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Nยบ8 EN / APR 2014


EDGAR NOE MENDOZA MANCILLAS Inner Emotions Through Metaphysical Images

Technical File Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 926493792 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto Photografia/Photography: • Bertrand Delacroix Gallery © Courtesy (Courtesy) Bertrand Delacroix Gallery • Edgar Noe Mendoza Mancillas © Courtesy (Courtesy) Edgar Noe Mendoza Mancillas • Hamburger Kunsthalle © Courtesy (Courtesy) Belvedere, Vienna © Museum Oskar Reinhart, Winterthur Photo/Photo: SIK-ISEA (Philipp Hitz) © 2013 Karl Lagerfeld © Kunstbesitz der Stadt Speyer. Photo/Photo: G. Kayser © Niedersächsisches Landesmuseum Hannover. Photo/Photo: Ursula Bohnhorst

© Städel Museum, Frankfurt a. M. Photo/ Photo: Städel Museum – ARTOTHEK © Germanisches Nationalmuseum Nürnberg, Leihgabe.Privatbesitz. Photo/Photo: Monika Runge © Hamburger Kunsthalle. Photo/ Photo: Elke Walford Lower Belvedere/Orangery © Courtesy (Courtesy) Belvedere, Vienna ©Kunstsammlungen Chemnitz-Museum Gunzenhauser / © Bildrecht, Vienna, 2014 © Landesmuseum für Kärnten. © Museum Schloss Bruck, Lienz. Vaverka

• Museu Calouste Gulbenkian • ©Museu do Kremlin Moscovo/Moscow, Kremlin Museum ©Offer Yuriy Panagiot the Tsar Mikhail Fiodorovitch in 1632 • R. Freymuth-Frazier ©Courtesy/Courtesy R.Freymuth-Frazier Skarstedt Gallery © Espólio /Estate Martin Kippenberger, Galerie Gisela Capitain, Köln • Tate Modern Tate.© Richard Hamilton 2005. All rights reserved, DACS ©Tate. Purchased 1969 • The Metropolitan Museum of Art © Gipsoteca, Possagno (Inv. 292) © Gallerie dell’Accademia, Venice (S.214) - (S.215)- (S.216) - (S.217) - (S.218) - (S.219)


Line & Stylish April issue has the pleasure to interview one of the most significant new painter, not only in the European context but also in the global Fine Art outlook, we mean Edgar Noe Mendoza Mancillas. This young painter from Mexico rewrites the surreal narrative tradition with the Mexican heritage, something which gives a unique perspective to his artwork. At the same time proves that the figurative expression and mainly the surreal style must be deeply worked, because there’s a thin line between kitsch and a magnificent final result. The solution for this problem is not a question of taste, or sensibility but a question of information, talent and skill. Information is something that characterizes Eddgar’s parallel activity, with his reflections about his fellows painters and all the promotion in his blog and Facebook page about the new artists that he considers essential to understand the contemporary avant-garde art, reason why Edgar’s influence in the contemporary art is not limited to his work but to his point of view as well, what makes him a fundamental reference of the last decade art, and makes us very proud to present his artwork and thoughts through our interview. R. Freymuth-Frazier was our choice for The Artist of the Month. A young New York painter who works on sexual and ambiguities subjects, using a style that shows the new artistic trends, her strong Odd Nedrum’s influence, pastel colors and retro compositions which gives a kind of sarcastic final touch producing a quite original proposal. All the Staff and Board of Line and Stylish, Art Magazine, deeply morns de death of Prof. Dr. Markus Brüderlin, Director of the Kunstmuseum Wolfsburg since 2006, who died suddenly and unexpectedly on 16 March. We present our condolences to the Kunstmuseum Wolfsburg, family and friends. José Eduardo Silva (Editor in Chief)

Cover: Edgar Noe Mendoza Mancillas “ Corriente Alterna “ -2010 Óleo/tela (oil on canvas), 200 x 200cm Courtesy: Edgar Noe Mendoza Mancillas 3




Feuerbach’s Muse Mode




R. Freymuth

Messages, Memories & Dreams







Artist of the


THE TZARS AND THE EAST Gifts from Turkey and Iran at the Kremlin Moscow

es – Lagerfeld’s els








e month



APRIL HIGHLIGHTS +351 926 493 792 5


Messages, Memories & Dreams March 27 – April 26, 2014 Bertrand Delacroix Gallery

Canadian artist JOSEPH ADOLPHE returns to BERTRAND DELACROIX GALLERY with a highly anticipated solo exhibition of new work. Adolphe is a versatile contemporary painter who succeeds in portraying subjects ranging from sensual nudes and large, blooming buds to charging bulls and regal horses. Adolphe’s second solo exhibition at BDG will introduce an all new series of oil on canvas pieces, including new florals, and powerful animals as well as new paintings wherein he ambitiously attempts to describe the most profound moments in his life in works he refers to as ‘locutions’. Several of the works continue his recent exploration into the possibilities created through the use of gold leaf. With the addition of this bold effect, he creates stunning visual masterpieces that are strong in composition and subject while remaining aesthetically enticing.


Joseph Adolphe The Secret, 2013

Oil on canvas, 96 x 80 in 7

Joseph A Hothouse Bl

Oil on canva


Adolphe lossum No. 3

as, 70 x 80 in


Adolphe’s works have an Old Master/Expressionist quality with rich, visible brushstrokes and a clear understanding of motion; however, he endows his work with an undeniable modernity and relevancy to today’s rapidly changing world. His works are fraught not only with frenetic movement and energy but with a palpable sense of emotion and drama. He combines strong, defined forms bursting with life with loosely structured backgrounds that often border on abstraction. His large flowers, ripe fruits and wild animals are often the only clear images amongst a frenzied world of color and confusion. Whether he depicts a raging bull or a sensitive nude, there is a sense of vulnerability and universal anxiety about the world in his works. His works frequently juxtapose strength and uncertainty thus giving his subjects a feeling of resilience and perseverance in the face of the unknown. On his work, the artist states:

“All of my paintings, whatever the subject matter have at their core the same content. I’m always trying to capture in paint energy, enthusiasm and an ardent sense of hope. These characteristics embody the essence of those people who I have come to admire and try to emulate” Born in 1968 in Alberta, Canada, Adolphe moved to New York City in 1992 to attend the School of Visual Arts from which he received his MFA in 1994. His paintings have been featured in over forty exhibitions since 1998 throughout the United States and internationally. He lives with his wife and children in New Haven, Connecticut and is a professor in the Department of Art & Design at St. John’s University in New York City. 10

Joseph Adolphe Ripe No. 1, 2013

Oil on canvas, 62 x 48 in. 11

Joseph A Toro Sagrado

Oil and gold leaf on 12

Adolphe o No. 1, 2013

n canvas, 43” x 52” 13

Joseph Adolphe Toro Sagrado No. 16, 2013

Oil and gold leaf on canvas, 54 x 60 14

Bertrand Delacroix Gallery 535 W. 25th Street, NY 10001 Nova Iorque 15



7 March to 9

Lower Belvede

Albin Egger-Lienz Danse Macabre from Anno Nine, 1908 Casein on canvas,225 x 251 cm Š Belvedere, Vienna 16



