Art is the John the Baptist of the heart, preparing its affections for Christ. Jacques Maritain

Exhibitions 2020

For conferences and events, click here




10 July 2020 – 31 January 2022, M Leuven, Leopold Vanderkelenstraat 28, Leuven: The Seven Sacraments. The central work in this presentation is the masterpiece ‘Triptych with the Seven Sacraments’, which has been on loan to M since 2009. It is a masterpiece of medieval painting by the Flemish Primitive Rogier van der Weyden (1399/1400–1464). In a ground-breaking composition, Van der Weyden depicts all seven sacraments clearly and distinctly. In 2009, M presented a major exhibition about Van der Weyden entitled The Master of Passions. The seven sacraments once structured the entire lifecycle of the Catholic faithful. Each sacrament was the beginning of a new chapter, first on the journey to adulthood and later as a mature member of the faith community. The administering of each sacrament entails certain ritual practices and accompanying liturgical objects. In this focus room, you can discover a number of rare artistic objects that date from the fifteenth to the eighteenth century and which were all used for rituals and customs associated with the seven sacraments. These include a number of masterpieces of late medieval metalwork that were made for important and historic religious sites in Leuven, such as the Church of Saint Michael and the Church of Saint John the Baptist. These pieces are now part of the collection at M. Fr – tu, 11 – 18 h, th, 11 – 22 h.

15 October – 31 December, Keizerskapel, Keizerstraat 23, Antwerp: A Modello (1611) for the High-Altar of Antwerp Cathedral. Rubens’s Assumption of the Virgin from about 1613 in the Kunsthistorisches Museum in Vienna was meant to become the High-Altar in the Antwerp Cathedral. The first commission for it dates from about 1610/11. On 24 March 1611, Otto Venius submitted a sketch to the Chapter of the Antwerp Cathedral, representing Our Lord inviting his Bride from Lebanon to her Coronation. Shortly after, on 22 April, Rubens (successfully) submitted two modelli, as a result of the negotiations following the meeting with Otto Venius. Today three ‘surviving’ modelli can be taken into consideration for this commission. Two of them are well known and e.g. published by David Freedberg. Starting with a painting on panel (transferred to canvas, 106 x 78 cm) by Rubens in the Hermitage Museum in Saint Petersburg showing a combination of the Assumption and Coronation of the Virgin and widely accepted as one of the two modelli submitted to the Canons of Our Ladies Cathedral in Antwerp.  The second modello has not been convincingly identified yet. Much discussed is an Assumption of the Virgin (panel, 102 x 66 cm) by Rubens in the Royal Collection in London which on the other hand seems to be of  later date (about 1613). The hereby presented panel (about 1611) also represents the Assumption of the Virgin (panel, 105 x 66 cm) and over-all similarities with the London-panel are obvious. But there are important differences which are interesting in the hereby started discussion and which puts it closer to the final version (Vienna). It especially asked for attention after dendrochronology pointed out that its wooden panel (consisting of three planks in oak-wood) came from a tree cut down in 1590. About 1610 they were in perfect condition to be painted. The Antwerp panel differs from the London-version e.g. in the Virgins right palm (turned upwards) and in two angels holding a wreath of laurels, appearing to the right in a cloud. These angels are absent in the London-panel but reappear in a similar pose in the final version in Vienna. Another angel to the left, at the same level as the Virgin’s floating dress, under the arms of a praying angel, is also missing in the London-version. The hereby studied panel in any case dates from the period in which Rubens presented two modelli to the canons of Antwerp Cathedral (1611). The Virgin, the angels, the women near the tomb, the coats of the apostles, and more, do in no way differ from what one might expect from Rubens. It is certainly not a copy after the Vienna-altarpiece, differs from the version in Buckingham Palace and thus from the existing engraving by Bolswert. It must at this moment be considered the earliest known example of the many known representations of The Assumption of the Virgin attributed to Rubens. It was in the possession of the Sisters of the Augustine Order in Brussels (nowadays Berlaymont-site), probably from the seventeenth century on. Hours: For more exhibitions in Belgium, click here



