The great-grandson of collector Ivan Morozov, from whom Van Gogh’s ‘Night Cafe’ was stolen by the Bolshevik government after the 1917 revolution, has filed suit against Yale claiming rightful ownership.
So whose is it? That turns on the legitimacy of the Bolshevik government and its acts: a matter for international lawyers. Though, I might add, if the world’s museums were to disgorge all the works that have in the past been stolen by armies or expropriated by revolutionary regimes there are going to be an awful lot of gaps. The National Gallery in London and the Hermitage both have works looted by Napoleonic troops; the Louvre and Prado are full of works from the collection of Charles I, sold off by Cromwell’s government. And so on, and on.
Yale Fight for Van Gogh’s ‘Night Cafe’ May Open More Battles Martin Gayford Bloomberg 6/30/09
New permanent link up for the 1st MFA painting thesis exhibition:
Painting Thesis Exhibition 1
Katayoun Vaziri, Leslie Smith III, Hector Mendoza, Ben Lindquist, David Antonio Cruz, Cuyler Remick, Kate Mangold, Dylan DeWitt, Jaret Vadera, Scott Andresen, Didier William
The Death of Chatterton, by Henry Wallis (1856)
At the Yale School of Medicine, a spring tradition — a class that uses paintings to teach prospective doctors the art of observation — is winding down for the year. In its 11th year, “The Observational Skills Workshop,” a collaborative effort between the medical school and the Yale British Art Gallery, makes use of 19th-century Victorian paintings housed at the British Art Center to develop medical students’ eye for detail.
Medical students learn ‘art’ of observation Florence Dethy Yale Daily News 4/22/09
“The overall aim of the Yale Internal Medicine Residency Writers’ Workshop is to introduce a way for residency programs to help trainees address conflicting emotions about their professional roles and to cultivate a curiosity about their patients’ lives beyond their diseases.”
Creative Writing Increases Physician Observation Skills And Connection To Patients Yale Press Release 10/10/06
See examples of images used for visual training and more here.
Yale University Press
Via Yale University Press:
Twenty-one-year-old Peter Heisterkamp began signing his colorful and playful abstract artworks Palermo in 1964, when peers noted his resemblance to the American gangster Frank “Blinky” Palermo. This handsome book—a historical and critical study of Palermo’s painting from the time he entered Joseph Beuys’s now famous class at the Düsseldorf academy in 1964 to his death in 1977—explores his significance for postwar and abstract art.
Call Number: ART N6888.P235 M44X 2008 (LC)
Yale University Art Gallery
“If it helps, consider your museum and its collection in purely materialistic terms, as a big chunk of capital, slowly and fortuitously accumulated. Once spent, it is irrecoverable. Your university can never be that rich in that way again. Or view the art in your care as something that doesn’t belong to you. Like any legacy it belongs to the future.”
Such thoughts came to mind on a recent visit to campus museums and galleries at Yale University that have exceptional shows this winter. One, devoted to Picasso and writing, is drawn almost entirely from the university’s permanent collections. Another, on the role of tea in Japanese culture, is composed primarily of objects on loan from a single Yale alumnus. A third, imported from another university museum, brings together Degas, geology and gorillas to celebrate Charles Darwin’s 200th birthday. And they are supplemented by a tidy roundup of contemporary Indian artists.”
Why University Museums Matter Holland Cotter NYT 2/19/09
Read more here.
Posted by Chris
Thomas McDonald for The New York Times
“The inaugural show in the gallery, ‘Shifting Shapes — Unstable Signs,’ brings to New Haven works by 13 artists and one artists’ collective from India and the Indian diaspora. It was organized by Mr. Storr and Jaret Vadera, a student in the School of Art, and focuses on works that manipulate signs and symbols of cultural, national and gender identity. All told it is a handsome, thoughtful exhibition that feels both relevant and timely.”
“Shifting Shapes — Unstable Signs,” the School of Art Gallery, Yale University School of Art, 32 Edgewood Avenue, New Haven, through Feb. 27. Information: (203) 432-2605.
For a Fresh Gallery Space, Contemporary Indian Art Benjamin Genocchio NYT 2/20/09
More here, here and here.
Posted by Chris
Lievens was a child prodigy, whose early works in Leiden were highly praised by his contemporaries and valued by princely patrons. His later career was marked by important civic and private commissions in Amsterdam, the Hague and Berlin. Nevertheless, his name today barely registers in the public consciousness.
‘Jan Lievens: A Dutch Master Rediscovered’ Antiques and the Arts Online 11/25/08
Call Number: N6953 L53 A4X 2008 (LC) Oversize
The accompanying exhibit runs till Jan. 11th at the National Gallery of Art.
With their golden tresses and enormous eyes, the women who appear in Roy Lichtenstein’s canvases are unmistakable. Following an exhibition of his famous “Girl” paintings at New York’s Gagosian Gallery earlier this year, Yale University Press has published a lavish homage to the great Pop artist’s anonymous women, featuring 22 colour plates, as well as exceptional documentary photographs and pencil sketches.
