagination as well as through spoken truths. In fact, visualising spiritual concepts can be more compelling to a world that thrives on the visual; conveying emotion, posing questions, introducing tricky themes with metaphor, allowing personal discovery and revelation without being formulaic or clichéd. I like to paint fairly realistically and I appreciate beautiful things – I don’t set out to be an artistic ground breaker or ‘edgy’. What I do is tell a story (or a bit of one) in each painting, introduce the viewer to it, and invite them to continue the thought for themselves." 9 – 17 h.

12 March – 8 September, British Museum, Great Russell St, London: Edmund de Waal: Psalm and Library of Exile. Created as a ‘space to sit and read and be’, library of exile is an installation by British artist and writer, Edmund de Waal, housing more than 2,000 books in translation, written by exiled authors. Unveiled to great acclaim during the Venice Biennale 2019, this porcelain-covered pavilion is intended as a place of contemplation and dialogue. ‘It is about exile,’ says de Waal, ‘what it means to have to move to another country, to speak another language.’ From Ovid and Dante to Marina Tsvetaeva and Judith Kerr, the library forms a record of repression while celebrating the response of the displaced. Almost all of the books are in translation, reflecting the idea of language as a form of migration. Each book has an ‘ex libris’ label so visitors can write their name inside ones that matter to them. The collection can also be explored through an online catalogue where new titles can be suggested. Alongside the books hangs a quartet of de Waal’s own vitrines, psalm, I-IV (2019), holding pieces of porcelain, marble and steel. Their arrangements echo the composition of Daniel Bomberg’s 16th-century edition of the Talmud – a central text of Judaism – printed in Venice and notable for holding an Aramaic translation of the Hebrew text and commentary on a single page.The external walls of the library are painted with liquid porcelain into which de Waal has inscribed the names of the great lost libraries of the world – from Nineveh in sixth-century BC Assyria to those recently lost in Tripoli and Mosul. Following its time at the Museum, the books will be donated to the library of the University of Mosul, Iraq, which is currently undergoing reconstruction, with the help of Book Aid International. 10 – 17.30 h (Fr until 20.30 h).

25 March – 25 October, Salisbury Cathedral: Spirit and Endeavour. 20 iconic and important pieces of contemporary art by notable artists such as Henry Moore and Grayson Perry, exhibited both inside and outside the Cathedral. These works have been especially chosen to illustrate the changes in thought and creativity over the past 8 centuries and to honour the achievements of the ordinary people who built a city and a cathedral of such distinction.

4 April – 26 July, National Gallery, London: Artemisia. In this first major exhibition of Artemisia Gentileschi’s work in the UK, see her best-known paintings including two versions of her iconic and viscerally violent ‘Judith beheading Holofernes’; as well as her self-portraits, heroines from history and the Bible, and recently discovered personal letters, seen in the UK for the first time.

10 April – 19 April, OXO gallery, Southbank, Barge House St, London: Chaiya Art Awards 2020 How do 50 visual artists respond to the phrase God is … ? The Winners Exhibition, Affordable Art Fair. The Chaiya Art Awards is the UK’s largest art competition exploring spirituality through the visual arts, with a top prize of £10,000. From over 700 entries, the 50 artists  featured, in this curated and juried  exhibition, invite us to muse with them their experiences through  canvas and paper, photographs and video, cloth and stitch; 3D  metalwork and pottery; bronze and stone sculpture alongside an  interactive robot.  The winner will be announced on Press night. Visitors will also have their say by voting for the artwork on display during the exhibition for the public prize of £1,000. This exhibition is an invitation to look beyond, to discern what cannot be seen and grasp what cannot be described. 11 – 18 h. For more information, visit:  

15 April – 5 July, The National Gallery, Trafalgar Square, Charing Cross, London: Sin. Sin has permeated life since the earliest days. But until now the story of its relation to art has never been told.  Bringing together works of art that span centuries – from Bruegel and Velázquez to Andy Warhol and Tracey Emin – this exhibition explores the concept of sin in art. Defined universally as a regrettable fault, offence or omission, sin is something everyone can relate to. In Christianity, it is considered a transgression against divine law and many of the world’s major religions have similar concepts. This exhibition looks at complex theological ideas and depictions of ‘sinful’ everyday behaviour that blur the boundaries between religious and secular art. A concept that is universal, but at the same time highly personal, the exhibition asks you to define your own meaning of ‘Sin’.



