Gallery ListingsEleanor Ettinger Gallery, New York City Michael John Hunt, paintings of historic buildings, including a panorama of Venice and interiors that focus on the juxtaposition of interior shadow and exterior light. June 18–July 19, 2009. Fischbach Gallery, New York City “Everyone Loves Good News,” a group show, focusing on light-filled and upbeat recent paintings by gallery artists, including Glen Hansen, Denise Mickilowski and Meg Shields. Lowell Tolstedt’s Magnolias (2004), a colored-pencil close-up of dense pink petals, and Alice Dalton Brown’s oil Aegean (2008), an image of a billowing, diaphanous curtain over sparkling water, are particularly attractive. June 2–August 14, 2009. Gallery Henoch, New York City A group show of gallery artists, including John Evans’s aerial topographies and Steve Smulka’s clean glass vessels, painterly explorations of transparency and reflection. Through July 11, 2009. Kouros Gallery, New York City Maureen Mullarkey, “Gutenberg Elegies,” small-scale collages made from broken books and manuscript fragments. Appealing textures in strong formal compositions, enriched by the cultural memory of salvaged materials. May 14–June 12, 2009. Nohra Haime Gallery, New York City “Seven Heads and Three Wigs,” dramatic bronze works by the Mexican artist Javier Marín, whose richly textured and expressive human forms draw on the power of pre-Columbian art. May 20–June 20, 2009. Zone: Contemporary Art, New York City “Monuments,” a solo exhibition featuring highlights from Richard Mayhew’s half-century career. Influenced by both the Hudson River School and the Abstract Expressionists, Mayhew combines ecstatic fields of color with a convincing vestige of spatial recession. The artist, who is also a jazz musician, often gives his paintings musical titles, as in the vibrant Fortissimo and Rhapsody and the more tonalist tree portrait Cello Solo (all three 2002). June 18–August 15, 2009. Arden Gallery, Boston “Of Place and Metaphor,” new works by Teri Malo, who favors expansive views of waves and coastlines. The most effective paintings, however, are tightly rendered overhead shots of rocks and pebbles, such as Miscellaneous Punctuations 23, with a subtle palette of weathered greys. June 2–29, 2009. John Pence Gallery, San Francisco Cityscapes by Greg Gandy and Jeremy Mann. Both artists use the steep streets of San Francisco as a principal topographical motif, filling them with raking light. June 5–July 4, 2009. Gerald Peters Gallery, Santa Fe New paintings by Woody Gwyn, whose landscapes emphasize serene stretches of land and water. Many compositions are in an unusually wide, narrow strip format, although a highlight is the vertical Pond (2008–09) with a slim top runner of grass and a rippled reflection of a tree. June 5–July 25, 2009. Klaudia Marr Gallery, Santa Fe Flight,” a solo show of Isabelle du Toit’s bird paintings, their plumage vibrant against the surrounding black. The way she carves out illusionistic boxes of space around the birds, suggesting both cages and nests, adds dimension. May 29–June 22, 2009. William Baczek Fine Arts, Northampton, Massachusetts A group show of landscape works, including Mallory Lake’s muted Italian pastorals, Steven Grabar’s monochromatic cloud and water studies and Nicora Gangi’s florid skies and autumn woods, with the acknowledged influence of the Hudson River School. Rick Pas takes a different approach with his decorative close-ups of frogs and butterflies. May 20–June 28, 2009. MuseumsBoscobel Restoration, Garrison, New York “Home on the Hudson: Women and Men Painting Landscape 1825–1875,” with paintings tied to specific locations where artists lived and worked. Boscobel, completed in 1808, is a fine example of Federal architecture. June 7–September 7, 2009. Bradywine River Museum, Chadds Ford, Pennsylvania “Fruits of Summer: Nineteenth-Century American Still Life,” a fifty-work survey of colorful arrangements, with paintings by artists including John F. Francis and the master of the genre, Raphaelle Peale, along with chromolithographs and botanical prints. June 6–September 7, 2009. Brooklyn Museum, Brooklyn, New York “Gustave Caillebotte: Impressionist Paintings from Paris to the Sea,” forty paintings, along with drawings and related photographs, by the artist and patron (part of his collection hangs in the Musée d’Orsay). His work, while colorful in the Impressionist manner, is characterized by strong perspective and a realist undercurrent, as well. Through July 5, 2009. Brunnier Art Museum, Iowa State University, Ames, Iowa “N.C. Wyeth: America in the Making.” Wyeth painted these twelve panels, depicting key moments in American history, in egg tempera. Supported by other American Scene paintings from the museum and private collections. Through August 9, 2009. Cincinnati Art Museum, Cincinnati, Ohio “Bessie Potter Vonnoh, Sculptor of Women,” a retrospective showcasing thirty-five works by Vonnoh (1872–1955), a successful artist with a flair for bronze statuettes. June 6–September 6, 2009. Columbus Museum of Art, Columbus, Ohio George Tooker retrospective, the final venue for an excellent survey of the modern tempera master. One of the pre-eminent chroniclers of twentieth-century angst, he always finds dignity in the human form, and his glowing color is a benediction. The carefully plotted perspective drawings have the logic of Renaissance cartoons. May 1–August 1, 2009. Fenimore Art Museum, Cooperstown, New York “America’s Rome: Artists in the Eternal City,” in honor of the twentieth anniversary of the publication of William Vance’s two-volume study America’s Rome, tracing the influence of Roman art and ideas. Organized around the Forum, the Colosseum and the Campagna, the show features eighty paintings