ArtWay

The beauty in seemingly insignificant things is opened for us by the artist’s eye. Abraham Kuyper

Exhibitions 2020

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AUSTRIA

4 October – 30 August, 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.   https://www.dommuseum.at/

15 May – 10 October, KULTUM. Zentrum für zeitgenössische Kunst & Religion, Mariahilferplatz 3, Graz: Alois Neuhold: Innergärten und Trotzdemblüten. Verstreute Blütenblätter aus dem Gartenbuch eines verlorenen Paradieses. Di – Sa 11 – 17 U, So 17 20 U. Für die Ferienzeit (14. Juli–13. September) haben wir in diesem Sommer auch in den Abend hinein geöffnet: Di – S0  16–20 U.   https://www.kultum.at/einrichtung/137/literatur/einmuseuminderzeit/2020/2020_ausstellungen/article/15986.html

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: https://www.arnulf-rainer-museum.at/de/infos-und-kontakt/

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). https://www.albertina.at/en/exhibitions/van-gogh-cezanne-matisse-hodler-the-hahnloser-collection/

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). https://www.albertina.at/en/exhibitions/the-renaissance-of-etching-from-duerer-to-bruegel/

 

BELGIUM

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. https://www.visitleuven.be/en/between-heaven-and-earth-vanaf-200919

Until 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. https://www.museabrugge.be/en/calendar/exhibitions/jan-van-eyck-in-bruges-1

17 June – 17 July, Keizerskapel, Keizerstraat 21-23, Antwerp: About Johannes Vermeer (Delft, 1632-1675). A case study. Referring to the manner of Johannes Vermeer is a painting dating from the second half of the 17th century that appeared only recently. Although not in too good condition, it is certainly interesting from the art-historical point of view as it does not copy already known compositions by Vermeer and/or his contemporaries. It represents a young woman with wine glass and musician playing a tenor recorder (oil on canvas, 47 x 47 cm) with all the ingredients of a Vermeer-painting on show. The right part of our painting shows a young musician playing a tenor recorder and a woman (a maid?)  behind a window (with transparent green curtain) in an adjacent room. She observes the scene without the young lady and the musician being aware of her presence. The chairs in the background with their lion-heads are also very Vermeer-like and so is the typical gray-wall. Further comparisons can be made with works by Pieter de Hooch, Gabriel Metsu, …. but it seems justifiable that our painting refers to an unknown composition by Johannes Vermeer, dating from the beginning of the 1660’s. Mo 12 – 18 h, Sa, Su, 13 – 18 h. https://www.codart.nl/guide/agenda/about-johannes-vermeer-delft-1632-1675-a-case-study/

For more exhibitions in Belgium, click here

 

ENGLAND

New dates to be announced, 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). https://www.nationalgallery.org.uk/exhibitions/nicolaes-maes-dutch-master-of-the-golden-age

New dates to be announced, 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.
https://www.nationalgallery.org.uk/exhibitions/artemisia?gclid=EAIaIQobChMI5O7YwpuE6AIVkUDTCh3zRgdAEAAYASAAEgI6JPD_BwE

New dates to be announced, 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’.   https://www.nationalgallery.org.uk/exhibitions/sin

20 March – 2 August, PACCAR 2, The British Library, 96 Euston Road, London: Hebrew Manuscripts: Journeys of the Written Word. Through rarely-seen treasures from as far back as the 10th century, this exhibition takes you from Europe and North Africa, through to the Middle East and China to explore the relationships between Jews and their neighbours in the communities that they lived in. How much knowledge and culture were exchanged between these groups? Fascinating works displayed on music, science and philosophy by famous Jewish scholars suggest there was more than we might think. Witness both the high points and the lows of these relationships. An Italian rabbi’s reply to Henry VIII, who sought advice on divorcing his first wife. A 13th-century Anglo-Jewish charter showing the passing of property between people of different faiths. And the signs of conflict as we encounter Christian censorship in Jewish texts. 9.30 – 18 h. https://www.bl.uk/events/hebrew-manuscripts

