Archive for the 'jewellery' Category

02
Aug
15

Exhibition: ‘Masterpieces from the Hermitage: The Legacy of Catherine the Great’ at NGV International, Melbourne

Exhibition dates: 31st July – 8th November 2015

 

A scintillating exhibition at NGV International which showcases one of the world’s greatest art collections. Exhibition design is outstanding (particularly the floor tiling), as are the Da Vinci, Titian, Rembrandt, van Dyck, Rubens and Flemish still life. Among my favourites is a small Watteau Savoyard with a Marmot (1716) which is absolutely still, delicate and exquisite: I thought of the photographs of Atget, his street sellers, when I saw this painting; and Frans Snyders’ tour-de-force Concert of birds (1630-40) which has such presence.

Well done to the curators, the Hermitage Museum and the NGV for staging such a magnificent exhibition.

Marcus

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Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

All photographs © Dr Marcus Bunyan and the National Gallery of Victoria.

 

 

Masterpieces from the Hermitage: The Legacy of Catherine the Great showcases one of the world’s greatest art collections. Featuring works by artists including Rembrandt, Rubens, Velázquez and Van Dyck, the exhibition offers a dazzling array of works including the finest group of Dutch and Flemish art to come to Australia.

This exclusive Melbourne exhibition will also highlight the innovation and vision of Catherine the Great, whose inexhaustible passion for education, the arts and culture heralded a period of enlightenment in the region. The extraordinary works sourced and commissioned by Catherine during her thirty-four year reign, created the foundations for the Hermitage today – considered to be one of the world’s greatest treasure houses of art and decorative arts. The exhibition will offer audiences an immersive experience, recreating the rich atmosphere of the Hermitage to showcase these exquisite works.

German-born Catherine the Great (Catherine II) came to power in 1762, aged thirty-three, and ruled Russia for the next thirty-four years, until her death in 1796. She saw herself as a Philosopher Queen, a new kind of ruler in the Age of Enlightenment. Guided by Europe’s leading intellectuals, she modernised Russia’s economy, industry and government, drawing inspiration both from Antiquity and contemporary cultural and political developments in Western Europe. A fluent speaker of Russian, French and German, Catherine was largely self-educated, independent, idealistic and visionary.

While her reign was not always peaceful, Catherine sought to bring order, stability and prosperity to the vast Russian Empire. Her ideals of abolishing serfdom and ensuring the equality of all citizens under the law were ahead of her time, and strongly resisted by the nobility of the day; however, she achieved numerous other reforms, including the introduction of paper money and modernisation of Russia’s education system. French philosopher Denis Diderot, who visited St Petersburg in 1773, described an audience with Catherine as being ‘more like study than anything else: she is a stranger to no subject; there is no man in the Empire who knows her nation as well as she’.

 

Room 1 Catherine the collector

Between 1762 and 1796, the years of her reign, Catherine the Great oversaw a period of cultural renaissance in Russia. The world of ideas in which she was deeply involved from an early age found tangible expression in the material world the Empress later created around herself. The great complexes of imperial buildings Catherine constructed reflected her informed interest in both Classical and Chinese culture.

Catherine not only assembled a collection of Old Master paintings equal in scale and quality to leading European collections, but also paid considerable attention to the acquisition of contemporary art. While the richness and technical perfection of her diverse collections of decorative arts aimed to dazzle and please, they also had the more practical purpose of raising standards of artistic production in Russia. The fact that more than 400 exemplary works of art from her personal collection, including paintings, sculptures, drawings, porcelain, silver and precious gems, are seen here for the first time in Australia is cause for celebration.

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' featuring Alexander Roslin (Swedish 1718–93) 'Portrait of Catherine II' 1776–77

 

Installation views of room 1 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Alexander Roslin (Swedish 1718-93) Portrait of Catherine II 1776-77

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Sèvres Cameo Service

The Sèvres Cameo Service relates to Catherine’s great passion for collecting engraved gemstones. Comprising 797 individual pieces designed to serve dinner, dessert and coffee to sixty people, the Cameo Service was commissioned from the celebrated Sèvres porcelain manufactory outside Paris as a present for Catherine’s court ‘favourite’, Prince Grigory Potemkin. The Empress’s monogram, ‘E II’ (the Russian version of her name being Ekaterina), woven from garlands of flowers and surmounted by a crown, adorned almost every object in the service.

Production of the service was both time consuming and labour-intensive. The exquisite blue element alone – made from separate layers of copper enamel that gradually seeped into the porcelain and set the pure colour – required five firings. In addition to the hundreds of porcelain objects decorated with painted and sculpted cameos and related silverware, the service also included grand central table decorations fashioned from biscuit, or unglazed cream-coloured porcelain, by the sculptor Louis-Simon Boizot. These decorations illustrated tales from Greek mythology, and were presided over by a grand biscuit statue of Catherine the Great as Minerva, the Roman goddess of wisdom and the arts.

 

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 1 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 1 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Exhibition passageway

Installation view of passageway video of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Installation view of passageway video of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

 

Room 2 Italian art

When Catherine the Great began collecting European art, opportunities to acquire fine Italian Old Master paintings were already severely limited. Demand from wealthy collectors was high and the marketplace was saturated with misattributed works, some of which inevitably made their way to the Hermitage and other great collections.

Despite this, Catherine achieved great success collecting sixteenth and seventeenth century paintings, particularly from Venice, including great paintings by Titian, Paris Bordone and the enigmatic Lorenzo Lotto. These are complemented by fine examples of Roman and Florentine paintings, such as the famous Female nude (Donna nuda), by an artist very close to Leonardo da Vinci. This select group of paintings beautifully illustrate developments in figurative art, portraiture and religious art in Italy from the sixteenth to the eighteenth century.

In the early years of her reign, Catherine the Great acquired en masse several large collections of drawings representing all the main European schools. This set the foundations for the current Hermitage Museum’s outstanding Cabinet of Drawings. In terms of quality, Catherine’s acquisitions of Italian drawings were of the highest standard. The majority of these date from the mid sixteenth to late eighteenth centuries and include many rare and precious works.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Domenico Fetti (Italian 1589-1623) 'Portrait of an actor' 1620s

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Domenico Fetti (Italian 1589-1623) Portrait of an actor 1620s

 

Domenico Fetti (Italian 1589-1623) 'Portrait of an actor' 1620s

 

Domenico Fetti (Italian 1589-1623)
Portrait of an actor
1620s
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Domenico Fetti was court painter to Gerdinand II Gonzaga, Duke of Mantua, when he made this striking portrait of an actor. It is though to be Tristano Martinelli who made his fame working in the commedia dell’arte tradition. It is believe that Marinelli created and popularised the standard roll of the Harlequin in theatre. Fetti himself was involved with the theatre in both Mantua and Venice.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Paris Bordone (Italian 1500-71) 'Portrait of a lady with a boy' Mid 1530s

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Paris Bordone (Italian 1500-71) Portrait of a lady with a boy Mid 1530s

 

Paris Bordone (Italian 1500-71) 'Portrait of a lady with a boy' Mid 1530s

 

Paris Bordone (Italian 1500-71)
Portrait of a lady with a boy
Mid 1530s
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

This work by Venetian artist Paris Bordone is a typical example of formal Renaissance portraiture. Bordone’s main aim was to show the high social standing of the sitters, so he painted their luxurious costumes in great detail. He draws our attention to the sumptuous sleeves of this woman’s dress, he headgear resembling a turban, as well as her opulent jewellery. Bordone was one of Titian’s most talented pupils whose work is characterised by a level of precision not often present in his master’s work. This painting entered the Hermitage as a work by Giorgione.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring to the left, Domenico Capriolo (Italian c. 1494-1528) 'Portrait of a young man' 1512 and to the right, Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring to the left, Domenico Capriolo (Italian c. 1494-1528) Portrait of a young man 1512 and to the right, Lorenzo Lotto (Italian c. 1480-1556) The Rest on the Flight into Egypt with Saint Justine 1529-30

 

Portrait of a young man by the Venetian master Domenico Capriolo captures the intellectual values of Renaissance art. Everything that surrounds this youth speaks of his interests, such as the church that indicates his piety; the statue of Venus that reveals his passion for Antiquity; and the folder (containing verses or drawings) that illustrates the richness of his inner world. The painting is dated 1512 and the artist’s name symbolised by a medallion containing a Capreolus, or deer, which is a play on his name. Such allusions were common in Renaissance art and would have been readily understood by his contemporaries.

 

Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

Lorenzo Lotto (Italian c. 1480-1556) 'The Rest on the Flight into Egypt with Saint Justine' 1529-30

 

Lorenzo Lotto (Italian c. 1480-1556)
The Rest on the Flight into Egypt with Saint Justine
1529-30
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Lorenzo Lotto is a much admired sixteenth-century Venetian artist. The Rest on the Flight into Egypt with Saint Justine has the typical dynamism of Lotto’s work, achieved not only through the poses, gestures and movement of the foliage, but also through his intense colour palette and the juxtaposition of resonant blues with red and yellow tones. Here, the Holy Family has been joined by Saint Justine of Padua, martyred in 304 AD, identifiable through her attribute of a sword piercing her breast. Justine was a very popular subject for artists of Northern Italy.

 

Installation view of room 2 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne featuring Leonardo da Vinci (school of) 'Female nude (Donna Nuda)' Early 16th century

 

Installation view of room 2 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Leonardo da Vinci (school of) Female nude (Donna Nuda) Early 16th century

 

Leonardo da Vinci (school of) 'Female nude (Donna Nuda)' Early 16th century

 

Leonardo da Vinci (school of)
Female nude (Donna Nuda)
Early 16th century
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

This painting entered the Hermitage collection as a work by Leonardo da Vinci, but is now widely accepted to be by one of his close followers, possibly his pupil Salai. Perhaps more important is that it may be a close copy of a lost painting by Leonardo. Female nude (Donna Nuda) also shares some of the qualities of the famous Mona Lisa c. 1503-19, in the Louvre Museum, Paris; namely the repetition of the pose, the position of the hands and the landscape setting seen behind a stone ledge in front of which the figure is set. This is the most refined of numerous variants of this composition in existence.

 

 

Room 3 Flemish art

In the seventeenth century, Flanders comprised the Catholic-dominated Southern Netherlands or ‘Spanish’ Austrian Netherlands, an area larger than modern Belgium. Thanks in large part to the talents of artist Peter Paul Rubens, the Flanders or ‘Flemish’ school in this era became very prestigious. While chiefly a painter, Rubens had far-reaching stylistic influence on many visual art forms, from prints to silverware and architecture. Every leading artist of seventeenth-century Flanders studied in, passed through or was connected with Rubens’s studio.

