Rodin: Evolution of a Genius

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Rodin: Evolution of a Genius

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Organized by the Montreal Museum of Fine Arts and the Musée Rodin in Paris, this exhibition will feature nearly 200 works by the greatest sculptor of the 19th and early 20th centuries: Auguste Rodin. Revealing the evolving output of this genius of sculpture, the exhibition examines his techniques, materials, models and assistants, and explores the extraordinary working process behind some of his best known works.

Auguste Rodin completely revitalized the very language of sculpture with his passion for the creative act. Fragile plasters as well as patinated bronzes, marble figures, astonishing ceramics and never-before-exhibited photographs all attest to this creative intensity, with much of the work presented in North America for the first time.

Rodin Quote An Entire LIfetime
Rodin Quote I only work
Rodin Quote It may happen
Rodin Quote There is no
Rodin Quote We are workers

 

Rodin: Evolution of a Genius is organized by the Montreal Museum of Fine Arts in collaboration with the Musée Rodin, Paris. Rodin is organized for VMFA by Dr. Mitchell Merling, Paul Mellon Curator and Head of European Art. The exhibition catalogue, with contributions on Rodin’s process by leading scholars, will be published by the Montreal Museum of Fine Arts.

 

 

 

Sponsors

Presented by:

____________________

The Lettie Pate Whitehead Evans Exhibition Endowment

The Julia and Tunnicliff Fox Foundation
____________________

Lilli and William Beyer

Norfolk Southern Corporation

Northern Trust Company

The Rock Foundation

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The Banner Exhibition Program at VMFA is supported by the Julia Louise Reynolds Fund.

Spotlight Loan: Eastman Johnson’s Views of Mount Vernon

A generous loan to VMFA from George’s Washington’s Mount Vernon, two paintings by Eastman Johnson depict the crumbling structures at the first president’s plantation where twenty-six African American slaves still lived and worked in 1857. Owned at that time by the president’s great-grandnephew John Augustine Washington, the once-imposing estate on the Potomac River had fallen into great disrepair and Johnson’s paintings emphasize this disintegration that, far from the gaze of family and tourists, loomed ominously over their enslaved occupants.

Fabergé and Russian Decorative Arts

See Fabergé and Russian Decorative Arts Collection Like Never Before

After an international tour, VMFA’s renowned collection of Fabergé has returned to the museum. Five new galleries have been prepared to showcase 280 Fabergé objects and other Russian decorative arts. The galleries feature both innovative displays and a range of interactive components designed to inform, engage, and delight.

Since 1947, when Lillian Thomas Pratt donated a large selection of Fabergé objects to the museum, they have continued to enchant visitors. This spectacular Fabergé collection—the largest public collection outside of Russia—includes five of the 52 Russian imperial Easter eggs created by the St. Petersburg firm led by jeweler Karl Fabergé (1846–1920).

“The largest public collection outside of Russia…”

