Displaying items by tag: palette

On October 27, 2013, The Santa Barbara Museum of Art will present Delacroix and the Matter of Finish, the first exhibition in the U.S. to focus on the French Romantic artist in over a decade. The show will include 27 paintings and 18 works on paper as well as a previously unknown and unpublished version of Eugène Delacroix’s masterpiece, The Last Words of the Emperor Marcus Aurelius, which surfaced in a Santa Barbara private collection. After several years of scholarly and technical study, the Santa Barbara Museum of Art’s Assistant Director and Chief Curator, Eik Kahng, authenticated the painting.  

Delacroix is often referred to as the father of French Romanticism, the movement that dominated French painting in the first half of the 19^th century. However, the exhibition and its accompanying catalogue by Kahng explore Delacroix’s relationship to Neoclassicism, Romanticism’s alleged antithesis, due to the artist’s allegiance to classical subjects and his admiration for the art of the past. The exhibition also suggests that Delacroix, with his fiery palette and loose brushwork, was something of a forefather to Impressionism.

Delacroix and the Matter of Finish features works from 27 international institutions including the Kunstmuseum Basel, the Musée national Eugène Delacroix in Paris and the Museo Thyssen-Bornemisza in Madrid. After it closes at the Santa Barbara Museum on April 20, 2014, the exhibition will travel to the Birmingham Museum of Art in Alabama.

Picasso Black and White opened earlier this month at the Guggenheim Museum in New York. The first major exhibition to focus on the artist’s lifelong exploration of a black and white palette features 118 painting, sculptures, and works on paper spanning from 1904 to 1971. Five of the works have never been exhibited or published and another thirty-eight works have never been on view in the U.S.

The Guggenheim exhibition has received plenty of praise since its opening but there is one painting in the show that is unlike the others. Woman Ironing (La Repasseuse) is a quintessential image of the disenfranchised people Picasso focused on during his Blue Period (1901–1904). Painted at the tail end of the period, the white and gray palette creates a tired, bleak atmosphere for the frail woman who stands hunched over her iron. But there is something beyond this gloomy woman.

Picasso painted Woman Ironing while he was a struggling artist in his 20s. For economy’s sake he reused an old canvas that he had already used for the beginnings of a portrait of man with a mustache, which he later abandoned. In 1989 an infrared camera detected the presence of the man underneath Woman Ironing. Advances in x-ray and infrared technology have allowed a clearer image of the mysterious mustachioed man and scholars, curators, and conservators have various theories as to who he is. Suggestions include Richard Canals, a rival artist and friend of Picasso, Mateu de Soto, a sculptor with whom Picasso shared apartments and studios with, and Benet Soler, a tailor who was one of Picasso’s oldest friends. Some theories suggest the man with the mustache was one of Picasso’s early self-portraits.

Black and White and Woman Ironing will be on view at the Guggenheim through January 23, 2013.