TOP ART > WINTER 2013
Thursday, January 10, 2013
, Posted by LATINO EVENTS Y TESPIS MAGAZINE at 6:33 PM
Aquí tienen nuestras recomendaciones para que Ustedes, amantes del arte, comiencen el 2013 llenándose de inspiración!. Top Art nos ofrece la posibilidad de disfrutar algunos de los artistas más reconocidos y también llegar a conocer otros que exhiben por primera vez en Nueva York y sus alrededores. Así tenemos a Picasso (con Kandinsky, Kupka y Picabia) entre los artistas presentes en Inventing Abstraction en el MoMA y a Matisse en In Search of True Painting en el Museo Metropolitano.
El Museo del Bronx celebra sus 40 años de fundado con Honey, I Rearranged The Collection; el Whitney nos invita a re-descubrir su colección de American Legends: From Calder to O’Keeffe y el ICP monta una esperada retrospectiva de las fotografías de CHIM. En el Guggenheim tendremos la primera retrospectiva del influyente colectivo de arte japonés Gutai y en otro 'first', la Colección Frick nos trae a Piero della Francesca, figura fundacional del Renacimiento. Dejando los 'big boys' a un lado, la Galería Marlborough presenta al escultor español Francisco Leiro; la galería de la Americas Society exhibe al mexicano Yishai Jusidman; la Galería Magnan Metz con el también mexicano Juan Puig con su reconocido proyecto SEFT-1 y, siguiendo en México, el afamado fotógrafo Rodrigo Moya exhibe por primera vez en Nueva York en la Galería Throckmorton.
El artista Shaun El C. Leonardo llega a la Galería Praxis Art; el italiano Silvio Wolf exhibe en la Galería Bruce Silverstein; y el Drawing Center presenta al artista peruano Ishmael Randall Weeks. Para los que buscan comenzar su propia colección de arte, la Galería Frederico Seve presenta Within Range, una oportunidad para explorar seriamente tus intenciones como coleccionista, con el bono de tener varios artistas latinos incluidos. Añadimos a la lista la muestra de Evans Woollen en One Art Space de Tribeca, la muestra de la colombiana América Martin en Mark Gallery de Englewood, NJ y la nueva Galería de Arte Contemporáneo Reverol & Co en New Rochelle con su primera muestra individual Billboards Hacker Project.
Continuan: Picasso Black and White, presentando una faceta poco conocida del maestro español, también en el Museo Guggenheim; El icónico The Scream de Edvard Munch en el MoMA; la magnífica exhibición de la obra de George Bellows en el Met Museum (que ya he visto en la National Gallery de Washington); Manolo Valdés en el Jardín Botánico y, en el Museo del Barrio, Voces y Visiones: Gran Caribe.
Y ahora, vámonos de galerías!.
LO NUEVO
* Inventing Abstraction, 1910–1925 > Hasta Abril 15 > MoMA > ABSTRACTION.
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| Pablo Picasso. Femme å la Mandoline. Oil on canvas. Museum Ludwig, Cologne. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.
In 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. The exhibition brings together many of the most influential works in abstraction’s early history and covers a wide range of artistic production, including paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance, to draw a cross-media portrait of these watershed years.
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* Matisse: In Search of True Painting > Hasta Marzo 17 > Met Museum > MATISSE.
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| Young Sailor II, 1906 Oil on canvas; 39 7/8 x 32 5/8 in. (101.3 x 82.9 cm) The Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection, 1998 (1999.363.41) © 2012 Succession H. Matisse / Artists Rights Society (ARS), New York |
* HONEY, I REARRANGED THE COLLECTION > Celebrating 40 years > Enero 24 - Junio 2 > BRONX.
Created in 1986, the Bronx Museum Permanent Collection has assembled over the years a remarkable group of artworks that convey not only personal narratives but also incisive insights onto contemporary life. For this exhibition, we took inspiration from Allen Ruppersberg's ongoing series Honey, I rearranged the Collection initiated in 2000 and that puts in check the role of institutions, curators and collectors as the bearers of tradition and arbiters of taste. Overlaying different traditions, styles, and narratives, Honey, I rearranged the Collection presents an idea of museum as a restless play of combination.