Imperial Rock Crystal Easter Egg
Imperial Rock Crystal Easter Egg
Fabergé firm Russian , 19th century Mikhail Perkhin, Workmaster Russian , 1860 - 1903 Johannes Zehngraf, Painter of miniatures Russian , 1857 - 1908 rock-crystal, gold, emerald, diamonds, enamel, watercolor on ivory 10 x 4 (diameter) in. 25.40 x 10.16 (diameter) cm. Bequest of Lillian Thomas Pratt
Imperial Peter the Great Easter Egg
Imperial Peter the Great Easter Egg
Fabergé firm Russian , 20th century Mikhail Perkhin, Workmaster Russian , 1860 - 1903 Vasilii Zuiev, Painter of miniatures Russian , 1870 - unknown gold, platinum, diamonds, rubies, enamel, bronze, sapphire, watercolor on ivory, rock crystal 4.25 x 3.125 (diameter) in. 10.80 x 7.94 (diameter) cm. Bequest of Lillian Thomas Pratt
Imperial Tsesarevich Easter Egg Minature
Imperial Tsesarevich Easter Egg Minature
1912 Fabergé firm, Russian, 1842 - 1917 (Manufacturer) Henrik Wigström, 1862 - 1923 (Workmaster) platinum, lapis lazuli, diamonds, watercolor on ivory, rock crystal miniature: 3 3/4" H x 2 3/8" W (miniature: 9.53 cm. H x 6.03 cm. W) Bequest of Lillian Thomas Pratt
Imperial Pelican Easter Egg
Imperial Pelican Easter Egg
Fabergé firm Russian , 19th century Mikhail Perkhin, Workmaster Russian , 1860 - 1903 Johannes Zehngraf, Painter of miniatures Russian , 1857 - 1908 gold, diamonds, enamel, pearls, watercolor on ivory 4 x 2.125 (diameter) in. 10.16 x 5.40 (diameter) cm. Bequest of Lillian Thomas Pratt
Imperial Red Cross Easter Egg
Imperial Red Cross Easter Egg
Fabergé firm Russian , 20th century Henrik Wigström, Workmaster Russian , 1862 - 1923 Silver, enamel, gold, mother-of-pearl, watercolor on ivory, velvet lining 3 x 2.375 (diameter) in. 7.62 x 6.03 (diameter) cm. Bequest of Lillian Thomas Pratt
Rabbit Pitcher
Rabbit Pitcher
Fabergé firm Russian , 1842 - 1917 Silver, garnets, rubies 10 x 6 x 4¾ in 25.40 x 15.24 x 12.07 cm Bequest of Lillian Thomas Pratt
Globeflowers
Globeflowers
Fabergé firm Russian , 19th century Gold, enamel, nephrite, rock crystal 5 x 4 x 3 in. 12.70 x 10.16 x 7.62 cm. Bequest of Lillian Thomas Pratt
Dandelion
Dandelion
Fabergé firm Russian , 19th century Nephrite, rock crystal, gold, diamonds, asbestos fiber 6.5 (height) in. 16.51 (height) cm. Bequest of Lillian Thomas Pratt
Lilies of the Valley
Lilies of the Valley
Fabergé firm Russian , 19th century Nephrite, gold, pearls, diamonds, bloodstone 7.5 x 5.75 x 4 in. 19.05 x 14.61 x 10.16 cm. Bequest of Lillian Thomas Pratt
Statuette of a Sailor
Statuette of a Sailor
Fabergé firm Russian , 19th century Agate, obsidian, aventurine quartz, lapis lazuli, sapphire 4.625 x 2.5 in. 11.75 x 6.35 cm. Bequest of Lillian Thomas Pratt
Imperial Presentation Box
Imperial Presentation Box
Fabergé firm Russian , 19th century Nephrite, gold, diamonds 11 x 3.75 (diameter) in. 27.94 x 9.53 (diameter) cm. Bequest of Lillian Thomas Pratt
Bratina
Bratina
Fabergé firm Russian , 19th century Silver gilt, enamel, sapphires, emeralds, rubies, garnets, blue topaz(?), pearls 6 x 5.5 (diameter) in. 15.24 x 13.97 cm. Bequest of Lillian Thomas Pratt
Cup and Cover
Cup and Cover
Fabergé firm Russian , 19th century Nephrite, silver gilt, rubies, sapphires 11 x 3.75 (diameter) in. 27.94 x 9.53 (diameter) cm. Bequest of Lillian Thomas Pratt
Imperial Column Portrait Frame
Imperial Column Portrait Frame
Fabergé firm Russian , 19th century gold, diamonds, ivory, silver, watercolor on ivory 6 x 3? x 3? in 15.24 x 7.94 x 7.94 cm Bequest of Lillian Thomas Pratt
Bratina
Bratina
Fabergé firm Russian , 19th century Silver gilt, enamel, sapphires, emeralds, rubies, garnets, blue topaz(?), pearls 6 x 5.5 (diameter) in. 15.24 x 13.97 cm. Bequest of Lillian Thomas Pratt
Bread-and-Salt Dish
Bread-and-Salt Dish
van Khlebnikov Russian Silver and enamel 21 (diameter) in. 53.34 (diameter) cm. Bequest of Lillian Thomas Pratt
Monumental Kovsh
Monumental Kovsh
Fabergé firm 1842 - 1917 Silver, chrysoprase, amethyst 15 x 27.5 x 12.25 in. 38.10 x 69.85 x 31.12 cm. Jerome and Rita Gans Collection of Silver
Box
Box
Feodor Rückert Russian , 1887 - 1917 Silver gilt, enamel 2.375 x 5.5 x 4.875 in. 5.87 x 13.97 x 11.59 cm. Jerome and Rita Gans Collection of Russian Enamel
Silver-Mounted Gueridon
Silver-Mounted Gueridon
Fabergé firm, Russian, 1842 - 1917 (Manufacturer) Hjalmar Armfelt, 1873 - 1959 (Workmaster) 1908-1917 Palisander wood, nephrite, silver Palisander wood, nephrite, silver Gift of Forrest E. Mars, Jr., John F. Mars, and Jaqueline B. Mars in honor of their mother and father, Audrey M. Mars and Forrest E. Mars Sr.
Imperial Silver Frame
Imperial Silver Frame
Fabergé firm Russian , 19th century silver, cabochon agates, sapphires, chalcedonies, wood, glass 17½ in 44.3 cm Gift of Forrest E. Mars, Jr., John F. Mars, and Jacqueline B. Mars in honor of their mother and father, Audrey M. Mars and Forrest E. Mars Sr.

 

View The Collection Here

Organized by material, the galleries feature gold and silver objects, jewelry, enamels, hardstones, and icons. The central domed gallery showcases the imperial Easter eggs and is designed to allow visitors to view each egg from every angle.