26 June – 28 August, Robilant + Voena, 38 Dover Street, London: Race Matters: Seeing The Black Figure In The European Tradition. Black figures—individuals, types, and fantasies—have been a ubiquitous presence in Western art since antiquity. Often hidden in plain sight, they have been historically overlooked or their lives discounted as lost to history. Recent events in the struggle for racial equality and justice are inspiring renewed consideration of the history of Black people on a global scale. Even the most cursory overview of the history of Western art will reveal the extent to which Black people were part of European society in many different roles, informing the ways in which European artists and craftsmen imagined their world. Yet, images of Black people often indexed their subservient status and affirmed a kind of exoticism that rendered them fundamentally different or “other.” With the rise of the slave trade, colonialism, abolition, and imperialism framing Europe’s dominating relationship to Africa and Africans from the seventeenth through the nineteenth century, the fraught engagement of European art featuring Black bodies became even more charged. Race Matters takes a broad overview of this dynamic, assembling works of European art from the sixteenth through the eighteenth centuries in which Black people figured in various contexts such as biblical figures, historical personages, allegories, court servants, decorative types, and free Blacks. Understanding how people of colour have figured in the history of European art provides an opportunity to learn more about the lived experiences of people often overlooked in history and to face the ways in which art was complicit in upholding racial hierarchies. By appointment. https://www.robilantvoena.com/exhibitions/225/

1 July – 15 July, Aleph Contemporary, 169 Piccadilly, 5F, London: Alastair Gordon: Without Borders. Online and by appointment.   https://alephcontemporary.com/

 

FINLAND

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. https://ateneum.fi/nayttelyt/stories-of-finnish-art/?lang=en

 

FRANCE

15 February – 30 August, 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.   https://en.museedeflandre.fr/sacree-architecture-la-passion-dun-collectionneur

Until 3 January 2021, 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).   https://www.marmottan.fr/en/expositions/cezanne-and-the-italian-masters/

3 June – 17 July, Galerie Catherine Putman, 40 rue Quincampoix, Paris: Per Kirkeby, gravures et monotypes. Born in 1938 in Copenhagen, the painter, sculptor, engraver, filmmaker and writer Per Kirkeby was a major figure in contemporary Scandinavian art. He died in 2018 in the city in which he was born. In a selection of prints made from 1989 to 2013, the exhibition shows the variety and printing techniques that Kirkeby used: drypoint, aquatint, wood engraving, lithography and also monotypes, another aspect of his printmaking work. Per Kirkeby made monotypes from the end of the 1980s. In 2009, in its first monographic exhibition of work by the artist, Galerie Catherine Putman showed a series of large vertical monotypes made in the 2000s.  This time, a large monotype dated 2010 and measuring 186 x 139 cm and two others of medium format illustrate this practice by the artist. As in his painting, we see again the ochre and brown tones and the strata and faults that are a reminder of his training as a geologist. A monotype is the proof of a painting made on a metal, glass or plexiglass plate. The artist works freely on the chosen support using printing inks. A sheet of paper is laid on the painted plate and passed through a press. Two drypoint and aquatint engravings, also monumental, dated 1989-1990 show that Kirkeby had a broad approach to printmaking and the scales of work that this allows. The choice of format and its verticality invite a look at the monumentality of the arctic landscapes through which he travelled?rendered by fragments of landscapes, tree trunks or pieces of rock. In contrast with the large aquatints, the exhibition also includes ten drypoint engravings on zinc in sketchbook format and assembled in the portfolio "Isua" 2004 made within the framework of the expedition by the Danish geologist Minik Rosing to Isua in Greenland. At the edge of the Greenland icecap, the Isua Greenstone Belt is the site of some of the oldest rocks in the world. This way of working, of engraving a zinc plate facing an imposing landscape during scientific expeditions was shown brilliantly by La Maison du Danemark in Paris and at the Musée des Beaux-Arts de Caen in 2015 and 2016 in an exhibition entitled "Per Kirkeby and the polar region". Tu – Sa, 14 – 19 h.   https://www.catherineputman.com/en/expositions/presentation/76/gravures-et-monotypes

23 June – 13 September, 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). https://www.musee-orsay.fr/en/events/exhibitions/in-the-museums/exhibitions-in-the-musee-dorsay/article/james-tissot-49970.html?tx_ttnews%5BbackPid%5D=254&cHash=b62777cc3c

 

GERMANY  

18 January - 27 September, 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: boehm100.de. We, 10 – 20 h, th – su, 10 – 18 h. https://dam-online.de/en/veranstaltung/boehm-100-2/

