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Alternative Focus features commentary on developments within the local arts scene and an archive of past pieces.

 

 

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The Donald Duck Deck

Today is our Red-Letter Day


Our New website is now ‘live’

&THE DONALD DECK
WILL BE FOR SALE ONLINE
AT ABOUT NOON TODAY!
Credit cards accepted

@www.TheArtofOurTimes.com

Tell everyone you know
about the Deck today
and soon enough,
he’ll be up the river,
far, far away.

It’s in the cards, baby. It’s in the cards.


TONIGHT
You’re invited to the Opening of
The Travel Ban Show

Oh Say, Can You See?   EMIGRE ARTISTS IN AMERICA + 1


New work by Joan Belmar / Anna Davis / Mikray Pida /KMRamich

TONIGHT 6:30-8 pm  / 1602  Seventh Street NW /  2nd floor  / 202-638-3612
ABOUT THE EXHIBIT: It is my hope and intention that this exhibit, which presents the work of three emigre artists now living in Washington (plus one U.S.-born artist whose Bigot Proof Vest seemed appropriate to include in this show at this time in our history), will help native born Americans, both inside and outside the White House, see the important contributions  which foreign-born artists make to our American culture and cultural life.

Charles Krause
TOP ROW ABOVE: America Series paintings by Joan BELMAR (Chile / U.S.)
MIDDLE ROW ABOVE: New painting by Anna DAVIS (Sweden / U.S.)
BOTTOM ROW ABOVE: New paintings by Mikray PIDA (China / U.S.)


+1 BELOW: Bigot Proof vest by KM RAMICH (U.S. / U.S.)


Copyright © 2017 Charles Krause/Reporting Fine Art, All rights reserved.
You are receiving this because you expressed interest in Charles Krause Reporting Fine Art

Our mailing address is:

Charles Krause/Reporting Fine Art

1300 13th Street NW
105

Washington, DC 20005

 

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Coldwell Banker / Dupont & Logan Presents: ART14 Summer 2017


Coldwell Banker / Dupont & Logan Presents
ART14 Summer 2017

Michael Crossett, Charlie Gaynor, and Mark Parascanodla.
We look forward to seeing you.

Thursday, June 22  |    6:30-8:30 PM    |    1617 14th Street NW

RSVP via our Evite link here.


Michael Crossett


C
harlie Gaynor

Mark Parascandola

 

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At HEMPHILL: “35 Days”

35 DAYS
June 24 – August 11, 2017

HEMPHILL is delighted to announce the exhibition 35 Days, showcasing both contemporary and historical works. Artists on view will include Leon Berkowitz, William Christenberry, Steven Cushner, Thomas Downing, Torkwase Dyson, Sam Gilliam, James Huckenpahler, Hedieh Javanshir Ilchi, Linling Lu, Robin Rose, Anne Rowland, Renée Stout, Emma Tapley and Julie Wolfe. The opening will be celebrated with an afternoon reception held on Saturday, June 24, 2-5pm. The exhibition will be on view through Friday, August 11.

HEMPHILL was founded in Washington DC in 1993. The exhibition schedule features modern & contemporary art in all media by artists ranging from emerging to mid-career to modern masters.

  • GALLERY HOURS
  • Tuesday–Saturday, 10:00am–5:00pm, and by appointment
  • Please note the gallery will be closed July 1 – 4 in observance of Independence Day. Gallery hours in August are Monday – Friday, 10:00am – 5:00pm.
Image: Steven Cushner, Back & Forth and Back & Forth and Back & Forth, 2017, acrylic on canvas, 44″ x 34″

HEMPHILL
1515 14th St NW
Washington DC 20005
tel 202.234.5601
hemphillfinearts.com

 

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Carroll Street Gallery: It was all a dream

June 23-August 25


Opening Friday, June 23, 6:00 – 8:00pm

The space we inhabit between dreams and waking life can often feel surreal. The rules of the physical world can be broken, disbelief set aside, and tricks of the mind performed with ease. While entering consciousness, we may ask ourselves, “Was it all a dream?” Even our waking lives can prove to be as chaotic and disorienting as this dream-state. In this exhibition three artists address the sensation of existing in a dreamlike state as it relates to their personal experiences and the world at large.