30 October 2021 – 13 February 2022, The Gabrielle Jungels-Winkler Galleries, Burlington Gardens, Royal Academy of Arts, 6 Burlington Gardens, London: Late Constable. The exhibition will explore Constable’s late career, from 1825 until his unexpected death in 1837, through his paintings and oil sketches as well as watercolours, drawings and prints. It will be arranged in chronological order exploring the extensive cross-fertilisation of his ideas between different media. Hours:

20 November – 27 February 2022, The National Gallery, London: Dürer’s journeys. Artists were some of the first travellers in history and definitely some of the proper culture tourists. They would go to other countries and visit their historical monuments, famous paintings or explore the art trends among the painters living in those countries. During his travels, Albrecht Dürer visited the Alps, the Netherlands, Italy  and Venice. As an artist, he captured those countries in his travel drawings, too. This fantastic exhibition follows his journey through letters, prints, drawings and paintings. Hours:;



2 June 2020 – 31 December 2022, 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.



10 September 2021 – 24 January 2022, Musée Jacquemart-André, 158 Boulevard Haussmann, Paris : Botticelli. A major survey of the Italian Renaissance artist Sandro Botticelli is due to open this autumn at the Musée Jacquemart-André in Paris. It will include masterpieces from important US and European collections, such as Madonna and Child (1467-70) from the Musée du Louvre; The Return of Judith to Bethulia (1469-70) from the Cincinnati Art Museum; Judith Leaving the Tent of Holofernes (1497-1500) from the Rijksmuseum; and Portrait of Giuliano de' Medici (1478-80) from the Fondazione Accademia Carrara. Botticelli will be presented as a “designer, the head of a major studio in Florence producing paintings—of course—but also drawings for embroideries, marquetry, prints and illuminations,” says the exhibition co-curator Pierre Curie. The exhibition will demonstrate how the artist alternated between the production of one-off paintings and works produced in series, often by his many assistants, reflecting how his studio was transformed into a laboratory of ideas and training centre characteristic of the Italian Renaissance, say the organisers. Works by other leading 15th-century artists such as Verrocchio and Fra Filippo Lippi will also feature. Hours:

10 septembre – 9 janvier 2022, Musée d'Art Moderne de Paris, 11 Av. du Président Wilson, Paris : Anni et Josef Albers - L'art et la vie. Dans l'esprit du Bauhaus, cette exposition inédite consacrée à Anni et Josef Albers organisée par le Musée d'Art Moderne de Paris réunit plus de trois cent cinquante œuvres (peintures, photographies, meubles, œuvres graphiques et textiles) significatives de l'évolution de ce couple d'artistes habité par la passion de créer, d'innover et de transmettre. Horaires :

5 October – 23 January 2022, Musée du Petit Palais, avenue Winston Churchill 8e – Paris: Ilya Répine (1844-1930): Painting the soul of Russia. This is the first French retrospective dedicated to Ilya Repine, one of the greats of Russian art. Little known in France, Repine’s oeuvre is nevertheless considered a milestone in the history of Russian painting of the 19th and 20th centuries. Some one hundred paintings, including very large format works, will be on loan from, notably, the State Tretyakov Gallery in Moscow, the State Russian Museum in Saint Petersburg and the Ateneum art museum in Helsinki, Finland. The exhibition allows visitors to retrace the career of this illustrious Russian painter through his masterpieces. Ilya Répine, Autoportrait, 1887. A key figure in the art world of his time, Repine took an interest in different aspects of culture, from literature to music and science. He was very close to many Russian personalities such as the writer Leo Tolstoy, the composer Modest Mussorgsky, and the collector Pavel Tretyakov. Witness to the many upheavals that shook Russia during his lifetime, Repine was particularly attentive to the profound historical and social changes that shaped his country, echoing them through his work. Hours: 

