Displaying items by tag: pierreauguste renoir

San Antonio’s international flavor takes on a distinctly French accent this fall when the McNay Art Museum hosts "Intimate Impressionism" from the National Gallery of Art, an extensive exhibition of impressionist and post-impressionist paintings on its first-ever worldwide tour. The exhibition, on view at the McNay September 3, 2014 – January 4, 2015, is comprised of nearly 70 paintings, including work by Pierre-Auguste Renoir, Édouard Manet, Claude Monet, Paul Gauguin, and Vincent van Gogh.

The collection features a selection of intimately scaled still lifes, portraits, and landscapes that are among the most beloved paintings at the National Gallery of Art. The exhibition is visiting Rome, Tokyo, San Francisco, Seattle, and San Antonio, making the McNay the only opportunity to see the collection in the United States outside of the West Coast.

In fall 2015, the Minneapolis Institute of Arts will present “Eugène Delacroix and Modernity,” the first major exhibition to explore the legacy of the celebrated French painter, an influential trailblazer and one of the first modern masters of the form. The exhibition takes Cézanne’s observation that “we all paint in Delacroix’s language” as its starting point to reveal how Delacroix revolutionized French painting for the next generation of artists, leaving an indelible mark on Matisse, Van Gogh, Gauguin, Renoir, Degas, Monet, and others. The MIA is partnering with the National Gallery, London, for this unprecedented survey, featuring important works from the museums’ collections as well as rarely seen works from private collections. The exhibition opens at the MIA on October 18, 2015, and runs through January 10, 2016. It is on view at the National Gallery, London, February 10 through May 15, 2016.

By the time of his death, Eugène Delacroix (1798–1863) was one of the most revered artists in Paris and a hero of the avant-garde. By challenging the status quo by pushing the boundaries of the “Grand Style” of painting into the realm of modernism, he paved the way for younger artists. His large-scale paintings were the first to use the expressive, improvisational markmaking of the Impressionists, the dreamlike allusion of the Symbolists, and the bold colors of Morocco made famous 80 years later by Renoir and Matisse.

German Nazi-era art hoarder Cornelius Gurlitt, who died on Tuesday, has made the Bern Art Museum in Switzerland his "sole heir".

The reclusive son of Adolf Hitler's art dealer is estimated to have amassed a collection worth up to a billion euros.

The museum said the news struck "like a bolt from the blue", given that it had had no relationship with Mr Gurlitt.

The collection was the subject of a long legal dispute over works that may have been taken illegally by the Nazis.

Winslow Homers in the shadow of a defunct Beech-Nut baby food plant. A Rembrandt, Picasso, Rubens and Renoir up the hill from a paper mill. The founder of the Hudson River School vying for attention amid baseball memorabilia and old farm machinery.

There are plenty of treasures to be found among the collections of lesser-known, off-the-beaten-path art museums dotting upstate New York. But they're well worth the trek for anyone looking for great art in unexpected places, whether it's the rolling, bucolic countryside typical of many areas or the industrial grittiness of riverside mill towns.

The Wadsworth Atheneum Museum of Art in Hartford, Connecticut, has acquired a rare self-portrait by the Italian Baroque painter Artemisia Gentileschi, who is widely regarded as the most important female artist before the modern period. The institution purchased “Self-Portrait as a Lute Player” from Christie’s New York using funds from the recently established Charles H. Schwartz Fund for European Art. It is the first painting by a female artist of the Baroque period to enter the Wadsworth Atheneum’s permanent collection.

“Self-Portrait as a Lute Player” is one of only three uncontested self-portraits by Gentileschi that are known to exist. The work was most likely commissioned by the Grand Duke Cosimo II de’Medici and was recorded in the Medici collection as early as 1638. The painting’s whereabouts remained a mystery until it surfaced in a private collection in 1998. It was subsequently featured in major Gentileschi exhibitions around the world. The Wadsworth’s recent acquisition expands the museum’s already-stellar collection of Baroque masterpieces, which includes works by Caravaggio, Claude Lorrain, and Nicolas Poussin.

“Self-Portrait as a Lute Player” will make its public debut alongside works by Fra Angelico, Caravaggio, Artemisia’s father Orazio Gentileschi, Claude Monet, and Pierre-Auguste Renoir in 2015 following a reinstallation of the museum’s European collections in the Morgan Memorial Building, which is undergoing an extensive renovation.

Cornelius Gurlitt, the German man who had been hoarding a trove of Nazi-looted artworks in his Munich apartment, has agreed to return the works to their rightful owners. Gurlitt's lawyers are currently working with the descendants of Paul Rosenberg, a French art dealer, to return Henri Matisse's "Seated Woman/Woman Sitting in Armchair."