18 March 2016 – 31 December 2020, Ateneum Art Museum, Kaivokatu 2, Helsinki: Stories of Finnish Art. Stories of Finnish Art illustrates the development of art in Finland from 1809 until the 1970s. At the exhibition, the story of Finnish art is juxtaposed with international developments in art and contemporary social events. On display, side by side, are Finnish and international masterpieces from our collections, such as Le Corbusier’s Two Women (1939), Hugo Simberg’s The Wounded Angel (1903), Edvard Munch’s Bathing Men (1907–08), and Vincent van Gogh’s Street in Auvers-sur-Oise (1890). The works on display in the halls of modern art highlight the post-Second World War reconstruction period and the emergent media society. The exhibition features paintings, sculptures and prints by Finnish and foreign artists such as Anitra Lucander, Unto Pusa, Ulla Rantanen, Anita Snellman and Sam Vanni. Prints by foreign artists are exhibited on a regularly changing basis. The exhibition also includes Eino Ruutsalo’s experimental films and advertisements. Tu – Fr, 10 – 18 h (We, Th until 20 h), Sa, Su, 10 – 17 h.



15 February – 14 June, Musée de Flandre, 26 Grand’Place, Cassel: Blessed Architecture! Blessed Architecture! will present for the first time to the public a collection to which a man devoted more than forty years of his life. He who dreamed of becoming an architect developed a passion for the Flemish and Dutch paintings of the 16th and 17th centuries, depicting the interiors of churches in perspective, a real challenge for the artist! At the end of the 16th century when the conflict between the Protestants and the Catholics was in full swing, artists with full baroque ardour were inventing a new way of representing the divine. So, they produced grandiose light-filled churches with majestic architectural lines, exalted by spirituality. Without however omitting the scenes of everyday life which took place there, with men, women, children and animals… thus linking the terrestrial world to the celestial. Through research and opportunities a unique collection of around fifty paintings, representative of the architectural painting of the Northern School, was assembled by this collector. Tu – Fr, 10 – 12.30 h, 14 – 18 h, Sa, Su, 10 – 18 h.

27 February – 5 July, Musée Marmottan Monet, 2 Rue Louis Boilly, Paris: Cezanne and the Master Painters. A dream of Italy. For the first time, the painter’s works will be presented alongside pictures by the great Italian masters from the 16th, 17th, 18th and 19th centuries. A remarkable selection of canvases by the forerunner of Cubism, including an iconic Montagne Sainte-Victoire, and the essential Pastorale and still lifes, will thus face a rare ensemble of paintings by the likes of Tintoretto, El Greco, Ribera, Giordano, Poussin and, in the modern era, Carrà, Sironi, Soffici and Pirandello, and of course Boccioni and Morandi. “Cezanne et les Maîtres. Rêve d’Italie” features some sixty masterpieces from leading public and private collections around the world (the Louvre and Musée d’Orsay in Paris, the National Gallery of Art in Washington, the Thyssen-Bornemisza collection in Madrid, the Pola Museum in Kanagawa, and the Walker Art Gallery, Liverpool, etc.). The first part of the exhibition will bring out the manifest importance of Latin culture in Cézanne’s work and the way in which he drew on the example of his illustrious predecessors in order to lay the foundations for his “new” painting. Given this strong Italian influence, it is hardly surprising that his own work should in turn have influenced artists south of the Alps. This is demonstrated in the second part of the show, where works by the masters of the Novecento, such as Carrà, and figures such as Morandi and Boccioni can be seen revisiting his concerns, thereby confirming the timeless importance of Cézanne’s work, and its pivotal role in the art of the 20th century. Tu – su, 10 – 18 h (th until 21 h). Closed on 1 May.

24 March – 19 July, Musée d’Orsay, 1 Rue de la Légion d'Honneur, Paris: James Tissot 1836-1902), Ambiguously modern. Jacques Joseph Tissot, born in Nantes and a student of the Ecole des Beaux-Arts in Paris, is a major artist of the second half of the 19th century. He was a fascinating, ambiguous figure whose career spanned the English Channel. Although he has regularly featured in exhibitions devoted to this period, this retrospective is the first dedicated to him in Paris since the exhibition organised at the Petit Palais in 1985. In the late 1850s, Tissot made his debut in the capital, where his passion for Japanese art and his connections with the most influential circles helped further his painting. In the melting pot that was Paris, in an era when modernity, as formulated by Baudelaire, found its expression in the paintings of Whistler, Manet and Degas, Tissot, with his dandy image, was popular with fashionable society. After the war of 1870 and the Paris Commune, he moved to London and pursued a high profile career where he moved in the best circles. Gradually his work focused on the initially radiant, then increasingly frail figure of his companion, Kathleen Newton, who was always present in his paintings. After her death in 1882, Tissot decided to return to France. His career continued with images of Parisian women of different social classes engaged in various occupations, the subject of a great series of paintings, Women of Paris), and explorations of mystical and religious subjects, with the Prodigal Son series and hundreds of illustrations of the Bible, which brought him great fame at the turn of the 19th century. With its focus on the figure of James Tissot and a desire to set the art of this painter in the artistic and social context of his time, the exhibition presents both the great successes of an artist who often created iconic images, and his boldest experiments. It also examines his materials and painting techniques, the themes that were dear to him and their variations, as well as his desire to express himself in different media, such as prints, photography and cloisonné enamels, in addition to painting. Tu – Su, 9.30 – 18.30 h (Th until 21.30 h).