7 October – 15 May 2022, Musée Nissim de Camondo, 63 Rue de Monceau, Paris : The British writer and ceramist Edmund de Waal is the guest for a carte blanche, a first in this unique and memorial place. Echoing his new book “  Lettres à Camondo  ” (Éditions Les Arts Décoratifs) published on April 16, 2021, in which the author retraces with sensitivity the tragedy of Camondo's family, this exhibition is another way for Edmund de Waal to to revisit a family house with a tragic destiny, which resonates singularly with that of his Viennese family in 1938. It bears the mark of his passion for literature and bears witness to his lifelong obsession with porcelain. Hours:



10 September – 2 January 2022, Gemäldegalerie Alte Meister, Theaterplatz 1, Dresden: Johannes Vermeer. Johannes Vermeer’s Girl Reading a Letter at an Open Window is one of the world’s most famous works from the ‘Golden Age’ of Dutch painting. It was acquired for the collection of the Saxon Elector Frederick August II in Paris in 1742 and since then it has been part of the Dresden Old asters Picture Gallery. Since 2017, this early masterpiece by Vermeer has been undergoing restoration following careful scientific investigation. Recent research has shown that the extensive area of overpainting in the background was not done by Vermeer himself. Removal of this overpainting has revealed a depiction of a standing Cupid (god of love) as a “painting within the painting” on the rear wall of the room, thus radically changing the overall appearance of the work. The spectacular result of the restoration will give viewers a different perspective on the painting. The Girl Reading a Letter will be the centerpiece of the exhibition along with nine other paintings by Vermeer. Some 50 works of Dutch genre painting from the second half of the 17th century will be on display. Paintings by Pieter de Hooch, Frans van Mieris, Gerard Ter Borch, Gabriel Metsu, Gerard Dou, Emanuel de Witte and Jan Steen will show the artistic environment in which Vermeer worked and with which he was in close contact. Hours: ;

15 October – 13 December, Hospitalhof Stuttgart, Büchsenstr. 33, Stuttgart: Werke aus der Sammlung der Stiftung Christliche Kunst Wittenberg. Zu sehen sind Arbeiten von Georges Rouault, Max Beckmann, George Grosz, Günter Grass, Bernhard Heisig, Pablo Picasso, Michael Morgner, Kurt Mühlenhaupt, Michael Triegel, Joseph Beuys u. a. Die Kunstwerke der Ausstellung thematisieren existentielle Grundfragen menschlichen Lebens im Spiegel biblischer Bilder, Gleichnisse oder Themen der christlichen Ikonographie. Erkennbar wird, dass und wie selbst die jüngste Kunst durch die abendländische-christliche Tradition geprägt wird. Die Ausstellung wird kuratiert von Christhard-Georg Neubert, dem Vorsitzenden des Vorstandes Stiftung Christliche Kunst Wittenberg. Mo – Sa, 10 – 18 U, So, 10 – 13 U.

6 November – 23 January 2022, Religio - Westfälisches Museum für religiöse Kultur GmbH, Herrenstraße 1-2, Telgte: Geheimnis der Heiligen Nacht 2.0. Das Museum präsentiert über 140 zeitgenössische Krippen, von der Schnitzarbeit bis zum Lichtinstallation. Die Künstlerinnen und Künstler aus ganz Deutschland haben sich mit dem Thema „Geheimnis der Heiligen Nacht“ auseinandergesetzt und zur Aufgabe gemacht, die Weihnachtsbotschaft für die heutige Zeit neu zu interpretieren. Natürlich ist auch die Corona-Pandemie in einige Werke eingeflossen. Die Ausstellung ist wie immer erfrischend kreativ und künstlerisch ausdruckstark. Öffnungszeiten:

3 April 2022 – 18 October 2022, Hotel St. Elisabeth und im Haus Ulrika des Kloster Hegne, Konradistraße, Allensbach-Hegne:  TALITA KUM – steh auf! Thematische Ausstellung mit 60 Künstlerinnen und Künstlern aus Baden-Württemberg in Kooperation mit der Gemeinschaft Christlicher Künstler (GCK) in der Erzdiözese Freiburg. Die Vernissage findet am 3. April 2022 11U  statt. Die Finissage und die Preisverleihung am 16. Oktober 14.30 U.