Faberge Interactive

An exciting new aspect of the galleries is the addition of interactive components. These include a mobile app (iTunes and Google Play), in-gallery interactives, a new webpage, and new video footage of the imperial eggs. Large touchscreens now offer rich and informative background material with videos that reveal the intricate construction of the five imperial eggs as each opens to display their individual “surprise” inside.

Visitors can also explore the history of the collection from the perspectives of the Romanov family, Russian fairy tales, Lillian Pratt Thomas, and more using iPads available in the galleries or through a mobile app. Another interactive activity allows visitors to select features from miniature pendant eggs to design their own eggs, which they can save and share with others.

 

More activities can be found on the museum’s new Fabergé website, which features the recently digitized Lillian Thomas Pratt archives that includes her correspondence and invoices with object descriptions that will all be searchable online.


KARL FABERGÉ: Jeweler to the Imperial Court of Russia

Karl Faberge (1846–1920) transformed the small St. Petersburg jewelry firm begun by his father in 1842 into an international enterprise. Combining his early training as a goldsmith and jeweler with innovative business practices, Karl Fabergé attracted important clients, including Empress Maria Feodorovna (the wife of Tsar Alexander III), and was eventually appointed Supplier to the Imperial Court.

Although Karl Fabergé did not personally fabricate the objects he sold, he expertly ran a company with approximately 500 employees, who created more than 150,000 objects renowned for their superb craftsmanship.

Following the execution of Tsar Nicholas II and his family by revolutionaries in 1918, Karl Fabergé fled to Switzerland, where he died in Lausanne in 1920. The large majority of objects by the Fabergé firm have since disappeared. Many were broken up, melted down, or destroyed—but those that remain offer a fascinating glimpse into a vanished era.


 

The Fabergé and Russian Decorative Arts Galleries
are made possible by generous support from

 

Eda Hofstead Cabaniss

Commonwealth of Virginia

The Council of the Virginia Museum of Fine Arts

 

Additional support has been provided by

Lilli and William Beyer

Mrs. Frances Massey Dulaney

 


Image Credit:

1. Imperial Tsesarevich Easter Egg Minature, 1912 Fabergé firm, Russian, 1842 – 1917 (Manufacturer) Henrik Wigström, 1862 – 1923 (Workmaster) platinum, lapis lazuli, diamonds, watercolor on ivory, rock crystal miniature, Bequest of Lillian Thomas Pratt

Japanese Tattoo: Perseverance, Art, and Tradition

Japanese Tattoo has been extended to November 29 based on public demand.

 

Access our FREE web-based Japanese Tattoo: Perseverance, Art, and Tradition audio tour. Use your own mobile device and headphones and our free wi-fi to stream the audio tour in the galleries or enjoy the tour at home on your computer.

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Organized by the Japanese American National Museum in Los Angeles, Japanese Tattoo: Perseverance, Art, and Tradition focuses on the work of seven internationally acclaimed tattoo artists –Ryudaibori (formerly Horitaka), Horitomo, Chris Horishiki Brand, Miyazo, Shige, Junii, and Yokohama Horiken – inspired by the Japanese tradition of tattooing and heavily influenced by the traditional Japanese arts of calligraphy and ukiyo-e woodblock printmaking.

Specially commissioned photographs of work by each artist will be displayed alongside tools and relief carvings, as well as a recreated Torii. A companion book of the same title features additional photographs and writings, and is published by the Japanese American National Museum.

Japanese Tattoo: Perseverance, Art, and Tradition is created, designed and photographed by Kip Fulbeck, and curated by Takahiro Kitamura (Ryudaibori, formerly Horitaka).


Tattoo Stories

Richmond is the third most tattooed city in the country. Since VMFA’s latest special exhibition, Japanese Tattoo: Perseverance, Art, and Tradition, explores the history and artistry of Japanese tattoo, it seemed only fitting that the museum also explore tattoo art right in our own backyard. A few weeks ago, VMFA sent out a call to Richmond’s inked community to stop by the museum and have their art photographed by Norfolk photo-artist Glen McClure. Below McClure captures not only the diversity of tattoos in the city and the personalities of the people who wear them but also the compelling stories behind these pieces of art. Read More…

InLight Richmond 2015

Organized by 1708 Gallery, InLight Richmond is a public exhibition of light-based art and performances. Each year, InLight invites artists to respond to a particular section of our diverse city, and this year the setting for this free event is VMFA. Here, visitors will see video projections illuminating the building facades, light-based sculpture that bridges the walkways, performances on the front lawn, interactive projects where visitors help create that artwork, and a Community Lantern Parade that winds its way through the entire grounds.

For the past seven years, 1708’s InLight has featured 190 local, national, and international artists and artist collectives across some of Richmond’s most unique neighborhoods and evocative sites — from Broad Street to historic Tredegar to Monroe Park — engaging more than 30,000 visitors.