A diplomat and court insider, Rubens operated on an international stage. His art was correspondingly monumental; characterised by large forms modelled with loose brushstrokes in glowing, brilliant colours. Rubens’s pupil Anthony van Dyck and collaborator Cornelis de Vos led the way in bringing new naturalism to portraiture. While they catered to different markets (van Dyck to the nobility and de Vos to a rich merchant class) their mutual influence is apparent.

Flanders was a nation built on trade, and Flemish artists travelled widely, especially to Italy. From Italy they brought back new pictorial trends, such as the theatrical naturalism of Caravaggio. Flemish artists excelled in naturalistic effects, which they applied even to traditionally humble subjects, such as still lifes and animal pictures, seen to brilliant effect in the art of Frans Snyders and David Teniers II.

 

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

room-three-installation-e

 

Installation views of room 3 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne featuring Peter Paul Rubens and workshop (Flemish 1577-1640) The Adoration of the Magi, c. 1620 at centre

 

Rubens painted the subject of the Adoration of the Magi (Matthew 2:1) more often than any other episode from Christ’s life. Rendered at life-sized scale, this painting combines the humility of Christ’s birth with splendid, worldly pageantry. Three Kings from the East are shown crowding into Christ’s stable (portrayed as a cave, in an allusion to Christ’s later interment) wearing gold- embroidered silks and satins, and offering gifts. The eldest king, Caspar, kneels before Christ with gold; behind him is Melchior, with frankincense; and Balthazar with myrrh, used for embalming. With the help of his studio, Rubens produced more than sixty altarpieces during his career.

 

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 3 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 3 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

Peter Paul Rubens (Flemish 1577–1640) 'Roman Charity (Cimon and Pero)' c. 1612

 

Peter Paul Rubens (Flemish 1577-1640)
Roman Charity (Cimon and Pero)
c. 1612
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Count Cobenzl, Brussels, 1768

 

Roman Charity (Cimon and Pero) depicts a story told by the Roman historian Valerius Maximus in his Factorum ac dictorum memorabilium libri IX (Nine Books of Memorable Deeds and Sayings), written around 30 AD. The story involves Cimon, an old man awaiting execution in prison who was not given food. Cimon’s daughter Pero visited him, and suckled him at her breast like a child. Pero’s nourishing of Cimon was considered an outstanding example of paying honour to one’s parents.

 

 

Room 4 Dutch art

The Hermitage holds the finest collection of Dutch art outside the Netherlands. While Peter the Great (1672-1725) had a passion for Dutch art and acquired some notable masterpieces, Catherine the Great established the depth and breadth of this extraordinary collection, beginning in 1764 with her first acquisitions. In that year Catherine purchased 317 paintings that had been assembled for Frederick II of Prussia by the German merchant Johann Ernst Gotzkowsky. Among this substantial group were more than 100 Dutch paintings by the most notable masters.

In 1769 Catherine purchased the collection of Count Heinrich von Brühl, which included spectacular landscapes by Jacob van Ruisdael, Isaack Jansz. van Ostade and Aert van der Neer, as well as four Rembrandt portraits, including the wonderful Portrait of a scholar, 1631. For the rest of her life Catherine continued to add outstanding Dutch works to her rich collection. Although the paintings and drawings from the Dutch school included here are only a fragment of the extensive and diverse collection assembled by Catherine the Great, they reveal her artistic preferences and taste.

 

Installation view of room 4 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 4 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 4 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with Rembrandt. Harmensz. van Rijn (Dutch 1606-69) Portrait of a scholar 1631 at centre.

 

Rembrandt painted Portrait of a scholar shortly after moving from his native Leiden to Amsterdam in 1630. He had already established a growing reputation in Leiden and was enticed to the capital by the art dealer Hendrick van Uylenburgh, father of his future wife Saskia. Once completing the move, Rembrandt rapidly became the city’s leading artist, mainly on account of dazzling portraits such as this early masterpiece. He then secured the most prestigious commissions from wealthy and powerful citizens of Amsterdam.

 

 

Room 5 French taste

The Russian aristocracy spoke French and modelled their manners and style on those of the French Court. Catherine followed the vast intellectual strides of the French philosophes with passionate interest. She also embraced the arts, luring French artists, architects and craftsmen to St Petersburg.

Catherine relied on agents and advisors in France and Germany to identify and acquire works of art on her behalf. In this way she acquired the collection of Paris banker Louis Antoine Crozat, Baron de Thiers and other important bodies of work in France. Her holdings of French art came to encompass works by Renaissance masters as well as seventeenth-century landscapes and history paintings.

Catherine also acquired examples of work of her own century by Rococo artists such as Antoine Watteau. The playful, erotic and at times wistful art of Watteau’s generation gave rise to the intimate and worldly art of François Boucher, whose pictures Catherine also purchased. The Empress collected modern masterpieces created in reaction to French courtly and decadent styles. Her paintings by Jean-Baptiste Siméon Chardin are premier examples of a new, moralising directness in ambitious French art.

Catherine’s buying in France was not limited to French art. Also in this room are paintings by great German, Spanish and Italian masters that were acquired in Paris from prestigious collections under the direction of Catherine’s French advisors.

 

Installation view of room 5 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 5 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 5 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne.

 

 

Room 6 Catherine and the world

For Catherine the Great, collecting art was part of a wider economic and diplomatic program designed to stimulate economic and cultural activity at home and abroad. At a meeting in December 1762 with the Moscow Senate, Catherine suggested that consuls be stationed in Spain, Holland and England not only to promote maritime trade but also to source luxury goods and works of art as examples for Russian artists and manufacturers to aspire to.

Through Catherine’s consuls and agents, such items began to flow into St Petersburg, steadily elevating that city into a vibrant centre of European culture. While her cultural sympathies were French, Catherine was also very curious about Britain – the economic success story of the age. She informed herself about Britain’s trade, commerce, manufacturing, philosophy and political system, and purchased works by modern British neoclassical masters, such as Joseph Wright of Derby and Joshua Reynolds. Examples of Spanish, Italian and German art were often not sourced in their own countries of origin but acquired as a part of larger collections.

 

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 6 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 6 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with the 1773 sculpture Catherine II by Jean-Antoine Houdon (French 1741-1826) at centre.

 

 

Room 7 The Walpole collection

In 1779 Catherine the Great acquired 198 paintings from a celebrated collection formed by Sir Robert Walpole, 1st Earl of Orford, Britain’s first prime minister. They were bought from the family estate, Houghton Hall, and sold by Walpole’s grandson, George Walpole, 3rd Earl of Orford, who approached the Russian ambassador to Britain directly about the sale. At more than £40,000, the price was high, but the transaction was concluded in only two months. Attempts were made to keep this famous collection in Britain, to no avail.

The Walpole collection was outstanding in quality, and significantly enhanced the Hermitage’s range of Flemish and Italian works. The Russian ambassador to Great Britain, Alexey Musin-Pushkin, who organised the valuable purchase, wrote to Catherine the Great: ‘The greater part of the nobility here are displaying general dissatisfaction and regret that these paintings are being allowed out of this country, and are setting in train various projects to keep them here … No little assistance comes from Lord Orford’s zealous desire to unite [the collection for] the gallery of Your Imperial Majesty, rather than to sell it to parliament itself or, least of all, to divide it through sale to different individuals’.

 

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 7 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with Frans Snyders (Flemish 1579-1657) Concert of birds, 1630-40 at right and Frans Snyders (Flemish 1579-1657) Jan Boekckhorst (German 1605-68) Cook at a kitchen table with dead game, c. 1636-37 second left
Frans Snyders (Flemish 1579-1657) 'Concert of birds' 1630-40

 

Frans Snyders (Flemish 1579-1657)
Concert of birds
1630-40
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Sir Robert Walpole, Houghton Hall, 1779

 

An important place in Flemish seventeenth-century painting is occupied by two specific genres: animal painting and the still life. One of the most important animal and still-life painters was Frans Snyders, a very close collaborator of Peter Paul Rubens who often painted still-life details and animals on the master’s canvases. Snyders’s superb skill as a painter of animals is revealed by Concert of birds, based on a subject from Aesop’s Fables. It shows a gathering of feathered creatures screeching and singing under the direction of an owl seated on a dried branch in front of an open music score.

 

Frans Snyders (Flemish 1579-1657) 'Concert of birds' 1630-40 (detail)

 

Frans Snyders (Flemish 1579-1657)
Concert of birds (detail)
1630-40
Oil on canvas
The State Hermitage Museum, St Petersburg
Acquired from the collection of Sir Robert Walpole, Houghton Hall, 1779

 

Frans Snyders (Flemish 1579-1657) Jan Boekckhorst (German 1605-68) 'Cook at a kitchen table with dead game' c. 1636-37 (detail)

 

Frans Snyders (Flemish 1579-1657)
Jan Boekckhorst (German 1605-68)
Cook at a kitchen table with dead game (detail)
c. 1636-37
Oil on canvas
The State Hermitage Museum, St. Petersburg

 

Frans Snyders was the son of the owner of one of Antwerp’s largest wine and eating houses. His dramatically realistic still lifes celebrate the exotic variety of rare fowls available at Antwerp’s markets. Images of dead animals being prepared for a banquet were understood in Snyder’s time as lessons in Christian morality. Many Dutch and Flemish still lifes featuring the sacrifice of an animal for the table functioned as allusions to Christ’s Passion and the transience of the flesh.

 

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 7 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 7 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne with, at left in the bottom image, Anthony van Dyck (Flemish 1599-1641) Portrait of Philadelphia and Elizabeth Wharton, 1640

 

This is one of the most charming portraits of children paint by van Dyck, who had particular talent for such works. It is one of a group of family portraits commissioned from can Dyck by Philip, Lord Wharton in the late 1630s. Van Dyck worked in England for approximately ten ears and brought a new standard of elegance and style to English portraiture. He largely conveyed this through his flair for painting lavish costumes and sumptuous fabrics, a sensibility he carried through to his portraits of children.

 

 

Room 8 China

Eighteenth-century Enlightenment fascination with the East, particularly China, is reflected by Catherine the Great’s architectural and landscaping works completed in St Petersburg and at her summer and winter palaces, as well as by her collecting of Oriental curiosities and philosophical texts. Russian interest in China can be traced to the reign of the Romanov tsars in the seventeenth century, when several missions brought back Chinese treasures and goods to the Russian Court. Importantly, in 1689 the first treaty between Russia and China was signed at Nerchinsk, outlining the border between the countries and rules about caravan trade.

Like many educated people of her time, Catherine was fascinated by the concept of the enlightened ruler thought to be found in China, such as the Kangxi Emperor (reigned 1662-1722), Yongzhèng Emperor (reigned 1723-35), and Qianlong Emperor (reigned 1736-95). One of her regular and most influential correspondents was French philosopher Voltaire, who praised the Celestial Kingdom, its monarchs and men of wisdom; only in China, he thought, was a man’s life, honour and property truly protected by law. Such a clear link between Catherine’s desire for justice and order in Russia and general perceptions of good Chinese government, combined with the Enlightenment fashion for curiosities of all kinds, led to great Russian interest in China in the second half of the eighteenth century.