26 March – 17 May, l’Espace protestant Marc Boegner, 27 rue de l’Annonciation, Paris: Exposition Le Monde Comme Jardin. Les rapports que nous entretenons avec la terre en la cultivant pour la nourriture ou l’agrément ne sont pas simplement rationnels et techniques. Comme beaucoup d’autres, les traditions bibliques témoignent de l’importance symbolique du jardin : l’épopée biblique commence dans le jardin d’Eden, planté par Dieu, où l’humain est à son tour institué jardinier ; et c’est dans le jardin urbain de la Jérusalem céleste que la fresque s’achève. Entre ces deux extrémités, le jardin du Cantique des cantiques, le jardin des Oliviers, Géthsémané et le jardin de Pâques où se promène un Christ-jardinier… Cette symbolique se déploie au Moyen-Âge dans le jardin des cloîtres dont le puits central figure la source de vie et les allées qui en rayonnent, les quatre fleuves d’Eden irriguant la terre. De leur côté, les jardins d’amour, les allégories du jardin de l’âme et du clos marial s’inspirent du Cantique des cantiques. La civilisation musulmane a elle aussi repris et développé l’art du jardin oriental comme lieu propice à la spiritualité. Une riche tradition qui a donné lieu l’exposition “Jardins d’Orient, de L’Alhambra au Taj Mahal” à l’Institut du monde arabe à Paris. Sous d’autres horizons, plus orientaux encore, les jardins zen sont conçus comme des lieux où tout doit favoriser la méditation intérieure. On le sait moins, mais la Réforme protestante fut elle aussi l’occasion de réflexions originales à propos des jardins. Inspirés par les récits bibliques de création, partageant l’émerveillement du Psaume 104, et dans la ligne de Calvin qui voyait dans le théâtre de la nature un don de la grâce, des réformés comme Bernard Palissy, Jean de Léry, Olivier de Serres ou Guillaume de Saluste ont imaginé et parfois expérimenté des approches novatrices de l’horticulture. L’exploration de ces jardins et des pensées qui les façonnent est le fil conducteur de cette exposition “Le monde comme jardin” conçue par L’Atelier protestant en collaboration avec la paroisse de Palaiseau-Vallée de Chevreuse sous le titre “Le monde comme jardin”.



13 December – 26 April 2020, Gemäldegalerie, Matthäikirchplatz, Berlin: Raphael in Berlin. The Madonnas of the Gemäldegalerie. As part of the Raphael anniversary celebrations in 2020, the Gemäldegalerie will be putting on a one-room show that brings together five Madonnas from their collection, which will be accompanied by loans from the National Gallery in London and the Kupferstichkabinett Berlin. Monday 6 April 2020 will mark 500 years since the death of Raffaello Sanzio da Urbino (born 6 April or 28 March 1483 in Urbino, died 6 April 1520 in Rome), one of the major artists of the Italian Renaissance. This occasion offers a chance to bring together the five depictions of the Virgin Mary from the collection of the Gemäldegalerie in a one-room show. The works, which are otherwise not exhibited in the same space, will come together here, entering into a dialogue with loans from the National Gallery in London and the Berlin Kupferstichkabinett. For the first time, the Terranuova Madonna tondo (ca. 1505) will be on display together with Raphael’s preliminary drawing for the head of the Terranuova Madonna from the Kupferstichkabinett. Hours:

20 January – 24 April, Kirchenamt der EKD/ Herrenhäuser Straße 12, Hannover: Lichtung Leipzig – Glasmalerei der Gegenwart. Gezeigt werden Entwürfe und Probefenster moderner Glaskunst, die in den vergangenen Jahren für Dorfkirchen in der Evangelischen Landeskirche Anhalts gestaltet wurden. Zu sehen sind Arbeiten von Undine Bandelin, Bastian Muhr, Sebastian Pless, Julian Plodek, David Schnell und Robin Zöffzig. David Schnell hat jüngst raumprägende Fensterensembles für den Naumburger Dom und die Christuskirche Köln geschaffen, Julian Plodek für die gotische Dorfkirche im thüringischen Walldorf. Die Ausstellung ist ein Beitrag der Evangelischen Landeskirche Anhalts. Sie wurde realisiert im Kontext des landeskirchlichen Kunstprojektes „Lichtungen. Moderne Glasmalerei in historischen Kirchen zwischen Harz und Fläming“, in das mittlerweile über 20 Kirchen aufgenommen wurden. Die Ausstellung  wird danach in der Christuskirche in Köln gezeigt. Öffnungszeiten:

27 February – 11 April, Stiftung St. Matthäus, Auguststraße 80, Berlin: Milko Pavlov – Facies. Passionsausstellung. Im Rahmen des Ökumenischen Aschermittwochs der Künstler am 26. Februar 2020 wird die Ausstellung des bulgarischen Künstlers Milko Pavlov in der Kirche St. Matthäus eröffnet.  Großformatige Frottagen aus Graphit und Wachskreide bilden abstrakte Abdrücke, die ein Gesicht allenfalls erahnen lassen. Was ist Realität? Was ist Projektion? Denn Milko Pavlovs Bilder kommen aus der Zukunft. Datiert im späten 21. und frühen 22. Jahrhundert, existieren sie streng genommen noch nicht – eine Rettungsmaßnahme, sagt Milko Pavlov, in der Hoffnung, dass es unsere vielfach gebeutelte Welt dann noch geben wird. Di – So, 11 – 18 U.

10 April – 26 April, Deutsches Architekturmuseum (DAM), Schaumainkai 43, Frankfurt am Main: Böhm 100. The Concrete Cathedral of Neviges. Gottfried Böhms 100th birthday is on January 23, 2020. We intend to celebrate it: with an exhibition devoted to the pilgrimage church in Neviges, one of his most important designs. Commissioned by Franciscan monks and the second largest church in the Archdiocese of Cologne, a concrete cathedral was built between 1963 and 1968. The folded roof is currently being refurbished with an innovative textile-reinforced concrete layer. In 2005 and 2006, there were major exhibitions at the DAM of the work of Gottfried Böhm and his father Dominikus Böhm. This exhibition presents archive materials from when the pilgrimage church was built and associates them with a view of the future. An extensive series of lectures brings together Böhm’s three architect sons, provides an insight into the technique of concrete restoration, and also enables the film “Die Böhms – Architektur einer Familie” to be shown in Frankfurt again. For further events please visit: We, 10 – 20 h, th – su, 10 – 18 h.

14 April – 21 June, Draiflessen Collection, Georgstr. 18, Mettingen: Hope. Part 3 of the exhibition trilogy FAITH, LOVE, HOPE. People have hope, cling to hope, lose hope, regain hope, or hopelessly despair. But what does hope mean? In the final part of our exhibition trilogy FAITH, LOVE, HOPE, the Draiflessen Collection will focus on the concept of hope as a principle of openness to possibilities that are in actuality not (yet) available. Works of art from the twentieth and twenty-first centuries, including pieces by Michael Buthe, Duane Michals, and Fritz Winter, will highlight ambiguities and possible contradictions: is hope the confidence that “everything will go well”, or is it something closer to blind delusion? Is it invigorating and motivating, or might it not actually be paralysing? The works in this show will demonstrate that the process of hoping involves a shifting of the boundaries of knowledge, experience, and consciousness, that these boundaries can be transcended or completely dissolved. Via the medium of art, hope thus becomes an object of contemplation, self-inquiry, and discussion. Artists: Joseph Beuys, Lee Bul, Michael Buthe, Sofia Hultén, Wolfgang Mattheuer, Duane Michals, Anna Oppermann, Antoni Tàpies, Philippe Vandenberg, Fritz Winter. A richly illustrated, trilingual catalogue (German, English, Dutch) will be published in conjunction with the exhibition. We – su, 11 – 17 h.