9 June 2014

ere | Orangery Existential questions about life and death permeate the entire work of painter Albin Egger-Lienz (1868 1926). Today his war images are regarded as poignant memorials, as warnings against the horrors of battle and violence. He was also deeply influenced by his experiences on the front as a war painter. The Belvedere is presenting the exhibition Danse Macabre: Egger-Lienz and the War at the Orangery and is thus devoting this show to one of the greatest Austrian artists from the early twentieth century. Taking the painting Der Totentanz von Anno Neun (Danse Macabre from Anno Nine) as its springboard, it incorporates other works to trace Egger- Linz’s evolution as an artist and shed light on various references and interpretations. Danse Macabre from Anno Nine is not just a major work in earlytwentieth-century Austrian art history but was also pivotal in the oeuvre of Egger-Lienz a turning point in his art and an image he harked back to all through his life. It was with this work that the artist distanced himself from traditional history painting and created a general symbol of war. By choosing the Danse Macabre, Egger-Linz was adopting an allegory that had centuries of traditions, which he then totally transformed.


Albin Egger-Lienz Danse Macabre, 3rd version, 1914 Casein on canvas,243 x 274 cm © Landesmuseum für Kärnten 18

In the Lower Belvedere’s Orangerie ,where Danse Macabre was first presented as part of the Moderne Galerie’s collection this compelling show takes this key work as the starting point for tracing Egger-Lienz’s development as a painter , his treatment of war, yet also contradictory reception history of his Danse Macabre. For the first time the historical sources have been analyzed in detail to reveal the circumstances behind the commission’s award the context of the Danse Macabre motif, and the pictorial traditions in history painting upon which the artist could draw. Egger-Lienz is also compared with other key works that addressed the First World War, for example Ernst Barlach’s The Avenger, Alfred Kubin’s War Mothers. Against this background, Egger-Lienz clearly emerges as a truly independent artist, both conforming with and resisting prevailing tastes. He is thus placed in an international context and revealed to be an artist of trans-regional relevance – a far cry from the isolated “mountain painter” shaped by his locality.


Albin Egg After the Concl

Oil on canvas, 1 Š Belveder


ger-Lienz lusion of Peace

191 x 330.5 cm re, Vienna


Albin Egg War Women

Oil over tempera on Š Museum Schloss B 22

ger-Lienz n, 1918-1922

canvas124 x 247 cm Bruck, Lienz. Vaverka 23

Otto Dix Trenches, around 1917

Gouache and opaque white on paper,29 x 29 cm Kunstsammlungen Chemnitz-Museum Gunzenhauser / Š Bildrecht, Vienna, 2014 24

Egger Lienz’s preoccupation with the motif of the Danse Macabre lasted over a decade and lies at the heart of the exhibition. He painted many variations and (partial) repetitions up until the 1920s. In 1921 Egger-Lienz completed his fifth version of the Danse Macabre. Since his first tackling of this subject in 1906, history had riven deep rifts through Europe, the Tyrol and no doubt the artist’s own life .Danse Macabre marks both the beginning and end of this development. Egger-Lienz adapted the advantages of reproduction, usually reserved for other media, for painting. However, his images focusing on a detail and the vibrant colors neutralize the monumental effect. He adopted a different approach in his two final complete versions of 1921, achieving highly expressive and succinct images. Moreover, the motif was disseminated by a strong presence in exhibitions, as well as postcards and illustrations. Presented Artists Ernst Barlach, Max Beckmann, Hans Burgkmair d. Ä., Wilhelm Dachauer,Otto Dix, Albin Egger-Lienz, Käthe Kollwitz, Alfred Kubin, Hans Larwin, Constantin Emile Meunier, Anton Romako, Eduard Thöny, Franz von Defregger, Moritz von Schwind.

Lower Belvedere/Orangery Rennweg 6 1030 Viena, Austria 25


Inner Emotions Through Metaphysical Images An interview by: José Eduardo Silva and Isabel Gore

Mexican Artist born in 1967, Durango, Mexico The artwork of Edgar Noe Mendoza Mancillas depicts the inner emotions and expressions showed in people’s face that he portrays, in a sublime way. Always surrounded by a particular environment, his models express not only a kind of introspection but also an inner vitality. Sometimes his doubles characters seem to dialogue with each other in order to get answers to their doubts. It’s like being in front of a mirror. The Mexican heritage is well represented in almost is paintings, namely the female figure, as a symbol of matriarchy.


Edgar Noe Mendoza Mancillas “ Corriente Alterna “ -2010

Óleo/tela (oil on canvas) , 200 x 200cm. Courtesy Edgar Noe Mendoza Mancillas 27

Edgar Noe Mendoza Mancillas Detalle (Detail) “ Corriente Alterna “ -2010 Oil on canvas, 200 x 200cm. Courtesy Edgar Noe Mendoza Mancillas 28

Edgar Noe Mendoza Mancillas Detalle (Detail)“ Corriente Alterna “ -2010 Oil on canvas, 200 x 200cm. Courtesy Edgar Noe Mendoza Mancillas 29

Edgar Noe Men “Retales de una Co

óleo/tela (oil on ca Courtesy Edgar Noe


ndoza Mancillas ostilla Rota� - 2004

anvas), 146 x 97cm. e Mendoza Mancillas


L&S: When did you choose to be a painter? Edgar N M Mancillas: : I took the decision in 1989 when I was 22 years old. In that epoch of my life I was having an existential crisis regarding my future. In those years full of contrasts, confusions and insecurities, I was overwhelmed thinking about what to do with my life or what did I want to do for a living. Suddenly one morning I read a poster of the Art School in Durango inviting people to become a part of it and I believe that it was the moment where all of the restlessness that I had ,since I was a little released,solved many of my frustations... then I started to paint. L&S: You have attended Art Durango School, Mexico. Was it profitable for your development in painting, and do you still feel the influence of your first school in your present works? Edgar N M Mancillas: At that time, the art school was the best option that my generation had to develop art skills in my home town, but sadly the institution had a lot of intern problems and lacks that were reflected in the education that was given. Eventhough, in that period, school gave me the oportunity to start in this profession and continue with my path with new tools. My actual paintings are realistic and the school did not have proper professors with the knowledge to teach that technique. We are made of things that are gather during the life and what regards to my profession, I have been building it with everything I have experimented here, there and everywhere. By the way I wasn’t very constant in that school and never finished my degree, I decided to migrate. 32

