Gallery Listings303 Gallery, New York City “The Old New Age,” a show of paintings by Inka Essenhigh, who transforms the woods and waters of Maine—a popular subject for artists for over a century—into visionary organic forms that melt like Surreal watches and bristle with Rackham-like branches. January 23–February 20, 2010. Alexandre Gallery, New York City A group show featuring work by contemporary artists Neil Welliver, Lois Dodd and Tom Uttech, as well as early-twentieth-century avant-gardists Arthur Dove and John Marin. January 28–February 27, 2010. D.C. Moore Gallery, New York City Yvonne Jacquette’s bird’s-eye views of the city, usually New York and often by night. Some paintings are shaped by the architecture of the metropolis; others, almost abstract, hover over galaxies of distant traffic. February 10–March 13, 2010. DFN Gallery, New York City “Looks Good on Paper,” a group show. Highlights include Vincent Desiderio’s poignant figures, which always carry a narrative charge, Zaria Forman’s pastel seascapes, Susan Grossman’s smudgy charcoal-and-gouache city scenes and Dan Witz’s nocturnes, contemporary rifts on Baroque candlelight pictures. February 3–March 6, 2010. Eleanor Ettinger Gallery, New York City The gallery’s thirteenth annual exhibition of “The Figure in American Art,” featuring works by Glenn Harrington, Steve Huston and Gabriela Gonzalez Dellosso. January 14–February 28, 2010. Fischbach Gallery, New York City Two painters doing attractive work in traditional genres are on view. Brad Marshall’s small landscapes, based on plein-air sketches and photographs, offer views of Niagara Falls, Lake Como and Capri. Denise Mickilowski’s trompe l’oeil images of fruit, presented in wooden crates that double as frames, make intriguing use of shallow-space illusionism. February 4–March 13, 2010. Forum Gallery, New York City Bernardo Siciliano’s full-frontal nudes have an edgy, combative quality, with little of the decorum of the academic figure. The strength of the compositions comes as much from the faces of his models, seen with a directness reminiscent of Eakins, as from the shock of the naked body. January 21–March 13, 2010. George Adams Gallery, New York City “Different Strokes: Twentieth-Century Drawings,” a wide-ranging survey that includes work by Arshile Gorky, Gaston Lachaise, Jacob Lawrence, Joseph Stella and William Beckman. Through February 13, 2010. Hirschl and Adler Modern, New York City “Take Five,” a group show welcoming five contemporary realists, previously associated with Hackett-Freedman in San Francisco. Particularly interesting are the still lifes of David Ligare, a neoclassist with a lovely sense of light, and Jeffrey Ripple, who paints fruits and flowers with old master meticulousness on gold grounds. January 7–February 12, 2010. Spanierman Gallery, New York City “American Still-Life Painting 1829–2009.” Not the ambitious historical survey suggested by the title, this exhibition has some nice surprises: Arthur Carles’s lyrical Calla Lilies (1920s), a trio of atmospheric groupings of Asian figurines and ceramics by Hovsep Pushman, from the 1930s, and dramatic stagings of simple things—leeks on a copper plate, pomegranates—painted in 2009 by Sarah Lamb. January 19–February 20, 2010. John Pence Gallery, San Francisco “Eat, Drink and Be Merry,” a mostly light-hearted group show of still lifes and kitchen and party interiors, elevated by the caliber of gallery artists such as Jacob Collins, Sarah Lamb, Travis Schlaht and Douglas Flynt. January 8–February 20, 2010. Klaudia Marr Gallery, Santa Fe Recent paintings by David Wolfe, intensely observed patches of earth ablaze with colorful flowers and grasses. The lack of a horizon focuses the viewer’s attention on the remarkable detail. January 29–February 28, 2010. Principle Gallery, Alexandria, Virginia “Between Realities: Painting the Moments that Deviate from the Normal,” a group show concentrating on the links between contemporary realism, Surrealism and fantasy, with artists from the Broad Street Studio. Of particular interest: Joshua Suda’s black-and-white/color trompe l’oeil portraits, Daniel Sprick’s eerie interiors and a playful, gravity-defying still life by Scott Fraser. January 22–February 13, 2010. Followed by Lynn Boggess’s show of icy-stream landscapes, on view February 19–March 10, 2010. Thomas Paul Fine Art, Los Angeles, California “Color,” an exhibition of paintings by Margaret Bowland. Not for the faint of heart, Bowland addresses issues of race and gender with Baroque daring, an opulent sense of mise-en-scène and a sensuousness that recalls Courbet. She is a skillful paint-handler and an ambitious image-maker. January 23–February 28, 2010. MuseumsArt Institute of Chicago, Chicago “Chicago Cabinet: C. D. Arnold Photographs of the World’s Columbian Exposition,” documenting the quintessential