29 May – 25 October, Erzbischöfliches Diözesanmuseum und Domschatzkammer, Markt 17, Paderborn: Peter Paul Rubens and the Baroque in the North. The Paderborn Diocesan Museum presents the famous Flemish artist and his pupils in Westphalia. Peter Paul Rubens (1577-1640) is indisputably one of the most important masters of Flemish Baroque and was already the star of his profession during his lifetime. From his workshop in Antwerp, new pictorial ideas spread throughout Europe – all the way to Paderborn. When Paderborn Cathedral was hit by bombs shortly before the end of the Second World War on 17 January 1945, the air-raid bombs also destroyed a unique testimony to Baroque art: the altarpiece of the mighty high altar created for the eastern choir by the Antwerp artists Antonius and Ludovicus Willemssen. Although the precious painting was torn to shreds, these were miraculously preserved. The fragments, now reassembled, form the starting point for the major RUBENS exhibition in the Paderborn Diocesan Museum. Tu – Su, 10 – 18 h (every first we of the month until 20 h).



19 February 2018 – 26 February 2025, Uffizi Galleries, Piazzale degli Uffizi 6, Florence: Caravaggio and the 17th century. Hours:

21 March – 23 June, Palazzo Pitti, Piazza de' Pitti, 1, Florence: Stories of Painted. Pages, Manuscripts and Illuminations Recovered by the Florentine Cultural Heritage Protection Unit. Ancient illuminated manuscripts and pages and illuminations cut out of their original volumes from Italy's numerous religious institutions, stolen and subsequently recovered by the Heritage Protection Unit, celebrate the tremendous task performed over the years by the Carabinieri's art sleuths, focusing visitors' attention on the extreme fragility of our art historical heritage and on the need for protection and proper conservation. The exhibition presents a number of exemplary "case studies" revealing the various methods adopted to reconstruct the history of such items, which have often been tampered with in an attempt to facilitate their sale on the black market. The items can often be traced back to their original physical and geographical context relying on sometimes minimal clues while making optimal use of interdisciplinary expertise. In addition to explaining the features peculiar to this group of codices in relation to the history of illumination, the exhibition shines the spotlight on the pages recovered to date and, where relevant, also on those that have yet to be found. Tu – su, 8.15 – 18.50 h.



6 March – 31 May, Rembrandthuis, Jodenbreestraat 4, Amsterdam: HERE. Black in Rembrandt’s Time. There were black people in seventeenth-century Holland, here, in society and in art, too. This fact has long—and undeservedly—been neglected. Rembrandt and many of his contemporaries actually made superb works of art featuring black people. But what is so striking about them? The stereotypes that would later determine the image of black people were yet to predominate. And black people were not just minor figures with subordinate roles, but the central subjects of the works of art. What were the circumstances in which these unusual works of art were created? And why did the type of images change after around 1660? HERE: Black in Rembrandt’s Time showcases artists who wanted to capture the visual world, the impact of the Transatlantic slave trade and a small society of free black people who lived in Amsterdam’s Jodenbreestraat. 10 – 18 h.

10 March – 7 June, Museum Helmond, Kasteelplein 1, Helmond: Lucas Gassel: Master of Landscapes. The first major retrospective of this sixteenth-century master of landscape painting. Works on loan from around the world, including Belgium, Germany, Mexico, and the USA will be brought together for the first time. We know little about the life of Lucas Gassel. His father was a painter in Helmond. It has been assumed that Lucas left for Antwerp at the turn of the sixteenth century. At that time, Antwerp was an important city for the arts in the south of the Duchy of Brabant, of which Helmond was also part. Lucas later moved to Brussels, where he remained until his death according to Van Mander. He was posthumously included in prominent art historical sources as an important painter of his time. Yet, in the sixteenth century Lucas Gassel (ca. 1488 -1568/69) was a successful painter and artist. He is one of only a handful of artists whose names we know as early practitioners of the landscape genre, together with Joachim Patinir (ca. 1480-1524) and Herri met de Bles (ca. 1510-ca-15510). Gassel’s oeuvre consists of panel paintings, drawings and prints made after his design. They show compositions in a landscape format, with sweeping mountainous landscapes in the background and in the foreground mostly biblical subjects. Tu – Fr, 10 – 17 h, Sa, Su, 12 – 17 h.

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18 February – 24 May, Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid: Rembrandt and Amsterdam portraiture, 1590-1670. For the first time in Spain, the museum is presenting an exhibition on Rembrandt’s activities as a portraitist, a genre in which the most important Dutch painter of the 17th century also reached the highest level. Together with around thirty nine of his portraits, the exhibition will include major examples by other artists active alongside him in Amsterdam during the Dutch Golden Age, with a total of 80 paintings, 16 prints and an etching plate, some never previously seen in Europe. Tu – Su, 10 – 19 h (Sa until 21 h).