The museum will remain open late for the exhibition, which takes place from 7 pm until midnight on Friday and from 7-10 pm on Saturday.

 

The McGlothlin Collection of American Art

Longtime patrons James W. and Frances Gibson McGlothlin have given their collection of 73 works to the Virginia Museum of Fine Arts for permanent installation in the McGlothlin American Art Galleries. The value of the McGlothlin Collection exceeds $200 million and will open to the public on November 24.

Tennis at Newport
Tennis at Newport

Tennis at Newport

George Wesley Bellows, (1882-1925)
1920, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.5)

Venetian Tavern
Venetian Tavern

Venetian Tavern

John Singer Sargent, (1856-1925)
ca 1902, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.51)

The Rialto
The Rialto

The Rialto

John Singer Sargent, (1856-1925)
1909, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (2014.415)

Scotch Whaler Working Through Ice
Scotch Whaler Working Through Ice

Scotch Whaler Working Through Ice

William Bradford, (1827-1892)
ca 1878, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.10)

The Hitch Team (Horses in the Snow)
The Hitch Team (Horses in the Snow)

The Hitch Team (Horses in the Snow)

George Luks, (1867-1933)
1916, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.36)

Yachting the Mediterranean
Yachting the Mediterranean

Yachting the Mediterranean

Julius LeBlanc Stewart, (1855-1919)
1896, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.58)

Evening
Evening

Evening

George Inness, (1825-1894)
1863, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.34)

 

“We originally intended to give these paintings to VMFA after our lifetime,” Jim McGlothlin said, “but we’ve recently decided it’s more important for them to reach the hundreds of thousands of patrons who visit the museum. We would rather share in the public’s enjoyment of these works, and hope visitors receive as much pleasure from them as we have.”

VMFA Director Alex Nyerges said: “The McGlothlins’ unexpected gift is a magnanimous gesture of national importance. These works greatly strengthen our American collection with 12 artworks by John Singer Sargent, five new Bellows and 56 additional major works for visitors to enjoy.

“We are indebted to the McGlothlin family for endowing Virginians with their great collection.”

Twenty of these works have not been exhibited at VMFA before and the breadth of the new collection will add appreciably to VMFA’s American holdings. Spanning the formative century from 1830 to 1930, from the Hudson River School to Modernism, it is one of the most important collections of historic American art in private hands and will contribute significant depth to VMFA’s collection from this period, said Susan J. Rawles, PhD, VMFA’s associate curator of American painting and decorative art. Renowned artists include Childe Hassam, John Singer Sargent, George Bellows, James A.M. Whistler, and Mary Cassatt, among others.

Such a historically representative and significant collection of American art has not been gifted to a North American museum in more than 30 years. In 1985, David and Eula Wintermann gave more than 50 American paintings dating from 1880 to 1925 to the Museum of Fine Arts, Houston, providing a foundation for the development of that collection.

“The addition of the McGlothlin Collection anticipates the strong future trajectory of American Art at VMFA,” Rawles said, “complementing our current holdings of approximately 2,000 works.”

The expansive historic scope of the McGlothlin collection will be reflected in the installation, where visitors will encounter broad themes, including Westward the Course of Empire: American Landscape, The Gilded Age of Realism and Impressionism, and All That Glitters Is Not Gold: Modernism.

History of the McGlothlin Collection

Virginia-born James W. and Frances Gibson McGlothlin began acquiring works in 1996 and quickly established themselves among a small circle collecting American art at the highest level. Guided by their own sense of a work’s intrinsic beauty, they made strategic acquisitions, resulting in a collection that has grown to represent the major currents of mid-19th- to mid-20th-century American art. The first exhibition of their work at VMFA was Capturing Beauty: American Impressionist and Realist Paintings from the McGlothlin Collection in 2005. During the same year, the McGlothlins promised to bequeath their collection to VMFA. In addition, they made a $30 million gift toward the museum’s 2010 expansion. The result is the 165,000-square-foot James W. and Frances G. McGlothlin Wing.

In anticipation of the McGlothlin wing opening and the publication of the accompanying American collection catalogue, the McGlothlins made their first outright gift of art – William Merritt Chase’s Wounded Poacher (1878). A second exhibition of more than 70 works from their collection, Private Passion, Public Promise: The James W. and Frances G. McGlothlin Collection of American Art, coincided with the museum’s reopening. In December 2014, they made a second gift of art to VMFA, John Singer Sargent’s The Rialto (1909).

