Displaying items by tag: catalogue raisonne

Attention all Francis Bacon fans: in April 2016, the artist's estate will publish Francis Bacon: Catalogue Raisonné, the first comprehensive catalog of his oeuvre. The book, which has been in production for a decade, will feature over 100 previously unseen canvases, some of which were recently unearthed from a private Italian collection.

"The stuff that has been written about Bacon, some good and much of it less good, is based on about a third of his work," art historian Martin Harrison, who worked on the catalog, told the Guardian.

The Judd Foundation is working to digitize Donald Judd’s archive, which is in the process of being moved fr om New York to Marfa, Texas, wh ere the artist founded the Chinati Foundation in 1986.

The archive has so far been the main resource for a catalogue raisonné being compiled by the Judd Foundation. With the appointment in September of former studio assistant Ellie Meyer as the catalogue raisonné research manager, the project is moving into a more public phase, focusing on collectors, galleries and institutions.

Gerhard Richter's catalogue raisonné continues to take shape as the artist's output from 1976 to 1994 has now been fully documented.

But what about the artist's early works? The painter has developed a reputation for rigorously editing his oeuvre, routinely striking works from catalogues, Tagesspiegel reports. He's also threatened to pull loaned works from museum collections.

For much of his life, the Swiss sculptor Alberto Giacometti (1901-1966) lived and worked out of a cramped and cluttered atelier in the 14th Arrondissement of Paris where paint-stained surfaces were covered with busts and figurines and walls were sketched and scrawled over. The artist toiled day and night in this spartan setting, pausing for meals with plaster still stuck in his hair.

That 270-square-foot studio will be recreated exactly as he left it as part of the new Institut Giacometti, a research center and exhibition space that will open to the public late next year in the same arrondissement, or district, according to Catherine Grenier, the director of the Fondation Alberto et Annette Giacometti.

A self-portrait by Van Dyck that was dismissed a decade ago as a copy is now hanging in the Minneapolis Institute of Arts, Minnesota, as an original work. The painting, which has been authenticated by experts, was quietly put on display in February, having been lent by a US collector based on the West Coast.

An unpublished paper on the self-portrait, prepared for the owner, dates the work to around 1629 and states that the attribution is accepted by four key experts: Susan Barnes, a co-author of the 2004 Van Dyck catalogue raisonné, Christopher Brown, the former director of the Ashmolean Museum in Oxford, David Jaffé, a former senior curator at the National Gallery in London, and Malcolm Rogers, the outgoing director of the Museum of Fine Arts, Boston.

An installation of several paintings by Hans Hofmann, one of the most influential painters of the 20th century, is now on view at The Metropolitan Museum of Art. Drawn from the Museum’s substantial holdings of the artist’s work, "Hans Hofmann: Selected Paintings" commemorates the recent publication of the Hans Hofmann Catalogue Raisonné of Paintings, a comprehensive three-volume compendium.

Known as one of the abstract painters of the New York School, Hofmann (American, 1880-1966) shaped three generations of artists, first in Europe and later in the United States. The list of his illustrious students includes Joan Mitchell, Lee Krasner, Larry Rivers, Allan Kaprow, and Marisol (whose large installation "Self-Portrait Looking at The Last Supper" is on view at the Met through April 5, 2015 in Gallery 909).

A five-volume catalogue raisonné of Francisco de Goya’s drawings will be developed in a rare collaboration between the Museo Nacional del Prado and the Santander- and Madrid-based Fundación Botín. The project, which kicks off this month and is due to run for at least five years, will involve researching, cataloguing and conserving nearly 1,000 drawings by Goya, and will conclude with two exhibitions: one at the future Botín Center in Santander, when the first volume is published in 2016, and another at El Prado in 2019—for the museum’s 200th anniversary—when the rest of the volumes are due to be finished.

“The indisputable novelty of the catalogue is in its collaborative execution,” says an official release from the Fundación Botín. The foundation has dedicated €1.7 million to the editorial coordination and management of the project.

After two years of fundraising, Oxford’s Bodleian Libraries have finally secured the £2.25 million (approx. $3.6 million) necessary to buy the personal archive of early photography pioneer William Henry Fox Talbot. Although Daguerre is often credited with the invention of photography, Fox Talbot’s book “Pencil of Nature” was an early development for paper-based processes and the first photographically-illustrated book. The archive includes objects photographed in the book, documents relating to both his work and his personal life, and many other items. The Bodleian Libraries have several plans in the works for the archive including a 2017 exhibition, a catalogue raisonné of his work, and an online archive for scholarly research.

The National Portrait Gallery will stage a major exhibition in 2015 of works by one of the world’s most celebrated portrait painters, John Singer Sargent. Organized in partnership with the Metropolitan Museum of Art in New York, the exhibition will bring together, for the first time, a collection of the artist’s intimate and informal portraits of his impressive circle of friends, including Robert Louis Stevenson, Claude Monet and Auguste Rodin.
 
Curated by Richard Ormond CBE, co-author of the John Singer Sargent catalogue raisonné, the exhibition "Sargent: Portraits of Artists and Friends" (12 February – 25 May 2015) will explore the artist as a painter at the forefront of contemporary movements in the arts, music, literature and theater, revealing the depth of his appreciation of culture and his close friendships with many of the leading artists, actors and writers of the time.

The birth of Impressionism can now be dated to a precise time: 7.35am on 13 November 1872. New research has identified when Claude Monet painted Impression, Soleil Levant (impression, rising sun), which gave the artistic movement its name. Evidence for the new dating will be presented next month in an exhibition at the Musée Marmottan Monet in Paris, which owns the picture (18 September-18 January 2015).

Until now, it has been unclear whether Impression, Soleil Levant was painted in 1872 or 1873. Monet dated it next to his signature as “72”, but the Wildenstein catalogue raisonné re-dated it to 1873, arguing that the artist worked in Le Havre that spring. The hazy nature of the Impressionist scene has made it difficult to determine the topography of the harbour view, but this was essential to establish the date.