Edgar Noe Mendoza Mancillas “Estación 14” - 2003

Óleo/tela (oil on canvas), 130 x 97cm. Courtesy Edgar Noe Mendoza Mancillas 33

Edgar Noe Men “El Escond

Óleo/tela (oil on ca Courtesy Edgar Noe 34

ndoza Mancillas dite�- 2008

anvas), 81 x 65cm. e Mendoza Mancillas 35

Edgar Noe Mendoza Mancillas “Lumen” – 2012

Óleo/tabla (oil on wood), 89 x 75cm. Courtesy Edgar Noe Mendoza Mancillas 36

Edgar Noe Mendoza Mancillas Detalle (Detail) “Lumen” – 2012

Óleo/tabla (oil on wood), 89 x 75cm. Courtesy Edgar Noe Mendoza Mancillas 37

L&S: What were the first themes you began to paint and what were the most difficulties you found as an artist? Edgar N M Mancillas: From the beginning I was interested in realism, I started painting objects from natural (I didn’t copy from a photography) perhaps like everybody in school and that led me to the enviroments that were surrounding those objects and to the technical problems, for example the perspective, Human figure was the one that attracted me the most because it was so mysterious for me and fundamental to the representation of an idea or concept. Of course I ran into some of the main difficulties of this profession which are: have no money and don’t have a good school with prepared teachers to give an appropiate formation in the technique that you pretend to do. On the other hand, a society indiferent and ignorant towards art can contributes to give up on being a painter, because it is a very complicated profession full of obstacles and lacks, but perhaps the main difficulty that can exist is not to have the will to be a painter because if you don’t have that, it will be harder to resist and mantain yourself in this occupation. L&S: When you exposed for the first time, how were the public and critics reactions? Edgar N M Mancillas: : I had in my mind two exhibitions; the first was in 1989 as a student ,and the second in Spain which has been my first and only solo exhibition in 2007. For me, having an exhibition as a student in the same year I started to paint, confirmed to my parents that I was being serious about becoming a painter. In Spain, my situation was very different, I had a contract to paint and that period allowed me to have several paintings full of oneiric images that have defined my work. That exhibition was an event promoted by a new gallery in Madrid, and one of the best things that appeared as a result of the exhibition was an interview in a famous program at RNE, which is one of my favourite called “La Ciudad Invisible”, I was surprised when they called me. 38

Edgar Noe Mendoza Mancillas “Hielo”– 2010

Óleo/tela (oil on canvas), 114 x 41 cm Courtesy Edgar Noe Mendoza Mancillas 39

Edgar Noe Men Detalhe “H

Óleo/tela (oil on ca Courtesy Edgar Noe 40

ndoza Mancillas Hielo�– 2010

anvas) , 114 x 41 cm e Mendoza Mancillas 41

Edgar Noe Men “La Silla Vola

Óleo/tela (oil on ca Courtesy Edgar Noe 42

ndoza Mancillas adora� - 2002

anvas) , 116 x 81 cm e Mendoza Mancillas 43

Edgar Noe Men “La Merien

Óleo/tela (oil on can Colecção MEAM Museo E 44

ndoza Mancillas nda�- 2008

nvas) , 200 x 200 cm Europeo de Arte Moderno 45

L&S: What led you to leave Mexico and go to Spain? Edgar N M Mancillas: : I wanted to travel to Spain since I was a boy and I never imagine that it could become a reality. In 1997 I lived in Mexico City and the mayor of Durango , at that time, wanted a portrait painted by me, he paid me with a plane ticket to Spain, I gathered some extra money and I visited this country for the first time. I fell in love for Spain in every way, after a few years I came back permanently; I got a great offer to paint my own ideas.

L&S: Usually you are labeled as a painter of magical realism and syncretism .Do you agree with this definition, or do you think that your work has serious differences with these movements? Edgar N M Mancillas: Indeed, my work had a strong charge and sense of magic realism, genre of which I am an admirer. Nowadays my work has been experimenting great changes in technique and concept and with this I’m interested to transmit psychological and metaphysical aspects with cleaner and synthesised images. L&S: For the most discerning viewer there is, in your works, a combination of the Mexican heritage with the present figurative trends in Europe. Is there a primary concern with the message or does it come as a result of the artistic development on each work? Edgar N M Mancillas: Generally, my process starts with the idea and those ideas show, in several of my paintings, an identity of the Mexican world. In a very instinctive way I choose the theme and I prepare a story in order to choose the character and the elements that are going to be the protagonists, nevertheless, while I’m working several transformations occur. 46

Edgar Noe Mendoza Mancillas “Sueño con Perros” - 2000

Óleo/tela (oil on canvas) ,110 x 90cm Courtesy Edgar Noe Mendoza Mancillas 47

Edgar Noe Men “La Muerte y la D

Óleo/tela (oil on ca Courtesy Edgar Noe


ndoza Mancillas Doncella� - 2001

anvas), 130 x 97cm. e Mendoza Mancillas


Edgar Noe Men “Las Hora

Óleo/tela (oil on ca Courtesy Edgar Noe 50

ndoza Mancillas as� – 2007

anvas), 73 x 60cm. e Mendoza Mancillas 51

L&S: Who are your main influences? Edgar N M Mancillas: A short time before I took the decision to join Art School, I bought, in instalment an encyclopaedia about art, and the painter that impacted me the most was Johannes Vermeer. To admire his paintings in that book had a great influence on me to become a painter. Later, little by little I was increasing my list of favourites, between those were the figurative representations, but I started to like and enjoy abstract painters and a diversity of artists and genres from the XX century. I have a special preference for the Mexican Muralist Art, specially Diego Rivera but, besides in my hometown was appreciated the work of Francisco Montoya de la Cruz whose murals I saw live and direct since I was a boy. At the moment, there is no doubt that contemporary realistic and hyperrealistic painters from different countries are a big influence and a reference for me. In Spain there are many and I have the fortune to be friend of a few of them. L&S: What is your advice for the young artist’s generation? Edgar N M Mancillas: Take a risk, with or without support, keep believing in your professional dream and overcome your own expectations leaving your comfort zone if you have to.