 

The Wounded Poacher
The Wounded Poacher

The Wounded Poacher

William Merritt Chase, (1849-1916)
1878, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (2009.310)

Madame Errazuriz
Madame Errazuriz

Madame Errazuriz

John Singer Sargent, (1856-1925)
ca. 1883-4, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.48)

Flowers in Her Hair
Flowers in Her Hair

Flowers in Her Hair

Julius LeBlanc Stewart, (1855-1919)
1900, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.59)

In the Sun
In the Sun

In the Sun

Theodore Robinson, (1852-1896)
1891, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.46)

L'Aperitif
L'Aperitif

L'Aperitif

William Glackens, (1870-1938)
1926, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.21)

At the Opera
At the Opera

At the Opera

Seymour Joseph Guy, (1824-1910)
1887, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.22)

A Gust of Wind (Judith Gautier)
A Gust of Wind (Judith Gautier)

A Gust of Wind (Judith Gautier)

John Singer Sargent, (1856-1925)
ca. 1883-85, oil on canvas
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.47)

In the Laundry
In the Laundry

In the Laundry

Robert Frederick Blum, (1857-1903)
1884, pastel on paper
The James W. and Frances Gibson McGlothlin Collection (L.2015.13.8)

 

About the McGlothlin family

Jim McGlothlin is chairman, CEO, and the sole owner of The United Co., a 44-year-old Bristol, Va., company that sold its coal mine holdings for an estimated $1 billion in 2009 to the Ukrainian firm Metinvest. The company’s businesses interests — which over the years have included coal, steel, oil and natural gas, a cogeneration plant, roofing materials, and pharmaceuticals — now are focused on financial services and golf courses. Jim serves on the boards of the Virginia Museum of Fine Arts, the Mountain Mission School, and the PGA Tour. Jim is a current member of the VMFA Board of Trustees and serves on the Executive Committee. Fran McGlothlin served on the VMFA Board of Trustees from 1998-2008. While on the VMFA Board of Trustees Fran was a member of the Art Acquisitions Sub-Committee and the Director’s Search Committee in 2006. The couple has three children and six grandchildren.

About the Virginia Museum of Fine Arts

VMFA’s permanent collection encompasses more than 33,000 works of art spanning 5,000 years of world history. Its collections of Art Nouveau and Art Deco, English silver, Fabergé, and the art of South Asia are among the finest in the nation. With acclaimed holdings in American, British Sporting, Impressionist and Post-Impressionist, and Modern and Contemporary art – and additional strengths in African, Ancient, East Asian, and European – VMFA ranks as one of the top comprehensive art museums in the United States. Programs include educational activities and studio classes for all ages, plus lively after-hours events. VMFA’s Statewide Partnership program includes traveling exhibitions, artist and teacher workshops, and lectures across the Commonwealth. VMFA, a certified Virginia Green attraction, is open 365 days a year and general admission is always free.

Organic: Photographs of the Natural World

From scientific to symbolic, images of nature have played an integral role in the history of photography. As the impulse to make images of flowers and trees runs deep through the photographic tradition, this exhibition offers diverse perspectives, ranging from sincere attempts to convey the beauty and wonder of the natural world to critical commentaries on the tension between humankind and nature.

Whether reverent or cynical, however, none of the works on view offers sweeping vistas. Instead these photographs present intimate studies, sometimes focusing only on an individual plant, making them more akin to portraits than to landscapes. Nearly a third of the photographers whose works are included here have roots in Virginia, bringing their subjects even closer to home.

Seasonal Flowers in Japan: Woodblock Prints by Kawase Hasui

Since 2006, renowned collectors René Balcer and Carolyn Hsu-Balcer have given VMFA more than 500 works created by Japanese landscape artist Kawase Hasui (1883–1957). The 12 woodblock prints featured here are drawn from that generous gift. Created from the 1920s through the 1950s, these 12 prints depict seasonal flowers found at numerous sites across Japan, including its ancient capitals, historic landmarks, and rural mountains. Hasui captured cherry blossoms at Arashiyama in Kyoto, wildflowers on the Senjo Plain in Nikko, crabapple blossoms at the Myōhon Temple in Kamakura, and the iris garden at Meiji-jingo shrine in Tokyo.

Dahlia, lotus, lily, and azalea are also depicted. These works reveal Hasui’s passion for nature, his sketching expertise and proficient use of color, while illustrating the history, mystery, and serenity of Japan. Born in Tokyo, Hasui was trained in traditional Japanese painting, watercolor, and oil painting. In 1910, he began to study woodblock prints with Kaburaki Kiyokata (1878–1972).

Early in his career, Hasui worked primarily as an illustrator for magazines and in advertising. His career path changed in 1918 when his first experimental prints, known as shin-hanga (new prints), were published by Watanabe Shōzaburō (1885–1962), initiating a collaboration that lasted for the rest of Hasui’s life. Curated by Li Jian, E. Rhodes and Leona B. Carpenter Curator of East Asian Art, VMFA.

 

Félix Bracquemond: Impressionist Innovator – Selections from the Frank Raysor Collection

French printmaker and designer Félix Bracquemond (1833–1914) produced more than 800 etchings during a prolific career that spanned the late 19th century. Though celebrated from the outset of his career as a skilled reproductive etcher, Bracquemond enthusiastically championed the etching revival in France, prominently leading the charge toward redefining etching as a highly original art form. Despite his lived status as a luminary within Paris Salon and avant-garde artistic circles, including the Impressionists, Bracquemond is little known today.

