Category: Exhibitions

COLNAGHI London presents a tantalising new exhibition devoted to female still life, the highlight of which is a spatially complex painting by the mannerist artist, Fede Galizia (pictured). An important rediscovery by Colnaghi, the work contributes to the reconstruction of Galizia’s corpus in her enigmatic final years. Forbidden Fruit: Female Still Life will include other rare works by Giovanna Garzoni, painter to the Medicis and one of the first women to practice the art of still life, as well as the only known painting by Caterina Angela Pierozzi, protégée of Grand Duchess Vittoria della Rovere. The exhibition will also feature the last painting by the hand of acclaimed Dutch botanical artist, Rachel Ruysch.

Open at Colnaghi London from April 27 through June 24, 2022, Forbidden Fruit builds upon Colnaghi's mission to spearhead new trends in art collecting, bringing the finest works in often overlooked categories to a new audience. This presentation includes work from the Renaissance to Baroque periods by: Giovanna Garzoni, Fede Galizia, Judith Leyster, Clara Peeters, Caterina Angela Pierozzi, Elisabetta Marchioni, Rachel Ruysch and others.

Whereas Rococo painting was considered frivolous and immoral after the French Revolution, it underwent a revival in the nineteenth century and was widely visible in Renoir’s lifetime. Having trained as a porcelain painter, he was also intimately acquainted with the imagery of artists such as Antoine Watteau, Baptiste Siméon Chardin, François Boucher and Jean-Honoré Fragonard. He shared the Rococo’s predilection for certain subjects, among them promenaders in the park and on the riverbank, moments of repose in the outdoors, and the garden party. Renoir also frequently devoted himself to the depiction of domestic scenes and family life as well as intimate moments such as bathing, reading or making music. Yet he not only took orientation from the motifs of the Rococo, but also particularly admired its loose and sketchy manner of painting as well as its brilliant palette, aspects that would have a formative influence on him and many other artists in the Impressionist circle. 

Trenchant juxtapositions of Renoir’s art with works of the eighteenth century as well as his own contemporaries – Edgar Degas, Édouard Manet, Claude Monet and Berthe Morisot – will provide an overview of Impressionism’s intense artistic examination of the Rococo. 

The exhibition will show a total of some 120 outstanding paintings, works on paper and handcrafted objects from international museums such as the National Gallery in Washington, D.C., the Musée d’Orsay in Paris, the National Gallery in London, the Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles, as well as private collections.

England under the volatile Tudor dynasty was a thriving home for the arts. An international community of artists and merchants, many of them religious refugees, navigated the high-stakes demands of royal patrons, including England’s first two reigning queens. Against the backdrop of shifting political relationships with mainland Europe, Tudor artistic patronage legitimized, promoted, and stabilized a series of tumultuous reigns, from Henry VII’s seizure of the throne in 1485 to the death of his granddaughter Elizabeth I in 1603. The Tudor courts were truly cosmopolitan, boasting the work of Florentine sculptors, German painters, Flemish weavers, and Europe’s best armorers, goldsmiths, and printers, while also contributing to the emergence of a distinctly English style. This exhibition will trace the transformation of the arts in Tudor England through more than 100 objects—including iconic portraits, spectacular tapestries, manuscripts, sculpture, and armor—from both The Met collection and international lenders.

The exhibition is organized by The Metropolitan Museum of Art and The Cleveland Museum of Art, in collaboration with the Fine Arts Museums of San Francisco.

This significant collection consists of 17 maritime paintings, a ship’s register (1912) from The Cork Harbour Commissioners referencing both the Titanic and Lusitania, an illuminated address to Charles Stewart Parnell (1846-1891), and a silver Admiralty Oar from 1686. 

Now visitors will have the opportunity to encounter a selection of paintings from the Port of Cork collection, including works by George Mounsey Wheatley Atkinson (1806-1884), Henry Albert Hartland (1840-1893), Robert Lowe Stopford (1813-1898), and Seán Keating (1889-1977).  Although not attending to certain social or political realities of late nineteenth-century Ireland, these artworks do act as a visual reminder of that time.

They also underscore Cork Harbour's links with empire, its international significance for commerce and trade, and ever-present story of migration. Glimpses of half-remembered histories are framed within these heritage views of Cork Harbour. Each artist provides an insight into the Port of Cork's operations, from Atkinson's extraordinary rendering of naval vessels to Hartland and Stopford's depictions of commercial shipping and leisure craft. Perhaps unexpectedly, Keating's elevated View of the Port of Cork draws us into Cork City itself and remembers the busy working quays of recent memory.