 

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

Installation view of room 8 of the exhibition 'Masterpieces from the Hermitage: The Legacy of Catherine the Great' at NGV International, Melbourne

 

Installation views of room 8 of the exhibition Masterpieces from the Hermitage: The Legacy of Catherine the Great at NGV International, Melbourne

 

 

NGV International
180 St Kilda Road

Opening hours for exhibition
10am – 5pm daily

NGV Masterpieces from the Hermitage website

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24
Jun
15

Exhibition: ‘Fabergé: Jeweler to the Tsars’ at the Oklahoma City Museum of Art, Oklahoma City

Exhibition dates: 20th June – 27th September 2015

 

Even after nearly six years of making this website, I still get a thrill bringing you the next posting.

And what a posting it is.

Even as their countrymen lay starving in the cities and dying on the fields of battle in World War One, the Romanov’s still kept spending. Oh how the once mighty fell in a heap of their own making. But sometimes you just need a bit of dynastic, debauched (and beautiful) bling to brighten your capitalist day … and to remind you that nothing lasts forever and karma will always have its way.

As a t-shirt in an op-shop that I saw today said, “Workers … possess the power.” And that is why governments, tyrants and despotic royalty will always be afraid of them.

Marcus

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Many thankx to the Oklahoma City Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Pavel Ovchinnikov. 'The Holy Virgin of Kazan, Saint Prince Aleksandr Nevskii, Saint Mary Magdalene' 1891

 

Pavel Ovchinnikov (1830-1888)
The Holy Virgin of Kazan, Saint Prince Aleksandr Nevskii, Saint Mary Magdalene
1891
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt.
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

 

Pavel Ovchinnikov (1830-1888), Russian jeweller, silversmith, goldsmith, enameller, merchant, industrialist. Hallmark: П.О. or П.Овчинниковъ in a rectangle. Trained in his brother’s workshop and opened a factory in Moscow, where he revived the art of enamelling and worked in the Neo-Russian style. Official purveyor to Tsar Alexander III, Grand Duke Mikhail Nikolaevich, King Victor Emmanuel II of Italy and King Christian IX of Denmark. Awarded the Légion d’honneur and the Order of the Iron Crown. Member of the Moscow City Duma.

Alexander Yaroslavich Nevsky (Russian: Алекса́ндр Яросла́вич Не́вский; pronounced [ɐlʲɪˈksandr jɪrɐˈslavʲɪtɕ ˈnʲɛfskʲɪj] Ukrainian: Олександр Ярославович Не́вський); 13 May 1221 – 14 November 1263) served as Prince of Novgorod, Grand Prince of Kiev and Grand Prince of Vladimir during some of the most difficult times in Kievan Rus’ history.

Commonly regarded as a key figure of medieval Rus’, Alexander – the grandson of Vsevolod the Big Nest – rose to legendary status on account of his military victories over German and Swedish invaders while agreeing to pay tribute to the powerful Golden Horde. He was proclaimed as a saint of the Russian Orthodox Church by Metropolite Macarius in 1547. Popular polls rank Alexander Nevsky as the greatest Russian hero in history.

 

Russian. 'Imperial Diamond Brooch' 1890–1910

 

Russian
Imperial Diamond Brooch
1890-1910
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Russian. 'Crown Brooch' 1890-1910

 

Russian
Crown Brooch
1890-1910
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Elephant Box' before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Elephant Box
before 1899
Nephrite, ivory, gold, rubies, diamonds
3.75 x 4 (diameter) in. (9.53 x 10.16 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

 

Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. Carl Fabergé’s reputation was so high that the normal three-day examination was waived. For several years, Carl Faberge’s main assistant in the designing of jewellery was his younger brother, Agathon Faberge (1862-1895), who had also trained in Dresden.

Carl and Agathon were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanisias Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar declared that he could not distinguish the Fabergé’s work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia’s Imperial Court.

When Peter Carl took over the House, there was a move from producing jewellery in the then fashionable French 18th century style, to becoming artist-jewellers. Having acquired the title of Supplier to the Court from Tsar Alexander III on May 1, 1885, Fabergé had full access to the important Hermitage Collection, where he was able not only to study but also to find inspiration for developing his unique style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths, Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas, combining them with his accurate observations and fascination for Japanese art. This resulted in reviving the lost art of enamelling and concentrating on setting every single stone in a piece to its best advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced objects deluxe: gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases, including objects de fantaisie.

In 1885, Tsar Alexander III gave the House of Fabergé the title; ‘Goldsmith by special appointment to the Imperial Crown’.

Text from the Wikipedia website

 

Peter Karl Fabergé (Russian, 1846-1920) 'Elephant Box' (detail) before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Elephant Box (detail)
before 1899
Nephrite, ivory, gold, rubies, diamonds
3.75 x 4 (diameter) in. (9.53 x 10.16 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Monumental Kovsh' 1899–1908

 

Peter Karl Fabergé (Russian, 1846-1920)
Monumental Kovsh
1899-1908
Silver, chrysoprase, amethyst
15 x 27.5 x 12.25 in. (38.10 x 69.85 x 31.12 cm)
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920) 'Monumental Kovsh' (detail) 1899-1908

 

Peter Karl Fabergé (Russian, 1846-1920)
Monumental Kovsh (detail)
1899-1908
Silver, chrysoprase, amethyst
15 x 27.5 x 12.25 in. (38.10 x 69.85 x 31.12 cm)
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

The Kovsh is a traditional drinking vessel or ladle from Russia. It was oval-shaped like a boat with a single handle and may be shaped like a water bird or a norse longship. Originally the Kovsh made from wood and used to serve and drink mead, with specimens excavated from as early as the tenth century. Metal Kovsh began to appear around the 14th century, although it also continued to be carved out of wood and was frequently brightly painted in peasant motifs. By the 17th century, the Kovsh was often an ornament rather than a practical vessel, and in the 19th century it was elaborately cast in precious metals for presentation as an official gift of the tsarist government.

 

Peter Karl Fabergé (Russian, 1846-1920). 'Star Frame' before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Star Frame
before 1899
Gold, enamel, pearls, glass, ivory
3 x 2.625 x 3.5625 (diameter) in (7.62 x 6.67 x 9.05 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920) 'Star Frame' (detail) before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Star Frame (detail)
before 1899
Gold, enamel, pearls, glass, ivory
3 x 2.625 x 3.5625 (diameter) in (7.62 x 6.67 x 9.05 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Fedor Rückert (Russian, 1840–1917). 'Plate' 1899–1908

 

Fedor Rückert (Russian, 1840-1917)
Plate
1899-1908
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Feodor Ivanovich Rückert, Russian silver- and goldsmith of German origin, Fabergé workmaster. Born in Moscow in 1840. Worked with Carl Fabergé from 1887. His mark Ф.Р. (F.R. in Russian Cyrillic) can be found on cloisonné enamel objects made in Moscow, sold independently or by Fabergé.

 

Fedor Rückert (Russian, 1840–1917). 'Plate' (detail) 1899–1908

 

Fedor Rückert (Russian, 1840-1917)
Plate (detail)
1899-1908
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

 

“More than 230 rare and storied treasures created by the House of Fabergé will be celebrated in a new exhibition at the Oklahoma City Museum of Art. Fabergé: Jeweler to the Tsars will be on view from June 20 through September 27, 2015. The exhibition, drawn from the Collection of the Virginia Museum of Fine Arts, Richmond, will showcase Karl Fabergé’s fine craftsmanship in pieces of jewelry and adornments once belonging to the Russian Imperial family.

“This exhibition represents a double honor for the Oklahoma City Museum of Art – the opportunity to collaborate with the Virginia Museum of Fine Arts and to showcase the largest Fabergé collection outside of Russia,” said E. Michael Whittington, OKCMOA President and CEO. “The technical and artistic virtuosity of the Fabergé workshop is without parallel. Individually, these objects are breathtaking. Collectively, they represent a unique window into an empire and subsequent revolution that dramatically altered 20th century history. We are proud to present such an extraordinary collection of treasures to our community.”

From dazzling Imperial Easter eggs to delicate flower ornaments and from enchanting animal sculptures to cigarette cases, photograph frames and desk clocks, Fabergé often turned the most mundane objects into miniature works of art. The vast majority of his designs were never repeated, and most pieces were made entirely by hand. The success of his business was inextricably linked to the patronage of the Romanov dynasty and the close ties among the British, Danish and Russian royal families, who often exchanged works by Fabergé as personal gifts.

The Imperial Tsesarevich Easter Egg of 1912, which will be on view at OKCMOA, was a gift to Empress Alexandra from her husband, Emperor Nicholas II. The egg commemorates their son, Alexsei, who nearly died the previous year of hemophilia. For the shell, craftsmen joined six wedges of highly prized lapis lazuli and hid the seams with an elaborate gold filigree encasement. Inside the egg, a diamond encrusted Romanov family crest frames a two-sided portrait of the young child.

These objects were associated with refinement and luxury because the House of Fabergé was known for accepting nothing less than perfection as well as for being business savvy. Beyond the elegant showrooms in Moscow and Saint Petersburg, hundreds of the country’s finest goldsmiths, enamellers, stone carvers, gem cutters and jewelers were at work creating innovative and complex designs that could not be readily imitated.

The presence of the Romanov family – Emperor Nicholas II, Empress Alexandra and their five children – is most intimately felt in the exhibition through the display of more than 40 family photographs held in enameled Fabergé frames. These family photographs and jewels were some of the only possessions the Romanovs took with them when they were forced out of St. Petersburg during the Revolution. In an effort to preserve their wealth, the Romanov daughters are said to have sewn Fabergé jewels into their undergarments. In the end, their diamond-lined corsets managed to prolong their execution and sealed the fate for the inevitable fall of the dynasty.”

Press release from the Oklahoma City Museum of Art

 

Peter Karl Fabergé (Russian, 1846-1920). 'Christ Pantocrator,' 1914–17

 

Peter Karl Fabergé (Russian, 1846-1920)
Christ Pantocrator
1914-17
Oil on panel, silver gilt, filigree silver, precious and semiprecious stones, seed pearls
11.875 x 10.125 in. (30.16 x 25.72 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

In Christian iconography, Christ Pantocrator refers to a specific depiction of Christ. Pantocrator or Pantokrator (Greek: Παντοκράτωρ) is, used in this context, a translation of one of many names of God in Judaism. When the Hebrew Bible was translated into Greek as the Septuagint, Pantokrator was used both for YHWH Sabaoth “Lord of Hosts” and for El Shaddai “God Almighty”. In the New Testament, Pantokrator is used once by Paul (2 Cor 6:18). Aside from that one occurrence, the author of the Book of Revelation is the only New Testament author to use the word Pantokrator. The author of Revelation uses the word nine times, and while the references to God and Christ in Revelation are at times interchangeable, Pantokrator appears to be reserved for God alone.