Félix Bracquemond: Impressionist Innovator re-introduces Bracquemond as an independently-minded, ever-industrious artist through a selection of more than 80 works on paper and tableware objects, among them his most imaginative portraits, landscapes, and groundbreaking reinterpretations of the traditions of French art and decorative arts. The exhibition features expansive displays of Bracquemond’s distinctive images of birds, which reveal his deep appreciation of nature and his growing interest in Japanese visual tradition. Displays of commercial dinner services decorated by Bracquemond punctuate the exhibition, revealing the unexpected but vital role of his printmaking in ceramics production while highlighting his aesthetic experimentation when the taste for Japanese art and culture swept French society. Collectively, these selections capture Bracquemond’s vast and richly varied contributions to printmaking in a period that witnessed dynamic technical innovations in the medium in tandem with renewed popularity of etchings among the public and art collectors alike.

The exhibition draws entirely from the Frank Raysor Collection, an ongoing generous, transformative gift to the museum that contains thousands of works by Bracquemond and other leading Etching Revival artists.

Co-curated by Dr. Mitchell Merling, Paul Mellon Curator and Head of the Department of European Art and Kristie Couser, Curatorial Assistant for the Mellon Collections.

VMFA Fellowship Program 75th Anniversary Exhibition at the Workhouse

In recognition of the VMFA Fellowship Program’s 75th anniversary, VMFA will exhibit the work of three past Fellowship recipients—Fiona Ross, Pam Anderson Sutherland, and Kendra Wadsworth–at Workhouse Arts Center in Lorton, VA. This exhibition is part of VMFA’s Statewide program, a program in which the museum shares exhibitions and programming with partner organizations throughout the Commonwealth.

Reception on Jun 13, 6 – 9 pm, during the 2nd Saturday Art Walk.

Fiona Ross paints forms in radiant colors that feature both deliberate markings and evaporation markings. Some paintings are layered to create the illusion of three-dimensionality, or painted on the back to intensify colors, while others are created through an accumulation of droplets of paint. Through her work she explores the forces of change through the repeated evaporation and hydration of paints and pigments, and aims to create a feeling of balance and awareness of the constancy of natural forces. She constantly explores the physical boundaries and potential of her materials, from ceramic and concrete, to acrylic paint and watercolor. Her site-specific, large-scale drawing installations feature life-sized self-portraits and landscapes rendered from a single line, forming unicursal labyrinths.

Pam Anderson Sutherland is interested in the space between sentiment and pure formalism. Her works on paper, by appropriating and adding to the collected evidence of her life, pay homage to art’s unique ability to give permanence to the fleeting. Each of these collages contains a named gray paint square (intuitive, ponder, rock bottom) along with a letter i/eye. Autobiography housed in abstract narrative appeals to her. So does the textural juxtaposition of the flat with the dimensional, illusionistic space with the literal object, the drawn with the sculptural.  It is often in the discarded test mark or the scavenged remnants of an art student’s drawer that the story is found, the sentimental suspended in the ordinary.  Sutherland is a collector of minutes and hours, of people and days, of loves and losses, but also of the petty thesaurus scrap that would otherwise end up on the floor. Her art is a conscious organizing of the random, chaotic, or unintentional. It is how she makes sense of the senseless.

Kendra Wadsworth’s work explores the unpredictable nature of existence. Through observing the synchronized rhythms and dimensions of starling murmurations, she attempts to weave a fluidity of motion within stratospheric and geologic planes, changes, and textures.

EXHIBITION VENUE

The Workhouse Arts Center
Building W-16 McGuireWoods Gallery.
Lorton, VA

Fusion: Art of the 21st Century

Showing works by an increasingly diverse roster of global artists, VMFA’s 21st-Century Art Gallery reflects the expanded nature of contemporary art. Fusion, builds on this focus. It emphasizes new acquisitions — many on view for the first time — and includes a substantial number of works by African and African-American artists and works from Latin America, the Caribbean, and Mexico.

Curated by John B. Ravenal, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art.

Beyond the Walls

Access our FREE Beyond the Walls audio tour app on your iPad! Click below to download the app from iTunes.

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The Memorial Foundation for Children Teaching Gallery, located in the MWV Art Education Center, has been transformed into an interactive exhibition where visitors can explore daily life in imperial China. In contrast to the world of the emperor on display in Forbidden City, this hands-on exhibition provides a glimpse into the home of a merchant-class family who lived in the 18th century.