Honey, I Rearranged the Collection features artworks from the 40th Anniversary's 40 Years, 40 Gifts campaign, which has received support from Ford Foundation and the Jacques and Natasha Gelman Trust, as well as individual funders.
* RODRIGO MOYA: OJOS BIEN ABIERTOS (EYES WIDE OPEN) > Enero 10 - Marzo 2 > Thorockmorton Fine Art > MOYA.
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| Gabriel García Márquez with a black eye. Rodrigo Moya © 1976 |
“The work of Rodrigo Moya dating from the fifties and sixties makes up a significant chapter in Latin American photography,” says Spencer Throckmorton. “This exhibition underscores his masterful use of light and shadow as well as composition along with his sensitivity to the people,” says Throckmorton. The photographer’s candid images run the gamut from the revolution leader Che Guevara to painter Diego Rivera and Venezuelan guerillas to street children. Moya was the only Latin American to cover the US invasion of the Dominican Republic and the battle for Santo Domingo in April 1965.
* Prussian Blue – Memory After Representation: Yishai Jusidman > Enero 23 - Marzo 23 > Americas Society Gallery > JUSIDMAN.
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Haus Der Kunst, 2011; from the series Prussian Blue. Image courtesy of the artist.
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The source for the fourteen paintings in the Prussian Blue series are photographs showing the architecture of gas chambers at various concentration camps used during World War II. Some were taken soon after the end of the war and others are more recent images of the camps now turned into public memorials. For the development of his pictures, Jusidman used exclusively three coloring materials that overlap the process of painting and the functioning method of the genocidal gas chambers. The first color is the same Prussian blue pigment (ferro cyanide) that unintentionally appeared on the walls of the gas chambers as a by-product of the Zyklon B gas. The artist not only replicates these colored stains in their actual materiality, but also marks his pictures’ settings as a whole in Prussian Blue. The second material is a silicon dioxide powder used for the pellets that delivered the gas to the sealed chambers, with which Jusidman creates the suggestion of a vaporous curtain by introducing it into his painting medium. As a third substance, he selected paints conventionally used for rendering skin tones (i.e. flesh tone, flesh tint, blush, etc.) to refer to the millions murdered within the architecture depicted in his work.
* Juan Puig : Not a Car > Magnan Metz Gallery > Enero 23 - Marzo 9 > PUIG.
* Champion of the World: Shaun El C. Leonardo > Enero 10 - Febrero 2 > Galería Praxis Art > Champion.
My artwork extends from an internal investigation of the childhood role models, popular icons and cultural stereotypes that influenced how I perceive what it means to be a man. By projecting myself as hyper-masculine heroes, I manifest the ongoing tensions between my desires to represent male virility and the vulnerabilities within my identity developed by these images of power. Over the years my attention has expanded from superheroes to include sports athletes, mythological and historical figures, religious icons, and, most recently, my own family members.
With cutout paintings I isolate forms, allowing me to play with strategies of subtraction, or interaction with the wall's surface, which now often entails painted backgrounds. Through performance, on the other hand, I personify this iconography rather than depict its imagery. Performance allows me to surpass the embodiment of a character. By actually transforming myself into the "superman," I truly experience the psychology and pain involved with representing the hero figure while more closely examining the belief systems and social constructs embedded within ideas of manhood.
Whether painting, drawing, sculpture, or performance, my work relates the confusion, desperation and, often times, failure we experience when attempting to locate ourselves within our cultures and traditions or aspire to their unattainable ideals.
With cutout paintings I isolate forms, allowing me to play with strategies of subtraction, or interaction with the wall's surface, which now often entails painted backgrounds. Through performance, on the other hand, I personify this iconography rather than depict its imagery. Performance allows me to surpass the embodiment of a character. By actually transforming myself into the "superman," I truly experience the psychology and pain involved with representing the hero figure while more closely examining the belief systems and social constructs embedded within ideas of manhood.