Roxana Alger Geffen calls upon the chaos of domestic life in her installations and wall constructions, using textiles and found objects. Her work is both a humorous celebration and an uncanny manifestation of every day life as a mother. Rives Wiley’s purely two-dimensional paintings evoke a disorienting sense of unease in architectural space. The figures in these works are trapped, but unaware that they exist only partially or may never be able to escape the confines of the canvas. Dave Eassa’s thickly painted pink figures engaging in various activities read as cartoonish, yet represent the deeper identities of the psyche. The figures are navigating not only the physical world, but also the emotional content of the self.

Each artist addresses the absurdity of the social, political, and societal constructs that exist in the real world, in dreams, and somewhere in between.

Carroll Square Gallery
975 F Street NW, Washington DC 20004
202.347.7978
www.hemphillfinearts.com

Gallery Open During Business Hours
Monday through Friday, 8:00am – 6:00pm

Image: Rives Wiley, Raindrops on Noses, 2016, oil on panel, 48″ x 36″


 

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CHARLES KRAUSE/REPORTING FINE ART

You’re cordially invited
to the Opening of
Oh say, can you see?
EMIGRE ARTISTS IN AMERICA

Friday, June 16, 2017 / 6:30-8 p.m.
CHARLES KRAUSE/REPORTING FINE ART / 1602 Seventh Street NW  Washington, DC 20001 / 202.638.3612

Joan Belmar (Chile/United States)
Anna Davis (Sweden/United States)
Mikray Pida (China/United States)

The Travel Ban Exhibit

Many of our greatest “American” artists were, in fact, naturalized Americans born abroad. Some, like Mark Rothko and Louise Nevelson, came as children and were trained in the United States. Others, like Hans Hoffman, Willem de Kooning and David Hockney, came as adults, seeing refuge or creative freedom in the United States.

All made major contributions to our “American” culture, as do many foreign-born visual artists today.

We have no way of knowing how many great artists who might have contributed to our culture perished in Europe during World War II because our Govrenment refused to let them enter the United States due to their religion or country of origin.

And if the Trump Administration’s Travel Ban takes effect—denying entry to allMuslims, or all Muslims from certain countries in the “watered down” version—we’ll never know what they might have contributed to our culture, either.

Nor will we ever know how many great artists, from countries whose citizens are not categorically banned, will decide not to immigrate to the United States because they find Trump’s policies repugnant. Or because they feel they’ll always be second-class citizens in an America where only the bigoted, willfully ignorant and/or the 1 percent ever go first.

The three artists whose work will be shown at CK/RFA beginning next Friday—Joan Belmar, Anna Davis and Mikray Pida–all live and work (now) in Washington, having come here from their native countries to create art influenced by the cultures where they grew to maturitybefore Trump and before emigrating to the United States.
Their styles are different. Their art is not necessarily political. Yet each is extremely talented and we benefit greatly from their being here. Please come to see their work and, in that way, thank them—and thousands of other emigre artists like them—for enriching our culture. Let’s just hope they decide to stay.
Oh Say, Can You See? EMIGRE ARTISTS IN AMERICA

OPENING June 16th (through mid-August) at CK/RFA
www.charleskrausefineart.com

 

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July at the Phillips

July 2017

PLEASE NOTE: The Phillips Collection is a Blue Star Museum, offering free admission for all active duty military personnel and their families from Memorial Day through Labor Day.

IN THIS CALENDAR
Exhibitions
Phillips after 5
Events
Tours
Spotlight Talks
General Information

EXHIBITIONS
Admission: $12 for adults; $10 for students as well as visitors 62 and over; free for members and visitors 18 and under

through
Sept. 3, 2017

Markus Lüpertz
The Phillips Collection presents the first comprehensive survey in the U.S. of the monumental works of Markus Lüpertz (b. 1941), the acclaimed German artist who helped chronicle and shape the postwar image of his country. Comprised of nearly 50 selections, the exhibition traces Lüpertz’s career from the 1960s to his most recent works, including major examples of his perplexing “dithyrambic” paintings and his provocative manipulations of German motifs. The exhibition is curated by Phillips Director Dorothy Kosinski in close collaboration with the artist and Michael Werner Gallery. Markus Lüpertz coincides with the Hirshhorn Museum and Sculpture Garden’s focused exhibition Markus Lüpertz: Threads of History (May 24–September 10). Together, the two presentations form the artist’s first major U.S. museum retrospective.
Admission for all other art on view:
Weekends: $12 for adults, $10 for students as well as visitors 62 and over; free for members and visitors 18 and under; FREE weekdays, includes permanent collection