Edgar Noe Mendoza Mancillas “Las Tres Pilares” - 2005

Óleo/tela (oil on canvas) ,130 x 97cm Courtesy Edgar Noe Mendoza Mancillas 53

Feuerbach’s Muses –

21 February to

Hamburger Gallery of Contemporary

Anselm Feuerbach (1829–1880) Studienkopf zur Stuttgarter Iphigenie 1870 Öl auf Leinwand (Oil on canvas), 62,5 x 49,5 cm © Museum Oskar Reinhart, Winterthur Photo: SIK-ISEA (Philipp Hitz) 54

– Lagerfeld’s Models

o 15 June 2014

r Kunsthalle Art, elevated ground level

Karl Lagerfeld Moderne Mythologie, 2013 © 2013 Karl Lagerfeld


With the exhibition Feuerbach’s Muses – Lagerfeld’s Models the Hamburger Kunsthalle is presenting an unusual double exhibition on beauty, eroticism and the adoration of muses and models that brings together paintings by Anselm Feuerbach and hitherto unseen photographs by Karl Lagerfeld. In a similar way both Feuerbach and Lagerfeld seek an actualization of an ideal of timeless beauty founded in the ancient world. The exhibition examines the cult of beauty, which stylizes the model to an icon. Over forty works by Feuerbach, most of them from the years 1860–70, will be on show. They are loans from the Feuerbachhaus Speyer and from numerous German, Swiss and Austrian museums and private collections. Karl Lagerfeld has created a series of around sixty black-and-white photographs especially for the exhibition. Mostly in large formats, they have been printed in a complex process onto silver- and gold colored fabric. Anselm Feuerbach (1829–80) one of the most important German painters of the late nineteenth century, lived in Rome from 1856 onwards. The city, with its magnificent architecture and heroic surrounding landscape, was a place of yearning that seemed eligible like no other to revive the classical ideal of ancient times. Feuerbach devoted himself to antique subject matter, which he filled with imagination and personal feeling. This is most excitingly shown in the series of unique portraits portray Feuerbach’s model and muse, Anna Risi, known as Nanna. Feuerbach painted Nana in a wide variety of roles and sensitively staged settings that reveal an almost cultic veneration for his, begun in 1860, which model. When Nanna left Feuerbach in 1865, she was followed by Lucia Brunacci. Similarly to Nanna she matched the classical ideal of beauty of the time, with her Greek profile and thick dark hair. Lucia inspired Feuerbach to impressive portrayals of mythological themes that form the highpoint of his oeuvre. 56

Anselm Feuerbach (1829–1880) Die Mandolinenspielerin, 1864/65

Öl auf Leinwand (Oil on canvas), 79 x 60,5 cm © Hamburger Kunsthalle Photo: Elke Walford 57

Anselm Feuerba Das Urteil de

テ僕 auf Leinwand (Oil on ツゥ Hamburger K Photo: Elk 58

ach (1829–1880) es Paris, 1870

n canvas), 228 x 443 cm Kunsthalle / bpk ke Walford 59

Karl La Moderne Myt

Š 2013 Kar


agerfeld thologie, 2013

rl Lagerfeld


The photographic series Modern Mythology (2013) by Karl Lagerfeld, explores the love story of Daphnis and Chloe, and shows models such as Baptiste Giabiconi and Bianca Balti, who have accompanied Lagerfeld in his work for several years. The story, by the poet Longus, tells of a boy and a girl who grow up without parents among shepherds and over the years develop a strong affection for one another. The narration has been taken up many times since the Renaissance. Lagerfelds photographs belong to a series of works by François Boucher, Pierre Bonnard or Aristide Maillol, which present the ancient text as a symbol of the idyllic life. Karl Lagerfeld’s stagings were shot against the picturesque natural background of the South of France, and are the actualization of an ancient theme.


Karl Lagerfeld Moderne Mythologie, 2013 Š 2013 Karl Lagerfeld


Karl La Moderne Myt

Š 2013 Kar


agerfeld thologie, 2013

rl Lagerfeld


Anselm Feuerbach Anselm Feuerbach is born in Speyer on 12 September 1829. Just six months later, he and his sister lose their mother to tuberculosis. In 1834 their father – the archaeologist and classical scholar Joseph Anselm Feuerbach – marries Henriette Heydenreich, who goes on to play an important role in the artist’s life and later manages his business affairs. Feuerbach senior introduces his son to classical art from an early age, and his aesthetic treatise on »Der Vatikanische Apollo« [The Vatican Apollo] has a significant influence on his son’s artistic outlook. Anselm Feuerbach takes drawing lessons and tries his hand at both painting and poetry. At the age of 15 he leaves school with the aim of studying at the Kunstakademie in Düsseldorf, and in 1846 he enters the class of the painter Wilhelm von Schadow. In 1848 Feuerbach transfers to Munich to continue his studies under the history painter Friedrich Kaulbach, and later under Karl Rahl. He also studies for a short time in Antwerp before moving to Paris, where he enters the studio of Thomas Couture in 1852. During his time in the French capital, Feuerbach studies and copies masterpieces by the likes of Paolo Veronese and Rembrandt van Rijn in the Louvre.


Anselm Feuerbach (1829–1880) Poesie, Zweite Fassung, 1863

Öl auf Leinwand (Oil on canvas), 62 x 50 cm © Kunstbesitz der Stadt Speyer Photo: G. Kayser 67

In 1855 he receives a grant to travel to Venice, and from here he goes on to settle in Rome in 1856. The following year he becomes a member of the Deutscher Künstlerverein, an association of German artists living in Rome. Among others, he makes the acquaintance of Arnold Böcklin, Reinhold Begas and the engraver Julius Allgeyer. In 1860 he meets a young Italian woman called Anna Risi (Nanna), who becomes his muse, model and mistress. Their five-year relationship inspires some of his greatest masterpieces. In 1862 the Munich-based art collector Count Adolf Friedrich von Schack becomes Feuerbach’s patron. In 1865 Nanna ends the relationship with Feuerbach, and from 1866 onwards Lucia Brunacci – who bears a striking resemblance to Nanna – serves as his model for largeformat paintings of mythological scenes. In 1873 Feuerbach is appointed professor of history painting at the Kunstakademie in Vienna. Although his teaching career is very successful, he receives little recognition for his art. Following a severe bout of pneumonia, Feuerbach goes to live with his stepmother in Heidelberg and begins writing autobiographical notes. In 1877 he gives up his teaching post in Vienna and plans to go and work as a portraitist in London, but on 4 January 1880 he dies in Venice as the result of a heart attack. A few months after his death, a large-scale memorial exhibition at the National Galerie in Berlin pays tribute to Anselm Feuerbach as one of the leading German painters of his time. 68

Anselm Feuerbach (1829–1880) Ruhende Nymphe, 1870

Öl auf Leinwand (Oil on canvas), 112 x 190 cm © Germanisches Nationalmuseum Nürnberg, Leihgabe Privatbesitz Photo: Monika Runge 69

Anselm Feuerbach (1829–1880) Lucrezia Borgia, Bildnis einer Römerin in weißer Tunika und rotem Mantel, 1864/65 Öl auf Leinwand (Oil on canvas), 98 x 81cm © Städel Museum, Frankfurt a. M. Photo: Städel Museum – ARTOTHEK 70