Whether painting, drawing, sculpture, or performance, my work relates the confusion, desperation and, often times, failure we experience when attempting to locate ourselves within our cultures and traditions or aspire to their unattainable ideals.
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| Francisco Leiro. Non, 2011. Polychromed pine wood. |
In this exhibition Leiro continues his investigation of the formal possibilities of figurative sculpture. His mastery of sculpture permits him complete freedom to create works of a unique and intriguing character. In his essay for the exhibition catalog, the art historian Kevin Powers writes, “Leiro himself has lived amongst these gestures of a village community. He is intensely observant of human detail – the slant of a head, the weight placed on a leg, the balance of hips, accumulations of movement or tension in the body. These things constitute his lexicon: a primary alphabet.” Powers goes on to say, “...we find Leiro setting his sights on subjects that not only have specific meaning for him, but also where the mysteries of human gesture have meanings for us all.”
* Within Range > Featuring: André Cypriano, Emilio Sanchez, Carolina Gomez, Fanny Sanín, Mariana Vera and many more!> Hasta Febrero 28 > Frederico Sève Gallery. WITHIN RANGE.
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Emilio Sanchez, La Ventanita, 1970/1974, Lithograph on paper.
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Start Here!. An art collection starts with a personal passion and love for art. Everyone defines Art differently, an all are valid. But we can all agree with the fact that Art has a special value in our lives and our appreciation grows fonder when we start collecting.
Frederico Seve Gallery believes in the importance of the art collection. Frederico bought his first artwork at a very young age and sacrificing a large part of his monthly salary. After many years of collecting and in the art dealing business he created an extremely valuable art collection. This season he wants to honor this memory by creating a special group show in the gallery.So where can you start? Here at Frederico Seve Gallery! In the spirit of the winter season we encourage you to buy art for your collection or as a gift to spread the joy of collecting.
What is your range? The gallery’s most affordable and special inventory is exhibited in this show with a great deal on works within a low range of prices.
We want you to experience a different gallery setting. A new experience that gives the collector control on their buying and can experience an efficient and quick dynamic with the gallery, in order for you to leave happy and feel you have a special piece to enjoy in your collection!
So, don’t waist precious time, looking, asking for prices, or waiting for e-mails. We encourage you to come to the gallery, grab a price list, follow the floor plan, visit the wall that you find more attractive and pick a work that you love! Take charge in your “art buying” and take advantage of this limited time offer this winter season!.
* Ishmael Randall Weeks: Cuts, Burns, Punctures > Enero 17–Marzo 13 > The Drawing Center > ISHMAEL.
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| Ishmael Randall Weeks. Still from slide show, 2012. Courtesy of the artist. |
Peruvian born, New York-based artist Ishmael Randall Weeks will present a meditation on recent Peruvian history in the form of a double slide projection using found slides that the artist burns, punctures, cuts, and draws upon. This is the first time that Randall Weeks has worked in this format and it represents an extension of his drawing practice as well as of his installations using recycled materials. As the slides go in and out of focus and his intervention ranges from minimal to extreme, Randall Weeks develops a personalized narrative response to the politically and socially charged moment of 1970s–80s Peru—among the most violent periods in recent history. In form and content, his project directly references seminal artistic interventions from the 1970s such as the work of Brazilian artist Hélio Oiticica and the Tropicalia movement. In this way, Randall Weeks pays tribute to Latin America’s radical artistic past and raises awareness for the future. The exhibition is curated by Claire Gilman, Curator.
+ ALSO at The Drawing Center: Ignacio Uriarte: Line of Work.
* We Went Back: Photographs from Europe 1933–1956 by Chim > Enero 18 - Mayo 5 > ICP > CHIM.