ALSO ON VIEW
June 27
through
​July 30, 2017 Young Artists Exhibition: Turner Elementary 2016–2017 School Year
The 2016–2017 Art Links to Learning: Museum-in-Residence program culminates in a Young Artists Exhibition showcasing student art from Phillips partner school Turner Elementary’s second, third, and fourth grade classrooms. Each collaborative art project relates to themes explored at the museum and in the classroom. Through Young Artists Exhibitions, the Phillips recognizes and celebrates the students, teachers, parents, and partnering school systems who value and support arts-integrated teaching and learning in the local community and nationally.

PERMANENT COLLECTION
Ongoing One of the world’s finest collections of modern and contemporary American and European art, the museum is home to Pierre-Auguste Renoir’s iconic Luncheon of the Boating Party, Jacob Lawrence’s epic Migration Series, and a chapel-like Rothko Room, as well as innovative new work by artists of today. Installations change frequently and are not chronological, sparking conversations across time and place.

PHILLIPS AFTER 5–July 6
Reservations strongly recommended as this popular event tends to sell out in advance: www.phillipscollection.org/events. $12; $10 for visitors 62 and over and students. Members always admitted free, no reservation needed.
5–8:30 pm Punk Out
Inspired by Germany’s punk scene, experience all things punk at the Phillips! Enjoy a silent disco featuring punk, David Bowie, and even some classical music.
Gallery Talk
6, 6:30, 7,
& 7:30 pm
15-minute focused discussions about works in the museum’s permanent collection

EVENTS
Film Screening
July 13
6:30 pm Ali: Fear Eats the Soul
Written and directed by a leader of the New German Cinema movement Rainer Werner Fassbinder, Ali: Fear Eats the Soul (1974) is the story of an unlikely relationship between an elderly woman and a Moroccan migrant worker in postwar Germany. With themes that remain relevant today, the film is considered a masterpiece by the German director, screenwriter, producer, and actor who created a prolific portfolio of work during the same period as Markus Lüpertz. $12; $10 for students and seniors. Free for members. Includes admission to the special exhibition and a cash bar. Reservations recommended.
Gallery Talk
July 20
6:30 pm East/West Divide
Hester Baer, Associate Professor and Head of the German Department at the University of Maryland, will lead a discussion on how the East/West Divide in Berlin influenced the economy, politics, and culture. Markus Lüpertz produced many of the artworks featured in the special exhibition during these years. Included with admission to special exhibition; free for members.
Curators’ Dialogue
July 27
6:30 pm Markus Lüpertz
Join exhibition curator Director Dorothy Kosinski and Deputy Director for Curatorial and Academic Affairs Klaus Ottmann as they discuss Markus Lüpertz. The conversation will consider the culture of Berlin when the artist created many of his works. Included with admission to special exhibition; free for members

TOURS
Saturdays
noon
Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art. Included in museum admission; free for members.
Sundays
1 pm Introduction to Markus Lüpertz
Highlights from the special exhibition. Included in admission to special exhibition; free for members.

SPOTLIGHT TALKS
Tuesdays–Fridays
noon
Spotlight Talks
Focused discussion about works of art from the permanent collection or special exhibition. Included in museum admission; free for members.
July 13, 20, & 27
6 & 7 pm Spotlight: Markus Lüpertz
Focused discussion about works of art from the special exhibition. Included in admission to special exhibition; free for members.

GENERAL INFORMATION
Location:
1600 21st Street, NW (at Q Street)
Metro Red Line, Dupont Circle Station (Q Street exit), and via several bus lines, www.wmata.com
Information:
202.387.2151 or www.phillipscollection.org
Tuesday, Wednesday, Friday, and Saturday, 10 am–5 pm;
Thursday, 10 am–8:30 pm; Sunday, noon–6:30 pm

Café: Tryst at the Phillips: Tuesday, Wednesday, Friday, and Saturday, 10 am–4 pm; Thursday, 10 am–4 pm and 10 am–8 pm (during Phillips after 5 only); Sunday, noon–5:30 pm

Closed Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.