Karl Lagerfeld Moderne Mythologie, 2013 Š 2013 Karl Lagerfeld


Karl Lagerfeld Karl Lagerfeld is born in Hamburg on 10 September 1938. Having been raised in a trilingual household, he attends a French secondary school from 1952. He decides to leave school at the end of 1954 after winning the prize for best coat in an amateur design competition sponsored by the International Wool Secretariat (IWS). In 1955 Lagerfeld is taken on as an assistant to the Paris-based designer Pierre Balmain, and his career in fashion begins. He completes his apprenticeship at Balmain, but after three years he moves to Jean Patou, where he works as artistic director from 1959 to 1963. During the following years he produces collections for companies in France and Italy, including ChloĂŠ, Max Mara and Fendi. In 1964 Lagerfeld decides to study art, but abandons his studies after three years in order to focus on his career as a fashion designer. In 1974 he launches his own label, for which he still produces several collections every year. In 1980 Lagerfeld is appointed visiting professor at the University of Applied Arts in Vienna, where he teaches fashion for the next four years. Around this time he begins working with the fashion house Chanel, where he is currently head designer and creative director. He is initially responsible for designing the prĂŞt-Ă -porter line and is later also put in charge of the haute couture collection. 72

Karl Lagerfeld Moderne Mythologie, 2013 Š 2013 Karl Lagerfeld


Anselm Feuerbach (1829–1880) Nanna, 1864

Öl auf Leinwand (Oil on canvas), 61 x 47,2 cm © Niedersächsisches Landesmuseum Hannover Photo: Ursula Bohnhorst 74

From 1984 onwards Lagerfeld produces costume designs for films by Pedro Almodóvar and Francis Ford Coppola, among others. He also designs costumes for opera houses in Milan, Florence and Monte Carlo, for theatrical and ballet productions in Vienna and for the Salzburg Festival. Alongside his international career as a fashion designer and stylist, Lagerfeld is also a photographer: from 1987 onwards he produces numerous series of images on fashion-related and other themes. His photographs are exhibited at international art institutions such as the Whitney Museum in New York, the Grand Palais in Paris and the OCA in São Paulo. In October 1993 Lagerfeld receives the Lucky Strike Designer Award from the Raymond Loewy Foundation, in 1996 he is awarded the Kulturpreis der Deutschen Gesellschaft für Photographie and in 2007 he receives the Trustees Award from the International Center of Photography in New York. In 2010 Karl Lagerfeld and his publishing partner Gerhard Steidl establish L.S.D. (Lagerfeld. Steidl. Druckerei. Verlag), a Steidl imprint that publishes literature in German translation as well as non-fiction titles. Karl Lagerfeld has always been passionate about books, and his keen interest in literature, painting, architecture and applied art – above all from 17th-and 18th-century France – as well as in American and German photography from the early 20th century, is reflected in his work as a designer and photographer. Hamburger Kunsthalle Glockengießerwall 20095 Hamburg Germany 75

Karl La Moderne Myt

Š 2013 Kar


agerfeld thologie, 2013

rl Lagerfeld


Antonio Canova: The Seven Last Works January 22 - April 27, 2014 The Metropolitan Museum of Art

Robert Lehman Wing, Gallery 955, Main Floor

Antonio Canova (1757-1822), the greatest of all Neoclassical sculptors, remains famous above all for his elegant, nude mythological subjects carved in marble. But he also worked in a spiritual mode, at once deeply serious and deceptively simple. This less familiar Canova is revealed in an extraordinary series of full-scale plaster models illustrating episodes from the Old and New Testaments that are on view in Antonio Canova: The Seven Last Works at the Metropolitan Museum through April 27, 2014. The sculptures in this exhibition were made in connection with a project for 32 reliefs, illustrating scenes from the Bible, that were to adorn the Tempio Canoviano, the church—later his mausoleum— that he built for his home town of Possagno. He completed only seven of the models before his death. They constitute Canova’s last, profoundly moving masterworks. The exhibition is made possible in part by Hester Diamond and Jon and Barbara Landau.


Antonio Canova (Italian, Possagno 1757–1822 Venice) The Creation of the World,1821 – 22 Plaster Gipsoteca, Possagno (Inv. 292) 79

Antonio Canova (Italian, Possagno 1757–1822 Venice) The Creation of Adam,1821–22 Plaster Gallerie dell’Accademia, Venice (S.214) 80

Antonio Canova (Italian, Possagno 1757–1822 Venice) Cain and Abel,1821 – 22 Plaster Gallerie dell’Accademia, Venice (S.215) 81

The low reliefs, fashioned as metopes, were intended to occupy the frieze on the three sides of the Tempio’s porch. Canova worked on the full-scale clay models between December 1821 and April 1822, by which date he had completed four reliefs from the Book of Genesis and three from the Gospel of Luke: The Creation of the World, The Creation of Adam, Cain and Abel, The Sacrifice of Isaac, The Annunciation, The Visitation, and The Presentation of Christ in the Temple. He then had plaster casts made—these were a distinctive feature of Canova’s sculptural practice that allowed him to review his compositions and transfer them into stone. He sent the plasters from Rome to Venice, where reputable sculptors carved them in Istrian stone. Canova died a few months later, following a trip to Possagno to check on the progress of work on the temple, leaving his final project incomplete. Drawing inspiration from ancient sculpture and early Renaissance masters, the models are striking for the marked linearity of the figures, arranged in brilliantly syncopated compositions.


Antonio Canova (Italian, Possagno 1757–1822 Venice) The Sacrifice of Isaac,1821–22 Plaster Gallerie dell’Accademia, Venice (S.216) 83

Antonio Canova (Italian, Possagno 1757–1822 Venice) The Annunciation,1821–22 Plaster Gallerie dell’Accademia, Venice (S.217) 84

Antonio Canova (Italian, Possagno 1757–1822 Venice) The Visitation,1821–22 Plaster Gallerie dell’Accademia, Venice (S.218) 85

Antonio Canova (Italian, Possagno 1757–1822 Venice) The Presentation of Christ in the Temple,1821–22 Plaster Gallerie dell’Accademia, Venice (S.219) 86

Newly restored, the works have been lent for the first time to the United States. Six of the reliefs come from the Gallerie dell’Accademia in Venice and one from the Gipsoteca in Possagno. New technical study and art-historical research demonstrate that of the three series of these plaster reliefs that survive, the Accademia reliefs are Canova’s original plaster working models. They still preserve the impression of the clay reliefs from which they were molded. A seventh plaster, The Creation of the World, from the Gipsoteca in Possagno, is exhibited in place of the lost original. The reliefs are both stilling and charged with intensity.

The Metropolitan Museum of Art 1000 5th Ave, New York NY 10028, Usa 87


R. Freymuth-Frazier R. Freymuth-Frazier was born in 1977 and raised in Nevada City, a small gold rush town in the foothills of the Sierra Nevada Mountains in California, USA. After graduating from the Interlochen Arts Academy in Michigan she moved to New York City to study oil painting. Seeking rigorous, technical training that most schools could not offer, she studied in a tradition common to painters of the past, through full-time apprenticeships. Her first apprenticeship was for two years under Steven Assael in his New York City studio and her second was with Odd Nerdrum in Norway. References from a broad swath of art history can be found in Freymuth-Frazier’s solitary subjects. Influences range from Balthus’s discomforting depictions of preadolescence, and the queen of Kitsch, Margaret Keane’s “Big Eyed” children and animals, to the heavy chiaroscuro and technical rigor of Caravaggio and Rembrandt. This unique combination results in something of a hybrid between Lowbrow esthetic and Old Master technique.