 

Peter Karl Fabergé (Russian, 1846–1920). 'Imperial Peter the Great Easter Egg' 1903

 

Peter Karl Fabergé (Russian, 1846-1920)
Mikhail Perkhin, Workmaster Russian , 1860-1903
Vasilii Zuiev, Painter of miniatures Russian , 1870-unknown
Imperial Peter the Great Easter Egg
1903
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

 

Peter, the Great Egg, is a jewelled Easter egg made under the supervision of the Russian jeweler Peter Carl Fabergé in 1903, for the last Tsar of Russia, Nicholas II. Tsar Nicholas presented the egg to his wife, the Czarina Alexandra Fyodorovna. Made in the Rococo style, the Peter the Great Egg celebrated the two-hundredth anniversary of the founding of St. Petersburg in 1703.

Executed in gold, the curves are set with diamonds and rubies. The body of the egg is covered in laurel leaves and bulrushes that are chased in 14-carat green gold. These symbolize the source of the “living waters”. The spikyheads are set with square rubies. White enamel ribbons inscribed with historical details encircle the egg. On the top of the egg is an enameled wreath which encircles Nicholas II’s monogram. The bottom of the egg is adorned with the double-headed imperial eagle, made of black enamel and crowned with two diamonds.

The paintings representing the “before” and “after” of St. Petersburg in 1703 and 1903. The front painting features the extravagant Winter Palace, the official residence of Nicholas II two hundred years after the founding of St. Petersburg. Opposite this, on the back of the egg, is a painting of the log cabin believed to be built by Peter the Great himself, representative of the founding of St. Petersburg on the banks of the Neva River. On the sides of the egg are portraits of Peter the Great in 1703 and Nicholas II in 1903. Each of the miniatures is covered by rock crystal. The dates 1703 and 1903, worked in diamonds, appear on either side of the lid above the paintings of the log cabin and Winter Palace, respectively.

Below each painting are fluttering enamel ribbons with inscriptions in black Cyrillic letters. The inscriptions include: “The Emperor Peter the Great, born in 1672, founding St. Petersburg in 1703″, “The first little house of the Emperor Peter the Great in 1703″, “The Emperor Nicholas II born in the 1868 ascended the throne in 1894″ and “The Winter Palace of His Imperial Majesty in 1903.”

The surprise is that when the egg is opened, a mechanism within raises a miniature gold model of Peter the Great’s monument on the Neva, resting on a base of sapphire. The model was made by Gerogii Malychevin. The reason for this choice of surprise is the story of a legend from the 19th century that says enemy forces will never take St. Petersburg while the “Bronze Horseman” stands in the middle of the city.

Text from the Wikipedia website

 

Peter Karl Fabergé (Russian, 1846-1920) 'Imperial Peter the Great Easter Egg' (detail) 1903

 

Peter Karl Fabergé (Russian, 1846-1920)
Mikhail Perkhin, Workmaster Russian , 1860-1903
Vasilii Zuiev, Painter of miniatures Russian , 1870-unknown
Imperial Peter the Great Easter Egg (detail)
1903
Gold, platinum, diamonds, rubies, enamel, bronze, sapphire, watercolor on ivory, rock crystal
4.25 x 3.125 (diameter) in. (10.80 x 7.94 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Imperial Tsesarevich Easter Egg' 1912

 

Peter Karl Fabergé (Russian, 1846-1920)
Henrik Wigström Russian, 1862-1923
Imperial Tsesarevich Easter Egg
1912
Lapis lazuli, gold, diamonds, platinum or silver
5.75 x 4 (diameter) in. (on stand) (14.61 x 10.16 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

 

The Imperial Tsesarevich Easter Egg, created by workmaster Henrik Wigström, has six lapis lazuli segments with doubleheaded eagles, winged caryatids, hanging canopies, scrolls, flower baskets, and sprays that conceal the joints. It is set with a large solitaire diamond at the base, and a table diamond (a thin, flat diamond) on top over the Cyrillic monogram AF (for Alexandra Feodorovna) and the date 1912. The surprise found inside is a portrait painted on ivory, front and back, of the tsesarevich in a diamond-set, double-headed eagle standing on a lapis lazuli pedestal. In addition to assisting Perkhin with 26 imperial eggs, Henrik Wigström produced 20 to 21 additional eggs between 1906 and 1916, including this masterpiece.

Henrik Immanuel Wigström (1862-1923) was one of the most important Fabergé workmasters along with Michael Perchin. Perchin was the head workmaster from 1886 until his death in 1903, when he was succeeded by his chief assistant Henrik Wigstrom. These two workmasters were responsible for almost all the imperial Easter eggs.

Once in Madsén’s employment, his master’s trade with Russia, as well as his numerous business contacts here, brought him to work in St. Petersburg. It is unknown who employed Wigström on his arrival in the capital, but Wigström became assistant in 1884, at the age of 22, to Perchin, whose shop at that time was already working exclusively for Fabergé. Wigström became head workmaster at Fabergé after Perchin’s death in 1903. The number of craftsmen in Wigström’s workshop diminished drastically with the outbreak of World War I. By 1918, the Revolution forced the complete closing of the House of Fabergé. Aged 56, Wigström retreated almost empty-handed to his summer house, on Finnish territory, and died there in 1923.

His art is similar to Perchin’s but tends to be in the Louis XVI, Empire, or neo-classical style. Nearly all the Fabergé hardstone animals, figures and flowers from that time period were produced under his supervision.

 

 

Peter Karl Fabergé (Russian, 1846-1920). 'Imperial Pelican Easter Egg' 1897

 

Peter Karl Fabergé (Russian, 1846-1920)
Mikhail Perkhin, Workmaster Russian , 1860-1903
Johannes Zehngraf, Painter of miniatures Russian, 1857-1908
Imperial Pelican Easter Egg
1897
Gold, diamonds, enamel, pearls, watercolor on ivory
4 x 2.125 (diameter) in. (10.16 x 5.40 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

 

Michael Evlampievich Perchin (Russian: Михаил Евлампьевич Перхин) (1860-1903) was born in Okulovskaya in Olonets Governorate (now Republic of Karelia) and died in St. Petersburg. He was one of the most important Fabergé workmasters along with Henrik Wigström. Perchin became the leading workmaster in the House of Fabergé in 1886 and supervised production of the eggs until his death in 1903. The eggs he was responsible for were marked with his initials.

He worked initially as a journeyman in the workshop of Erik August Kollin. In 1884 he qualified as a master craftsman and his artistic potential must have been obvious to Fabergé who appointed him head workmaster in 1886. His workshop produced all types of objets de fantasie in gold, enamel and hard stones. All the important commissions of the time, including some of the Imperial Easter Eggs, the renowned “Fabergé eggs”, were made in his workshop. His period as head Fabergé workmaster is generally acknowledged to be the most artistically innovative, with a huge range of styles from neo-Rococo to Renaissance.

 

Peter Karl Fabergé (Russian, 1846-1920) 'Imperial Pelican Easter Egg' (detail) 1897

 

Peter Karl Fabergé (Russian, 1846-1920)
Mikhail Perkhin, Workmaster Russian , 1860-1903
Johannes Zehngraf, Painter of miniatures Russian , 1857-1908
Imperial Pelican Easter Egg (detail)
1897
Gold, diamonds, enamel, pearls, watercolor on ivory
4 x 2.125 (diameter) in. (10.16 x 5.40 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

 

Johannes Zehngraf (born April 18, 1857 in Nykøbing Falster, Denmark; † February 7, 1908 in Berlin) was a Danish painter of miniatures and chief miniaturist in the house of Carl Peter Fabergé in St. Petersburg. He was the son of painter and photographer Christian Antoni Zehngraf  and Rebecca de Lemos and married on January 27, 1880 in Aalborg Caroline Ludovica Lund (* June 30, 1856; † after 1908), the daughter of Carl Ludvig Lund and Pouline Elisabeth Poulsen.

Zehngraf  learned in Aalborg with his father the art of photography and worked at first as a photographer, later in Aarhus, Odense and Malmö (1886-1889). The small-scale retouching his photographs led him then to miniature painting. As a miniaturist he settled down in 1889 in Berlin and counted the European royal houses to its customers. He led the photographic realism with their richness of detail in his painting. Portraits of the Russian Emperor Alexander III., His wife, the Empress Maria Feodorovna, the Danish Princess Thyra and a series of portraits of eleven miniature effigies of the Danish King Christian IX family testify to his skill. He painted, among others, the thumbnails on the Lily of the Valley Faberge Egg (1898)

 

Peter Karl Fabergé (Russian, 1846-1920). 'Imperial Red Cross Easter Egg with Portraits' 1915

 

Peter Karl Fabergé (Russian, 1846-1920)
Henrik Wigström, Workmaster Russian, 1862-1923
Imperial Red Cross Easter Egg with Portraits
1915
Silver, enamel, gold, mother-of-pearl, watercolor on ivory, velvet lining
3 x 2.375 (diameter) in. (7.62 x 6.03 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920) 'Imperial Red Cross Easter Egg with Portraits' (detail) 1915

 

Peter Karl Fabergé (Russian, 1846-1920)
Henrik Wigström, Workmaster Russian, 1862-1923
Imperial Red Cross Easter Egg with Portraits (detail)
1915
Silver, enamel, gold, mother-of-pearl, watercolor on ivory, velvet lining
3 x 2.375 (diameter) in. (7.62 x 6.03 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Ring Box' before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Ring Box
before 1899
Gold, ruby, silk
1 (height) in. (2.54 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Rooster' c. 1900

 

Peter Karl Fabergé (Russian, 1846-1920)
Rooster
c. 1900
Carnelian, diamonds, gold
1.5 x 0.5 x 1.25 in. (3.81 x 1.27 x 3.18 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920) 'Rooster' (detail) c. 1900

 

Peter Karl Fabergé (Russian, 1846-1920)
Rooster (detail)
c. 1900
Carnelian, diamonds, gold
1.5 x 0.5 x 1.25 in. (3.81 x 1.27 x 3.18 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Katherine Wetzel
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Miniature Easter Egg Pendant' c. 1900

 

Peter Karl Fabergé (Russian, 1846-1920)
Miniature Easter Egg Pendant
c. 1900
Gold, enamel, diamonds, sapphires
0.75 (height) x 0.5 (diameter) in. (1.91 x 1.27 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Miniature Easter Egg Pendant' c. 1900

 

Peter Karl Fabergé (Russian, 1846-1920)
Miniature Easter Egg Pendant
c. 1900
Chalcedony, gold, diamonds
1.35 x 0.875 (diameter) in. (3.18 x 2.22 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Cane Handle' before 1899

 

Peter Karl Fabergé (Russian, 1846-1920)
Parasol Handle
before 1899
Bowenite, gold, diamonds, pearls, enamel
3¼ H x 1½ W (8.26 cm x 3.81 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Peter Karl Fabergé (Russian, 1846-1920). 'Cane Handle' (detail) before 1899

 

 

Peter Karl Fabergé (Russian, 1846-1920)
Parasol Handle (detail)
before 1899
Bowenite, gold, diamonds, pearls, enamel
3¼ H x 1½ W (8.26 cm x 3.81 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

The tapering, pentagonal parasol handle has panels of pink guilloché enamel painted with dendritic motifs within opaque-white enamel borders. A diamond is centered on each panel and Louis XVI-style floral decorations are set between the panels. Atop the handle is a brilliant-cut diamond finial in a rose-cut diamond surround with diamond-set fillets.