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| Chim, [Children playing on Omaha Beach, Normandy, France], 1947. © Chim (David Seymour), Magnum Photos. |
This retrospective exhibition traces the development of Chim's career as an intellectually engaged photojournalist, placing his life and work in the broader context of 1930s–50s photography and European politics. Born Dawid Szymin in Warsaw, Chim (who after WWII published under the name David Seymour) began his career in 1933 photographing for leftist magazines in Paris. In 1936, along with his friends Robert Capa and Gerda Taro, Chim traveled to Spain to photograph the civil war in support of the Republican side, publishing regularly in all the major European and American picture magazines. Chim was an astute observer of 20th-century European political affairs, workers' rights, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. The exhibition will showcase over 120 mainly vintage black-and white and color prints, publications in which his work originally appeared, contact sheets, and personal material. The exhibition is organized by ICP Curator Cynthia Young.
+ ALSO at ICP: Roman Vishniac Rediscovered.
Roman Vishniac Rediscovered brings together four decades of work by an extraordinarily versatile and innovative photographer for the first time. Vishniac (1897–1990) created the most widely recognized and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars.
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| Inuits. 2011-2012. Direct ink-jet print on silver mirror, aluminum
For the past twenty years, Italian artist Silvio Wolf has explored the limits of photographic representation through an interest in the abstract, the fleeting, the visible and invisible, challenging the indexical nature of the photograph and questioning our notion of self. This installation, designed as a cohesive experience for the viewer, is comprised of the artist’s newest works—his first images to depict the human figure. Wolf’s works are thresholds, spaces of presence and absence where light and information pass that are designed for us to interpret and incite with meaning.
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* American Legends: From Calder to O’Keeffe > Ongoing > Whitney Museum > LEGENDS.
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| Stuart Davis (1894–1964), Owh! in San Paõ, 1951. Oil on canvas, 52 1/4 × 41 3/4 in. (132.7 × 106 cm). Whitney Museum of American Art, New York; purchase 52.2. © Estate of Stuart Davis / Licensed by VAGA, New York, NY |
American Legends: From Calder to O’Keeffe showcases the Whitney’s deep holdings of artwork from the first half of the twentieth century by the eighteen leading artists: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Arthur Dove, Charles Demuth, Marsden Hartley, Edward Hopper, Gaston Lachaise, Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella. Organized as one- and two-artist presentations, this exhibition provides a survey of each artist’s work across a range of mediums.American Legends is organized by Barbara Haskell, Curator.
ON VIEW NOW
As part of this rotating exhibition, works by these artists are on view at the Museum through May 2013: Oscar Bluemner, Charles Burchfield, Paul Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Charles Demuth, Marsden Hartley, Edward Hopper, Jacob Lawrence, Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella.
* Gutai: Splendid Playground > Febrero 15 - Mayo 8 > Guggenheim Museum > GUTAI.
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Yoshihara Jirō. Circle, 1971. Oil on canvas 182 x 182 cm.
The Miyagi Prefectural Museum of Art, Sendai, Japan
Gutai: Splendid Playground, a retrospective of the Gutai Art Association (1954–72), the radically inventive and influential Japanese artistic collective whose innovative and playful approaches to installation and performance yielded one of the most important international avant-garde movements to emerge after World War II. Based on fifteen years of research, Gutai: Splendid Playground provides a critical examination of both iconic and lesser-known examples of the collective's dynamic output over its two decade history and explores the full spectrum of Gutai’s creative production: painting, performance, installation art, sound art, experimental film, kinetic art, light art, and environment art. Gutai: Splendid Playground is the first North American museum exhibition devoted to the Gutai group and offers a comprehensive interpretation of the convention-defying movement.
The exhibition also includes documentary films of the group’s historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water)(1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.
Revered in his own time as a "monarch" of painting, Piero della Francesca (1411/13–1492) is acknowledged today as a founding figure of the Italian Renaissance. The Frick Collection will present the first monographic exhibition in the United States dedicated to the artist. It brings together seven works by Piero della Francesca, including six panels from the Sant'Agostino altarpiece — the largest number from this masterwork ever reassembled. They will be joined by the Virgin and Child Enthroned with Attendant Angels, his only intact altarpiece in this country. Piero della Francesca in America is organized by guest curator and former Andrew W. Mellon Fellow Nathaniel Silver. The related catalogue will include essays by James Banker, Professor Emeritus, North Carolina State University; Machtelt Israëls, Guest Researcher, University of Amsterdam; Elena Squillantini, masters candidate, Università degli Studi di Firenze; and Giacomo Guazzini, doctoral candidate, Scuola Normale Superiore di Pisa.