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



25 June 2021 - 9 January 2022, Museum Catharijneconvent, Utrecht: Mary Magdalene. The Exhibition. Mary Magdalene is one of the most enigmatic women from the New Testament. Through a trans-historical display of artistic representations from the eleventh century to the present day, this exhibition explores the enduring fascination for this mysterious saint. 

18 September – 16 January 2022, Stedelijk Museum Alkmaar, Canadaplein 1, Alkmaar: Allart van Everdingen (1621-1675) – The Rugged Landscape. Allart van Everdingen was born in Alkmaar, but lived in Haarlem and Amsterdam for most of his life. To mark the four hundredth anniversary of the birth of this innovative artist, Stedelijk Museum Alkmaar is staging the first retrospective of his diverse oeuvre. In 1644 Allart van Everdingen traveled through Norway. An inspiring experience, decisive for his career. He subsequently made countless paintings, drawings and etchings of rugged landscapes with waterfalls, log cabins and spruce trees. These at first glance realistic snapshots of Norwegian nature, on closer inspection, turn out to be artistic constructions, conceived and executed in the workshop. Van Everdingen created a new genre in Dutch art, which was eagerly sought after and imitated. Moreover, Allart’s impressive mountain views were an important source of inspiration for the painters of the Romantic era in the nineteenth century. Hours:

3 October - 6 March 2022, Dordrechts Museum, Museumstraat 40, Dordrecht: In the light of Cuyp. Aelbert Cuyp & Gainsborough - Constable – Turner. To celebrate the 400th anniversary of the birth of Aelbert Cuyp (Dordrecht 1620 – 1691 Dordrecht) the Dordrechts Museum is organizing a major exhibition from 27 September 2020 to 14 March 2021. Aelbert Cuyp is Dordrecht’s most famous painter. In his time, however, Cuyp was quintessentially a local artist, who was virtually unknown outside his hometown. He was discovered in the 18th century, first and foremost by British artists and collectors. For the first time In the light of Cuyp will focus on the appreciation and collecting of Cuyp and his influence on British landscape painters from the 18th to the 19th century. The exhibition aims to show about 35 of the most important paintings by Aelbert Cuyp, temporarily bringing them back to the town where they were made. Furthermore, for the first time the story will be told of the appreciation of Cuyp: his influence on English painters will be shown with works by famous artists like J.M.W. Turner, John Constable and Thomas Gainsborough. By 1800, no significant paintings by Cuyp remained in his homeland. This craze for his works has been described as ‘Cuyp Mania’.

13 October – 30 January 2022, Frans Hals Museum, Groot Heiligland 62, Haarlem: At Home with Jordaens. Where the Northern Netherlands had Frans Hals, Rembrandt and Vermeer, in the Southern Netherlands they had their own Great Three: Jordaens, Rubens and Van Dyck. This exhibition focuses on Jacob Jordaens, with his great flair, worldliness, individuality and typicalities. Jordaens made portraits, historical scenes and genre paintings until well into his old age. His next of kin were often a source of inspiration to him. His home served as his showroom and the room where he received his – wealthy – clients was spectacularly decorated with his own work. Especially for this exhibition a reconstruction of that reception room will be made in the Frans Hals Museum, which enables visitors to feel as if they were ‘at Jordaens’ home’ for a moment, surrounded by many works that have never been shown together before. Hours:

For more exhibitions in The Netherlands, click here



4 September – 12 June 2022, Agnes Etherington Art Centre, Queen's University, 36 University Avenue, Kingston, ON: Studies in Solitude: The Art of Depicting Seclusion. The social and moral implications of retreating oneself in solitude were vigorously debated in early modern Europe. While the benefits of a solitary state were exalted in the context of scholarly study and Christian devotional practice, they were also understood to carry a moral obligation of mental fortitude. Theologians in particular warned that time away from family and community could lead to depressive episodes or leave one vulnerable to temptation. Who was advised—or perhaps permitted—solitude, then, was carefully negotiated by cultural and societal norms. The artworks brought together in this exhibition illustrate how early modern Dutch artists such as Rembrandt van Rijn, Jacob van Campen, Heyman Dullaert and Cornelis Bisschop confronted the accepted limits of seclusion in their work. Representations of figures solitarily engaged in studies, prayer, or song provided opportunities for an artistic exploration of human interiority and helped inspire ideals of devotion and erudition. Situated in the context of renewed concerns around topics of isolation and exposure brought on by the 2020-2021 pandemic, Studies in Solitude also considers how such images participated in the development of gendered and class-based conceptions of privileged space that are still felt today. Hours: 

30 October – 6 February 2022, Langley Centennial Museum, Langley B.C.: Upstream/Downriver: Walking the stɑl̓əw̓ Watershed at the Langley Centennial Museum. A collaborative project of both research and art about climate change on the lower Fraser River watershed. The new display takes audiences on a journey of walking, listening, and learning. Artists Alysha Creighton, Erica Grimm, and Joshua Hale have combined video, sound, installation, and drawing to connect viewers to the realities of climate impacts in the region. Commonly referred to as the Fraser River, stɑl̓əw̓ is the hən̓q̓əmin̓əm̓ word for “big river.” One piece by Grimm and Tracie Stewart suspends bandaged cedar roots and willow branches from the museum’s ceiling, drawing a river through the gallery space. Creighton’s video work immerses viewers in the river, seeking to dissolve boundaries between human and environment. Hale’s work explores the potential effects of climate change on the region, imagining multiple possible futures. Hours:

17 November – 12 December, Dal Schindell Gallery, 5800 University Blvd, Vancouver, BC: Four Visions: Outside Looking In. Various Artists of The Colour Collective, an interdisciplinary group of local artists whose practices both engage and express experiences of disability. This exhibit features work by photographer Akim Zongo, painter Dan Tell, painter James Lash, and photographer and potter Sheri Lynn Seitz. Four Visions: Outside Looking In celebrates the unique experience that each artist brings to their work, while engaging the shared experience of isolation that people living with disability can face. Mo – Fr, 8.30 – 16.30 h, Sa, 12 – 16 h.



7 March 2021 – 2 January 2022, Dallas Museum of Art: Devoted: Art and Spirituality in Mexico and New Mexico. Historically, as well as in the present day, depictions of Christ, the Virgin Mary, and numerous saints and other figures have played a vital role in the ceremony and pageantry of Catholicism, acting as visual representations of beliefs and ideas, and serving as a focal point for devotion and prayer. Devoted: Art and Spirituality in Mexico and New Mexico features devotional works drawn from the DMA’s Latin American collection, exploring interrelated artistic traditions in the two regions. The exhibition spotlights the complexity and artistic qualities of these objects, which embody the active spiritual relationship between their creators, patrons, and communities. Admission is FREE.

1 September – 30 December, Art Story Gallery, 1201 McCollum Dr, Bentonville, AR: Sandra Bowden: Word as Image with approximately 25 collagraphs and mixed medium collages that span the last 25 years of Sandra Bowden’s career are part of this show. Sandra Bowden's work is a complex meditation on time, incorporating Biblical archaeological references and ancient text in her art. The mystery of the word as a vehicle of communication across generations has been an important component of her personal iconography, using segments of language and text as design within the image. Her visual imagery is a provocative example of art centered both figuratively and literally in word. She finds a source of mystery in the evolution of the word , visibly recorded and presented historically in a variety of ways. Images from her Text Series and Collage Series are included in this exhibition along with several from Bowden's Crucifixion Series. The natural progression of her work has led her to a new form with the introduction of artist's books. The text has now been presented in a three dimensional format using an actual book as the painting surface. Su, 8.30 – 12 h, Mo – Th, 9 – 16.30 h, (We, Th until 20 h).

