Intended to celebrate the Museum’s 150th anniversary, this display focuses on the most important Roman monument in the city, whose architectural and sculptural fragments have formed part of the Museum’s collections since its early history. The exhibition also includes archival documents, sketches, plans and notes made by the mid-nineteenth century excavators of the Roman temple.
Lord and Lady Attenborough began collecting ceramics by Picasso in 1954 and continued collecting for over 50 years, building one of the most significant private collections in the UK. Highlights from their collection have been loaned to York by the New Walk Museum and Art Gallery, Leicester. The Picasso ceramics created in the 1950s will be shown within York Art Gallery’s Centre of Ceramic Art (CoCA), which showcases ceramics by more than 600 artists including the founders of the British Studio Ceramics movement.
Retratos. Colecciones Fundación MAPFRE de fotografía, Sala Fundación MAPFRE Recoletos (Paseo de Recoletos 23, 28004 Madrid)
The exhibition ‘Retratos’ is on at the MAPFRE Foundation until 3 September 2017. Focusing on portraits in the twentieth century, the exhibition features photographs by Spanish and Latin American photographers such as Alberto García-Alix, Cristina García Rodero, Graciela Iturbide, Anna Malagrida, Fernando Maquieira. It is divided in four themes, ‘Cities,’ ‘Communities’ and ‘Artists and Models’ which attempt to embrace and reveal the complexity of contemporary portraiture.
Final venue of a tour around America for this exhibition, considered to be the first comprehensive retrospective in the USA of the Brazilian artist (1937-1980). Ranging from geometric paintings to immersive interactive environments and wearable works of art, the exhibition is also the first to explore in depth his New York years (1971-78) and his return to Rio (1978-80). It includes a restaging of his installation Eden, which was first revealed at the Whitechapel Art Gallery, London, in 1969, and which included a pool of water, a sand-box in which visitors were encouraged to sit and a tent where the audience could listen to music and read magazines. Eden was an expression of Oiticica’s view that in order to encourage creativity one needed time to relax and think. The installation is reconstructed with help from the artist’s nephew César Oiticica Filho, the curator of the Project Hélio Oiticica in Brazil. A fully illustrated catalogue covering the artist’s entire career with essays by authors from the USA and Latin America accompanies the exhibition.
Francisco de Goya, The Duke and Duchess of Osuna and their Children, 1787 – 1788. Oil on unlined canvas, 225 x 174 cm.
El desafío del blanco. Goya and Esteve, retratistas de la Casa de Osuna/portraitists to the House of Osuna, Museo Nacional del Prado, Madrid. Closes 1 October 2017
This displays presents for the first time in the Prado the portrait of Manuela Isidra Téllez-Girón, the future Duchess of Abrantes, which was painted in 1797 by Agustín Esteve y Marqués, and which was recently acquired with the help of funds from the donation by Óscar Alzaga Villaamil. The child’s portrait is considered one of the finest works by the Valencian-born Esteve, the most important court portraitist after Goya. The exhibition brings together for the first time all the portraits painted by Agustín Esteve of the children of the Duke and Duchess of Osuna, on loan from private collections such as the Fundación Casa Ducal de Medinaceli, the Colección Duque del Infantado, Colección Masaveu and Colección Martínez Lanzas-de las Heras. In addition the display is accompanied by portraits of the 9th Duke Osuna, Pedro de Alcántara Téllez-Girón (1755-1807) and his wife and cousin, María Josefa de la Soledad Alonso-Pimentel (1752-1834), and their five children by other court artists including Goya’s family portrait of 1787-88 and a miniature by Guillermo Ducker (fl. 1795-1830) of Joaquina Téllez-Girón, Marchioness of Santa Cruz. The exhibition’s title refers to Esteve’s and Goya’s ability to meet the challenge of representing the transparent and pristine white materials worn by their sitters.
This is the final purchase with the Alzaga funds and in October 2017 the Prado will display the other six paintings in the Alzaga donation, which range from the sixteenth-century to the middle of the nineteenth-century and include works by Sánchez Cotán, Herrera “el Viejo,” Antonio del Castillo, and Eugenio Lucas Velázquez. The display will be accompanied by a catalogue of the donation.
The first monographic exhibition in the United States devoted to Brazilian artist Lygia Pape (1927–2004). A critical figure in the development of Brazilian modern art, and a pioneer of the Neo-Concrete movement. Pape combined geometric abstraction with notions of body, time, and space in unique ways that radically transformed the nature of the art object in the late 1950s and early 1960s. Covering a prolific career that spanned five decades, this exhibition examines Pape’s rich oeuvre as manifest across varied media—from sculpture, prints, and painting to installation, photography, performance, and film.