Marks : Early initials of workmaster Mikhail Perkhin, assay mark of St. Petersburg before 1899, 56 zolotnik

 

Peter Karl Fabergé (Russian, 1846-1920). 'Statuette of a Sailor' c. 1900

 

Peter Karl Fabergé (Russian, 1846-1920)
Statuette of a Sailor
c. 1900
Agate, obsidian, aventurine quartz, lapis lazuli, sapphire
4.625 x 2.5 in. (11.75 x 6.35 cm)
Virginia Museum of Fine Arts, Richmond. Bequest of Lillian Thomas Pratt
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Fedor Rückert (Russian, 1840–1917). 'Loving Cup' 1899-1908

 

Fedor Rückert (Russian, 1840-1917)
Loving Cup
1899-1908
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Fedor Rückert (Russian, 1840-1917) 'Loving Cup' 1899-1908

 

Fedor Rückert (Russian, 1840-1917)
Loving Cup
1899-1908
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

Fedor Rückert (Russian, 1840-1917) 'Loving Cup' (detail) 1899-1908

 

Fedor Rückert (Russian, 1840-1917)
Loving Cup (detail)
1899-1908
Virginia Museum of Fine Arts, Richmond. Jerome and Rita Gans Collection of Silver
Photo: Travis Fullerton
© Virginia Museum of Fine Arts

 

 

Oklahoma City Museum of Art
415 Couch Drive
Oklahoma City, OK 73102

Opening hours:
Tuesday – Saturday: 10 am – 5 pm
Thursday: 10 am – 9 pm
Sunday: noon – 5 pm
Closed: Monday and Major Holidays

Oklahoma City Museum of Art website

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30
Dec
14

Exhibition: ‘Horst: Photographer of Style’ at the Victoria & Albert Museum, London

Exhibition dates: 6th September 2014 – 4th January 2015

Curator: Susanna Brown, Curator of Photographs at the V&A

 

 

Steichen, Penn, Avedon, Newman – and then there is Horst, master of them all. Style, elegance, lighting, framing, colour but above all panache – the guts and talent to push it just that little bit further.

Marcus

.
Many thankx to the Victoria & Albert Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Fashion is an expression of the times. Elegance is something else again.”

.
Horst, 1984

 

 

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

Installation image of 'Horst - Photographer of Style' at the V&A

 

Installation images of Horst – Photographer of Style at the V&A
© Victoria and Albert Museum, London

 

 

“This autumn, the V&A will present the definitive retrospective exhibition of the work of master photographer Horst P. Horst (1906-1999) – one of the leading photographers of the 20th century. In his illustrious 60-year career, German-born Horst worked predominantly in Paris and New York and creatively traversed the worlds of photography, art, fashion, design, theatre and high society.

Horst: Photographer of Style will display 250 photographs, alongside haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. Highlights of the exhibition include photographs recently donated to the V&A by Gert Elfering, art collector and owner of the Horst Estate, previously unpublished vintage prints, and more than 90 Vogue covers by Horst.

The exhibition will also reveal lesser-known aspects of Horst’s work: nude studies, travel photographs from the Middle East and patterns created from natural forms. The creative process behind some of his most famous photographs, such as the Mainbocher Corset, will be revealed through the inclusion of original contact sheets, sketches and cameras. The many sources that influenced Horst – from ancient Classical art to Bauhaus ideals of modern design and Surrealism in 1930s Paris – will be explored.

Martin Roth, Director of the V&A said: “Horst was one of the greatest photographers of fashion and society and produced some of the most famous and evocative images of the 20th century. This exhibition will shine a light on all aspects of his long and distinguished career. Horst’s legacy and influence, which has been seen in work by artists, designers and performers including Herb Ritts, Robert Mapplethorpe, Bruce Weber and Madonna, continues today.” 

Horst’s career straddled the opulence of pre-war Parisian haute couture and the rise of ready-to-wear in post-war New York and his style developed from lavish studio set-ups to a more austere approach in the latter half of the 20th century. The exhibition will begin in the 1930s with Horst’s move to Paris and his early experiments in the Vogue studio. Among his first models and muses were Lisa Fonssagrives, Helen Bennett and Lyla Zelensky. Vintage black and white photographs from the archive of Paris Vogue will be displayed alongside garments in shades of black, white, silver and gold by Parisian couturiers such as Chanel, Lanvin, Molyneux and Vionnet.

The exhibition will then focus on Horst’s Surreal-inspired studies and collaborations with Salvador Dalí and Elsa Schiaparelli. Fashion photographs will be shown with trompe l’oeil portraits and haunting still lifes. Horst excelled at portraiture and in the 1930s he captured some of Hollywood’s brightest stars: Rita Hayworth, Bette Davis, Vivien Leigh, Noël Coward, Ginger Rogers, Marlene Dietrich and Joan Crawford, to name a few.

Horst travelled widely throughout the 1940s and 1950s to Israel, Iran, Syria, Italy and Morocco. An escape from the world of fashion and city environs, his little-known travel photographs reveal a fascination for ancient cultures, landscapes and architecture. On display will be works taken in Iran such as the Persepolis Bull, Horst’s powerful image of a vast sculpture head amidst the ruins of a once magnificent palace, and images documenting the annual migration of the nomadic Qashqai clan.

Detailed studies of natural forms such as flowers, minerals, shells and butterfly wings from the project Patterns From Nature, will be shown alongside a series of kaleidoscopic collages made by arranging photographs in simple repeat; his intention was that these dynamic patterns could be used as designs for textiles, wallpaper, carpets, plastics and glass.

Horst was admired for his dramatic lighting and became one of the first photographers to perfect the new colour techniques of the 1930s. A short film of him at work in the Vogue studios during the 1940s will be shown with an introduction to his peers including Lee Miller, Cecil Beaton and Irving Penn. The advent of colour enabled a fresh approach and Horst went on to create more than 90 Vogue covers and countless pages in vivid colour. A selection of 25 large colour photographs, newly printed from the original transparencies from the Condé Nast Archive, will demonstrate Horst’s exceptional skill as a colourist. These prints feature Horst’s favourite models from the 1940s and 50s, such as Carmen Dell’Orefice, Muriel Maxwell and Dorian Leigh, and will be shown together with preparatory sketches, which have never previously been exhibited.

In the early 1950s, Horst created a series of male nudes for an exhibition in Paris for which the models were carefully posed and dramatically lit to accentuate their musculature. The series evokes the classical sculpture that Horst so admired throughout his career. During the 1960s and 1970s, Horst photographed some of the world’s most beautiful and luxurious homes for House and Garden and Vogue under the editorship of his friend Diana Vreeland. A three-sided projection and interactive screens will present these colourful studies. Among the most memorable are the Art Deco apartment of Karl Lagerfeld, the three lavish dwellings of Yves Saint Laurent and the Roman palazzo of artist Cy Twombly.

In the latter years of Horst’s life, his early aesthetic experienced a renaissance. The period also witnessed a flurry of new books, exhibitions, and television documentaries celebrating his work. Horst produced new, lavish prints in platinum-palladium for museums and the collector’s market, selecting emblematic works from every decade of his career, which will be showcased as the finale to the exhibition.”

Press release from the V&A

 

Behind the scenes at American Vogue, 1946 from Victoria and Albert Museum

 

Showing clips from the publication house’s cutting room floor, as well as editors at work, this never-before-seen footage shot from late 1946 to early 1947 gives a fascinating insight into the history of fashion publishing. This film is comprised of outtakes from the documentary Fashion Means Business. Dorian Leigh models the latest American designs in the Condé Nast studio for Horst and his assistant Vassilov, overseen by Vogue editors Muriel Maxwell and Priscilla Peck. The photographs are selected with editor Jessica Daves and art director Alexander Liberman, and the page layout finalised with Marcel Guillaume and Liberman.

With permission from HBO Archives/The March of Time. Provided by Condé Nast Archive

 

Horst P. Horst. 'Chanel, Vogue France' 1935

 

Horst P. Horst
Chanel, Vogue France
1935
© Condé Nast/Horst Estate

A fore-runner of the timeless look of Chanel, here in brown and white check rayon with collar, cuffs and lapels in white piquè that matches the buttoned top.

 

Horst P. Horst. 'Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain' 1938

 

Horst P. Horst
Hat and coat-dress by Bergdorf Goodman, modelled by Estrella Boissevain
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Corset by Detolle for Mainbocher' 1939

 

Horst P. Horst
Corset by Detolle for Mainbocher
1939
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Lisa with Turban, New York' 1940

 

Horst P.Horst
Lisa with Turban, New York
1940
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gertrude Stein at Balmain Fashion Show' 1946

 

Horst P. Horst
Gertrude Stein at Balmain Fashion Show
1946
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Birthday Gloves, New York' 1947

 

Horst P. Horst
Birthday Gloves, New York
1947
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson in Dior's belted two-piece suit in black rustic wool, called 'Milieu du Siècle'' 1949

 

Horst P. Horst
Lillian Marcuson in Dior’s belted two-piece suit in black rustic wool, called ‘Milieu du Siècle’
1949
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Nina de Voe' 1951

 

Horst P. Horst
Nina de Voe
1951
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Lillian Marcuson, New York' 1950

 

Horst P. Horst
Lillian Marcuson, New York
1950
© Condé Nast/Horst Estate

 

Horst P. Horst. 'Outfit by Tina Leser' Vogue, April 1950

 

Horst P. Horst
Outfit by Tina Leser
Vogue, April 1950
© Condé Nast/Horst Estate

 

Horst P.Horst. 'Bombay Bathing Fashion' 1950

 

Horst P.Horst
Bombay Bathing Fashion
1950
© Condé Nast/Horst Estate

Model (unidentified) and Dorian Leigh (r) in bathing suit and sleeveless shirt cover-up by Carolyn Schnurer 1951 Vogue

 

Haute Couture

When Horst joined Vogue in 1931, Paris was still the world’s undisputed centre of high fashion. Photography had begun to eclipse graphic illustration in fashion magazines and the publisher Condé Montrose Nast devoted large sums to improving the quality of image reproduction. He insisted that Vogue photographers work with a large format camera, which produced richly detailed negatives measuring ten by eight inches.