4 March – 11 October, Draiflessen Collection, Georgstraße 18, Mettingen: On the third day … Resurrection scenes – rendered in vivid colour, some with gold highlights – from books of hours and prayer books from a German private collection will be on display for this showcase exhibition. The medieval/early modern conception of the resurrection of Christ and of the dead must be seen in conjunction with hope for the Kingdom of Heaven and fear of damnation, with both being dictated by one’s own life and its pleasingness to God. This conception finds reflection in thirteen manuscript pages, most of them from German-Dutch speaking regions and dating from the 1430s to the 1540s. We – Su, 11 – 17 h. https://www.draiflessen.com/articles/555?locale=nl

19 March – 19 Juli, Kulturkirche St. Stephani, Stephanikirchhof 8, Bremen: "Himmelsrichtungen" von Monika Fioreschy. Die Künstlerin Monika Fioreschy (geboren 1947, lebt und arbeitet in Salzburg) experimentiert mit ungewöhnlichen Materialien, um neue Ausdrucksmöglichkeiten für die uralte Webkunst zu finden. Bei der Beobachtung einer Herzoperation wurde sie auf die Bluttransfusionsschläuche aus Silikon aufmerksam, die sie seither für ihre Arbeiten einsetzt. Mit dem Materialwechsel gelingt Fioreschy ein Transfer in eine völlig andere Welt, der die herkömmliche Bildweberei aus einer radikal neuen Perspektive zeigt. Die Künstlerin entwickelte die neue Kunstform des »Transfusionsbildes« und der »Silikone«. Beim Transfusionsbild spritzt sie mit einer Injektionsnadel Farbe, Blut, Pflanzensaft in die gewebte Struktur. Damit tritt Fioreschy aus der Textilkunst heraus und lädt das Webbild mit zusätzlichen Inhalten auf. Das Verständnis des modernen Bildteppichs wird durch sie revolutioniert. In einer Einzelausstellung zeigt die Kulturkirche St Stephani erstmals in Bremen Transfusionsbilder, Silikone und Strip-Cut-Collagen der Künstlerin. 11 – 17 U. https://www.kulturkirche-bremen.de/programm_detail.php?ident=122340

7 April – 8 November, Alte Pinakothek, Barer Str. 27, München: RAPHAEL 1520-2020. Raphael celebrated the greatest success with his art in Rome where he died 500 years ago. The many panel paintings and wall frescoes that he managed to complete there in little more than a decade have secured his international fame to this day – especially the painting of the so-called Stanze in the Vatican Palace and large altar paintings such as the Sistine Madonna. Raffaelo Sanzio, who was born in 1483, started his career, however, in Umbria and Tuscany. It is uncertain whether he completed his apprenticeship in the workshop of his father, who worked as a painter in Urbino, or under Pietro Pierogino in Perugia. He doubtlessly showed exceptional technical skill as a painter at an early age and ambitiously modelled his works on those of prominent colleagues such as Perugino, Pinturicchio and Signorelli. Between 1504 and 1508 Raphael remained mostly in Florence and explored Leonardo da Vinci’s and Michelangelo’s spectacular creations in his compositions. He also used his sound knowledge of Fra Bartolommeo’s works equally masterfully for his own pictorial inventions. In this way he upheld his position among Florentine painters and attracted significant commissions for private devotional paintings, several portraits and an altar painting. This exhibition is devoted to Raphael’s depiction of the Holy Family commissioned by a Florentine merchant. As the painter of pictures of sublime beauty Raphael attained cult status in the 19th century, in particular. Ludwig I of Bavaria and his gallery director, Johann Georg von Dillis, revered him as the ‘king of painting’. The 500th anniversary of Raphael’s death provides an occasion to recall the history of his fame and to reflect on the extent his works influenced the pictorial language of the western world in the modern period. Tu – Su, 10 – 18 h (Tu, We, until 20.30 h). https://www.pinakothek.de/en/exhibitions/raphael-1520-2020

5 May – 13 September, St. Matthäuskirche, Matthäikirchplatz, Berlin: Leiko Ikemura - In Praise of Light. Leiko Ikemura verwandelt das Licht, indem sie die Fenster der St. Matthäus-Kirche als großformatige Raumzeichnung gestaltet: Malerei aus Licht und Farbe, deren Segmente über dem Altar in einer Lichtprojektion ineinanderfließen. Leiko Ikemura knüpft damit an die Zerstörungsgeschichte der St. Matthäus-Kirche an, die in den letzten Tagen des Zweiten Weltkrieges bis auf die Grundmauern zerstört und deren ursprünglich farbige Fenster nach ihrem Wiederaufbau durch Klarglasfenster ersetzt wurden. Wie könnten 75 Jahre nach Kriegsende zeitgenössische Fenster für diesen Kirchenraum aussehen? Di – So, 11 – 18 U. https://www.stiftung-stmatthaeus.de/programm/ausstellungen/veranstaltung/leiko-ikemura-in-praise-of-light/