Beyond The Walls visitors are able to interact through activities that include writing Chinese characters on a touch screen and designing personal, virtual seals. There are also opportunities to unroll and view reproduction scrolls, like those featured in Forbidden City and in VMFA’s East Asian collection, or play traditional musical instruments and games. Whether visiting as part of a school group, or a multigenerational family, the Teaching Gallery exhibition offers visitors of all ages a new perspective on China’s imperial past.

The Beyond the Walls exhibition is generously sponsored by:

Carpenter

MeadWestvaco Foundation

The Community Foundation Serving Richmond & Central Virginia

Memorial Foundation for Children

The Jeanann Gray Dunlap Foundation

Van Gogh, Manet, and Matisse: The Art of the Flower

Access our FREE web-based The Art of the Flower audio tour. Use your own mobile device and headphones and our free wi-fi to stream the audio tour in the galleries or enjoy the tour at home on your computer.

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This exhibition is the first major American exhibition to consider the French floral still life across the 19th century. Developed from the strong partnerships fostered by the French Regional American Museum Exchange (FRAME), the exhibition is organized by Mitchell Merling, Paul Mellon Curator and head of the Department of European Art at the Virginia Museum of Fine Arts and Heather MacDonald, the Lillian and James H. Clark Associate Curator of European Art at the Dallas Museum of Art.

The exhibition explores the infusion of new spirit and meaning into the traditional genre of floral still-life painting in 19th-century France, even as the advent of modernism was radically transforming the art world. It features more than 60 flower paintings by more than 30 artists, including well-known painters such as Eugène Delacroix, Gustave Courbet, Henri Fantin-Latour, Édouard Manet, Vincent van Gogh, and Henri Matisse, as well as less familiar figures such as Antoine Berjon and Simon Saint-Jean. These artists, whose careers collectively span the nineteenth century, engaged in a sophisticated reworking of traditional imagery, bringing the floral still life into dialogue with emerging models of science and commerce, and ultimately transforming the genre into a meditation on the nature of artistic representation itself.

Van Gogh, Manet, and Matisse: The Art of the Flower is co-organized by the Dallas Museum of Art and the Virginia Museum of Fine Arts. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Banner Exhibition Program at VMFA is supported by the Julia Louise Reynolds Fund.

 

Sponsors

Presented by:

Altria_CMYK-[Converted]____________________

The Francena T. Harrison Foundation Trust

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Mrs. Frances Massey Dulaney

The Julia and Tunnicliff Fox Charitable Trust

Virginia H. Spratley Charitable Fund II

Mr. and Mrs. Fred T. Tattersall

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Lilli and William Beyer

Mr. and Mrs. Joseph T. Knox

The Robert Lehman Foundation

McGue Millhiser Family Trust

Norfolk Southern Corporation

 Toni A. Ritzenberg

Mary and Don Shockey

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Mr. and Mrs. Read Branch, Jr.

Capital One Bank

The Jeanann Gray Dunlap Foundation

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 Dr. and Mrs. R.P. Sowers

 Flowers for the Sketching Gallery generously provided by

Stranges07-BR

 

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Miwako Nishizawa: Twelve Views of Virginia

Miwako Nishizawa is a California-based Japanese-American artist specializing in the traditional shin-hanga Japanese woodblock technique that revitalized the ukiyo-e tradition in early 20th century Japan. As part of their interest in the work of shin-hanga artist Kawase Hasui, collectors René and Carolyn Balcer commissioned Nishizawa to execute “Twelve Views of Virginia” in the shin-hanga style. This exhibition uses working drawings and artist proofs from the series to demonstrate the technique. These will be exhibited at the same time as a large exhibition of works by Hasui in the Evans Court Gallery.

Water and Shadow: Kawase Hasui and Japanese Landscape Prints

This exhibition presents a visually compelling selection of Japanese woodblock prints — as well as paintings and didactic material — that explores the dynamic early work of Japanese landscape artist Kawase Hasui (1883-1957). Through the work of Hasui, the exhibition explores the themes of nostalgia and longing — the search for individual and national identity in Japan during the early Taisho period, an era of dizzying social and cultural change. It presents the best work of one of Japan’s modern masters, featuring high quality objects that are compelling visually, often rare, and broadly resonant. The core themes of this art — the exploration of the native landscape and the discovery of a new urban beauty in response to the anonymity of modern life — are as relevant to American audiences now as they were to Japan in the 1920s.

The works selected for this exhibition focus on Hasui’s most creative period of woodblock print design: the years from 1918 to the Great Earthquake of 1923. The exhibition utilizes the unparalleled collection donated to the Virginia Museum of Fine Arts by preeminent Hasui collectors, René and Carolyn Balcer.

The exhibition is curated by Kendall Brown, Professor of Asian Art History at California State University, Long Beach, and author of earlier books on Hasui and several catalogues on modern Japanese prints. It will be accompanied by a major catalogue including essays by leading scholars from North America and Japan.