On the first Thursday of every month, daytime admittance ends at 5 pm due to the regularly scheduled Phillips after 5 events. Admission after 5 pm is restricted to members and Phillips after 5 ticket holders.

Please note that starting May 23, 2017, the original Phillips house will be unavailable due to a thermal upgrade project. Special exhibitions and selections from the permanent collection will still be on view in the Goh Annex and Sant Building galleries, and the café, shop, and courtyard will also be open. The Phillips house will reopen in 2018. More information available here.

Connect:
Blog: blog.phillipscollection.org
Facebook: www.facebook.com/phillipscollection
Twitter: www.twitter.com/PhillipsMuseum
Instagram: instagram.com/phillipscollection
Free App: www.phillipscollection.org/apple or www.phillipscollection.org/android

The Phillips Collection | 1600 21st Street, NW | Washington, DC 20009 |

 

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OAS/Museum of the Americas

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2018 A.W. Mellon Lectures, NGA: “The Forest: America…”

The Sixty-Sixth A. W. Mellon Lectures in the Fine Arts

The Sixty-Sixth A. W. Mellon Lectures in the Fine Arts
Alexander Nemerov, Stanford University

The A. W. Mellon Lectures in the Fine Arts were established in 1949 to bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts

2018 dates

  • The Forest: America in the 1830s
    Herodotus among the Trees
    March 26 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    Herodotus among the Trees
    (screening of the A. W. Mellon Lecture of March 26)
    March 29 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Tavern to the Traveler: On the Appearance of John Quidor’s Art
    April 2 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Tavern to the Traveler: On the Appearance of John Quidor’s Ar
    (screening of the A. W. Mellon Lecture of April 2)
    April 5 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Aesthetics of Superstition
    April 9 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Aesthetics of Superstition
    (screening of the A. W. Mellon Lecture of April 9)
    April 12 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    Animals Are Where They Are
    April 23 at 2:00
    East Building Auditorium

    Immediately following the lecture Alexander Nemerov will be available in the atrium to sign copies of his recent books: Ralph Eugene Meatyard: American Mystic (2017), Soulmaker: The Times of Lewis Hine (2016), and Silent Dialogues: Diane Arbus & Howard Nemerov (2015).

  • The Forest: America in the 1830s
    Animals Are Where They Are
    (screening of the A. W. Mellon Lecture of April 23)
    April 26 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    Emerson, Raphael, and Light Filtering through the Woods
    April 30 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    Emerson, Raphael, and Light Filtering through the Woods
    (screening of the A. W. Mellon Lecture of April 30)
    May 3 at 12:00
    East Building Small Auditorium

  • The Forest: America in the 1830s
    The Forest of Thought: On the Roof with Robert Montgomery Bird
    May 7 at 2:00
    East Building Auditorium

  • The Forest: America in the 1830s
    The Forest of Thought: On the Roof with Robert Montgomery Bird
    (screening of the A. W. Mellon Lecture of May 7)
    May 10 at 12:00
    East Building Small Auditorium

LECTURE SCREENINGS

In anticipation of high attendance, the six lectures in this series will be video recorded. A screening of the recording will be shown the Wednesday after each lecture in the East Building Small Auditorium at 12:00 p.m.

 

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NGA, Starting October 22, 2017: Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

More than 20 years after the legendary exhibition Johannes Vermeer, the National Gallery of Art, Washington, will present Vermeer and the Masters of Genre Painting: Inspiration and Rivalry.

On view in the West Building from October 22, 2017, through January 21, 2018, the exhibition will examine the artistic exchanges among Dutch Golden Age painters from 1650 to 1675, when they reached the height of their technical ability and mastery at depicting domestic life.

Some 65 masterpieces by Johannes Vermeer and his contemporaries—including Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolas Maes, Eglon van der Neer, Caspar Netscher, and Jacob Ochtervelt—will be grouped by theme, composition, and technique, thereby demonstrating how these painters admired, challenged, and pushed each other to greater artistic achievement. The paintings also reflect how these masters responded to the changing artistic climate of the Dutch Republic in the third quarter of the 17th century, particularly in Amsterdam, Haarlem, Leiden, Deventer, Rotterdam, and Delft.

