Posts Tagged ‘Venice

14
Mar
20

Exhibition: ‘Liquid Light: 500 Years of Venetian Glass’ at at NGV International, Melbourne

Exhibition dates: 8th March 2019 – 13th April 2020

*PLEASE NOTE THE NATIONAL GALLERY OF VICTORIA IS NOW TEMPORARILY CLOSED UNTIL AT LEAST 13 APRIL 2020 DUE TO THE CORONAVIRUS PANDEMIC*

 

Italy, Venice (manufacturer) 'Bowl' c. 1736

 

Italy, Venice (manufacturer)
Bowl
c. 1736
Glass (latticinio)
6.1 x 12.0 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1871

 

 

I love art glass, glass art: either old or contemporary, Italian, Scandinavian or Australian, it doesn’t matter. I have a collection of contemporary art glass myself. This love of glass comes from my parents who took us kids to see glass blowing on the island of Mallorca when we were growing up. Our house had numerous pieces of beautiful mouth blown glass brought back from the Balearic Islands.

My favourite period for Italian glass is the 1960s. My favourite techniques are the use of ‘millefiori’ (the production of glass canes or rods, known as ‘murrine’, with multicoloured patterns which are viewable only from the cut ends of the cane), latticinio (which resembles lace) and vetro a retorti (twisted glass). Venetian mirrors and chandeliers are another love: imagine them twinkling in the candlelight when there was no electricity!

Glass is such a malleable medium. The results can look effortless, sublime… but only after years of experience and experimentation by the artist. The delicacy, colour, iridescence, form and strength (of purpose) of glass is mesmerising. Words are not enough.

Dr Marcus Bunyan

.
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.

 

 

Italy, Venice / Spain (manufacturer) 'Jug' Mid 16th century

 

Italy, Venice / Spain (manufacturer)
Jug
Mid 16th century
Glass (vetro a retorti decoration)
16.6 x 14.2 x 9.4 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of Mrs Margaret Stewart, Founder Benefactor, 1987

 

Italy, Venice (manufacturer) 'Oil and vinegar cruet' c. 1680

 

Italy, Venice (manufacturer)
Oil and vinegar cruet
c. 1680
Glass (applied decoration)
23.0 x 11.3 x 9.5 cm
National Gallery of Victoria, Melbourne William and Margaret Morgan Endowment, 1973

 

Installation view of 'Serpent-stem goblet (Flügelglas)' (early 17th century), The Netherlands, Holland / Germany (manufacturer)

 

Installation view of Serpent-stem goblet (Flügelglas), (early 17th century), The Netherlands, Holland / Germany (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

The Netherlands, Holland / Germany. 'Serpent-stem goblet (Flügelglas)' early 17th century

 

The Netherlands, Holland / Germany
Serpent-stem goblet (Flügelglas)
Early 17th century
Glass (façon de Venise), (red and white threads, applied and pincered decoration)
28.3 x 10.0 cm diameter
Felton Bequest, 1977
Photo: Victoria Zschommler

 

Italy, Venice (manufacturer) 'Tazza' 18th century

 

Italy, Venice (manufacturer)
Tazza
18th century
Glass
2.3 x 17.1 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1871

 

Installation view of 'Tazza' 18th century, Italy, Venice (manufacturer)

 

Installation view of Tazza, 18th century, Italy, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Left to right

Giuseppe Briati (Italian 1686-1772) (manufacturer)
Bowl
c. 1736
Glass (latticinio)
6.1 x 12.0 cm diameter
Purchased, 1871

Italy, Venice
Decanter
c. 1800
Glass
(a-b) 36.5 x 7.3 cm diameter (overall)
Purchased, 1919

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Wine glass
c. 1880
Glass
16.5 x 6.9 cm diameter
Photo: Victoria Zschommler

 

Italy, Venice (manufacturer) 'Vase' 18th century

 

Italy, Venice (manufacturer)
Vase
18th century
Glass
14.9 x 11.6 x 8.0 cm
National Gallery of Victoria, Melbourne Purchased, 1871

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Clockwise from left

Italy, Venice
Vase
18th century
Glass
14.9 x 11.6 x 8.0 cm
Purchased, 1871

Italy, Venice
Covered bowl
18th century
Glass
(a-b) 14.2 x 13.2 x 12.0 cm (overall)
Purchased, 1871