4 May 2019 – 5 April 2020, Kunstmuseum St. Gallen, Museumstrasse 32, St. Gallen: Altmeister – Geschichten: Die Schenkung Maria und Johannes Krüppel-Stärk. Das Ehepaar Maria und Johannes Krüppel-Stärk hat dem Kunstmuseum  St. Gallen seine grossartige Kollektion vermacht: 57 Gemälde, 89 Zeichnungen, 1 358 Druckgrafiken niederländischer und deutscher Herkunft vom 15. bis zum 17. Jahrhundert. Das St.Galler Altmeisterwunder findet so eine wunderbare Fortsetzung, insbesondere dank der reichen Grafiksammlung, die den Altmeister-Bestand grundlegend erweitert. Herausragend sind die religiösen Szenen der deutschen Kupferstecher, allen voran Schongauer und Dürer. Einen weiteren Schwerpunkt bildet die Landschaftsdarstellung, wobei die Entwicklung von der flämischen Gebirgsphantasie zur «realistischen» holländischen Flachlandschaft im Zentrum steht: Viele grosse Namen, von Bruegel d. Ä. über van Ruisdael bis zu Rembrandt, sind mit Hauptblättern vertreten. Ausgesuchte holländische Zeichnungen, etwa von van Goyen, ergänzen perfekt die vorhandenen Werkgruppen der betreffenden Künstler und Stilrichtungen. Ebenso führen Gemälde von Cuyp, van Kessel und Ruysch völlig neue ikonografische Aspekte in die Sammlung ein. Altmeister-Geschichten wird den magistralen Zuwachs in thematischen Facetten präsentieren und vielfältig in Bezug setzen zur bestehenden Sammlung. Öffnungszeiten: ;

2 July 2019 – 1 July 2021, Reformierte Kirche Veltheim, Feldstrasse 6, Winterthur: Transformation# – Temporäre Kapelle Dorfkirche Veltheim. Vernissage Mittwoch, 4. September, 18.30 Uhr mit einer Installation des iranisch - schweizerischen Künstlers Navid Tschopp. Im 21. Jahrhundert ist mitten in Winterthur neben einer reformierten Kirche eine neue Kapelle entstanden. Während der zweijährigen Projektdauer entstehen insgesamt 12 Installationen in der temporären Kapelle und schaffen einen neuen Raum der Inspiration für Begegnungen zwischen Kunst und Kirche. In der Auseinandersetzung mit der Geschichte und aktuellen Themen soll Neues erfahren und wahrgenommen werden können. Reformation. Tausend Jahre Dorfkirche Veltheim. Weiterbauen an der Kirche. Eine Kapelle auf Zeit. Baumaterial der Asylunterkunft Kirche Rosenberg. Wärmedämmung aus.  alten Noten und Geschichten. Ein spiritueller Raum. Kirche trifft Kunst. Transformation.

26 August – 26 April 2020, Frauenklinik Fontana, Lürlibadstrasse 118, Chur: Hans Thoman Skulpturenausstellung. Die Ausstellung ist jederzeit frei zugänglich.

31 January – 26 April, Kunsthaus Zürich, Heimplatz 1, Zürich: The poetry of line. Masterpieces of Italian drawing. The Kunsthaus Zürich presents a selection from its small but prestigious collection of Italian drawings covering the period between Renaissance and Baroque. In addition to a familiar gem from the Collection of Prints and Drawings – Raphael’s study for a fresco in the Vatican Palace – it reveals some previously unknown, masterful examples of the art created by Italians who have secured their place in art history, from Correggio and Guercino to Carlo Maratti. Tu – Su, 10 – 18 h (We, Th until 20 h).

1 February – 26 April, Kunstmuseum Basel, St. Alban-Graben 16, Basel: Luminous Figures. Drawings and Stained Glass Paintings from Holbein to Ringler. In the sixteenth century, small-format glass paintings are a popular art form in southern Germany and even more so in the Old Swiss Confederacy. In fact, if the scholar Johann Fischart (1546/47–1591) is to be believed, glass paintings are to Switzerland what fir cones are to the Black Forest and snow to the Alps. These are works of art of outstanding quality that graced town and guild halls, universities, monasteries, and hospitals. The panels were executed by professional glass painters, based on designs commissioned from renowned artists of the time. Hans Holbein the Younger, Niklaus Manuel, Urs Graf, and Tobias Stimmer were among those who created preparatory drawings for glass paintings. Few of the final works are extant today, but numerous design drawings have survived. Institutions such as the Swiss estates (now known as cantons), guilds, and other corporations as well as individuals commissioned stained glass paintings. Showcasing around ninety works from its golden age in the sixteenth century, the presentation offers a survey of glass paintings and design drawings from Basel, with forays into the art scenes of other cities like Berne, Nuremberg, and Schaffhausen. Juxtapositions of drawings and stained glass paintings illuminate the close interrelation between the two art forms. Tu – Su, 10 – 18 h (we until 20 h).