Our summer blockbuster exhibition offers you the chance to rediscover a host of 'forgotten' British artists working at the turn of the twentieth century, including Frederick Cayley Robinson (pictured), Evelyn Pickering de Morgan and Charles Ricketts. These artists sought to understand their place in the changing modern world by re-examining the nostalgic and romantic art of the Pre-Raphaelite Brotherhood. The exhibition is a rare opportunity to see the Gallery's important collection of Modern Pre-Raphaelite artwork in the context of significant loans from around the country including works from Tate, the British Museum, the Fitzwilliam Museum, Manchester Art Gallery and many more.

Murillo skillfully embellished the narrative, conveying the story’s themes of virtue and vice, regret and forgiveness, through the figures’ dramatic gestures and facial expressions. Each composition is at once singular and dynamic despite its preservation of narrative continuity. It is therefore all the more remarkable that the series has remained intact, the only by Murillo to be so, despite changing hands many times since its creation during one of the artist’s more prolific decades. Since 1987, the paintings have been in the collection of the National Gallery of Ireland in Dublin. 

In 2022, all six canvases will travel to the United States for the first time to be featured at the Meadows Museum, their only venue in this country. Marking the Meadows’s first collaboration with the National Gallery of Ireland, Picturing the Prodigal Son was inspired by the recent conservation work and the extensive technical analysis of the canvases carried out in Dublin, which has highlighted the beauty of Murillo’s technique and revealed new insights into his working method at a critical point in his career. The exhibition therefore marks a rare opportunity for American audiences to view an important painting series by Murillo in its entirety, just as it was created to be seen. As the largest repository of paintings by Murillo in the United States, the Meadows Museum is the ideal venue to exclusively present Murillo: Picturing the Prodigal Son.

While recent decades have seen exhibitions showcasing the work of almost all the major Netherlandish painters of the 15th and 16th centuries, Hugo van der Goes has been largely neglected. This is mainly due to the rarity of his works and their often impressive dimensions. Two of these large-format paintings are housed by the Gemäldegalerie, which is why this museum’s collection lends itself to a monographic show like no other. The two monumental Berlin panels, the Monforte Altarpiece (ca. 1470) and The Nativity (ca. 1480), will play a central role in the exhibition. Over the course of the past 12 years, both works have undergone extensive restoration work. Today, they exhibit a vibrancy that was previously unimaginable. 

These two paintings will be joined by numerous important loans from European and American collections. The exhibition will provide viewers with the opportunity to compare the majority of this master’s preserved oeuvre for the very first time. Next to paintings on wood and canvas, a number of drawings offer a deeper insight into the production of this artist.

From 22nd February until 26th June 2022, visitors to the Museo Picasso Málaga will have a unique opportunity to discover the links between Pablo Picasso and leading artists of the past. The MPM will be hosting Face to Face. Picasso and the Old Masters, an exhibition, jointly organized with Museo de Bellas Artes de Sevilla, in which paintings by El Greco, Francisco Pacheco, Giovanni Battista Caracciolo, Francisco de Zurbarán, Cornelius Norbertus Gijsbretchs, Bernardo Lorente Germán and Diego Bejarano will be hung alongside major works by Pablo Picasso. 

Face to Face. Picasso and the Old Masters presents paintings from the Museo de Bellas Artes de Sevilla’s remarkable collection of Spanish and other European Masters opposite nine important works by Picasso belonging to the Fundación Almine y Bernard Picasso para el Arte (FABA).

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These pairings not only enable viewers to make specific comparisons between the work of Picasso and the Masters in order to understand how deeply Picasso’s art was rooted in Spanish traditions. The juxtapositions also allow us to discern how he transformed these traditions into the revolutionary art of the 20th century. 

In 2000 the Saint Louis Art Museum purchased Cavaliere d’Arpino’s Perseus Rescuing Andromeda, an exceptional painting on lapis lazuli. The acquisition of the small, stunning work of art spurred extensive research that culminates in Paintings on Stone: Science and the Sacred 1530–1800, the first systematic examination of the pan-European practice of this unusual and little-studied artistic tradition. 

By 1530 Italian artists had begun to paint portraits and sacred images on stone. At first artists used slate and marble. By the last decades of the 16th century, the repertoire expanded, eventually including alabaster, lapis lazuli, onyx, jasper, agate, and amethyst. In addition to demonstrating the beauty of these works, Paintings on Stone explains why artists began using stone supports and the role that stone played in the meaning of these endeavors. 

Bringing together more than 70 examples by 58 artists, Paintings on Stone represents major centers of stone painting and features 34 different stones, nearly the full range that were used.

Inspiring Walt Disney: The Animation of French Decorative Arts displays American 20th-century hand-drawn animation alongside French 18th-century art to reveal the surprising and enchanting connections between these two artistic movements. 

Drawing on the outstanding artworks of the Wallace Collection and spectacular international loans, the exhibition will highlight the exceptional talent and innovation of both Walt Disney Animation Studios artists and the creative pioneers of the French 18th century. Although separated by two centuries, the artists, craftspeople and animators all had the same ambition – to breathe life, character, and charm into the inanimate.