by, among others, Thomas Cole and George Inness. May 23–December 31, 2009. Frick Collection, New York City The Frick’s four full-length portraits by James McNeill Whistler have been re-installed, alongside a spare grey-green seascape and fifteen of his Venetian etchings. June 2–August 23, 2009 Hammer Museum, Los Angeles “The Darker Side of Light,” an exhibition of 120 works on paper investigating the intimate experience of artists and collectors through prints and illustrated books. Works by Menzel, Munch, Whistler and Redon, among others, highlight the show, which focuses on the fin-de-siècle. April 5-June 20, 2009. Heckscher Museum of Art, Huntington, New York “The Luminous Landscapes of April Gornik,” fifteen large-scale paintings of serene, unpeopled vistas, often focused on cool, diffuse centers of light. In paintings such as Fresh Light (1987) and Suspended Sky (2004), Gornik suggests the immanent spirituality of open spaces. The sheer size—Fresh Light is 74-by-96 inches—gives the viewer a sense of breathing room. May 2–July 5, 2009. Metropolitan Museum of Art, New York City “Augustus Saint-Gaudens,” a reappraisal of the great nineteenth-century sculptor, whose work ranges from majestic monuments to cameo-carved bas-reliefs. The Met owns forty-five sculptures by Saint-Gaudens (1848–1907), including a model of his exquisite Diana and a touching bas-relief memorial to Robert Louis Stevenson. This core will be supplemented by loans. June 30–October 12, 2009. Montclair Art Museum, Montclair, New Jersey “The Wyeths: Three Generations,” works by N.C. Wyeth, a major figure in the golden age of American book illustration; his son Andrew, a high-profile realist for most of the twentieth century, and grandson Jamie. Through July 19, 2009. Morgan Library & Museum, New York City “New at the Morgan: Acquisitions since 2004,” a hundred items reflecting a wide range of interests. Highlights include a tiny, lavish sixteenth-century prayer book, a Watteau study for his Cythera paintings, an illustrated letter by van Gogh and visionary landscapist Samuel Palmer’s majestic Oak Tree and Beech, Lullingstone Pork (1828). Letters and musical scores (accompanied by recordings at listening kiosks) offer insights into the creative process of writers and composers. Through October 18, 2009. Museum of Biblical Art, New York City “Scripture for the Eyes: Bible Illustration in Netherlandish Prints of the Sixteenth Century,” eighty works—woodcuts, engravings and books—from an important era of visual storytelling. Variations on contemporary dress and local landscape brought the Biblical stories home to a wide audience. Works by Lucas van Leyden, Henrick Goltzius, Jan Swart and others. June 5–September 27, 2009. Museum of Fine Arts, Boston “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice,” fifty-seven paintings by the great sixteenth-century masters, focusing on their career rivalries and their development of the craft of oil painting. Standouts include Titian’s Flora and Danäe, and Tintoretto’s Susannah and the Elders. March 15–August 16, 2009. Travels to the Musée du Louvre, Paris (September 16, 2009–January 4, 2010). National Gallery of Art, Washington, D.C. “Luis Meléndez: Master of the Spanish Still Life,” thirty paintings—eight on loan from the Prado—by the eighteenth-century artist. Meléndez began with a royal commission to interpret the four seasons and went on to find compositional gold in arrangements of humble foodstuffs. The National Gallery’s acquisition, in 2000, of a Meléndez study of bread and figs was a revelation, sparking this exhibition. May 17–August 23, 2009. Travels to the Los Angeles County Museum of Art (September 23, 2009–January 3, 2010) and the Museum of Fine Arts, Boston (January 31–May 9, 2010). Newark Art Museum, Newark, New Jersey “Small but Sublime: Intimate Views by Durand, Bierstadt and Inness,” from a fine collection of Hudson River School paintings. These artists, known for their attention to natural detail, didn’t need epic scale to find remarkable landscapes. Through February 28, 2010. Peabody Essex Museum, Salem, Massachusetts “The Golden Age of Dutch Seascapes,” seventy works from the National Maritime Museum, Greenwich, London. The Dutch were a preeminent sea power, and this exhibition includes settings such as Naples and India, as well as Netherlandish waters. Works by Caspar van Wittel, Abraham Willaerts and Ludoff Backhuysen feature battles, bustling commercial harbors and proto-Romantic storms. June 13–September 7, 2009. Pennsylvania Academy of the Fine Arts, Philadelphia “Public Treasures/Private Visions: Hudson River School Masterworks from the Metropolitan Museum of Art and Private Collections,” paintings by Cole, Durand, Bierstadt, Church and Kensett, on loan while the Met renovates its American Wing. June 15–September 30, 2009. Smithsonian American Art Museum, Washington D.C. Renwick Gallery, “The Art and Craft of Greene & Greene,” 131 objects—including furniture, stained glass, architectural drawings and photographs—from the California masters of the Arts and Crafts movement. March 13–June 7, 2009. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts “Dove/O’Keeffe: Circles of Influence,” with sixty works—oils, watercolors, drawings and pastels—from 1910 to the early 1940s. Both artists practiced an organic modernism, creating dynamic abstractions from natural forms: flowers, waves, sun and moon. Both were also evocative colorists. June 7–August 23, 2009. Woodmere Art Museum, Philadelphia, Pennsylvania “A Romance with the Land,” an exhibition focusing on the pioneering American landscapists Thomas Doughty and William Louis Sonntag, continuing with Pennsylvania Impressionist Walter Schofield. Through June 14, 2009. |
|
|
|
|
|
|
|
|
|
|
|