Since 1995 the Gallery’s curator of northern baroque paintings, Arthur K. Wheelock Jr., has mounted more than a dozen exhibitions on Dutch artists, including several featured in this exhibition. Among them are Johannes Vermeer (1995), Jan Steen (1996), Gerrit Dou (2000), Gerard ter Borch (2004–2005), Frans van Mieris (2006), and Gabriel Metsu (2011). As the culmination of these monographic exhibitions, Vermeer and the Masters of Genre Painting will reveal how these painters were artistically more connected than has previously been understood.

The exhibition is organized by the National Gallery of Art, Washington, the National Gallery of Ireland, Dublin, and the Musée du Louvre, Paris. The exhibition will be on view at the National Gallery of Ireland from June 17 through September 17, 2017.

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Bethesda Fine Art: In Memoriam KENNETH VICTOR YOUNG

Kenneth Victor Young, Red Dance (1970), National Gallery of Art, 2016
It is with great sadness that we announce the passing of Kenneth Victor Young (1933-2017). Young had a far-reaching career as an artist, teacher and exhibit designer at the Smithsonian for 35 years. His early art education and teaching experience was in Louisville, Kentucky; Indiana University; and the University of Hawaii. He was an instructor at the Corcoran Gallery of Art and Duke Ellington School of the Arts in Washington, DC.
Young’s artistic philosophy was to bring order out of chaos. His studies in physics and the natural sciences at Indiana University informed a different imagery-a fusion of brilliant colors. His knowledge of form and matter gave his paintings a spatial intensity, and he infused this space with multiple orbs of color held together in molecular suspension. For more than 40 years his artworks have been shown in group and solo exhibitions in galleries and museums around the world, including a major solo show in 1973 at the Corcoran Gallery of Art in Washington.
Young is in the Smithsonian American Art Museum’s permanent collection and was included in its 2015 traveling exhibition, African American Art: Harlem Renaissance, Civil Rights Era and Beyond. Young’s painting Red Dance is installed in the National Gallery of Art’s East Building. His painting Spring Rain is featured at the MGM Grand Resort & Casino at the National Harbor in Maryland. At the time of his passing, Ken had emerged as a pivotal force in African-American abstraction.
It has been an honor to represent Kenneth Victor Young at Bethesda Fine Art. We have had the unique opportunity to bring together his major paintings from the Washington Color School period of the ’60s and ’70s. We look forward to presenting Ken’s later body of work alongside his earlier paintings.

Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland

For inquiries or to schedule an appointment:
gallery@bethesdafineart.com | 240.800.3628

 

 

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Impressionist Edgar Degas Explored in Conservation Journal “Facture”

 

Facture: Conservation, Science, Art History, Volume 3: Degas, edited by Daphne Barbour, senior object conservator and Suzanne Quillen Lomax, senior conservator scientist at the National Gallery of Art, Washington

Facture: Conservation, Science, Art History, Volume 3: Degas, edited by Daphne Barbour, senior object conservator and Suzanne Quillen Lomax, senior conservator scientist at the National Gallery of Art, Washington

Dedicated to Edgar Degas (1834–1917) in the centennial year of his death, the newest issue of the conservation division’s biennial journal Facture focuses on the tremendous wealth of works by Degas in the National Gallery of Art’s collection. The first to feature the work of a single artist, this issue includes essays by conservators, scientists, and curators. It presents insights into Degas’s working methods in painting, sculpture in wax and bronze, and works on paper, as well as a sonnet he wrote to his “little dancer.”

The National Gallery of Art has the third largest collection in the world of work by Degas, comprising 21 paintings, 65 sculptures, 34 drawings, 40 prints, 2 copper plates, and one volume of soft-ground etchings. Its extensive Degas holdings and conservation resources have inspired not only groundbreaking Gallery exhibitions—such as Degas, the Dancers (1984), Degas at the Races (1998), Degas’s Little Dancer (2014), and Degas/Cassatt (2014)—but also exhibitions around the world. Edgar Degas Sculpture (2010), the Gallery’s systematic catalog by Suzanne Glover Lindsay, Daphne S. Barbour, and Shelley G. Sturman (and also the first in that series to focus on a single artist), documents the Gallery’s superb collection of sculpture by Degas through art and science.

Previous issues of Facture brought together recent discoveries by conservators, scientists, and curators on the Gallery’s staff. The inaugural issue centered on Renaissance masterworks in the Gallery collection, from painting and drawing to sculpture and tapestry. Another volume considered “art in context,” focusing on works from the Renaissance as well as the 20th century, from Giotto’s Madonna and Child and Riccio’s Entombment to paintings by Mark Rothko, sculptures by Auguste Rodin, and watercolors by John Marin. Through meticulous technical and analytical study, placed in a broader historic context, the essays provide new perspectives on well-known works of art.