R.Freymuth-Frazier & Wedding Party Courtesy R.Freymuth-Frazier 89

R.Freymut “Narcissus-(Fir

Oil on line Courtesy R.Fre


th-Frazier rst Kiss”) -2012

en, 16”x 22 eymuth-Frazier


R.Freymuth-Frazier “The Duchess with Duke”- 2013 Oil on linen, 17” x 27” Courtesy R.Freymuth-Frazier 92

R.Freymuth-Frazier “Three Nurses “- 2012

Oil on linen, 54”x70” Courtesy R.Freymuth-Frazier 93

Cultural references spanning 2000 years can also be found in Freymuth-Frazier’s work, from the Roman sculpture Sleeping Hermaphrodite, 2nd century A.D., to the recent porn video 2 Girls 1 Cup. Using a complex language of symbolism like that found in medieval religious icons or the Unicorn Tapestries, the paintings address universal themes such as child development, sexuality, loss of innocence, consumerism, domestication, gender roles, androgyny and body image in our society today. Freymuth-Frazier’s work can be found in collections internationally such as The Seven Bridges Foundation in Connecticut and the John and Diane Marek Collection, in Tennessee. She has received attention from numerous Arts publications including Art News, The Chicago tribune, Art Papers, and American Artist Magazine. Freymuth-Frazier lives and works in New York City.


R.Freymuth-Frazier “Wedding Party” - 2014 Oil on linen, 45” x 76” Courtesy R.Freymuth-Frazier 95

R.Freymuth-Frazier “Uprising”- 2013

Oil on linen, 24” x30” Courtesy R.Freymuth-Frazier 96

R.Freymuth-Frazier “World Domination” -2014 Oil on linen, 30”x34” Courtesy R.Freymuth-Frazier 97


R.Freymuth-Frazier “Whispering Sisters” -2007 Oil on linen, 60”x 52” Courtesy R.Freymuth-Frazier 99

THE TZARS AND THE EAST Gifts from Turkey and Iran at the Kremlin Moscow Februray 28 - May 18, 2014 Calouste Gulbenkian Museum - Temporary Exhibition Room

This exhibition, which was previously presented at the Arthur M. Sackler Gallery of the Smithsonian Institution in Washington D.C., brings together a remarkable group of around sixty pieces, largely from Ottoman Turkey and Safavid Iran, which were valuable and prestigious gifts offered to Russian Tzars or precious products imported from those regions. The the show is developed around four themes: the Golden Horde, Iran in the Safavid period, Ottoman Turkey and Russia of the Czars. The selected pieces, from the extremely rich collection held by the Kremlin in Moscow, were essential products in the life of the Russian court and were presented with great pomp at official ceremonies or religious services in the Kremlin cathedrals. This exhibition is noteworthy for being the first time that a Portuguese museum has presented these pieces, which are striking for the richness of the precious stones that decorate them, the sumptuous fabrics from which many of the objects are made, and their hitherto unprecedented originality. The exhibition The Czars and the East will certainly constitute one of the most remarkable and original series of pieces ever presented at the Calouste Gulbenkian Museum. Cientific comissariate: Inna Vishnevskaya, Olga Melnikova, Elena Yablonskaya 100


Confection - Russia, seventeenth century. Velvet - Turkey first half of the seventeenth century. Velvet embossed with silver-gilt threads, yarn fringe gilded silver. A. 165 cm 101

Icon of Our Lady of the Milk Moscow century. XVI Moscow Kremlin Museums 102


Istanbul, the first third of the seventeenth century Moscow Kremlin Museums 103


Istanbul, mid-seventeenth century Moscow Kremlin Museums 104


Offer Yuriy Panagiot the Tsar Mikhail Fiodorovitch in 1632. Istanbul, the first third of the seventeenth century. Jade (nephrite), gold, emeralds, rubies, sapphires 105

Dagger with sheath

Turkey, second half of the century. XVI Moscow Kremlin Museums 106


Turkey first half of the century. XVII Moscow Kremlin Museums 107


Maça de aparato (detail) Istanbul, mid-century. XVII Moscow, Kremlin Museums

Museu Calouste Gulbenkian

Sala de Exposições Temporárias da Sede Fundação Calouste Gulbenkian Avenida Berna 45, 1067-001 Lisboa 109



Richard Hamilton (1922 –2011) 13 Fevereiro – 26 Maio 2014

Tate Modern One of the most influential British artists of the 20th century, Richard Hamilton (1922–2011) is widely regarded as a founding figure of pop art, who continued to experiment and innovate over a career of 60 years. Tate Modern will stage the first retrospective to encompass the full scope of Hamilton’s work, from his early exhibition designs of the 1950s to his final paintings of 2011. This new exhibition will explore his relationship to design, painting, photography and television, as well his engagement and collaborations with other artists. Hamilton is best known for his pivotal role in the birth of Pop Art, including the groundbreaking installation Fun House 1956. A centre piece of the exhibition, this immersive room combines images from movie-posters, magazines and art history, and will be shown alongside a print of the era-defining Just what is it that makes today’s homes so different, so appealing?. The depiction of Mick Jagger in the iconic Swinging London 67, 1968–9, as well as images of other celebrities such as Bing Crosby and Marilyn Monroe, show Hamilton’s continued interest in popular culture, but he also addressed wider contemporary issues and political subjects. These included the Kent State shootings and the IRA ‘dirty protests’, as well as figures like Margaret Thatcher and Tony Blair in such works as Treatment Room 1984 and Shock and Awe 2010. Hamilton’s interest in interiors, architecture and design will also be represented by his depictions of everything from the Guggenheim Museum in New York to a classic Braun toaster. 112

Richard Hamilton “Just what was it that made yesterday’s homes so different, so appealing?” 2004 Digital print on paper- image: 260 x 250 mm, support: 420 x 297 mm Tate © Richard Hamilton 2005. All rights reserved, DACS 113

Richard H “Interior

Oil, cellulose paint a support: 1219 x 1626 mm fra Ta Š The Estate of R 114

Hamilton r II� 1964

and collage on board ame: 1425 x 1830 x 100 mm ate Richard Hamilton 115

Richard H “Swinging Londo

Acrylic, collage and a support: 673 x 851 mm fra Tate. Purch Š The Estate of R 116