Exclusive to the Frick, where it will be shown in the Oval Room, this important exhibition will also be accompanied by a rich and varied schedule of lectures, gallery talks, and seminars.
* ARCHITECTURE INTO PAINTING: Evans Woollen > Enero 17 - Febrero 2 > One Art Sapce > WOOLLEN.
The exhibition also includes documentary films of the group’s historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water)(1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.
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| Piero della Francesca (c. 1411/13–1492), Madonna and Child Attended by Angels, c. 1470s, oil (and tempera?) on wood transferred from panel, The Sterling and Francine Clark Art Institute |
Exclusive to the Frick, where it will be shown in the Oval Room, this important exhibition will also be accompanied by a rich and varied schedule of lectures, gallery talks, and seminars.
* ARCHITECTURE INTO PAINTING: Evans Woollen > Enero 17 - Febrero 2 > One Art Sapce > WOOLLEN.
Evans Woollen is an architect who is also an artist. Or is it the other way round? Is he an artist who is also an architect? This is not a frivolous question. It gets to the core of much of the art of our century after cubism, and to the core of almost all of the art before 1500, stretching back to cave painting - namely that visual art and the art of our living environments are indivisible.
Evans Woollen's paintings belong to the world of architecture. To enclose them in ornate frames would be to kill them. They belong in built space, where the radiant energies of their movement, form and color become part of the rhythms of daily life in architectural
space. To see them in this way is to appreciate their power.
* Billboards Hacker Project > Enero 11 - > Reverol & Co > New Rochelle > PROJECT.
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| Billboards Hacker Painting. Medium: Oil on Canvas. Size 48 x 72 |
Through his paintings, videos, and photographs depicting the city and sky, Billboards Hacker uses his years of research and observation of light to exhibit peaceful visuals while displaying a message about climate change. By seeing the city and sky—together with his message of climate change—Billboards Hacker seeks to remind everyone of our duty to preserve our fragile planet.
This vital message is conveyed through society’s most decadent advertising channel: gigantic billboards. These billboards that once programmed us to buy, use, consume, and discard our limited resources have now been reprogrammed by Billboards Hacker to display a new message: “What have I done today to end Climate Change?”
Not only has this message of climate change become an integral part of his artwork, but this message will also leap from the canvas to the real thing as part of a public art project in New York City. While still in its nascent stages, Billboards Hacker plans to display the same message of climate change on actual billboards throughout the city, from Times Square to other iconic places. The money from sales of his artwork, along with private and public sponsors, will help make this historic public exhibit possible.
* AMERICA MARTIN - BIG, BOLD & BEAUTIFUL > Enero 12 - Marzo 2 > Mark Gallery > Englewood, NJ > MARTIN.
About her work, Martin says, "The artist cannot be idle. It is only duty, love and discipline that make art. Inspiration exists, but it has to find us working. The artist is gluttonous, constantly devouring life in order to translate all that she sees, smells, lives or breathes into her own language. Why, and for what? For the blistering personal joy that comes when one is doing something of and about truth. There is no choosing this life. An artist paints because she must."
* Christopher Mir: Static is Singing > Enero 17 - Febrero 23 > Benrimon Contemporary > MIR
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| Death Beatle, 2012. Acrylic and Enamel on Canvas over Panel, 32 x 48 inches. |
Mir draws on imagery culled from social media, the internet, film stills and other sources to create a series of non-sequiturs that appear to be out of a strange graphic novel.
