Displaying items by tag: sculpture

Kimbell Art Museum curator and former National Gallery intern C.D. Dickerson has been named curator and head of sculpture and decorative arts at the National Gallery of Art, the museum announced Thursday.

Beginning July 27, Dickerson will oversee a collection of more than 3,500 works of European and American sculpture, decorative arts and medals. He succeeds Mary Levkoff, who left in July to become the director of Hearst Castle in California.

The exhibition Modern Taste: Art Deco in Paris, 1910-1935 presents a dazzling array of Art Deco furniture, decorative objects, paintings, sculptures, fashion garments, jewelry, glass, ceramics, and much more. The comprehensive display, which is currently on view at the Fundación Juan March in Madrid, strives to do more than present examples of Art Deco furniture and decor -- it strives to challenge the time-honored division between the fine arts and the decorative arts as well as question the nearly complete absence of Art Deco from the history of modern art.

Art Deco emerged in Paris in 1925 at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, where the style was first exhibited.

Visit InCollect.com to read more about Art Deco furniture, fine art, and decorative objects.

To celebrate its 75th anniversary as a public institution, the Walker Art Center will embark on a $75 million renovation of its rolling campus, the final stage of an expansion that began more than a decade ago with the addition of a new building by the architects Jacques Herzog and Pierre de Meuron. The new project will restructure the museum’s grounds and add a highly visible entrance pavilion, and it will also tie the Walker more closely to the Minneapolis Sculpture Garden across the street, home to “Spoonbridge and Cherry,” the sculpture by Claes Oldenburg and Coosje van Bruggen that has become a Minneapolis landmark.

After 19 years of restoration work, Michelangelo's "Young Saint John the Baptist" (1495-96) has gone on display today at the Museo del Prado.

The sculpture, Spain's only Michelangelo, was destroyed during the Civil War (1936-39) at the Chapel of the Savior of Úbeda, in Andalusia, where it was first put on display back in the 16th century.

The sculpture was not only hammered to pieces, but its head was also burnt. According to "El País," the damage was most likely caused by the anarchist faction.

Pablo Picasso is best known for his paintings, bold works such as “Les Demoiselles d’Avignon” and “Guernica” that profoundly influenced the course of modern art.

This fall, the Museum of Modern Art plans to showcase a less-celebrated aspect of Picasso’s output—his sculpture—with a major survey of three-dimensional works that spans the artist’s entire career.

Featuring around 150 pieces from major collections around the world, “Picasso Sculpture” will run from Sept. 14, 2015 to Feb. 7, 2016.

On March 25th "Landscapes of the Mind. British Landscape Painting. Tate Collection, 1690-2007" was presented for the first time ever in Mexico City, an exhibition organized by Tate in association with Museo Nacional de Arte, as part of the celebrations of the Dual Year between Mexico and the United Kingdom.

This exhibition presents 111 artworks by British and European artists, with a plurality of techniques (painting, drawing, printmaking, photography, sculpture/installation, etc.) which ponder on the evolution of British landscape in art history. The term "Britain" is understood as the geographical entity of the British Isles, i.e., the archipelago that includes England, Wales, Scotland and Ireland, before the independence of the latter in 1921.

Among the surprises in the British Museum’s exhibition on Greek sculpture is an important early 20th century bronze copy which most archaeologists assumed had been destroyed during the Second World War. It is a reconstruction of the famous Doryphoros (spear-bearer), made in around 1920 by the German sculptor Georg Römer. He based it on three Roman marble copies of the lost Greek original by Polykleitos of around 440 to 430 BC.

Römer’s copy has had a chequered history.

It’s a small work of art — precisely the size of an old Savarin coffee can jammed with artist’s paintbrushes — but in the history of postwar art and in the career of Jasper Johns, one of the most important artists of the last half century, it looms large.

Created in 1960, “Painted Bronze” has been a fixture for more than three decades at the Philadelphia Museum of Art, where it has been on long-term loan from Mr. Johns’s personal collection. But now it will migrate north to a permanent home at the Museum of Modern Art, which will receive the sculpture as a promised gift from the collectors Henry R. Kravis and his wife, Marie-Josée Kravis, the Museum of Modern Art’s president, who recently bought it.

Since the mid-nineteenth century, Renaissance Italian bronze statuettes, maiolica wares, Limoges enamels, and French sixteenth-century ceramics belonged to the category of objects that every serious art collector in Europe hoped to own, their value and association with royal and noble provenance bestowing upon their owners an aura of cultivation and taste. The greatest collections were assembled by Sir Richard Wallace, George Salting, Frederic Spitzer, and several members of the Rothschild family, among others. Henry Clay Frick, who emulated these European collectors, acquired in 1915 most of John Pierpont Morgan’s renowned collection of Italian bronzes and Limoges enamels. Three years later, he completed his Renaissance collection of sculpture and decorative arts with the acquisition of a Saint-Porchaire ewer, shown at right, related to a small group of elaborate French sixteenth-century ceramics. Only about seventy authentic pieces of Saint-Porchaire are known today, making them exceedingly rare. In March, with the generous support of Trustee Sidney R. Knafel, the Frick purchased an unusual Saint-Porchaire ewer decorated with a lizard spout and a handle in the shape of a bearded man.

Yorkshire Sculpture Park offers a fresh perspective to the work of Henry Moore (1898–1986) in a major exhibition of more than 120 works considering the artist’s profound relationship with land, something which was fundamental to his practice and fuelled his visual vocabulary. Born into a mining family in Castleford, West Yorkshire, Moore is one of the most important artists of the 20th century and was a founding patron of YSP. "Henry Moore: Back to a Land" is produced in partnership with The Henry Moore Foundation.

"Henry Moore: Back to a Land" explores the artist’s radical notion of placing sculpture in the landscape, something which forever changed British sculpture. Moore was committed to showing his work in the open air and in the rolling hills of YSP’s former Deer Park in particular. Here, it can be experienced with the resident flock of sheep, an animal described by the artist as an ideal foil for the appreciation of his work, being exactly the right size and scale.