Displaying items by tag: loan

More than a decade after its initial display at the Smithsonian’s National Museum of Natural History, the Smithsonian Cup, crafted by Gianmaria Buccellati of the Italian jeweler, House of Buccellati, is now back on view in the museum’s Janet Annenberg Hooker Hall of Geology, Gems and Minerals. The Cup was originally dedicated to the Smithsonian in honor of the “Buccellati: Gold, Silver and Gems” exhibition, which opened at the museum in October 2000. Since then, it has been on loan to several institutions, including the Museum of Fine Arts in St. Petersburg, Fla., in 2002, the Boca Raton Museum of Art in 2005 and at the Kremlin in Moscow from 2008 to 2009.

“Over the past 13 years, the Cup has served as a traveling ambassador for the Smithsonian,” said Jeffrey Post, curator of the National Gem Collection. “We are delighted to have it home for a while and to be able to once again exhibit it here at the Natural History Museum.”

Sandra and Bram Dijkstra have given the Huntington its first two paintings by African-Americans: Charles White’s Soldier (1944) and Robert Duncanson’s Landscape with Ruin (c. 1853). This is a coup for the Huntington as the paintings had been on loan to the San Diego Museum of Art. Bram Dijkstra is an art historian who long taught at UC San Diego.

Chicago-born Charles White lived in L.A. for most of his career. Soldier is a relatively early work, made about when the artist was drafted at age 26. It was made the year after White’s most famous work, the Hampton University mural of The Contribution of the Negro to Democracy in America.

The Dali Museum debuted a sensational optical and intellectual experience delving into the world of double images and illusions. “Marvels of Illusion” opened to the public Saturday, June 14, 2014. Curated by Joan Kropf, the exhibit showcases a variety of Dalí paintings, prints and sculpture; a special work from the 16th Century from the School of Arcimboldo, on loan from the Ringling Museum; and rich explanatory material.

A centerpiece of the Marvels of Illusion exhibit is an interactive installation titled “Gala Contemplating You” which places visitors inside one of Dali’s most famous paintings. The installation is inspired by Dali’s 1976 painting “Gala Contemplating the Mediterranean Sea Which at Twenty Meters Becomes the Portrait of Abraham Lincoln (Homage to Rothko),” which proved that 121 pixels could identify a particular human face. A corresponding web application allows virtual visitors from around the globe to submit their photos and become part of the experience as well.

Titian’s “Danae,” an Italian Renaissance painting noted for its sensuality, will be on display at the National Gallery of Art from July 1 through Nov. 2.

The painting by the master of the Venetian school, on loan from the Capodimonte Museum in Naples, will help celebrate the beginning of Italy’s presidency of the Council of the European Union, which runs July 1 through Dec. 31. Two other examples of Titian’s work in this genre, “Venus With a Mirror” and “Venus and Adonis,” from the Gallery’s permanent collection, are also on view in the West Building.

The Reading Public Museum announced that now through the end of August 2014, it will display N. C. Wyeth’s Pyle’s Barn, an exceptional oil on canvas from 1917 by the renowned Brandywine Valley artist and illustrator. The painting is on loan from the Brandywine River Museum of Art in Chadds Ford, Pennsylvania as part of an exchange with the institution. The Reading Public Museum’s own N. C. Wyeth, Buttonwood Farm, 1920, will be on view at the Brandywine River Museum of Art through August 10, featured in a temporary exhibition titled Lure of the Brandywine: A Story of Land Conservation and Artistic Inspiration.

The inspiration for this painting came about when N. C. Wyeth (1882-1945) and his wife, Carolyn, rented property in Chadds Ford that included Pyle’s Barn. The structure, located on the south side of the main road through Chadds Ford (now U.S. Route 1) just east of the village, became one of Wyeth's favorite motifs, even after the family moved to another property in 1911. He painted the barn at least six times, in daylight and moonlight, using a variety of impressionistic styles. In the painting, he laid down small strokes of unmixed color, taking advantage of the eye's tendency to blend colors. The technique was derived from Wyeth’s study of the work of the Swiss-Italian artist Giovanni Segantini (1858-1899), whose paintings he admired greatly.

Whitney Museum of American Art Director Adam Weinberg spoke with The Chronicle while visiting the Bay Area for the opening of "Legacy: The Emily Fisher Landau Collection," a major show at the San Jose Museum of Art of contemporary works on loan from the New York museum.

Like the Robert and Jane Meyerhoff Collection sampled in "Modernism from the National Gallery of Art" at the de Young Museum in San Francisco, the Landau Collection includes works by many names considered safe, if not already canonical: Andy Warhol, Cy Twombly, James Rosenquist, Willem de Kooning, Jasper Johns and Agnes Martin.

Sotheby’s London is offering as a highlight of the Impressionist & Modern Art Evening Sale on Monday 23rd June 2014 Claude Monet’s Nymphéas (Water Lilies) of 1906, estimated at £20-30 million/ $33-50 million. Instantly recognisable and revered the world over, Claude Monet’s Nymphéas are among the most iconic and celebrated paintings of turn of the century. The profound impact the series has made on the evolution of modern art marks them out as Monet’s greatest achievement.

This painting was selected by the artist to be exhibited at his seminal exhibition held at the Galerie Durand- Ruel, Paris, in 1909 to unveil his Water Lily paintings in a show dedicated purely to this subject. It had also been singled out and acquired by Paul Durand-Ruel - the legendary art dealer who championed the Impressionists and represented Monet, among many other of the greatest artists of his time – and it remained in his personal collection throughout his lifetime. The painting has since been widely exhibited at some of the world’s most prestigious international museums, including the Museum of Modern Art, New York, the Musée National d'Art Moderne, Paris, and since 2011 has been on loan to the Museum of Fine Arts, Houston. It is this painting, together with the others in this series, that eventually led to Monet’s Les Grandes décorations which were painted between 1914-26, now in the Musée de l’Orangerie in Paris.

This is not good news: The Museum of Contemporary Art has lent a major painting from its permanent collection to a newly opened exhibition at a prominent Culver City art gallery, raising serious questions of conflict of interest.

A museum loan to a commercial enterprise is highly unusual, since the arrangement is typically irrelevant to a museum’s educational mission. Given MOCA’s recent history of troubling mercantile involvements, the gallery loan is disheartening.

The National Academy Museum and School has let go several members of its staff, including both its registrars, the marketing director, the building manager and senior curator Bruce Weber. Dr. Marshall Price, the museum’s contemporary curator, left on his own volition in March to become a curator at the Nasher Museum of Art at Duke University. According to sources with knowledge of the situation, the National Academy’s director, Carmine Branagan, told the museum’s board that the reason the employees were let go was financial, but the real reason stems from disagreements within the institution over its future direction—namely, the promotion of Maurizio Pellegrin, a member of the school’s faculty, to the powerful position of creative director of both the National Academy School and its museum, which are located in a townhouse on Museum Mile.

No one saw the depraved underbelly of post-war Weimar-era Germany as surely as Otto Dix.

His famous triptych Metropolis set dismembered veterans alongside bourgeois revellers and femme fatales.

A year later, in 1928, came the dehumanised, androgynous Portrait Of The Journalist Sylvia von Harden, a masterpiece currently held in Paris.

But it is a series of 50 prints titled Der Krieg (The War), made ten years after the beginning of the First World War, whose unerring focus is pertinent as the world commemorates the centenary of the start of machine-led, industrial-scale killing.