In November 2013, it was reported that in 2012, more than 1,400 artworks were uncovered in Gurlitt's apartment. In February 2014, around 60 more works were found in an Austrian home owned by Gurlitt, including works by Claude Monet, Pierre-Auguste Renoir, and Pablo Picasso.  Two subsequent visits turned up 178 more works.

Gurlitt, 81, is the son of the art dealer Hildebrandt Gurlitt, who reportedly acquired the works in the late 1930s and 1940s. Gurlitt's father had been put in charge of selling the stolen artworks abroad by Joseph Goebbels, Hitler's Minister of Propaganda, but secretly hoarded many of them and later claimed that they were destroyed in the bombing of Dresden. Gurlitt sold a number of the paintings over the years and lived off of the profits.

In November 2013, Gurlitt announced that he would not negotiate the return of the works in his possession.

The Phillips Collection in Washington, D.C. has organized several installations throughout the museum showcasing recent acquisitions alongside popular masterpieces and rarely exhibited works from its permanent collection. Divided among several intimate galleries, the installations are organized by theme, including sculpture, drawings, and portraiture.

Perpetual crowd-pleasers such as Edgar Degas’ “Dancers at the Barre,” Joan Miró’s “The Red Sun,” and Pierre-Auguste Renoir’s “Luncheon of the Boating Party” will appear next to rarely seen works, including Jean-Honore Fragonard’s drawing “Odorico Kills Corebo and Sets Out in Pursuit of Isabella” and Pablo Picasso’s bronze sculpture “Head of a Woman,” promoting the rediscovery of treasures in the museum’s holdings. Showing support for established and emerging artists alike, recent acquisitions, including contemporary works by living artists, will be exhibited on the museum’s second floor.

Dr. Dorothy Kosinski, the Phillips Collection’s director, said, “The juxtaposition of provocative new additions with iconic European masterworks demonstrates the museum’s commitment to founder Duncan Phillips’s mission to create an ‘intimate museum combined with an experiment station.’”

The Phillips Collection plans to display a selection of new acquisitions throughout the spring and summer, with a rotation of artworks in May.

40 paintings by Claude Monet from the private Marmottan Monet Museum in Paris are on view in the basement of Shanghai’s K11 Art Mall, a collection of designer boutiques and cafes interspersed with art displays. The show, which is China’s largest exhibition of Monet paintings ever opened, features some of the artist’s most well-known masterpieces including works from his “Water Lilies” series.

The exhibition’s organizers are hoping that the show will attract between 200,000 and 300,000 visitors durings its three-month run. Due to security concerns, only 3,000 people will be allowed to view the exhibition per day. The show is part of a series of events aimed at celebrating the 50th anniversary of diplomatic ties between France and China.

The paintings on display represent about half of the Marmottan Museum’s Monet holdings. The institution’s collection also includes works by Edgar Degas, Edouard Manet, Alfred Sisley, Camille Pissarro, Paul Gauguin, and Pierre-Auguste Renoir.

"Master of Impressionism -- Claude Monet" will be on view at the K11 Art Mall through June 15.

Earlier this year, a judge ordered that a painting by Pierre-Auguste Renoir be returned to the Baltimore Museum of Art. The work, which had been purchased in 2009 at a Virginia flea market, was stolen from the museum in 1951.

Martha Fuqua, the woman who made the seven-dollar flea market purchase, argued that she deserved to hold on to “On the Shore of the Seine,” a small landscape painting, because she was unaware that it had been stolen when she purchased it. Fuqua attempted to sell the work at auction for $100,000, but it was confiscated by the FBI after it was revealed that the painting belonged to the museum.

“On the Shore of the Seine” will be on view at the Baltimore Museum of Art from March 30 through July 20.  

Nearly 60 more artworks have been found at the Austrian home of Cornelius Gurlitt, a German recluse whose art hoard is suspected to contain Nazi-looted works. In November, it was reported that in 2012, more than 1,400 artworks were uncovered in Gurlitt’s dilapidated Munich apartment. The latest pieces, including works by Monet, Renoir and Picasso, were found at his Salzburg property. An initial inspection indicates that there is no Nazi loot in the latest trove.

Gurlitt, 81, is the son of the art dealer Hildebrandt Gurlitt, who reportedly acquired the works in the late 1930s and 1940s. Gurlitt’s father had been put in charge of selling the stolen artworks abroad by Joseph Goebbels, Hitler’s Minister of Propaganda, but secretly hoarded many of them and later claimed that they were destroyed in the bombing of Dresden. Gurlitt sold a number of the paintings over the years and lived off of the profits.

The task force in charge of researching the origins of the nearly 1,400 works discovered in Munich, has said that approximately 590 of them are suspected to have been looted or extorted by the Nazis from Jewish collectors. Authorities are in the process of locating the works’ rightful owners and publishing images of the paintings on www.lostart.de.