1 October – 30 December, St. Mark’s Episcopal Church, 2128 Barton Hills Drive, Austin, TX: Sandra Bowden: Cradle to Cross. Contains 26 drawings on gold leaf of crosses and historic altarpieces that span the life of Christ. 

15 October 2021 – 7 March 2022, Norton Simon Museum , 411 W Colorado Blvd, Pasadena, California: The Expressive Body: Memory, Devotion and Desire (1400-1750). In the early modern period—that is, the centuries following the Middle Ages—works of art were thought to have such power that they affected the viewer physically. In some ways, this concept is still familiar to us: visual imagery can make us laugh, blush or even feel the sting of tears. Other responses, however, are less recognizable. In both Europe and Latin America, images were believed to heal or to injure. Theories of vision suggested that through the process of perception, images could literally stamp themselves onto the mind of the viewer. The Expressive Body examines the ways in which the human form has provoked powerful responses, from the physiological to the mystical. For viewers in the 15th to 18th centuries, these physical effects were assumed to be part of the experience of looking at and interpreting art objects. From erotic works produced for wealthy patrons to venerated statues of the wounded Christ in local chapels, representations of the body stimulated visceral and often self-reflexive reactions of desire, compassion or aversion. Viewers experienced art objects in multisensory ways, by caressing sculptures, handling prints and kissing sacred images. But even a glance could have potential consequences. Medical theory suggested that gazing at representations of beautiful lovers could lead to the conception of handsome and healthy children, while spiritual practice encouraged meditating on the portrayal of a tortured martyr in order to empathize with his or her torment. Indeed, works of art could be dangerously convincing, blurring the line between real and represented bodies. In the story of Apelles, the favorite painter of Alexander the Great, the artist painted a beautiful portrait of Campaspe, Alexander’s mistress. The representation was so flattering that Alexander chose the painting over Campaspe herself. Francesco Trevisani’s clever 1720 depiction of this apocryphal episode, which would have amused 18th-century Roman patrons, makes an argument for the beguiling power of painting. Trevisani represents a languid Campaspe alongside Apelles’s own painting, cheekily aligning himself with the legendary artist, and the viewer with Alexander. Titillating images like this one were pleasurable to look at, though they sometimes came with a moralizing message. In Jan Massys’s lush depiction of the biblical story of Susanna and the Elders (1564), the viewer’s lustful impulses at seeing virtuous Susanna’s nude body are checked by the grotesque portrayal of leering old men, triggering shame in addition to desire. Hours:

15 October – 9 January, Hispanic Society Museum & Library, 613 West 155th Street, Manhattan: Gilded Figures: Wood and Clay Made Flesh. This splendid exhibition will offer a rare glimpse of a major art form from the Hispanic World 1500–1800: polychrome sculpture. Building on the legacy which Archer M. Huntington left the museum, the institution has added to its holdings of this material so that today the HSM&L boasts the finest collection of these works outside Spain. 

17 October – 27 February 2022, National Gallery of Art, Constitution Avenue NW, Washington, DC: Clouds, Ice, and Bounty: The Lee and Juliet Folger Fund Collection of Seventeenth-Century Dutch and Flemish Paintings. Depicting a rich cross section of seventeenth-century Dutch and Flemish life and culture, this exhibition brings together 27 paintings acquired through the generosity of the Lee and Juliet Folger Fund over the past two decades, supplemented by one painting from Lee and Juliet Folger’s personal collection. Assembled with care and passion, the collection includes landscapes by Jacob van Ruisdael and Salomon van Ruysdael, winter scenes by Jan van Goyen and Adam van Breen, genre paintings by Dirck Hals and Caspar Netscher, seascapes by Reinier Nooms and Simon de Vlieger, still lifes by Clara Peeters and Frans Snyders, and portraits by Thomas de Keyser and Jan Miense Molenaer. Seen together, this collection offers a unique opportunity to enjoy some of the finest productions of Dutch and Flemish artists of the seventeenth century. A fully illustrated catalog will consider composition and technique as well as the broader historical context of each work. Hours: 