Hamilton on 67� (f) 1968â9

aluminum on canvas. ame: 848 x 1030 x 100 mm hased 1969 Richard Hamilton 117

This will be the first Hamilton retrospective to fully reflect the importance of his exhibition designs and installations. The exhibition will include key examples of this practice, including a recreation of his very first installation Growth and Form 1951, and Lobby 1985–7, in which a painting of a hotel lobby in echoed by a column and staircase in the gallery room itself. In collaboration with Tate, two of Hamilton’s other installations, Man, Machine and Motion 1955 and An Exhibit 1957, will be shown at the ICA to coincide with this retrospective. Almost six decades after the artist presented these works at the Institute’s original location in Dover Street, they will be restaged to reflect the artist’s close relationship with the ICA throughout his career. Hamilton was also notable for his many collaborations with other artists, from making the official reconstruction of Duchamp’s The Bride Stripped Bare by her Bachelors Even (The Large Glass) to a life-long series of Polaroid portraits which Hamilton invited other artists to take of him, including Francis Bacon, Andy Warhol and Roy Lichtenstein. This interest in the work of others can also be seen in his very final computeraided paintings, which were inspired by the Italian Renaissance masters. Richard Hamilton was born in London in 1922. He studied at the Royal Academy Schools and Slade School of Art, and went on to teach at the London Central School of Arts and Crafts and the University of Newcastle upon Tyne. Hamilton was also a key member of the Independent Group, who met at the ICA in the 1950s. He represented Britain in the 1993 Venice Biennale and his work is held in major public and private collections around the world. Richard Hamilton is curated at Tate Modern by Mark Godfrey, Curator of International Art, with Hannah Dewar, Assistant Curator. The exhibition was initiated by Vicente Todolí and Paul Schimmel and organised by the Museo Nacional Centro de Arte Reina Sofía, Madrid in collaboration with Tate Modern. It will be touring to Madrid from June to October 2014.

Tate Modern Bankside, London SE1 9TG, UK 118




3March 3 – April 26, 2014 | Skarstedt Gallery

Skarstedt presents the first comprehensive exhibition of Martin Kippenberger’s The Raft of the Medusa series in New York. Organized in collaboration with the Estate of Martin Kippenberger, Galerie Gisela Capitain, Cologne, the show is dedicated solely to this exceptional body of work. The exhibition will be a multi-media presentation including paintings, drawings, photographs and a carpet from the series. Featuring paintings from the Estate of Martin Kippenberger, as well as public and private collections, the exhibition will demonstrate the breadth of the artist’s creativity in this singular body of work. The range of paintings and source materials include 16 paintings, 19 drawings, 14 lithographs, 9 photographs and a 8 by 15 foot woven rug which depicts a blueprint of the raft.


Martin Kippenberger Untitled (from the series The Raft of Medusa), 1996 Oil on canvas, 47.24 x 39.37 inches (120 x 100 cm) Š Estate Martin Kippenberger, Galerie Gisela Capitain, KÜln 121

Martin Kip Untitled (from the series T

Oil on canvas, 78.74 x 94. Š Estate Martin Kippenberger,


ppenberger The Raft of Medusa), 1996

.49 inches (200 x 240 cm) r, Galerie Gisela Capitain, Kรถln


Inspired by Theodore Géricault’s 1819 Le Radeau de la Méduse, Kippenberger’s series is demonstrative of his conflicted relationship with art historical precedents as well as his tendency to appropriate them. In The Raft of Medusa series Kippenberger depicts himself as the individual figures from Géricault’s masterpiece. He posed for, then, worked from photographs, taken by his wife, Elfie Semotan. In the largest painting of the series, on loan from the Museum of Modern Art, New York, the artist recapitulates the whole of Géricault’s composition; now deconstructed in a tangled mess of body parts, faces, a diversity of unrelated strokes. Martin Kippenberger was born in Dortmund, Germany in 1953; he died in Vienna, Austria in 1997. An extremely prolific artist, Kippenberger worked in multiple mediums, which included painting, sculpture, installation, drawings, posters, photography and collage. Kippenberger’s caustic and humorous works called into question the artist’s role within society and culture at large. His criticism of the artistic status quo and daily life issues would become evident through provocative imagery and–eventually–recurrent motifs that in many cases represented the artist himself and aimed at shocking and disturbing the viewer.


Martin Kippenberger Untitled (from the series The Raft of Medusa), 1996 Oil on canvas, 70.87 x 59.06 inches (180 x 150 cm) Š Estate Martin Kippenberger, Galerie Gisela Capitain, KÜln 125

Martin Kip Untitled (from the series T

Oil on canvas, 59.06 x 70. Š Estate Martin Kippenberger,


ppenberger The Raft of Medusa), 1996

.87 inches (150 x 180 cm) r, Galerie Gisela Capitain, Kรถln


Martin Kip Untitled (from the series T

Oil on canvas, 59.06 x 70. Š Estate Martin Kippenberger,


ppenberger The Raft of Medusa), 1996

.87 inches (150 x 180 cm) r, Galerie Gisela Capitain, Kรถln


Martin Kippenberger Untitled (from the series The Raft of Medusa), 1996 Oil on canvas, 35.43 x 29.53 inches (90 x 75 cm) Š Estate Martin Kippenberger, Galerie Gisela Capitain, KÜln 130

Martin Kippenberger Untitled (from the series The Raft of Medusa), 1996 Lithograph on paper, 23 x 18 3/4 inches (58.4 x 47.6 cm) Š Estate Martin Kippenberger, Galerie Gisela Capitain, KÜln 131

Martin Kip Untitled (from the series T

Oil on canvas, 39.37 x 4 Š Estate Martin Kippenberger,


ppenberger The Raft of Medusa), 1996

47.24 in (100 x 120 cm) r, Galerie Gisela Capitain, Kรถln


Both within his life, and since his passing, Martin Kippenberger’s work has been exhibited extensively throughout the United States and Europe. Recent solo exhibitions have been held in institutions such as the Hamburger Bahnhof, Museum für Gegenwart, Berlin in 2013, the Picasso Museum in Málaga, 2011, the Museum of Contemporary Art, Los Angeles, the Museum of Modern Art in New York, 2008-2009, the Tate Modern in London and the K21 Kunstsammlung Nordrhein-Westfalen in Düsseldorf in 2006, the Museum Moderner Kunst Stiftung Ludwig in Vienna, the Van Abbe Museum in Eindhoven and the Museum für Neue Kunst in Karlsruhe and at the Kunsthalle Tübingen, Tübingen in 2003.