event of the American Renaissance and City Beautiful movement. Through February 28, 2010. Brookgreen Gardens, Murrells Inlet, South Carolina “Anna Hyatt Huntington: A Collecting Eye,” with works selected by the sculptor and Brookgreen founder, including pieces by Augustus Saint-Gaudens, Harriet Frishmuth and Paul Manship. January 30–April 25, 2010. Corcoran Gallery of Art, Washington, D.C. “Turner to Cézanne: Masterpieces from the Davies Collection, National Museum, Wales.” Works by Monet, Manet and van Gogh are also featured. January 30–April 25, 2010. Flagler Museum, Palm Beach, Florida “New World Eden: Artist Explorers in the American Tropics,” with works by Frederic Church, Martin Johnson Heade, George Inness and Thomas Moran. January 26–April 18, 2010. Getty Center, Los Angeles “Drawing Life: The Dutch Visual Tradition,” with works from the Getty’s collection, includes genre scenes of peasants, merchant enterprise and ice skaters as well as landscapes, starting in the seventeenth century and continuing through the nineteenth. November 24, 2009–February 28, 2010. High Museum of Art, Atlanta, Georgia “Leonardo da Vinci: Hand of Genius” considers the relatively under-examined subject of the master’s interest in sculpture, with examples of his own work, supplemented by material from his teachers and students. October 6, 2009–February 21, 2010. Travels to the Getty Museum in Los Angeles (March 23–June 20, 2010). Hood Museum of Art, Dartmouth College, Hanover, New Hampshire “‛The Artful Disposition of Shades’: The Great Age of English Mezzotints.” Before the era of photographic reproduction, mezzotints—with their painterly lights and shadows—were the preferred way to disseminate artistic images. Examples here include works by Reynolds, Turner and Constable. January 19–March 15, 2010. Huntington Library, San Marino, California “The Color Explosion: Nineteenth-Century Lithography from the Jay T. Last Collection,” with 200 examples, including posters, color-plate children’s book illustrations and advertising prints. The color lithography process, invented in 1790, had an enormous influence on visual culture. Through February 22, 2010. Katzen Arts Center, American University, Washington,D.C. “Personal Interiors,” a joint exhibition by Lani Irwin and Alan Feltus. Feltus’s paintings combine an early Renaissance vocabulary of gestures with modern sensibilities. Irwin uses geometric space in a more esoteric way, developing a rich personal iconography. January 23–March 14, 2010. Travels to George Mason University, Fairfax, Virginia (April 5–May 7, 2010). Kimbell Art Museum, Forth Worth, Texas “From the Private Collections of Texas: European Art, Ancient to Modern,” with 100 works by, among others, Rembrandt, Gainsborough, Gauguin, van Gogh and Matisse. November 22, 2009–March 21, 2010. McNay Art Museum, San Antonio, Texas “An Impressionist Sensibility: The Halff Collection,” celebrating a local collector’s taste for the exuberant, light-filled work of John Singer Sargent, Childe Hassam, Winslow Homer and Frank Benson, among other Americans fluent in the style. Also on view is “Truth Beauty: Pictorialism and the Photograph as Art, 1845–1945,” curated by the George Eastman House, representing early work aimed at establishing the new artform. Many of these moody landscapes and portraits share the aesthetic of Tonalist painting. Photographs by Gertrude Käsebier, Edward Steichen, Alfred Stieglitz and the eccentric F. Holland Day. Both exhibitions February 3–May 9, 2010. Menil Collection, Houston, Texas “Body in Fragments,” a theme exhibition drawn from the museum’s diverse collections. Examples range from Egyptian and African sculpture to a medieval finger reliquary, to paintings by Picasso and Magritte. August 21, 2009–February 28, 2010. Metropolitan Museum of Art, New York City “Playing with Pictures: The Art of Victorian Photocollage,” the first show to focus on these inventive mixed-media works, mostly undertaken by aristocratic women as an outlet for creativity. Combining watercolor and collaged photographic elements, these sheets and albums have the playfulness of Edward Lear and Lewis Carroll but also anticipate Surrealism and modernist collage. February 2–May 9, 2010. Travels to the Art Gallery of Ontario, Toronto, Canada (June 5–September 5, 2010). Morgan Library & Museum, New York City “A Woman’s Wit: Jane Austen’s Life and Legacy.” The Morgan has the world’s largest collection of Austen (1775–81) manuscripts and letters. The show includes first and illustrated editions of the novels, contemporary drawings and prints, and responses from later writers, such as Auden, Nabokov and Woolf. November 6, 2009–March 14, 2010. Museum of Art, Fort Lauderdale, Florida “Glackens as Illustrator.” One of the Eight, a group of artists associated with the Ashcan School, Glackens combines social