“Mir’s paintings contain elements that are often positioned within idealized landscapes in dream-like circumstances. His paintings invite us to experience a series of paradoxical relationships and unsettling juxtapositions. His figures and landscapes are drawn from specific sources yet remain anonymous; his painting style is relatively tight and refined, but his works are emotionally evocative and resonant. Mir’s narratives are equally complex and replete with provocative dichotomies such as, the mystical versus the physical, the spiritual versus the secular, and the primal versus the futuristic”.– Joanna Marsh
CURRENT EXHIBITS
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| Francisco Oller y Cestero (Puerto Rican, 1833-1917) Platanos Amarillos (detail), ca. 1892-93 Oil on wood panel Gift of Joseph and Carmen Ana Unanue 2009.32 |
Gran Caribe considers the significance of race and ethnicity, language and dialogue, affinities and differences throughout this part of the world. Artists for whom the Caribbean is both a point of departure and a homecoming are included, as are critical voices that explore new ways of thinking about how Caribbean bodies and voices are represented.
* Manolo Valdés : Monumental Sculptures > Hasta Mayo 23, 2013 >> The New York Botanical Garden > VALDES.
Drawing inspiration from the natural landscape of the Botanical Garden, seven towering sculptures by acclaimed Spanish artist Manolo Valdés showcase the relationship between art and nature. The sculptures have been sited to take maximum advantage of the Garden's dramatic views with special attention given to the visual impact of the changing seasons. The artist has designed the installation to include surprising changes in the visual character of the sculptures throughout the seasons.
* Picasso Black and White > Hasta Enero 23 > Museo Guggenheim > B&W.
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Marie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)
Paris, 1931 Oil and charcoal on canvas, 111 x 81 cm Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York Photo: Béatrice Hatala |
Picasso Black and White, the first major exhibition to focus on the artist’s lifelong exploration of a black-and-white palette throughout his career, will be presented at the Guggenheim Museum from October 5, 2012, to January 23, 2013. The exhibition features 118 paintings, sculptures, and works on paper from 1904 to 1971, and will offer new and striking insights into Picasso’s vision and working methods. This chronological presentation includes significant loans—many of which have not been exhibited or published before—drawn from museum, private, and public collections across Europe and the United States, including numerous works from the Picasso family. Following its New York presentation, a major part of the exhibition will travel to the Museum of Fine Arts, Houston, where it will be on view from February 24 to May 27, 2013.
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Edvard Munch. The Scream. Pastel on board. 1895. © 2012 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York
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Edvard Munch’s iconic The Scream (1895) is among the most celebrated and recognized images in art history. Of the four versions of The Scream made by Munch between 1893 and 1910, this pastel-on-board from 1895 is the only one remaining in private hands; the three other versions are in the collections of museums in Norway. The Scream is being lent by a private collector.
A haunting rendition of a hairless figure on a bridge under a yellow-orange sky, The Scream has captured the popular imagination since the time of its making. The image was originally conceived by Munch as part of his epic Frieze of Life series, which explored the progression of modern life by focusing on the themes of love, angst, and death. Especially concerned with the expressive representation of emotions and personal relationships, Munch was associated with the international development of Symbolism during the 1890s and recognized as a precursor of 20th-century Expressionism.
* George Bellows > Met Museum > Hasta Febrero 18 > Bellows
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George Bellows (American, 1882–1925). Stag at Sharkey's, 1909. Oil on canvas; 36 1/4 x 48 1/4 in. (92.1 x 122.6 cm). Cleveland Museum of Art
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George Bellows (1882–1925) was regarded as one of America's greatest artists when he died, at the age of forty-two, from a ruptured appendix. Bellows's early fame rested on his powerful depictions of boxing matches and gritty scenes of New York City's tenement life, but he also painted cityscapes, seascapes, war scenes, and portraits, and made illustrations and lithographs that addressed many of the social, political, and cultural issues of the day. Featuring some one hundred works from Bellows's extensive oeuvre, this landmark loan exhibition is the first comprehensive survey of the artist's career in nearly half a century. It invites the viewer to experience the dynamic and challenging decades of the early twentieth century through the eyes of a brilliant observer.
* HISPANIC SOCIETY >> Vision of Spain de Joaquín Sorolla > Permanent collection on view > Audubon Terrace > The Hispanic Society of America.
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Vision of Spain. Detail. Joaquín Sorolla.
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