 
 

Sponsors

Carolyn Hsu-Balcer and René Balcer

E. Rhodes and Leona B. Carpenter Foundation

Christie’s

The Japan Foundation

Artists as Art: Photographic Portraits

Robert Frank photographs Beat poet Allen Ginsberg hugging a tree, Imogen Cunningham poses Alfred Stieglitz standing in front of a flower painting by Georgia O’Keeffe, and Barbara Morgan captures modern dancer Martha Graham as she stretches her body into a dramatic form; these images convey more than a mere likeness of the artists portrayed. Instead they highlight the collaboration between photographer and subject when both are artists seeking to convey a unique persona.

This exhibition features photographic portraits of fine artists, writers, and performers taken throughout the 20th century. From the softly focused, romantic images the Pictorialists made in the early 1900s to the casual color polaroids Andy Warhol took of the celebrities around him in the early 1970s, these works also trace the evolving styles and functions of photography as it documented artistic movements and increasingly served as a primary artistic medium in itself. Artists as Art is curated by Dr. Sarah Eckhardt, Assistant Curator of Modern and Contemporary Art.

States of Change in Africa

Two recently acquired works in the African collection provide insight into far-reaching social and economic changes associated with the independence movement that swept across Africa during the 1950s and 1960s, bringing an end to European colonialism officially, if not in reality. The upbeat Barber’s Sign from Ghana, infused with the optimism of the new era, suggests modern hairstyles for fashionable personal identity, while celebrating the name Ghana along with the red, yellow, green, and black state colors the new nation adopted after declaring autonomy from Britain in 1957.

Revealing another aspect of the transition, the haunting photo montage, Untitled 21, from the suite Mémoire, by Congolese artist, Sammy Baloji investigates the impact of industrial development in the Belgian Congo during the colonial era and its demise after independence in 1960. In this focus installation, both the sign and the photo montage are presented with related works to portray the historic context more broadly and cast a sharper focus on the nature of the changes in society and art that have played out in Africa during the second half of the 20th century.

Forbidden City: Imperial Treasures from the Palace Museum, Beijing

Access our FREE web-based Forbidden City audio tour. Use your own mobile device and headphones and our free wi-fi to stream the audio tour in the galleries or enjoy the tour at home on your computer.

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Drawn from the collection of the Palace Museum in Beijing, Forbidden City will offer visitors a unique journey through a palace once forbidden to the general public, and provide a glimpse into this hidden world through rich and diverse objects from the Ming (1368–1644) and Qing (1644–1911) dynasties. Featured works include large portraits, costumes, furniture, court paintings, religious sculptures, and fine decorative arts such as bronzes, lacquer ware, and jade. This exhibition explores the significant roles of imperial rituals, court painting, imperial family life, and religion in the Forbidden City.

Forbidden City: Imperial Treasures from the Palace Museum, Beijing is organized by the Palace Museum and the Virginia Museum of Fine Arts. The exhibition is curated by Li Jian, E. Rhodes and Leona B. Carpenter Curator of East Asian Art at VMFA.

This exhibition is part of a groundbreaking exchange between the Virginia Museum of Fine Arts and the Palace Museum – a series of collaborative projects between 2011 and 2016 that include exhibition and staff exchange in the areas of administration, curatorship, conservation, education, and security. VMFA is the first art museum in the United States to establish such an extensive collaborative project with the Palace Museum in Beijing, and this is the first time VMFA will host an exhibition of Chinese art directly from China.

A scholarly catalogue accompanies the exhibition, with essays contributed by Li Jian, E. Rhodes and Leona B. Carpenter Curator of East Asian Art at VMFA; He Li, Associate Curator of Chinese Art from the Asian Art Museum in San Francisco; Hou-mei Sung, Curator of Asian Art from the Cincinnati Art Museum; and Ma Shengnan, Associate Researcher from the Palace Museum. The exhibition catalogue is published by the Virginia Museum of Fine Arts.

Sponsors

Forbidden City: Imperial Treasures from the Palace Museum, Beijing is presented by:

Altria Group

E. Rhodes and Leona B. Carpenter Foundation


MeadWestvaco Foundation

Julia Louise Reynolds Fund

Eda Hofstead Cabaniss

Mrs. Frances Massey Dulaney

National Endowment for the Arts

The Richard S. Reynolds Foundation

The Anne Carter and Walter R. Robins, Jr. Foundation

Mr. and Mrs. Fred T. Tattersall

Ellen Bayard Weedon Foundation

Lilli and William Beyer

The Dr. Donald S. and Beejay Brown Exhibitions Endowment

The Community Foundation Serving Richmond & Central Virginia

Frank Qiu and Ting Xu of Evergreen Enterprises

Leapfrog 3D Printers

Memorial Foundation for Children

Norfolk Southern Corporation

Mary and Don Shockey

Carolyn and John Snow

Capital One Bank

The Jeanann Gray Dunlap Foundation

Jack and Mary Spain


Official Passenger Rail  Partner

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