The creation of a Horst photograph was a collaborative process, involving the talents of the photographer and model, the art director, fashion editor, studio assistants and set technicians. The modelling profession was still in its infancy in the 1930s and many of those who posed under the hot studio lights were stylish friends of the magazine’s staff, often actresses or aristocrats.

By the mid 1930s, Horst had superseded his mentor George Hoyningen-Huene as Paris Vogue‘s primary photographer. His images frequently appeared in the French, British and American editions of the magazine. Many of the photographs on display in the exhibition are vintage prints from the company’s archive.

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dress by Hattie Carnegie' 1939

 

Horst P. Horst
Dress by Hattie Carnegie
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Muriel Maxwell, American Vogue' 1939

 

Horst P. Horst
Muriel Maxwell, American Vogue
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Summer Fashions, American Vogue cover' 1941

 

Horst P. Horst
Summer Fashions, American Vogue cover
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Dinner suit and headdress by Schiaparelli' 1947

 

Horst P. Horst
Dinner suit and headdress by Schiaparelli
1947
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Millicent Rogers in a Charles James gown and a gold necklace of her own design' Vogue, February 1, 1949

 

Horst P. Horst
Millicent Rogers in a Charles James gown and a gold necklace of her own design
Vogue,
February 1, 1949
© Conde Nast / Horst Estate

 

Horst in Colour from Victoria and Albert Museum

 

This film reveals the process of creating new colour prints for the exhibition Horst: Photographer of Style. Horst was quick to master new colour processes, introduced in the late 1930s, and he created hundreds of vibrant fashion photographs for Vogue.

The V&A team worked closely with specialists at the Condé Nast Archive and expert printer Ken Allen to select and print from Horst’s early transparencies, which date from the 1930s to the 1950s. The film includes insights into Horst’s dynamic approach from model Carmen Dell’Orefice and Vogue’s International Editor at Large, Hamish Bowles.​

 

Fashion in Colour

The 1930s ushered in huge technical advancements in colour photography. Horst adapted quickly to a new visual vocabulary, creating some of Vogue’s most dazzling colour images. In 1935 he photographed the Russian Princess Nadejda Sherbatow in a red velveteen jacket for the first of his many Vogue cover pictures.

The occupation of Paris transformed the world of fashion. The majority of French ateliers closed and many couturiers and buyers left the country. Remaining businesses struggled with extreme shortages of cloth and other supplies. The scarcity of French fashions in America, however, enabled American designers to come into their own.

Horst’s colour photographs are rarely exhibited because few vintage prints exist. Colour capture took place on a transparency which could be reproduced on the magazine page without the need to create a photographic print. The size of the new prints displayed in this room of the exhibition echoes the large scale of a group of Horst images printed in 1938 at the Condé Nast press.

 

Horst P. Horst. 'Marlene Dietrich, New York' 1942

 

Horst P. Horst
Marlene Dietrich, New York
1942
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York' 1941

 

Horst P. Horst
Gloria Vanderbilt age 17 wearing a dress by Howard Greer, New York
1941
© Conde Nast / Horst Estate

At 17, in Beverly Hills wearing a tabletop dress by Howard Greer. Tabletop dresses looked good from the waist up when stars were photographed sitting in restaurants and nightclub

 

Stage and Screen

Horst’s portraits spanned a wide cross-section of subjects, from artists and writers to presidents and royalty. In the 1930s, he became aware of a new focus for his work. As he later noted in his book Salute to the Thirties (1971), glamorous Hollywood movie stars were imperceptibly assuming the place left vacant by Europe’s vanishing royal families. With the approach of the Second World War, the escapism offered by theatre and cinema gained in popularity. Horst began to photograph these new, classless celebrities, both in costume and as themselves.

The first well-known star Horst photographed was the English performer Gertrude Lawrence, then appearing in Ronald Jeans’ play Can the Leopard…? at the Theatre Royal, Haymarket. Horst’s first portrait of a Hollywood actress, Bette Davis, appeared in Vogue‘s sister magazine Vanity Fair in 1932.

 

Horst P. Horst. 'Round the Clock, New York' 1987

 

Horst P. Horst
Round the Clock, New York
1987
© Conde Nast / Horst Estate

 

Platinum

The 1980s witnessed a flurry of new books, exhibitions and television documentaries about Horst. He produced new prints for museums and the collector’s market, selecting emblematic works from every decade of his career to be reprinted in platinum-palladium, sometimes with new titles. This was a complex and expensive technique, employing metals more expensive than gold. Failing eyesight finally forced him to stop working in 1992.

Horst’s platinum-palladium prints are treasured for their nuanced tones, surface quality and permanence. His style had experienced a renaissance in 1978 when Francine Crescent, French Vogue‘s editor in chief, had invited him to photograph the Paris collections. Horst’s work for her echoed his atmospheric, spot-lit studies of the 1930s. His use of the platinum process for creating new and reproducing early works ensured his mastery of light, mood and composition would be enjoyed by a new audience.

 

Horst P. Horst. 'Male Nude #3' 1952, printed 1980s

 

 

Horst P. Horst
Male Nude #3
1952, printed 1980s
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Still Life' Nd

 

Horst P. Horst
Still Life
Nd
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Male Nude' 1952

 

Horst P. Horst
Male Nude
1952
© Conde Nast / Horst Estate

 

Male Nudes

In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous output. These male figure studies were exhibited for the first time in Paris in 1953 and reprinted using the platinum-palladium process in the 1980s. The studies exemplify Horst’s sense of form. All emphasis is on the idealised human body, expressive light and shadow. Monumental and anonymous nudes resemble classical sculptures. As Mehemed Agha (1929-78), art director of American Vogue, commented:

“Horst takes the inert clay of human flesh and models it into the decorative shapes of his own devising. Every gesture of his models is planned, every line controlled and coordinated to the whole of the picture. Some gestures look natural and careless, because carefully rehearsed; the others, like Voltaire’s god, were invented by the artist because they did not exist.”

 

Horst P. Horst. 'Salvador Dali's costumes for Leonid Massine's ballet 'Bacchanale'' 1939

 

Horst P. Horst
Salvador Dali’s costumes for Leonid Massine’s ballet Bacchanale
1939
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives hands, New York' 1941

 

Horst P. Horst
Lisa Fonssagrives hands, New York
1941
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Odalisque I' 1943

 

Horst P. Horst
Odalisque I
1943
© Conde Nast / Horst Estate

 

Horst P.Horst. 'Bunny Hartley' Vogue, 1938

 

Horst P.Horst
Bunny Hartley
Vogue,
1938
© Conde Nast / Horst Estate

 

Horst P. Horst. 'Lisa Fonssagrives "I Love You"' 1937

 

Horst P. Horst
Lisa Fonssagrives “I Love You”
1937
© Conde Nast / Horst Estate

 

Surrealism

The Surrealist art movement explored unique ways of interpreting the world, turning to dreams and the unconscious for inspiration. During the 1930s Surrealism escaped its radical avant-garde roots and transformed design, fashion, advertising, theatre and film. Horst’s photographs of this period feature mysterious, whimsical and surreal elements combined with his classical aesthetic. He created trompe l’oeil still lifes, photographed the surreal-infused dress designs of his friend Elsa Schiaparelli and collaborated with the artist Salvador Dalí. He shared with the Surrealists a fascination with the representation of the female body, often fragmenting and eroticising the human form in his images.

His most celebrated photograph of the era is Mainbocher Corset (1939). Decades after the photograph was made, Main Bocher himself expressed his admiration for Horst’s virtuosity, writing,

“Your photographs are sheer genius and delight my soul … each one is perfect by itself.”

 

Horst P. Horst. 'Patterns from Nature Photographic Collage' 1945

 

Horst P. Horst
Patterns from Nature Photographic Collage
1945
© Conde Nast / Horst Estate

 

Patterns from Nature

Horst’s second book, Patterns from Nature (1946), and the photographs from which it originated, are a surprising diversion from the high glamour of his fashion and celebrity photographs. These close-up, black and white images of plants, shells and minerals were taken in New York’s Botanical Gardens, in the forests of New England, in Mexico, and along the Atlantic and Pacific coasts.

This personal project was partly inspired by photographs of plants by Karl Blossfeldt (1865-1932). Horst was struck by “their revelation of the similarity of vegetable forms to art forms like wrought iron and Gothic architecture.” Horst’s interest was also linked to the technical purity of ‘photographic seeing’, a philosophy associated with the New Objectivity movement of the 1920s and ’30s. Practitioners took natural forms out of their contexts and examined them with such close attention that they became unfamiliar and revelatory.

 

Horst P. Horst. 'View of ruins at the palace of Persepolis, Persia' 1949

 

Horst P. Horst
View of ruins at the palace of Persepolis, Persia
1949
© Conde Nast / Horst Estate

 

Travel

In the summer of 1949, Horst journeyed to the Middle East with his partner Valentine Lawford, then political counsellor at the British Embassy in Tehran. They travelled by road from Beirut to Persepolis, where Horst was able to photograph parts of the ancient Persian city that had only recently been uncovered. Afterwards, Horst visited the newly established State of Israel on a photographic assignment for Vogue.

The trip left a strong impression on Horst and he returned in the spring of 1950. He spent a week with Lawford at the relatively remote south-eastern shore of the Caspian Sea, before documenting the annual migration of the Qashqa’i clan. Horst and Lawford were invited by Malik Mansur Khan Qashqa’i to spend ten days with his tribe as they travelled by camel and horse, in search of vegetation for their flocks.

 

Horst P. Horst. 'Yves Saint Laurent poses in the apartment's grand salon for a November 1971 'Vogue' photo spread' 1971

 

Horst P. Horst
Yves Saint Laurent poses in the apartment’s grand salon for a November 1971 ‘Vogue’ photo spread
1971
© Conde Nast / Horst Estate

 

Living in Style

In 1947 Horst acquired five acres of land in Oyster Bay Cove, Long Island, part of the estate once owned by the designer Louis Comfort Tiffany. On the land he described as ‘everything I had ever dreamed of’, Horst built a unique house and landscaped garden. British diplomat Valentine Lawford visited for the first time in 1947, with Noël Coward, Christopher Isherwood, and Greta Garbo. It was the beginning of a relationship with Horst that would last until Lawford’s death in 1991.