Skarstedt Gallery 20 E. 79th Street New York, NY 10075 134

Martin Kippenberger Untitled (from the series The Raft of Medusa), 1996 Oil on canvas. 39.37 x 47.24 in (100 x 120 cm) Š Estate Martin Kippenberger, Galerie Gisela Capitain, KÜln 135

APRIL HIG Vienna, Austria

Erstein, France

Vienna, Austria

Baden-Baden, Germany

Eric Fischl Friends, Lovers and Other Constellations 13 February 2014 - 18 May 2014 Albertina Albertinaplatz 1 1010 Vienna, Austria

JR March 1–June 29, 2014 Museum Frieder Burder Lichtentaler Allee 8S, Baden-Baden

Vienna, Austria

Berlin, Germany

The Winter Palace – Prince Eugene of Savoy- 350 Years 18 October 2013 - 27 April 2014 Belvedere Prinz Eugen-Straße 27, 1030 Vienna,Austria

Yinka Shonibare. Making Eden 15 February – 19 April 2014 Blain Southern Gallery Potsdamer Straße 77–87 Berlin 10785 Germany

Vienna, Austria

Frankfurt, Germany

Danse Macabre – Egger-Lienz and The War 7 March - 9 June 2014 Lower Belvedere/Orangery Rennweg 6 1030 Vienna,Austria

Esprit Montmartre, Bohemian Life in Paris Around 1900 February 7 – June 1, 2014 Schirn Kunsthalle Frankfurt Römerberg 60311 Frankfurt

Adrien Tirtiaux- Solo Exhibition March 19 to April 26, 2014 Galerie Martin Janda Eschenbachgasse 11 A-1010 Vienna

Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein


GHLIGHTS Hamburg, Germany

Lisbon, Portugal

Feurbach’s Muses – Lagerfeld’s Models February 21 – June 15,2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg

Os Czares e o Oriente (The Tzars and the East) 28 Fev - 18 Mai 2014 Av. de Berna, 45A / 1067-001 Lisboa

Tel Aviv, Israel

Bilbao, Spain

Joana Vasconcelos: Lusitania 2013 November 4, 2013 – April 26, 2014 Tel Aviv Museum of Art – The Lightfall, Herta and Paul Amir Building 27 Shaul Hamelech Blvd, POB 33288, Tel –Aviv

Ernesto Neto: the body that carries me February 14, 2014 – May 18, 2014 Guggenheim Museum Bilbao Avenida Abandoibarra, 2 48009 Bilbao

Rome, Italy

Madrid, Spain

Simon Hantaï February 12 – May 11, 2014 Académie de France à Rome - Villa Medici Viale Trinità dei Monti, 1 00187 Roma

CÉZANNE site/non-site February 4 - May 18, 2014 Museo Thyssen Bornemisza Paseo del Prado 8 2014 Madrid

Venice, Italy

Madrid, Spain

Leger 1910-1930- A vision of the contemporary city February 8 - June 2, 2014 Fondazione Musei Civici di Venezia (Museo Correr) Piazza San Marco 52 30124 Venezia

Pontormo. Dibujos February 12 - May 11,2014 Fundación Mapfre Paseo de Recoletos 23, 28004 Madrid


APRIL HIG Basel, Switzerland

London, UK

Genève, Switzerland

London, UK

Rene Rimbert (1896-1991)- Poetry of the Silence and Flemish Reminiscence November1, 2013 – April 25, 2014 Artevera’s Gallery 1 Rue Etienne Dumont, 1204, F, Genève

Richard Hamilton February 13 – May 26, 2014 Tate Modern Bankside, London SE1 9TG

Riehen/Basel, Switzerland

London, UK

Odilon Redon February 2 - May 18,2014 Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel

A Dialogue With Nature: Romantic Landscape From Britain and Germany 30 January - 27 April, 2014 The Courtauld Gallery Somerset House, Strand London WC2R 0RN

Zürich, Switzerland

Florida, USA

From Matisse to Der Blaue Reiter/ The Blue Rider’. Expressionism in Germany and France February 7 - May11, 2014 Kunsthaus Zürich Heimplatz, 1 Zürich

Spirit of Cobra November 8, 2013 – May 18, 2014 NSU Museum of Art Fort Lauderdale One East Las Olas Boulevard Fort Lauderdale, FL 33301

The Surprised Masks: James Ensor February 16 - May 25, 2014 Kunstmuseum Basel St. Alban-Graben 16 4010 Basel

Bailey’s Stardust February 6 – June 1, 2014 National Portrait Gallery St Martin’s Place, London, WC2H 0HE


GHLIGHTS Los Angeles, Ca, USA

New York, USA

Calder and Abstraction: From Avant-Garde to Iconic. November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036

Thirty Years Thirty-One Photographers February 6 - April 26, 2014 Laurence Miller Gallery 20 West 57th Street New York, NY 10019

Los Angeles, Ca, USA

New York, USA

Tea and Morphine: Women in Paris, 1880 to 1914 January 26 – May 18, 2014 Hammer Museum 10899 Wilshire Blvd Los Angeles, CA 90024

Joseph Adolphe – Messages, Memories and Dreams March 27 - April 26, 2014 Bertrand Delacroix Gallery 535W.25th Street, NY 10001, New York

New Jersey, USA

New York, USA

Edvard Munch: Symbolism in Print February 8 – June 8, 2014 Princeton University Art Museum Princeton, NJ 08544

The American West in Bronze, 1850 -1925 December 18, 2013–April 13, 2014 Metropolitan Museum of Art 1000 Fifth Avenue,New York, New York 10028-0198

New York, USA

Madrid, Spain

Visions and Nightmares: Four Centuries of Spanish Drawings January 17 through May 11, 2014 The Morgan Library & Museum 225 Madison Ave, New York, NY 10016

Pontormo. Dibujos February 12 - May 11,2014 Fundación Mapfre Paseo de Recoletos 23, 28004 Madrid



New York, USA

New York, USA

New York, USA

Antonio Canova: The Seven Last Works January 22 - April 27, 2014 The Metropolitan Museum of Art 1000 5th Ave, New York NY 10028

Martin Kippenberger - The Raft of Medusa.A Series of Works From 1996 March 3 – April 26, 2014 Skarstedt Gallery 20 E. 79th Street New York, NY 10075

Riehen/Basel, Switzerland

New York, USA

Odilon Redon February 2 - May 18,2014 Fondation Beyeler Baselstrasse 101 CH-4125 Riehen / Basel

Hollis Dunlap Solo Exhibition March 15 – April 12, 2014 Axelle Fine Arts Galerie 472 West Broadway New York, NY 10012

Zürich, Switzerland

Philadelphia, USA

From Matisse to Der Blaue Reiter/ The Blue Rider’. Expressionism in Germany and France February 7 - May11, 2014 Kunsthaus Zürich Heimplatz, 1 Zürich

Arts and Cultures of The Joseon Dinasty, 1392 – 1910 March 2 - May 26, 2014 Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 215-763-8100

The Passions of Jean-Baptiste Carpeaux March 10-May 26, 2014 Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198

Ink Art: Past as Present in Contemporary China December11, 2013 – April 6, 2014 The Metropolitan Museum of Art 1000 5th Ave New York, NY 10028


GHLIGHTS San Francisco, CA, USA

Vivian Maier, Out of the Shadows February 6 – May 17, 2014 The Scott Nichols Gallery 49 Geary Street, Fourth Floor San Francisco, CA 94108


April, 2014


Line&Stylish Art Magazine nr8 April  

Line & Stylish Art Magazine

Line&Stylish Art Magazine nr8 April  

Line & Stylish Art Magazine