Facture is available for purchase in the Gallery shops. To order: shop.nga.gov; (800) 697-9650 or (202) 842-6002; fax (202) 789-3047; mailorder@nga.gov. For more information: www.nga.gov/facture

Essays

Degas and Difficulty
Richard Kendall, renowned independent Degas scholar and the only outside contributor to this volume, discusses some of the issues raised by technical examination of the artist’s work and introduces the other essays in the context of Degas scholarship. Kendall explores Degas’s artistic practice of seeking out difficulty, pushing himself as a painter, sculptor, printmaker, and poet.

The Question of Finish in the Work of Edgar Degas
An essay by Ann Hoenigswald, senior conservator of paintings, and Kimberly A. Jones, curator of 19th-century paintings, combines insights into Degas’s compulsive working sessions and his inability to “finish” a work of art. They describe various surfaces—often found in the same work—used by Degas, who valued flexibility and potential over preservation and closure.

Edgar Degas’s Wax Sculptures: Characterization and Comparison with Contemporary Practice
Degas used wax modeling to explore particular poses and gestures of female figures and horses moving through space. Based on earlier research performed for the systematic catalog on Degas (2010), Suzanne Quillen Lomax, senior conservation scientist, Barbara H. Berrie, head of the scientific research department, and conservation scientist Michael Palmer, have more precisely distinguished them from posthumous repairs and interventions.

Casting Degas’s Sculpture into Bronze: A Closer Look
Daphne Barbour, senior object conservator, and Shelley Sturman, head of objects conservation, analyzed approximately 200 bronze sculptures by Degas from museum collections around the world. Building on their earlier work for the 2010 Degas systematic catalog, the authors here focus on the complex topic of the posthumously cast bronzes and summarize their discoveries in historical and technical contexts.

Technical Exploration of Edgar Degas’s Ballet Scene: A Late Pastel on Tracing Paper
Michelle Facini, paper conservator, Kathryn A. Dooley, research scientist, John K. Delaney, senior imaging scientist, together with Lomax and Palmer performed an intensive study of Degas’s late pastel Ballet Scene (c. 1907) that revealed his innovative use of tracing paper, charcoal, pastel, and fixative to create original effects.

In Focus: Edgar and Mary Cassatt: A Comparison of Drawings for Soft-Ground Etchings
Kimberly Schenck, head of paper conservation, studied work by Degas and Mary Cassatt (1845–1926) for the unrealized journal of etchings Le Jour et la nuit (Day and Night) and discusses the tools and methods each artist used. Focusing on the prints related to Degas’s Mary Cassatt at the Louvre: The Etruscan Gallery (c. 1879), Schenck traces the artist’s development of related images across media.

In Focus: The Little Dancer in Wax and Words: Reading a Sonnet by Edgar Degas
Alison Luchs, curator of early European sculpture and deputy head of sculpture and decorative arts, explores the ideas and emotions behind Degas’s sonnet, Little Dancer (1889; revised and published 1914), addressed to a young ballerina whom he hoped would ascend the heights of her art. Luchs’s analysis of verbal clues in the sonnet sheds light on changes Degas made in the course of modeling Little Dancer Aged Fourteen (1878–1881).

Edgar Degas (1834–1917)

The eldest son of a Parisian banker, Degas complemented his brief academic art training at the École des Beaux-Arts by copying old master paintings both in Italy, where he spent three years (1856–1859), and at the Louvre. Degas early on developed a rigorous drawing style and a respect for line that he would maintain throughout his career. His first independent works were portraits and history paintings, but in the early 1860s he began to paint scenes from modern life. He started with the world of horse racing and by the end of the 1860s had also turned his attention to the theater and ballet.

In 1873 Degas banded together with other artists interested in organizing independent exhibitions without juries. He became a founding member of the group that soon would be known as the impressionists, participating in six impressionist exhibitions between 1874 and 1886.

Despite his long and fruitful association with the impressionists, Degas considered himself a realist. His focus on urban subjects, artificial light, and careful drawing distinguished him from other impressionists, who worked outdoors, painting directly from their subjects. A steely observer of everyday scenes, Degas tirelessly analyzed positions, gestures, and movement.