They welcomed many friends and visitors to Long Island, including the dynamic editor Diana Vreeland. She left Harper’s Bazaar for Vogue in 1962 and soon put the couple to work on Vogue‘s ‘Fashions in Living’ pages. The homes and tastes of everyone from Jackie Onassis to the Duke and Duchess of Windsor, Andy Warhol and Karl Lagerfeld featured in their articles. Horst’s creative chemistry with Vreeland brought him a new lease of life.

 

Roy Stevens. 'Horst directing fashion shoot with Lisa Fonssagrives' 15 May 1941

 

Roy Stevens
Horst directing fashion shoot with Lisa Fonssagrives
15 May 1941
© Time & Life Pictures / Getty Images

 

In the Studio

During the 1940s Horst worked primarily in the Condé Nast studio on the 19th floor of the Graybar Building, an Art Deco skyscraper on Manhattan’s Lexington Avenue. The busy studio was well equipped with a variety of lights and props and Horst worked closely with talented art director Alexander Liberman. Like Horst, he had found refuge in the artistic circles of Paris and New York, and enjoyed a long career with Condé Nast.

By 1946 dressing the American woman had become one of the country’s largest industries, grossing over six billion dollars a year. The staff of Vogue expanded accordingly. In 1951 Horst found a studio of his own, the former penthouse apartment of artist Pavel Tchelitchew, with high ceilings and a spectacular view over the river. Horst developed a new approach to photography in response to the abundance of daylight and for a time his famous atmospheric shadows disappeared.

 

 

Victoria and Albert Museum
Cromwell Road, London SW7 2RL

Opening hours:
The V&A is open daily from 10.00 to 17.45 and until 22.00 on Fridays

Victoria and Albert Museum website, Horst web page

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23
May
14

Video: ‘klimt02 in conversation with Mari Funaki’

 

.
A wonderful energy, a wonderful artist, a wonderful human being – sadly missed!

Marcus

 

 

 

Published on April 23, 2014

Interview filmed on the occasion of the solo exhibition Space and Gravity by Mari Funaki at Klimt02 Gallery in Barcelona in February 2008. The artist talks about her work, the process of work: drawing, breaking predictability, her gallery and steel and black concept.

 

 

Gallery Funaki
4 Crossley St.,
Melbourne 3000
T: 03 9662 9446

Opening hours:
Tues – Thursday, 10.30 am – 5.30 pm
Friday 10.30 am – 6pm
Saturday 11 am – 4 pm

Gallery Funaki website

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15
May
14

Exhibition: ‘From the Village to Vogue: The Modernist Jewelry of Art Smith’ at the Cincinnati Art Museum

Exhibition dates: 22nd February – 18th May 2014

 

Very much of their time, these beautiful, understated pieces of anamorphic jewellery are exquisitely designed objets d’art.

.
Many thankx to the Cincinnati Art Museum for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the art.

 

 

Art Smith (American, 1917-1982) '"Modern Cuff" Bracelet' designed c. 1948

 

Art Smith (American, 1917-1982)
“Modern Cuff” Bracelet
designed c. 1948
Silver
1 5/8 x 2 1/2 x 4 in. (4.1 x 6.4 x 10.2 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) '"Lava" Bracelet' designed c. 1946

 

Art Smith (American, 1917-1982)
“Lava” Bracelet
designed c. 1946
Silver
2 1/2 x 2 5/8 x 5 3/4 in. (6.4 x 6.7 x 14.6 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) 'Autumn Leaves Brooch' 1974

 

Art Smith (American, 1917-1982)
Autumn Leaves Brooch
1974
Gold, jade
1/2 x 3 x 1 3/4 in. (1.3 x 7.6 x 4.4 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) 'Untitled' 1948-1979

 

Art Smith (American, 1917-1982)
Untitled
1948-1979
Wood, paint, copper
Brooklyn Museum, Gift of Charles L. Russell

 

 

“It will be a feast for the eyes of those who appreciate jewelry this Spring in the Queen City. The spirit of craft and its revival will shine through in large scale, highly sculpted pieces of jewelry created by Art Smith and his contemporaries in From the Village to Vogue: The Modernist Jewelry of Art Smith, February 22, 2014 through May 18, 2014.

This exhibition features twenty-four pieces of silver and gold jewelry created by African American artist Art Smith, as well as more than forty pieces by his contemporaries, including Sam Kramer, Margaret De Patta, and Harry Bertoia. Three pieces of jewelry by Alexander Calder, who influenced many of these artists/jewelers, will also be featured in this exhibition. This exhibition was organized by the Brooklyn Museum of Art and the Cincinnati Art Museum is the first to host this exhibition. It will then continue to the Dallas Museum of Art and the High Museum of Art in Atlanta, Georgia.

Inspired by surrealism, biomorphism and primitivism, Art Smith (1917-1982) was one of the leading modernist jewelers of the mid-twentieth century. Early in his career, Smith met Talley Beatty, a young black dancer and choreographer, who introduced him to the world of dance, in particular the salon of Frank and Dorcas Neal. It was there that he met several prominent black artists, including writer James Baldwin, musician and composer Billy Strayhorn, singers Lena Horne and Harry Belafonte, actor Brock Peters, and painter Charles Sebree. Smith began to create pieces for dance companies, who in turn, encouraged him to design on a grander scale. This experience is evident in the scale of his mature work.

In 1946, Smith opened his own studio in Greenwich Village and started selling his jewelry. He soon caught the attention of buyers in Boston, San Francisco, and Chicago. In the early 1950s, Smith received pictorial coverage in both Harper’s Bazaar and Vogue and was mentioned in The New Yorker shoppers guide, On the Avenue”. Smith soon established business relationships with Bloomingdales, Milton Heffling in Manhattan, James Boutique in Houston, L’Unique in Minneapolis and Black Tulip in Dallas. While his earlier work was executed primarily in copper and brass, because it was less expensive, growing recognition increased sales and special commissions for custom designs. This allowed him to begin producing more work in silver. He received a prestigious commission from the Peekskill, New York chapter of the NAACP, for example, to design a brooch for Eleanor Roosevelt. He was even commissioned to design a pair of cufflinks for Duke Ellington, whose music he often listened to while working.

Included in the exhibition are major works by Smith including his famous Patina Necklace (c. 1959). Worked in silver, it is an example both of the large scale of his jewelry and of his use of asymmetry. Alexander Calder’s influence is also clear in this piece. From the curved structure that wraps the neck, two pierced ellipses dangle over the breastbone, giving the necklace a kinetic energy that enlivens the piece. With a sculptor’s sensitivity, Smith emphasized negative space in his designs and viewed the human body as an armature for his creations. He considered his jewelry incomplete until it rested on the human structure.

According to Cincinnati Art Museum interim Chief Curator Cynthia Amnéus, Working in the heart of Greenwich Village, Smith was influenced by jazz musicians like Charlie Parker, visual artists like Robert Motherwell, and the poetry readings of Beat Generation writers like Alan Ginsberg. Smith’s work, like that of his contemporaries, appealed to an artistic and intellectual clientele. These artisans were not concerned with making pretty jewelry. They created works of art that were meant to be worn on the body.”

Press release from the Cincinnati Art Museum website

 

Art Smith (American, 1917-1982) 'Linked Oval Necklace' designed by 1974

 

Art Smith (American, 1917-1982)
Linked Oval Necklace
designed by 1974
Silver, amethyst quartz
11 x 10 1/2 x 1/2 in. (27.9 x 26.7 x 1.3 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) 'Triangle Necklace' c. 1969

 

Art Smith (American, 1917-1982)
Triangle Necklace
c. 1969
Silver, turquoise, lapis lazuli, rhodochrosite
16 1/8 x 5 1/8 x 1/2 in. (41.0 x 13.0 x 1.3 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) 'Ellington Necklace' c. 1962

 

Art Smith (American, 1917-1982)
Ellington Necklace
c. 1962
Silver, turquoise, amethyst, prase, rhodonite
16 7/8 x 9 7/8 x 3/4 in. (42.9 x 25.1 x 1.9 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) 'New Orleans Necklace' c. 1962

 

Art Smith (American, 1917-1982)
New Orleans Necklace
c. 1962
Silver, three semiprecious stones: Labradorite (?)
8 5/8 x 5 7/8 x 3/4 in. (21.9 x 14.9 x 1.9 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

Art Smith (American, 1917-1982) '"Bauble" Necklace' c. 1953

 

Art Smith (American, 1917-1982)
“Bauble” Necklace
c. 1953
Silver, colorless quartz
9 1/8 x 4 7/8 x 1/2 in. (23.2 x 12.4 x 1.3 cm)
Brooklyn Museum, Gift of Charles L. Russell

 

2007.61.15Peter-Basch.-Model-Wearing-Art-Smith's-Modern-Cuff-Bracelet,-circa-1948.-Black-and-white-photograph,-13-34-x-1034-in.-(34.9-x-27.3-cm).-Courtesy-of-Brooklyn-Museum-WEB

 

Peter Basch
Model Wearing Art Smith’s “Modern Cuff” Bracelet
c. 1948
Black-and-white photograph
13 3/4 x 103/4 in. (34.9 x 27.3 cm)
Courtesy of Brooklyn Museum

 

 

Cincinnati Art Museum

953 Eden Park Drive
Cincinnati, OH 45202
T: 513-639-2872

Opening hours:
Tuesday through Sunday, 11 am to 5 pm
The Art Museum is closed on Mondays

Cincinnati Art Museum
 website

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09
Feb
14

Exhibition: ‘Jewels by JAR’ at The Metropolitan Museum of Art, New York

Exhibition dates: 20th November 2013 – 9th March 2014

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Can you imagine 400 of these fabulous works together in one exhibition… so much restrained, cultured bling all in one place!

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Many thankx to The Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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JAR. 'Poppy Brooch' 1982

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JAR 
Poppy Brooch 
1982
Diamond, tourmalines, and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

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JAR. 'Zebra Brooch' 1987

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JAR
Zebra Brooch
1987
Agate, diamonds, a sapphire, silver, and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

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JAR. 'Butterfly Brooch' 1994

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JAR
Butterfly Brooch
1994
Sapphires, fire opals, rubies, amethyst, garnets, diamonds, silver and gold
Private collection
Photograph by Katharina Faerber. Courtesy of JAR, Paris

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JAR. 'Colored Balls Necklace' 1999

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JAR
Colored Balls Necklace
1999
Rubies, sapphires, emeralds, amethysts, spinels, garnets, opals, tourmalines, aquamarines, citrines, diamonds, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Lilac Brooches' 2001

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JAR
Lilac Brooches
2001
Diamonds, lilac sapphires, garnets, aluminum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Geranium brooch' 2007

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JAR 
Geranium brooch 
2007
Diamonds, aluminum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Tulip Brooch' 2008

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JAR
Tulip Brooch
2008
Rubies, diamonds, pink sapphires, garnets, silver, gold, and enamel
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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“Jewels by JAR at The Metropolitan Museum of Art will feature more than 400 works by renowned jewelry designer Joel A. Rosenthal, who works in Paris under the name JAR. The exhibition will be the first retrospective in the United States of his work and the first retrospective at the Metropolitan Museum devoted to a contemporary artist of gems.