Italy, Venice
Goblet
c. 1794
Glass, silver
12.0 x 10.7 cm diameter
Purchased, 1871
Photo: Victoria Zschommler

 

Italy, Venice (manufacturer) 'Beaker' Late 18th century

 

Italy, Venice (manufacturer)
Beaker
Late 18th century
Glass (enamel, gilt)
10.5 x 8.0 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1871

 

Italy, Venice (manufacturer) 'Covered bowl and stand' late 18th century

 

Italy, Venice (manufacturer)
Covered bowl and stand
Late 18th century
Glass (applied decoration)
(a-c) 14.0 x 15.2 cm diameter (overall)
National Gallery of Victoria, Melbourne Purchased, 1871

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Ewer' c. 1870

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Ewer
c. 1870
Glass
15.9 x 6.6 x 6.1 cm
National Gallery of Victoria, Melbourne Purchased, 1874

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Goblet' c. 1878

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Goblet
c. 1878
Glass
17.4 x 9.9 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1881

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Decanter' c. 1880

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Decanter
c. 1880
Glass
(a-b) 23.6 x 12.9 x 11.2 cm (overall)
National Gallery of Victoria, Melbourne Purchased, 1881

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Tazza, 18th century, Italy, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy est. 1859 'Ewer' c. 1880

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy est. 1859
Ewer
c. 1880
Glass
24.7 x 12.1 x 9.9 cm
National Gallery of Victoria, Melbourne Gift of John H. Connell, 1914

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Jug' c. 1880

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Jug
c. 1880
Glass
27.2 x 13.3 x 10.7 cm
National Gallery of Victoria, Melbourne Gift of John H. Connell, 1914

 

 

Venetian glass is famous throughout the world for its vibrant colour and crystalline clarity, elaborate design and unmatched craftsmanship, honed over hundreds of years by local artisans on the island of Murano in Venice, Italy.

Liquid Light: 500 Years of Venetian Glass draws upon the National Gallery of Victoria’s extensive holdings of Venetian glass, ranging in date from the sixteenth to the twentieth century, including the NGV’s especially rich material from the nineteenth-century revival period.

In displays exploiting the characteristic brilliance and vivid colour palette of Murano glass, the exhibition traverses five centuries of style – from Baroque to post-modernism – through a display of glassware, including elaborate champagne flutes and goblets, bowls and vases, tableware and decorative objects.

Highlights from the exhibition include an opulent Serpent-stem goblet from the early seventeenth century, replete with intertwining dragons that coil around its stem, and a bottle-shaped Patchwork vase by Fulvio Bianconi, c. 1950, created by masterfully fusing blocks of coloured glass into a kaleidoscope of colour.

The exhibition will showcase the Venetians’ technical prowess through considered displays of the famous cristallo body, known for its transparent, watery fineness, as well as lattimo, a milky, white glass coveted for its resemblance to porcelain, and vetro a filigrana – glasses decorated with fine white threads twisted into elaborate patterns.

Though the secret formula for Venetian glass was heavily guarded on Murano, its qualities were emulated by major European glasshouses, particularly in the Netherlands. Through exquisite displays of ‘façon de Venise’ glass, the exhibition will celebrate the indelible impact and legacy of Venetian glass on glassblowing world-wide.

Venetian glass experienced a major revival in the nineteenth-century as Venice became part of the newly unified Kingdom of Italy. The unification sparked the restoration of traditional Italian industries, including the Muranese glass industry, which enjoyed a resurgence in connoisseurship and supremacy.

In 1871 a large collection of Venetian glass was acquired by the NGV directly from Venice by the proconsul to the Kingdom of Italy, and a further group of works was acquired in 1874, from the manufactory of Antonio Salviati, the father of the Venetian glass revival. Further important groups of nineteenth-century Venetian glass entered the Collection from the Italian displays at the 1880-81 Melbourne International Exhibition.

Tony Ellwood AM, Director, NGV said, ‘The first examples of Venetian glass entered the NGV Collection nearly 150 years ago. This exhibition will celebrate not only the breadth and beauty of the glassware in the NGV Collection, but also the rich legacy of the art form from the sixteenth century to today.’