Less celebrated, but also appearing in the book, is Lichtenstein’s distinctive series of ceramic heads. He began experimenting with sculpture around 1964, demonstrating a knack for the form that was at odds with the insistent flatness of his paintings. It was an unsurprising move for someone who venerated Picasso, an artist who famously worked in ceramics, producing wittily decorated plates, pitchers, and masks.
Roy Lichtenstein: a new dimension in art Telegraph 11/17/08
Call Number: Folio NJ18 L632 A12 2008 (LC)
Read about a recent series of panel discussions on the Yale University Press here.
Sol LeWitt‘s final triumph opened today at the MASS MoCA. Conceived by the artist before his death last year, he developed the idea with the Yale University Art Gallery, and then partnered with the MASS MOCA and the Williams College Museum of Art to create it. The 27,000 sq foot installation of his Wall Drawings comfortably lives on three floors in the newly renovated Building #7 at the MASS MoCA campus.
The 105 large scale drawings are installed in a space renovated to LeWitt’s specifications—and you’ll probably discover that he was as gifted with spatial relationships as he was with painting. He chose this building—expertly renovated by Cambridge-based Bruner/Cott & Associates Architects and Planners—because of its many windows and the courtyard between it and one of the main buildings because he believed Building #7 would best accommodate his works.
Sol LeWitt: A Wall Drawing Retrospective at the MASS MoCA Evan Orensten Cool Hunting 11/16/08
More reviews of the exhibit here and here.
Two newly discovered paintings by the Italian artist Caravaggio will go on display in Scotland for the first time.The pictures were among several cleaned in a conservation studio for the exhibition at the Queen’s Gallery at Edinburgh’s Palace of Holyroodhouse.
During that process, specialists found that two paintings thought to be copies of lost originals had actually been painted by the 17th Century artist.
‘Newly found’ Caravaggios on show BBC News 11/12/08
Posted by Chris
In a major collaboration among three institutions, “Sol LeWitt: A Wall Drawing Retrospective” opens at the Massachusetts Museum of Contemporary Art (Mass MoCA) on November 16.
Conceived by the Yale University Art Gallery, New Haven, Conn., in collaboration with the artist before his death in April 2007, the project has been undertaken by the gallery, Mass MoCA and the Williams College Museum of Art, Williamstown, Mass.The installation will remain on view for 25 years, occupying a 27,000-square-foot historic mill building in the heart of Mass MoCA’s campus.
Installation Of Sol LeWitt Wall Drawings To Open At Mass MoCA November 16 Antiques and the Arts Online 11/4/08
Check out a Youtube video of the installation here.
Posted by Chris
CLOE POISSON / HARTFORD COURANT
On Nov. 16, the Massachusetts Museum of Contemporary Art in North Adams, Mass., will open an exhibition of Sol LeWitt wall drawings covering nearly a mile of walls in a 27,000-square-foot building.
Some of the large-scale pieces of modern art are studies in black and white, others in brilliant colors. In collaboration with Yale University Art Gallery and Williams College Museum of Art, MASS MoCA will present one of the last projects that LeWitt designed before he died in 2007.
In Chester, Conn., where the artist lived, River Tavern owner Jonathan Rapp and LeWitt’s wife, Carol, will celebrate the exhibition opening 10 days early with a special Italian wine dinner Nov. 6 at the restaurant.
Feastin’ On The River Linda Giuca Hartford Courant 10/30/08
Posted by Chris
Wiley’s well-known, stylized paintings of urban African-American male youths started during his residency at the Studio Museum. He placed his subjects in poses borrowed from eighteenth- and nineteenth-century European figurative paintings to investigate the ways that portraiture has been used historically to create and enforce power and privilege.
Kehinde Wiley (b. 1977, Los Angeles) received a BFA from the San Francisco Art Institute in 1999 and an MFA from the Yale School of Art in 2001.
Travel Pick: Art and Archaeology in the United States- Kehinde Wiley Culture Kiosque
Posted by Chris
Sun, Wind, and Rain: The Art of David Cox opens October 16th at the Yale Center for British Art.
The exhibition features paintings by David Cox, an eighteenth-century landscape artist who was an important figure in the development of British watercolor painting. The exhibition title is from one of Cox’s best-known watercolors, called Sun, Wind and Rain.
Sun, Wind, and Rain: The Art of David Cox WTNH.com 10/11/08
Librado Romero/The New York Times
As artists in the second half of the 19th century shifted from painting historical, mythological and religious subjects to everyday life, they looked for a new kind of model. For the first time, Ms. Butler said, artists used the same model — often a wife or lover — over and over and over again in different paintings and in different scenes.
Author Gives Voice to Artists’ Silent Muses, Their Wives Patricia Cohen NYT 9/3/08
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