30 May – 30 August, St. Johannis Kirche, Neuer Markt 1, Herford: „Was ist der Mensch?“. Die Bibel stellt die Frage „Was ist der Mensch, dass du seiner gedenkst?“ Dies ist der Anlass, dass diese Ausstellung der philosophischen und theologischen Frage nach dem Menschen nachgehen will. Was ist eigentlich der Mensch? Was macht ihn aus? Die Ausstellung will sich mit den verschiedenen Aspekten des Menschseins beschäftigen. Sie tut dies mit sehr unterschiedlichen Menschendarstellungen aus verschiedensten Zeiten. Sie enthält Bilder, Zeichnungen, Graphiken, Fotos und Skulpturen aus verschiedenen Jahrhunderten und Jahrtausenden. 10 – 18 U. http://www.herfordmitte.de/gemeinde/offene-kirche/kunst-in-der-kirche/

31 May – 16 August, Siegerlandmuseum im Oberen Schloss, Oberes Schloss 2 / Burgstraße, Siegen: Rubens: A Journey Through Europe. Traveling was part of everyday life for artists in the seventeenth century, as they had to present their work to their clients. If you wanted to know about the production of competing artists, one could consult black and white engravings or travel to the depicted locations. Rubens preferred the latter. After completing his training, he went on an eight-year trip to Italy. He was appointed court painter to the Duke of Mantua and was asked to travel to the court of Philip II. It was not his last meeting with a Spanish king. Philip’s grandson Philip IV, a hierarchic man, was skeptical when his great aunt, Governor Isabella Clara Eugenia, recommended the middle-class artist Rubens as diplomat to the Spanish crown. He was greatly mistaken. Not only was Rubens on speaking terms with the Spanish king, he also saw Charles I and Louis XIII, as well as Maria de Medici. It is very clear from Rubens’ numerous letters that he not only moved around these courts, but that he was interested in the countries and their people, and in particular in the cities and their art treasures. On our journey through Europe we get to know important stages in the life of Peter Paul Rubens, as well as the cities he visited and the people he met. What did Paris, London, Rome, and the residence of the Spanish governors in the southern Netherlands of Brussels look like? How many inhabitants were there and which sights do we still admire today? Please note: the end date of the exhibition has yet to be confirmed. Please refer to the museum’s website for the most up-to-date information. Tu - Su, 10 – 17 h. https://siegerlandmuseum.de/ausstellungen/aktuell/

6 June – 30 August, Ikonen Museum, Kirchpl. 2A, Recklinghausen: „Über dich freuet sich die ganze Schöpfung“. Die Ikonen-Sammlung Dr. Reiner Zerlin. Die Sammlung Reiner Zerlin umfasst fast 250 Objekte aus dem Bereich der ostkirchlichen Kunst. Es handelt sich zu einem großen Teil um frühe Ikonen aus dem 15. bis 17. Jahrhundert, die überwiegend aus den beiden Kernländern der Orthodoxie, Russland und Griechenland stammen. Dargestellt sind alle wichtigen und teilweise auch seltene Themen der Ikonenmalerei. Besonders interessant sind auch eine Reihe liturgischer Gegenstände und Objekte aus dem Bereich der Alltagsfrömmigkeit. Aus Anlass dieser Schenkung präsentieren die Kunsthalle und das Ikonen-Museum eine Ausstellung, in der die großzügige Schenkung gewürdigt und die Sammlung in ihrer Gesamtheit präsentiert wird. Di – So, 11 – 18 U. https://kunsthalle-recklinghausen.de/ausstellungen-1/archiv-1/ikonen-sammlung-zerlin