observation with graphic energy. September 5, 2009–May 3, 2010. Museum of Fine Arts, Houston, Houston, Texas “Sargent and the Sea,” a show that originated at the Corcoran Gallery, focuses on Sargent’s breezy, virtuosic paintings of sun and seaside. February 14–May 23, 2010. Also on view is “Houston’s Sargents” with thirty works from the museum and local private collections, with an emphasis on Sargent’s bravura society portraits. February 14–May 9, 2010. National Gallery of Art, Washington, D.C. “The Sacred Made Real: Spanish Paintings and Sculpture, 1600–1700,” with twenty works, paintings by Velázquez and Zurbarán as well as painted and gilded sculpture. Vivid realism charged with fierce spirituality. February 28–May 31, 2010. New Britain Museum of Art, New Britain, Connecticut “John Haberle: American Master of Illusion,” a major show devoted to the late-nineteenth-century trompe l’oeil artist, accompanied by a catalogue. December 11, 2009–March 14, 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. Norton Simon Museum, Pasadena, California “Gaze: Portraiture after Ingres.” In homage to Ingres’s Comtesse d’Haussonville (1845), on loan from the Frick Collection, 150 works by nineteenth-century and modern painters, including Bonnard, Modigliani and Picasso. October 30, 2009– April 5, 2010. Onassis Cultural Center, New York City “The Origins of El Greco: Icon Painting in Venetian Crete,” around forty paintings, including early works by El Greco. With the fall of Byzantium, Crete became an influential conduit for the Greek tradition. Cretan icon painters in the fifteenth and sixteenth centuries were celebrated for their skill in shifting from Western to Eastern idioms, to suit their clients’ needs, and El Greco absorbed these lessons to forge his own style. November 17, 2009–February 27, 2010. Orlando Museum of Art, Orlando, Florida “Nature and Spirit: American Landscape Painting from Florida Private Collections,” with works from the mid-nineteenth to the mid-twentieth century, including the natural history images of Audubon and O’Keeffe’s quasi-abstractions. January 9–March 21, 2010. Portland Museum of Art, Portland, Maine “Objects of Wonder: Four Centuries of Still Life from the Norton Museum of Art,” with fifty works from a Florida museum. The selection ranges from the seventeenth to the twentieth century. February 4–June 6, 2010. Ringling Museum of Art, Sarasota, Florida “Gothic Art in the Gilded Age,” an intriguing examination of collecting at the turn of the twentieth century, with 350 medieval and early Renaissance works, including paintings, sculpture and decorative objects. Originally belonging to the Frenchman Émile Gavet, the collection was acquired by Alva Vanderbilt for her Newport home and then passed to John Ringling. Through April 4, 2010. Smithsonian American Art Museum, Washington, D.C. “Framing the West: The Survey Photographs of Timothy H. O’Sullivan,” with more than 120 photographs and stereo cards. The exhibition, mounted in collaboration with the Library of Congress, focuses on formally assured images that had an enormous impact on the visual iconography of the American West for generations of painters and photographers, as well as the public, and helped spur the National Parks movement. February 12–May 9, 2010. Snite Museum of Art, University of Notre Dame, Notre Dame, Indiana “The World of Piranesi: A Multi-Disciplinary Approach to Learning,” an exhibition of ten etchings by Giovanni Battista Piranesi (1720–78), combined with events and student projects. Piranesi’s widely disseminated images of Rome’s classical remains continue to influence artists, architects and the cultural imagination. Through February 28, 2010. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts “Giovanni Boldini in Impressionist Paris” examines the early work of the stylish Italian (1842–1931), best known for his bravura brushwork and elegant portraits. The seventy paintings and drawings on view are from the Clark, which has the largest Boldini holdings in the United States, as well as European museums and private collections. February 14–April 25, 2010. Taft Museum of Art, Cincinnati, Ohio “Dutch Utopia: American Artists in Holland, 1880–1914,” with seventy paintings and works on paper by, among others, William Merritt Chase, Robert Henri, John Singer Sargent and John Twachtman. February 5–May 2, 2010. Yale Center for British Art, New Haven, Connecticut “Varieties of Romantic Experience: Drawings from the Collection of Charles Ryskamp,” 200 sheets, including works by Turner, Blake, Fuseli, Friedrich, Corot and Delacroix. February 4–April 25, 2010. Worcester Art Museum, Worcester, Massachusetts “Intaglio: Italian Etchings and Engravings,” featuring master prints by the Carraci, Rosa, Tiepolo and Piranesi. Through March 7, 2010. |
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