22 February – 24 May, Kunstmuseum Basel, St. Alban-Graben 16, Basel: Picasso, Chagall, Jawlensky. Masterworks of the Im Obersteig Collection. The third comprehensive presentation of the Im Obersteg Collection at the Kunstmuseum Basel inquires into the reception of Marc Chagall’s early oeuvre in Basel, the discovery of Chaïm Soutine in Paris, and Karl Im Obersteg’s role in Alexej von Jawlensky’s difficult final years during the Second World War. Picasso’s monumental painting Arlequin assis (1923), which was the Im Obersteg Collection’s pièce de résistance for many years, was sold after Karl Im Obersteg’s death in 1969 and remains in private hands. For the first time in fifty years, we are now able to exhibit this masterwork surrounded by the treasures of the Im Obersteg Collection—and accompanied, needless to say, by its sibling, the Basel Arlequin assis. Tu – Su, 10 – 18 h (We until 20 h).

27 February – 10 April, Matthäuskirche (Hertensteinstrasse 30) and Peterskapelle (Kapellpl. 1a), Luzern: Es geht Aufwärts … Kunst in der Passionzeit. Der Ostschweizer Künstler Hans Thomann bringt neue Ebenen und Blickwinkel in die Kirchenräume. Ein katholischer und ein reformierter Kirchenraum in der Stadt Luzern - darin ein Künstler, der zwei Installationen zum Thema realisiert, das Fragen aufwirft: Geht es wirklich aufwärts? Und wohin? Die Passionszeit vergegenwärtigt Jesu Scheitern und Hoffnung. Wie gehen wir mit Schmerzen und Scheitern um? Was bedeutet der Gegensatz von Dunklem/Schwerem und Hellem/Leichtem, Leiden und Erlösung? Was ist unser «Unten» und «Oben»? Samstag, 14. März 11 Uhr Kurz-Performance mit Hans Thomann in der Matthäuskirche, danach Gespräch mit dem Künstler. Anschliessend Mittagsimpuls «zwölfnachzwölf» zum Passions-Thema in der Peterskapelle. Öffnungszeiten:



14 January – 26 April, National Gallery of Canada, 380 Sussex Drive, Ottawa, Ontario: William Blake 1757-1827: Illustrated Books. Tu – Su, 10 – 17 h (Th until 20 h).

17 April – 8 May, Swallowfield Farm, 7296 Telegraph Trail, Langley, BC: A Creature Chronicle. Considering Creation: Faith and Fable. Fact and Fiction”. The artist Betty Spackman created a 15-panel double-sided circular art installation about 24 feet in diameter and 8 feet high. The painted and collaged images taken from a multitude of art, science and faith references are meant to provoke contemplation and conversation about the difficult questions of what it is to be human. From the stories of genesis to the still-being-written stories of contemporary bioscience, layers of concern and celebration are woven together around our complex philosophical debates about creation in the context of developing post/trans humanism. The intent of this exhibition is to create conversations around pertinent, timely questions of what it is to be human and the various narratives about our origins and future as human beings. Speakers for the Symposium include National and International Scientists and Artists. This exhibition presents the Christian Faith in relation to Science and the Arts. Panel speakers are both Christian and non-Christian scholars and artists. Ma, tu, th, 10 – 16 h, sa, 12 – 16 h. We, reserved bookings for classes & groups, contact Betty Spackman at



16 October 2018 – 4 October 2020, MET, New York: In Praise of Painting. Dutch Masterpieces at the Met. Dutch paintings of the seventeenth century—the Golden Age of Rembrandt, Hals, and Vermeer—have been a highlight of The Met collection since the Museum's founding purchase in 1871. This exhibition brings together some of the Museum's greatest paintings to present this remarkable chapter of art history in a new light. Through sixty-seven works of art organized thematically, In Praise of Painting orients visitors to key issues in seventeenth-century Dutch culture—from debates about religion and conspicuous consumption to painters' fascination with the domestic lives of women. The exhibition provides a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from Benjamin Altman's bequest, the Robert Lehman Collection, and the Jack and Belle Linsky Collection. Works typically displayed separately in the Museum's galleries—such as Rembrandt's Gerard de Lairesse and Lairesse's own Apollo and Aurora—are presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation also provides the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman's A Vase of Flowers—one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period's major works of art theory, Philips Angel's The Praise of Painting (1642), a pioneering defense of realism in art. Hours:

2 July 2019 – 1 June 2020, New Bedford Whaling Museum, 18 Johnny Cake Hill, New Bedford, MA: De Wind is Op! Climate, Culture and Innovation in Dutch Maritime Painting. The exhibition will explore our extraordinary collections of Golden Age Dutch and Flemish paintings through a fresh lens. These works will be interpreted around the themes of wind, climate and sea as the drivers behind a uniquely Dutch national identity represented in maritime works of art of this period. Dutch artists arguably invented seascape painting, and were the first to specialize in this genre. Their influence reverberates in all that followed, from the work of J.M.W. Turner to Winslow Homer to New Bedford artists William Bradford and Albert Pinkham Ryder. De Wind is Op! will include up to 50 paintings, prints, and other related artifacts drawn from the Museum’s Dutch collections, one of the largest and important of this genre outside of the Netherlands. There will also be a complementary exhibition in the fall of 2019 of European and American prints, paintings, and charts related to wind and climate themes. Hours:

18 January – 20 April, San Jose Museum of Quilts and Textiles, 520 S 1st St, San Jose, CA: Shirley Cunningham and Marianne Lettieri present Never Ending Thread.  Working with repurposed materials, needle, thread, light and shadow, their individual art installations celebrate the creative drive behind human optimism and perseverance. The opening reception is Sunday afternoon, January 19. We, Th, Fr, 11 – 16 h, Sa, Su, 11 – 15 h.

1 February – 30 April 2020, Wadsworth Atheneum Museum of Art, 600 Main St, Hartford, CT: Rembrandt’s 'Titus in a Monk’s Habit'. Rembrandt van Rijn (1606–1669) painted his teenage son in the guise of a monk at a crucial moment in his late career when he was revamping his business as a painter and recovering from bankruptcy. While this painting has been infrequently seen in America, it exemplifies the dramatic use of light and dark to express human emotion for which Rembrandt’s late works are especially prized. Titus, born in 1641, was the fourth and only surviving child of Rembrandt and his first wife Saskia who soon died. Within a few years, Rembrandt’s family life turned destitute and hard. In the painting, Titus is draped in a dark brown hooded cloak, his eyes downcast, his face bathed in light. It is a superb example of a visual expression of quietness, tranquil meditation, musing recollection—a portrayal of a whole cluster of human emotional tones. On view in the Baroque gallery, this loan from the Rijksmuseum in Amsterdam gives visitors a rare opportunity to experience a late portrait by the Dutch master. We – Fr, 11 – 17 h, Sa, Su, 10 – 17 h.

15 February – 26 July, Detroit Institute of Arts (DIA), 5200 Woodward Avenue, Detroit, MI: From Bruegel to Rembrandt: Dutch and Flemish Prints and Drawings from 1550 to 1700. Starting in the sixteenth-century, Flemish and Dutch artists turned to everyday subjects, describing the landscape and people around them with humor and loving detail. This exhibition from the DIA collection will include more than seventy works on paper, highlighting prints by Pieter Bruegel I, Hendrick Goltzius, and Rembrandt van Rijn, as well as drawings by Bartolomeus Breenbergh and Esias van de Velde.

21 March – 15 November, Minneapolis Institute of Art (Mia), 2400 Third Avenue South, Minneapolis, Minnesota: Rembrandt in Conversation. A main thread in the history of art is the centuries-long conversation between artists. Many paid attention to what others had done or were doing and then responded— sometimes obviously, sometimes not; sometimes approvingly, sometimes not. Rembrandt was an avid participant in the discussion. He had a tremendous knowledge of historical art. He also had a competitive streak. This exhibition takes a sample of Rembrandt’s prints and puts them in the company of art that triggered his interest. Also included is the work of other artists reacting to Rembrandt. We can almost hear the ideas bouncing around the room. Tu – Su, 10 – 17 h (Th & Fr until 21 h).



30 March – 12 April, Exhibition Space, Northmead Creative and Performing Arts High School, Campbell street, Northmead: Suffering and the Human Spirit: Stations of the Cross. This is a cooperative venture between Northmead CAPAHS and Northmead UCA. Each year we invite 15 artists to participate. We randomly allocate each artist an individual station with a short brief and give them 9 plus months to work on their particular station. We invite artists to participate because we think they are good artists and have the capacity to address significant existential questions through their art practice. Each year we experience a lively encounter with the works and times of deep, reflective, conversation. On the opening night each year when you look around there are multiple communities coming together in this project: artists, school (teachers, students, parents), wider community and church. 10 – 16 h (except on 30 March: 18.30 – 20.30 h).

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