18 June – 6 August, DG Galerie, Finkenstraße 4, München: Sehnsucht… Sehnsucht erleben wir als körperliches Gefühl. Es kann als Ziehen in der Brust oder als Kloß im Hals wahrgenommen werden. Forschergruppen in der Psychologie unterscheiden verschiedene Merkmale der Sehnsucht und schreiben ihr Funktionen zu. So soll diese helfen, mit der eigenen Unfertigkeit oder Verlusten umzugehen, und sie unterstützt den Menschen dabei, sich im Leben Ziele zu setzen. Im Verständnis der christlichen Tradition ist die wesentliche Sehnsucht des Menschen die nach Gott. Friedrich Schleiermacher sprach davon, dass dem Menschen mit seiner religiösen Anlage die Sehnsucht „nach dem Wunderbaren und Übernatürlichen“ eigen sei. Der Theologe Paul Zulehner etwa sagt zur Gottessehnsucht des Menschen: „Sie macht uns lebendig.“ Di – Fr, 12 – 18 U (Do bis 20 U). http://www.dg-kunstraum.de/vorschausehnsucht-videoarbeiten-und-installative-momenteausstellung-18-6-bis-7-8-2020/

19 June – 23 August, Kulturforum – Kupferstichkabinett, Matthäikirchplatz 8, Berlin-Tiergarten: Raphael in Berlin. Masterpieces from the Kupferstichkabinett. To mark the 500th anniversary of the death of Raphael, the Staatliche Museen zu Berlin are dedicating two special exhibitions to this central artist of the Italian Renaissance. Parallel to the exhibition Raphael in Berlin. The Madonnas of the Gemäldegalerie, which opened in December 2019, the Kupferstichkabinett is showing a small but significant group of drawings from its collection produced by the artist himself. These rarely exhibited sheets convey an impression of Raphael’s remarkable creative range. They are complemented by works by his teacher Perugino and his most important students and contemporaries, Gianfrancesco Penni, Giulio Romano and Perino del Vaga, and by the copperplate maker Marcantonio Raimondi. Tu – fr, 10 – 18 h, sa – su, 11 – 18 h. https://www.smb.museum/en/museums-institutions/kupferstichkabinett/exhibitions/detail/raphael-in-berlin-masterpieces-from-the-kupferstichkabinett/

27 June – 18 September, Kirche Am Hohenzollernplatz, Nassauische Str. 67, Berlin: Anna Arnskötter. BLEIBEN. In den Skulpturen von Anna Arnskötter aus Keramik und Beton geht es um Türme, Turmhäuser, Hochhäuser, Speicher, Kathedralen und Kartausen, um spirituelle und weltliche Orte. Es sind Architekturen des Speicherns und der Bewahrung, der Erinnerung. Das Material ist hochgebrannter Ton, teilweise engobiert und glasiert. Formal streng werden die Skulpturen gebaut, dabei ist das Farbspiel in den Konstruktionen von wichtiger Qualität, spielt das Licht eine entscheidende Rolle, da es auf den Skulpturen die Räumlichkeit zur Geltung kommen lässt. Di, Do, 14 – 18 U. Mi, Fr, 11 – 13 U, Sa, 11 – 15 U.   https://hohenzollerngemeinde.de/page/277/kunst

24 July – 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). https://dioezesanmuseum-paderborn.de/rubens/?lang=en

1 August – 30 November, Kunst Station St. Peter, Leonhard-Tietz-Str. 6, Köln: REPLACE RUBENS: Gerhard Richter — Grauer Spiegel. Der in der Kunst-Station Sankt Peter gezeigte „Graue Spiegel“ verweist in seiner Idee auf wichtige Werke Richters, wie „4 Glasscheiben“ (1967), „Schwarz, Rot, Gold“ (1999) und „Acht Grau“ (2002) zurück. Der Künstler hat in den vielen Jahren seines Schaffens immer das Zusammenspiel von Bild, Raum und Betrachtenden im Blick gehabt. Der „Graue Spiegel“ ist Richters raumbezogene Antwort auf die Anfrage, die Wand, auf der gewöhnlich das Bild „Kreuzigung Petri von Peter Paul Rubens (1638/40), zu sehen ist, zu gestalten. Der „Graue Spiegel“ steht für Richters kontinuierlich geäußerten Zweifel, ob das, was wir sehen, der eigentlichen Wirklichkeit des Wahrgenommenen entspricht. Di – So, 11 – 18 U. https://www.sankt-peter-koeln.de/wp/kunst-station/gerhard-richter-grauer-spiegel/

