Gallery Listings

Arcadia Fine Arts, New York City

Malcolm T. Liepke, “About…Face,” tightly framed portrait heads that combine contemporary realism with expressionist color and emotion, capturing strong personalities. July 23–August 6, 2009.

Bernarducci Meisel Gallery, New York City

“Figure 8: Painting and Sculpture,” a group survey of eight artists with varying approaches to figurative subject matter. The human body predominates, from Pop Art-inflected nudes to Audrey Flack’s gilded bronze goddesses and Spanish painter Bernardo Torrens’s elegant, hyper-realist figures. Through July 17, 2009.

DC Moore Gallery, New York City

“Trees,” another summer sampler. This exhibition covers a wide historical range, with images by George Inness, Milton Avery, Charles Burchfield and John Marin, among others. Through July 24, 2009.

Eleanor 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.

Forum Gallery, New York City

“New Acquisitions,” thirty works by, among others, Steven Assael, Alan Magee and Tula Telfair. The gallery is also showing eleven of Charles Matton’s exquisite box constructions, including a miniature reconstruction of a classical sculptor’s studio and homages to James Joyce, Edward Hopper and Lucian Freud. July 10–August 22, 2009.

Gallery Henoch, New York City

A group show of works by 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.

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

“Big Picture Show,” a rotating exhibition, including paintings by Ian Hornak, whose dramatic landscapes have a German Romantic feel. July 1–September 7, 2009.

Galleries Maurice Sternberg, Chicago

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.

Caldwell Snyder Gallery, San Francisco

Roberto Santo, “Passage of Time,” monumental-scale bronzes that suggest broken antique sculpture, evoking the pleasure of ruins and the beauty of fragments. July 2009.

Lora Schlesinger Gallery, Santa Monica, California

“Draw the Line,” work by twenty-eight artists using pastel, graphite, charcoal and silverpoint. Enjeong Noh, Salomon Huerta and Bill Vuksanovich all contribute refined pencil portraits, while Lawrence Gipe’s atmospheric train station has the rich tonalities of a noir film still. Through July 25, 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

“PAPERooni,” recent work on paper and parchment, including Matt Dennis’s vibrant orchids, Steven Grabar’s monochromes and Aristides Ruiz’s richly detailed portraits. June 26–July 20, 2009.

Museums

Boscobel 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.

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

Getty Museum, Los Angeles

“Capturing Nature’s Beauty: Three Centuries of French Landscapes,” a drawing exhibition featuring works by Poussin, Claude, Fragonard, Seurat and van Gogh. July 29–November 1, 2009.

Getty Villa, Los Angeles

“The Golden Graves of Ancient Vanni,” archaeological treasures from the site of Cochis, destination of Jason and the Argonauts, now in Georgia. July 16–October 5, 2009.
 
“The Chimera of Arezzo,” the three-headed beast slain by Bellerophon through five centuries of classical art. The star attraction is an Etruscan bronze presented in partnership with the National Archaeological Museum, Florence. July 16, 2009–February 8, 2010.

Heckscher Museum of Art, Huntington, New York

“Paper Chase: Works on Paper by William Merrit Chase and His Contemporaries.” Artists include Chase’s Munich friends Duveneck and Twachtman and students Rockwell Kent, Georgia O’Keeffe and Charles Sheeler, as well as Winslow Homer, Edwin Austin Abbey and Julian Alden Weir. July 11–September 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.

“Pen and Parchment: Drawing in the Middle Ages,” seventy works from the ninth to the fourteenth centuries, exploring the role of drawing in medieval culture. June 2–August 23, 2009.

James A. Michener Museum, Bucks County, Pennsylvania

“Painting the People: Images of American Life from the Maimon Collection,” American Scene, social realist and regionalist images by artists including the Soyer brothers. July 11–October 18, 2009.

Milwaukee Art Museum, Milwaukee, Wisconsin

“The Eight and American Modernisms,” with eighty paintings by Robert Henri, John Sloan and Maurice Prendergast, among others, who brought vivacious paint-handling to gritty urban scenes. Through August 23, 2009.

Minneapolis Institute of Arts, Minneapolis

“Sin and Salvation: William Holman Hunt and the Pre-Raphaelite Vision,” sixty works, mostly by the most earnest of Victorians, including the overworked Finding of the Saviour in the Temple and the powerful Lady of Shalott. The only American venue for this rare exhibition. Through September 6, 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

“Pages of Gold: Medieval Illuminations from the Morgan,” approximately fifty single leaves “orphaned” from their original manuscripts, a common practice among nineteenth-century collectors. Italian, French and Flemish examples, along with Mr. Morgan’s last personal acquisition, a magnificent leaf from the twelfth-century Winchester Bible. Through September 13, 2009.
 
“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 Park (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 Academy Museum, New York City.

“Reconfiguring the Body in American Art, 1820–2009,” a wide-ranging exhibition featuring portraits, including Eakins’s 1902 Self-Portrait, nudes in paintings, drawings and sculpture (Kenyon Cox, Elihu Vedder, Thomas Dewing and Harriet Frismuth), genre scenes and a selection of contemporary works. Not a masterpiece show but an interesting survey of the vicissitudes of figurative art practice in the United States. July 11–October 18, 2009.

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).

“An Antiquity of Imagination: Tullio Lombardo and Venetian High Renaissance Sculpture.” July 4–October 31, 2009.

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.

Portland Museum of Art, Portland, Maine

“Call of the Coast: Art Colonies of New England,” with seventy-four works by Edward Hopper, Childe Hassam, Robert Henri and George Bellows, among others, who painted in Old Lyme, Cos Cob and Monhegon. June 25–October 12, 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.

The Hyde Collection, Glen Falls, New York

“Degas and Music,” twenty-five works by the most classical of the Impressionists, focusing on his response to musical subjects. Curated by Jill DeVonyar and Richard Kendal, who mounted the well-received “Degas and the Dance” exhibition a few years ago. July 12–October 18, 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.

Wichita Art Museum, Wichita, Kansas

“Fantasies and Fairy Tales: Maxfield Parrish and the Art of the Print.” One of America’s best known illustrators, with a droll sense of humor and a flair for crepuscular light. July 30–October 11, 2009.

Williams College Museum of Art, Williamstown, Massachusetts

“Prendergast in Italy,” seventy works—oils, watercolors, and monotypes—of Venice, Rome, Siena and Capri, based on Prendergast’s Italian tours of 1898–99 and 1911. Bright scenes of sunny sites and amiable crowds, supplemented by contemporary photographs and guidebooks. July 18–September 20, 2009. Travels to the Peggy Guggenheim Collection, Venice (October 9, 2009–January 3, 2010) and the Museum of Fine Arts, Houston (February 14–May 9, 2010).