Degas developed distinctive compositional techniques, viewing scenes from unexpected angles and framing them unconventionally. He experimented with a variety of media, including pastels, photography, and monotypes, and he used novel combinations of materials in his works on paper and canvas and in his sculptures.

Degas was often criticized for depicting unattractive models from Paris’ working class, but a few writers, like realist novelist Edmond de Goncourt, championed Degas as “the one who has been able to capture the soul of modern life.” By the late 1880s, Degas was recognized as a major figure in the Paris art world. Financially secure, he could be selective about exhibiting and selling his work. He also bought ancient and modern works for his own collection, including paintings by El Greco, Édouard Manet, and Paul Gauguin. Depressed by the limitations of his failing eyesight, he created nothing after 1912; when he died in 1917, he was hailed as a French national treasure. After his death, deteriorating sculptures whose existence had been unknown to all but his closest associates were found in his studio: 74 of them were cast in bronze over the next decades, and of the 70 that survived the process 52 came to the National Gallery of Art as gifts of Mr. and Mrs. Paul Mellon, including Little Dancer Aged Fourteen.

 

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New Acquisitions: Bethesda Fine Art

Sam Gilliam, Kenneth Young, Jacob Kainen, Howard Mehring, Paul Reed

SAM GILLIAM
For the Fog series, 1996
mixed media, app. 45″ x 29″
KENNETH YOUNG
Dance, c. 1970
acrylic on canvas, 40″ x 41″

JACOB KAINEN

Loomings II, 1991
acrylic on canvas, 50″ x 60″

HOWARD MEHRING

Untitled, 1967
acrylic on canvas, 57″ x 48″

HOWARD MEHRING

Double, 1977-1978
acrylic on canvas, 68″ x 66″

PAUL REED

#5 A, 1965
acrylic on canvas, 57½” x 44″
VIEW THESE AND OTHER WORKS AT
ALSO VISIT US ON
artnet.com
artsy.net
OPEN BY APPOINTMENT
Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland
240.800.3628

 

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Jazz in the Garden concert series at the National Gallery of Art Sculpture Garden

The widely popular Jazz in the Garden concert series at the National Gallery of Art Sculpture Garden begins its 17th season on May 19, 2017, with weekly performances on Fridays through August 25, 2017. The free concerts feature locally and nationally acclaimed musicians performing a wide variety of musical genres—Brazilian bluegrass, Dixieland, Czech jazz, Steel Pan Caribbean jazz, blues fusion, Brazilian jazz, soul, and more.

Concerts take place every Friday evening from 5:00 to 8:30 in the National Gallery of Art Sculpture Garden, located between 7th and 9th Streets NW, along Constitution Avenue. For more information and to see the full schedule, visithttp://www.nga.gov/content/ngaweb/press/jazz.html.

 

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Impressionist Frederic Bazille at the NGA

In celebration of the 175th anniversary of the artist’s birth, Frédéric Bazille and the Birth of Impressionism brings together some 75 paintings that examine Bazille as a central figure of impressionism and is the most comprehensive retrospective of Bazille’s career, featuring nearly three-quarters of his artistic output. Organized thematically, this exhibition juxtaposes works by Bazille with important works by the predecessors who inspired him—Théodore Rousseau, Jean-Baptiste-Camille Corot, and Gustave Courbet—and by contemporaries such as Édouard Manet and Claude Monet with whom he was closely associated. The National Gallery of Art, which holds the largest group of Bazille’s works outside of France, as well as important related impressionist paintings of the 1860s, is the sole American venue for the exhibition. The first major presentation of Bazille’s work in America in 25 years, the exhibition is on view in the East Building through July 9, 2017.

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Seven Centuries from the Woodner Collections Celebrated at National Gallery of Art

The Woodner Collections: Master Drawings from Seven Centuries brings together for the first time the best of Ian Woodner’s collection with some of the works given and promised by his daughters, Dian and Andrea Woodner.

More than 100 drawings dating from the 14th to the 20th century executed by outstanding draftsmen such as Leonardo da Vinci, Albrecht Dürer, Raphael, Jean-Auguste-Dominique Ingres, Edgar Degas, and Pablo Picasso will be on view in the West Building of the National Gallery of Art through July 16, 2017.