14 August – 8 October, Kulturkirche St. Stephani, Stephanikirchhof 8, Bremen: Ecce homo - Der Mensch und sein Bild. Die Malerin Emese Kazár ist die 9. Kunststipendiatin der Bremischen Evangelischen Kirche. Sie setzt sich mit Jesus-Darstellungen einiger der größten Meister der Renaissance, u. a. Andrea Mantegna, Raffael und Rogier van der Weyden auseinander. Die gewählten Bildzitate reichen von der Madonna mit dem Kind bis hin zum Schmerzensmann. Kazárs Bildfindungen nehmen die Tradition von Verhüllung und Enthüllung des Leibes Christi auf und laden dabei zu Neuinterpretationen ein. 11 – 17 U. https://www.kulturkirche-bremen.de/programm_detail.php?ident=122356

30 October 2020 – 31 January 2021, Jakobushaus, Reussstrasse 2, Goslar: Zusammenspiel: Kunst im sakralen Raum: Sakrale Kunst unter modernen Vorzeichen? Das klingt schwierig. Bedeutet Sakralität nicht immer auch Affirmation? Und ist diese für moderne Kunst nicht grundsätzlich ein Problem? Jedenfalls ist die Gefahr des Trivialen groß, wenn ein Kunst- werk unserer Erwartung nur wenig hinzufügt. In der Tat scheint eine Geschichte der Entfremdung zwischen Kunst und Kirche, wenn man sie schreiben wollte, über weite Strecken jener zwischen Kirche und Moderne zu entsprechen. Ist das so? Wo wären Brückenschläge möglich und nötig? Oder wer unterschätzt hier wen oder was? Vernissage in Kooperation mit der Künstlerseelsorge im Bistum Hildesheim, 27 Oktober 19 U. https://jakobushaus.de/sakrale-kunst-und-s%C3%A4kulare-moderne

 

ITALY

19 February 2018 – 26 February 2025, Uffizi Galleries, Piazzale degli Uffizi 6, Florence: Caravaggio and the 17th century. Hours: https://www.uffizi.it/en/the-uffizi/painting https://www.uffizi.it/en/events/caravaggio-and-the-17th-century

 

THE NETHERLANDS   

1 June – 6 September, 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. https://www.rembrandthuis.nl/exhibitions/now-on-view/?lang=en

1 June – 30 August, 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.   https://www.museumhelmond.nl/en/exhibitions/7390/

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SPAIN

Until 30 August, 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). https://www.museothyssen.org/en/exhibitions/rembrandt-and-amsterdam-portraiture-1590-1670

 

SWITZERLAND

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. http://www.refkirchewinterthur.ch/veltheim

Until 19 July, 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). https://www.kunsthaus.ch/en/besuch-planen/ausstellungen/die-poesie-der-linie/

2 May – 31 October, Wallfahrtsort Mariastein, Klosterhotel Kreuz, Paradiesweg 1, Metzerlen-Mariastein: Ausstellung zum Thema „Schöpfung Creation“ mit Kunstwerken von Mitgliedern (Künstlerinnen und Künstler) der  Schweizerischen Lukasgesellschaft für Kunst und Kirche. Kuratorin: Pia Zeugin.   https://www.klosterhotel-kreuz.ch/

 

CANADA

Postponed, 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 spackmanbetty@gmail.com. https://www.swallowfield.ca/a-creature-chronicle

 

USA

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: https://www.metmuseum.org/exhibitions/listings/2018/in-praise-of-painting-dutch-masterpieces

Until 12 July, 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.   https://www.sjquiltmuseum.org/upcoming-exhibitions

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). https://new.artsmia.org/exhibition/rembrandt-in-conversation/

20 September 2020 – 28 March 2021, Allentown Art Museum, 31 North Fifth Street, Allentown, PA: Rembrandt Revealed. When the Museum’s 1632 Portrait of a Young Woman was sent out for routine conservation in 2018, the conservators made an exciting discovery: while this painting had previously been attributed to Rembrandt’s studio, during cleaning they found clear evidence that Rembrandt himself had painted it. The Museum will be celebrating the return of this important work to the galleries with the exhibition Rembrandt Revealed, which will illuminate how conservation science has helped us better understand this painting and its authorship. Through a close focus on Portrait of a Young Woman, this exhibition will offer a deep dive into the conservation process, with an appealing and accessible step-by-step understanding of decisions and discoveries. It will also explore the complexities and uncertainties of the attribution process and invite the public to participate in that conversation. We - Sa, 11 – 16 h, Su, 12 – 16 h. http://www.allentownartmuseum.org

 

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