19 October – 29 November, Arts on Alexander, 2111 Alexander Ave., Austin, TX: Revealed at Arts on Alexander. The concept of an “illustrated Bible” conjures, for some, soft-focused feathery-winged angels, perfect pairs of well-behaved animals peeking out the ark’s windows, or baby Jesus snuggled into his pint-sized Jenny Lind manger. These cozy images often belie the earthy realism of the Bible’s contents. Revealed shows the Bible in all its raw, violent, and beautiful glory. As J. Mark Bertrand attests, “Revealed sets out to crush any notion that the Bible is a safe, inspirational read. Instead the artwork here takes a warts-and-all approach to even the most troubling passages, trading well-meaning elision for unvarnished truth. Revealed features twenty-three works from the book, Revealed: A Storybook Bible for Grown-Ups. This collection of contemporary works, many created by CIVA member artists, features various printmaking techniques and covers the entire story of Redemption—from the Fall in Genesis through the New Creation promised in Revelation. Curated by CIVA graphic designer and creator of Square Halo Books, Ned Bustard, the exhibition includes art by Margaret and Ned Bustard, Tanja Butler, Matthew L. Clark, Wayne L. Forte, Craig Hawkins, David Busch Johnson, Diego Jourdan Pereira, Edward Knippers, Kevin Lindholm, Steve Prince, Mark T. Smith, Justin Sorensen, Ryan Stander, and Kreg Yingst.

10 November – 24 January 2022, J. Paul Getty Museum, 1200 Getty Center Drive, Los Angeles, CA: Rubens: Picturing Antiquity. A passion for the art and literature of classical antiquity inspired the dynamic Flemish painter Peter Paul Rubens (1577–1640). Presented amidst the antiquities collection at the Getty Villa, this exhibition juxtaposes the artist’s exhilarating drawings, oil sketches, and monumental paintings with rarely shown ancient objects, including exquisite gems owned by Rubens himself. Heroic nudes, fierce hunts, splendid military processions, and Bacchic revels attest to the artist’s extraordinary ability to translate an array of sources into new subjects. Hours:

15 November – 15 March 2022, Dordt University, 700 7th St. NE, Sioux Center, IA: Heads, Faces, and Spiritual Encounter at Dordt University. In the history of the human race has there ever been an individual who has not drawn some simulate of a head or a face?  From the Neolithic Plastered Skull found in Jericho, Jordan to a child’s earliest markings in the 21st Century it is the face that captures the attention as we try to make sense of our world.  HEADS, FACES, AND SPIRITUAL ENCOUNTER draws on this fascination of the human heart and mind. From noted artists such as Henri Mattise, Marc Chagall, Otto Dix, David Alfaro Siqueiros, Paul Wunderlich, Bernard Buffet, Georges Rouault, Eric Gill, Giovanni Castiglione, Karl Schmidt-Rottluff, Werner Drewes, and Leonard Baskin to self-taught artists such as Elder Anderson Johnson and Rodney Charles Hardee to anonymous African artists from Ife, Nigeria and the Dan Peoples with many known and lesser-known artists of high quality in between, this exhibition offers a thoughtful and enjoyable glance at the mystery of the human face. It is hoped that in these forty some-odd works, differing in conceptions, styles and media, the viewer will find not only something that will arrest their attention aesthetically but also will intrigue them emotionally and intellectually. Furthermore, we dare hold the aspiration that after seeing HEADS, FACES, AND SPIRITUAL ENCOUNTER that the viewer will never again take the faces of family, friends and those around them for granted.



For conferences and events, click here