Growing up in the Bronx, New York, Rosenthal spent much of his early life visiting the museums in the city, stirring in him a passion for art, history, and all things beautiful that has stayed with him throughout his life. Rosenthal left New York to attend Harvard University and moved to Paris shortly after his graduation in 1966. It was in Paris that Rosenthal met Pierre Jeannet – the other half of the JAR story.

Rosenthal and Jeannet spent much time at antique shops, museums, galleries, and auction houses learning about antique jewelry, diamonds, pearls, and colored stones. In 1973, they opened a needlepoint shop on the rue de l’Université. For Rosenthal needlepoint meant painting, mainly flowers, on a white canvas and playing with the palette of the colors of the wools. But the passion for jewelry was there and he wanted to “play with stones,” as he later explained. The needlepoint shop lasted only 11 months, but during this period Rosenthal was encouraged by others to re-design clients’ jewels and turned his attention once again, and more fully, to jewelry. In 1976, Rosenthal moved back to New York to work at Bulgari but returned to Paris and decided to open his own jewelry business under his initials, JAR.

JAR opened in 1978 on the Place Vendôme. At the start, it was run by a team of only two – Rosenthal and Jeannet. The clientele broadened from local Parisians to a range of international clients, and in 1987, Rosenthal and Jeannet relocated JAR to a larger space next door to their original shop – the same space from which they operate today. As they worked more and more with exceptional stones, they expanded the team to include the few exceptional craftsmen still specializing in this field.

JAR makes jewels that fulfill an aesthetic rather than commercial ambition. A particular skill of the JAR team is selecting stones for their color compatibility, complementary range, or contrast. Rosenthal, who once said, “we are not afraid of any materials,” uses metals as strong as platinum and as lightweight as aluminum as bases for his designs. He reintroduced the use of silver in fine jewelry making and blackened the metal to enhance the color of the stones and the shine of the diamonds. The color and the shading of his pavé technique became a signature, as did the diamond thread work.

Rosenthal experiments with a variety of forms, designs, and themes. Two significant and recurring themes in his work are flowers and butterflies, which often appear in the form of brooches. Rosenthal’s flowers are not shaped regularly, but rather capture the role of chance in nature – be it in the form of a bud, a flower in full bloom, or a falling petal. Each JAR piece is unique and three-dimensional.

Jeannet summarizes Rosenthal’s process this way: “At every step of the making of a piece, he checks and corrects. And if at the end his eye is not happy, we destroy the piece. But the piece, finished, is not yet at home; his last look is to see that the jewel has gone to the right lady. Then he sighs, his work is done.”

Press release from The Metropolitan Museum of Art website

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JAR. 'Hoop Earrings' 2008 and 2010

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JAR 
Top:
Hoop Earrings 
2008
Rubies, sapphires, diamonds, silver, and gold

Bottom:
Hoop Earrings 
2010
Spinels, diamonds, silver, and gold

Both: Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Bracelet' 2010

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JAR
Bracelet
2010
Diamonds, silver, and platinum
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Camellia Brooch' 2010

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JAR
Camellia Brooch
2010
Rubies, pink sapphires, diamonds, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Multicolored Handkerchief Earrings' 2011

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JAR
Multicolored Handkerchief Earrings
2011
Sapphires, demantoid and other garnets, zircons, tourmalines, emeralds, rubies, fire opals, spinels, beryls, diamonds, platinum, silver, and gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Earrings' 2011

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JAR
Earrings
2011
Emeralds, oriental pearls, diamonds, and platinum
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Cameo and Rose Petal Brooch' 2011

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JAR
Cameo and Rose Petal Brooch
2011
Rubies, diamonds, silver, gold
Private collection
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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JAR. 'Raspberry Brooch' 2011

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JAR
Raspberry Brooch
2011
Rubies, diamonds, bronze, silver, gold, and platinum
Collection of Sien M. Chew
Photograph by Jozsef Tari. Courtesy of JAR, Paris

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The Metropolitan Museum of Art
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
T: 212-535-7710

Opening hours:
Tuesday – Thursday: 9.30 am – 5.30 pm*
Friday and Saturday: 9.30 am – 9.00 pm*
Sunday: 9.30 am – 5.30 pm*
Closed Monday (except Met Holiday Mondays**), Thanksgiving, Christmas, and New Year’s Day

The Metropolitan Museum of Art website

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21
Jan
14

Exhibition: ‘Guy Bourdin’ at the House of Photography at Deichtorhallen Hamburg

Exhibition dates: 1st November 2013 – 26th January 2014

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*PLEASE NOTE THIS POSTING CONTAINS ART WORK OF FEMALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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Many thankx to House of Photography at Deichtorhallen Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Guy Bourdin. 'Untitled' (Child) 1950

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Guy Bourdin
Untitled (Child)
1950
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'Untitled' (Child with doll and pram) 1954

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Guy Bourdin
Untitled (Child with doll and pram)
1954
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'Untitled' (Child lying on stones) 1953-57

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Guy Bourdin
Untitled (Child lying on stones)
1953-57
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'La Baigneuse' c. 1950-53

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Guy Bourdin
La Baigneuse (The Bather)
c. 1950-53
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'Vogue Paris - January 1966' 1966

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Guy Bourdin
Vogue Paris – January 1966
1966
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'Untitled' Nd

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Guy Bourdin
Untitled
Nd
© Estate of Guy Bourdin

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“House of Photography at Deichtorhallen Hamburg announces an exhibition of the legendary photographer Guy Bourdin (1928-1991), on view from November 1, 2013 – January 26, 2014. This most comprehensive exhibition to date is both an overview of the essential components of Guy Bourdin’s oeuvre and an introduction to unveiling works from his personal archives which have never been seen before. This is the first time that both his works as a painter and his notes on films are being shown at an exhibition. B&W shots dating from the 1950s are also included, showing portraits of artists and views of the city of Paris as well as Polaroids, sketches and texts. The exhibition examines Guy Bourdin’s oeuvre, but moreover, it provides insight into the complex working processes of the photographer’s mind and aims to establish his status as a visionaire image maker.

Guy Bourdin’s career spanned more than forty years during which time he worked for the world’s leading fashion houses and magazines. With the eye of a painter, Guy Bourdin created images that contained fascinating stories, compositions, both in B&W and in colours. He was among the 1st to create images with narratives, telling stories and shows that the image is more important than the product which is displayed. Using fashion photography as his medium, he sent out his message, one that was difficult to decode, exploring the realms between the absurd and the sublime. Famed for his suggestive narratives and surreal aesthetics, he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor.

During the 1950s, Guy Bourdin launched his career with fashion assignments for Vogue Paris working in B&W. It’s nearly unknown, that half of the oeuvre of Guy Bourdin is black-and-white and as amazingly powerful as his colour works. He developed colour photography to its maximum effect, creating dramatic accents with intense colour saturation and textures in his compositions. Guy Bourdin used the format of the double spread magazine page in the most inventive way. He tailored his compositions to the constraints of the printed page both conceptually and graphically, and the mirror motif so central in his work finds its formal counterpart in the doubleness of the magazine spread. Layout and design become powerful metaphors for the photographic medium, engaging the eye and with it, the mind. While on the one hand employing formal elements of composition, Guy Bourdin, on the other hand, sought to transcend the reality of the photographic medium with surreal twists to the apparent subject of his images and his unconventional manipulation of the picture plane. Given total creative freedom and with uncompromising artistic ethic, Guy Bourdin captured the imagination of a whole generation at the late 1970s, recognised as the highest note in his career.

Guy Bourdin was an image maker, a perfectionist. He knew how to grab the attention of the viewer and left nothing to chance. He created impeccable sets, or when not shooting in his studio rue des Ecouffes in le Marais, in undistinguished bedrooms, on the beach, in nature, or in urban landscapes. The unusual dramas that unfold in these seemingly everyday scenes and ordinary encounters pique our subconscious and invite our imagination. Moreover, he developed a technic using hyper real colours, meticulous compositions of cropped elements such as low skies with high grounds and the interplay of light and shadows as well as the unique make-up of the models.

“Guy Bourdin irreverently swept away all the standards of beauty, conventional morals and product portrayals in one fell swoop. Around the female body he constructed visual disruptions, the outrageous, the hair-raising, the indiscreet, the ugly, the doomed, the fragmentary and the absent, torsos and death – all the tension and the entire gamut of what lies beyond the aesthetic and the moral,” explains the exhibition’s curator Ingo Taubhorn. Bourdin investigates in minute detail the variables of fashion photography, from brash posing to subtle performances and from complex settings to novel and disturbing notions of images.

Guy Bourdin’s imagery not only changed the course of fashion photography but influenced a host of contemporary artists, photographers and filmmakers. It is without question, that Guy Bourdin’s work for Vogue and his highly acclaimed print advertising for Charles Jourdan in the 1970s are now being seen in the appropriate context of contemporary art.”

Press release from House of Photography at Deichtorhallen Hamburg

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Guy Bourdin. 'Self portrait' c. 1950

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Guy Bourdin
Self portrait
c. 1950
© The Estate of Guy Bourdin, 2013

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Guy Bourdin. 'Untitled' 1960

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Guy Bourdin
Untitled
1960
© Estate of Guy Bourdin

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Guy Bourdin. 'Untitled' Nd

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Guy Bourdin
Untitled
Nd
© Estate of Guy Bourdin

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Guy Bourdin. 'Charles Jourdan - Spring 1979' 1979

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Guy Bourdin
Charles Jourdan – Spring 1979
1979
© Estate of Guy Bourdin

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Guy Bourdin. 'Pentax Calendar' 1981

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Guy Bourdin
Pentax Calendar
1981
Asahi Optical Company Limited. Tokyo, Japan
© Estate of Guy Bourdin

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Guy Bourdin. 'Vogue Paris - May 1970' 1970

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Guy Bourdin
Vogue Paris – May 1970
1970
© Estate of Guy Bourdin

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Guy Bourdin. 'Charles Jourdan - Spring 1978' 1978

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Guy Bourdin
Charles Jourdan – Spring 1978
1978
© Estate of Guy Bourdin

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Guy Bourdin. 'Vogue Paris - December 1969' 1969

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Guy Bourdin
Vogue Paris – December 1969
1969
Jewellery: Van Cleef & Arpels
Make-up: Serge Lutens
© Estate of Guy Bourdin, 2013

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Deichtorhallen Hamburg
Deichtorstrasse 1-2
20095
Hamburg
T: +49 (0)40 32103-0

Opening hours:
Tuesday – Sunday 11 am – 6 pm
Closed Mondays

Deichtorhallen Hamburg website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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