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Through August 6: American Prints of Urban Life Celebrated at the National Gallery of Art

American artists of the early 20th century sought to interpret the beauty, power, and anxiety of the modern age in diverse ways. Through depictions of bustling city crowds and breathtaking metropolitan vistas, 25 black-and-white prints on view in The Urban Scene: 1920–1950 will explore the spectacle of urban modernity. Prints by recognized artists such as Louis Lozowick (1892–1973) and Reginald Marsh (1898–1954), as well as lesser-known artists including Mabel Dwight (1875–1955), Gerald Geerlings (1897–1998), Victoria Hutson Huntley (1900–1971), Martin Lewis (1881–1962), and Stow Wengenroth (1906–1978), are included in this exhibition. The Urban Scene will be on view in the West Building from through August 6, 2017.

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TOUCHSTONE ART GALLERY ONLINE STORE

http://www.touchstonegallery.com/shop/?category=For+%24175+or+less

Small Art Sensations at $175 or Less

GALLERY HOURS:

Wednesday – Friday 11 – 6, Saturday – Sunday 12 – 5

 

Touchstone Gallery

901 New York Avenue, NW
(1 block north of City CenterDC)
Washington DC 20001
202-347-2787

info@touchstonegallery.com

www.touchstonegallery.com

 

 

 

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National Gallery 2017-8

The National Gallery of Art, Washington announces a diverse lineup of exhibitions for 2017 and 2018 ranging from a new body of work by Theaster Gates to the first major American exhibition of Frédéric Bazille in almost 25 years.

Della Robbia: Sculpting with Color in Renaissance Florence (February 5 –June 4, 2017) will present 40 glazed terracotta works by the Florentine family and fellow renaissance sculptors in the first major exhibition in the US dedicated to Della Robbia sculptures.

For In the Tower: Theaster Gates (March 5 –September 4, 2017)—the second exhibition in the reopened East Building Tower 3 galleries—contemporary American artist Theaster Gates will present a new body of work featuring several pieces created for the Gallery.

With 175 works, East of the Mississippi: Nineteenth-Century American Landscape Photography (March 12 –July 16, 2017) will be the first exhibition to focus exclusively on early photography of the eastern half of the United States.

The Gallery, which houses the largest collection of works by Frédéric Bazille outside of France, will present the first major American exhibition in 25 years of the relatively unknown contemporary of Monet and Renoir. Frédéric Bazille and the Birth of Impressionism (April 9 –July 9, 2017) will bring light to the artist’s role in the movement.

America Collects Eighteenth-Century French Painting (May 21 –August 20, 2017) will bring together 70 18th-century French paintings from a range of public collections across the country in an exhibition that explores how Americans developed a taste for the French rococo and neoclassical styles.

Finally, Gordon Parks: The New Tide, 1940-1950 (November 11, 2018 –February 18, 2019) will focus on the most formative decade of legendary photographer Gordon Parks’ career. 120 photographs and ephemera will showcase his iconic photographs from his time at the Farm Security Administration and Office of War Information.

 

 

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Hillyer Art Space Call for Proposals

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NGA: Mark Rothko: The Works on Paper, online resource

The National Gallery of Art maintains the largest public collection of art by the American artist Mark Rothko (1903–1970). Following the publication in 1998 of its landmark catalogue raisonné of Rothko’s works on canvas, the Gallery embarked on research into Rothko’s works on paper. The culmination of this effort will be an online resource compiling the drawings, watercolors, and paintings on paper. Expected to be launched to the public in phases between 2016 and 2018, the online resource will be followed in 2020 by a two-volume catalogue raisonné print publication.

Mark Rothko: The Works on Paper will document and illustrate some 2,600 works by Rothko located in public and private collections worldwide. Demonstrating the range of the artist’s creative achievements, the online and print publications will be the definitive scholarly references for Rothko’s works on paper, an oeuvre largely unknown to art specialists and the public alike. The Gallery continues to seek information about drawings, watercolors, and paintings on paper to be considered for inclusion in the catalogue raisonné.

Anyone with information regarding works on paper by Rothko should contact Laili Nasr by e-mail at l-nasr@nga.gov or by phone at (202) 842-6779.

For more information

visit: http://www.nga.gov/content/ngaweb/press/2016/rothko.html

 

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