Press release from the National Gallery of Victoria [Online] Cited 13/02/2020

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy est. 1859 'Chalice' c. 1880

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy est. 1859
Chalice
c. 1880
Glass (pincered and applied decoration)
30.0 x 10.3 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1881

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Kuttrolf' c. 1880

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Kuttrolf
c. 1880
Glass
21.6 x 10.9 cm diameter
National Gallery of Victoria, Melbourne Purchased, 1881

 

Installation view of 'Kuttrolf' c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer)

 

Installation view of Kuttrolf, c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859 'Goblet' c. 1880

 

Venice And Murano Glass And Mosaic Company, Venice (manufacturer) Italy est. 1859
Goblet
c. 1880
Glass
23.2 x 14.1 x 7.6 cm
National Gallery of Victoria, Melbourne Gift of John H. Connell, 1914

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Liquid Light: 500 Years of Venetian Glass on display at NGV International from 8 March 2018 – 13 April 2020 showing at centre, Goblet c. 1880 by the Venice And Murano Glass And Mosaic Company, Venice
Photo: Tom Ross

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy, est. 1859 'Covered goblet' c. 1880

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italy, est. 1859
Covered goblet
c. 1880
Glass
(a-b) 29.1 x 15.4 x 10.8 (overall)
National Gallery of Victoria, Melbourne Purchased, 1881

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Left to right

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Covered goblet
c. 1880
Glass
(a-b) 29.1 x 15.4 x 10.8 (overall)
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Goblet
c. 1880
Glass
18.3 x 12.0 cm diameter
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Wine glass
c. 1880
Glass (blown, applied decoration)
11.7 x 6.8 x 5.9 cm
Purchased, 1881
Photo: Victoria Zschommler

 

Vetreria Fratelli Toso, Murano, Venice (attributed to) (manufacturer) Italy 1854-1901 'Vase' c. 1890-1900

 

Vetreria Fratelli Toso, Murano, Venice (attributed to) (manufacturer) Italy 1854-1901
Vase
c. 1890-1900
Glass (murrine decoration)
25.5 x 19.7 x 15.1 cm
National Gallery of Victoria, Melbourne Purchased, 1996

 

 

Millefiori

Millefiori is a glasswork technique which produces distinctive decorative patterns on glassware. The term millefiori is a combination of the Italian words “mille” (thousand) and “fiori” (flowers). Apsley Pellatt in his book Curiosities of Glass Making was the first to use the term “millefiori”, which appeared in the Oxford English Dictionary in 1849; prior to that, the beads were called mosaic beads. While the use of this technique long precedes the term “millefiori”, it is now most frequently associated with Venetian glassware.

The manufacture of mosaic beads can be traced to Ancient Roman, Phoenician and Alexandrian times. Canes, probably made in Italy, have been found as far away as 8th century archaeological sites in Ireland. Millefiori beads have been uncovered from digs at Sandby borg, Öland, Sweden, dating apparently from the late 5th or early 6th century. A piece of millefiori was found, along with unworked garnets, in a purse at the early 7th century Anglo-Saxon burial site at Sutton Hoo.

The technical knowledge for creating millefiori was lost by the eighteenth century, and the technique was not revived until the nineteenth century. Within several years of the technique’s rediscovery, factories in Italy, France and England were manufacturing millefiori canes. They were often incorporated into fine glass art paperweights.

Until the 15th century, Murano glass makers were only producing drawn Rosetta beads made from moulded Rosetta canes. Rosetta beads are made by the layering of a variable number of layers of glass of various colours in a mould, and by pulling the soft glass from both ends until the cane has reached the desired thickness. It is then cut into short segments for further processing.

The millefiori technique involves the production of glass canes or rods, known as murrine, with multicoloured patterns which are viewable only from the cut ends of the cane. A murrine rod is heated in a furnace and pulled until thin while still maintaining the cross section’s design. It is then cut into beads or discs when cooled.

Text from the Wikipedia website

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Liquid Light: 500 Years of Venetian Glass on display at NGV International from 8 March 2018 – 13 April 2020 showing at left, Goblet c. 1878 by the Venice and Murano Glass and Mosaic Company, Venice
Photo: Tom Ross

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859 'Goblet' c. 1878

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Goblet
c. 1878
Glass
15.1 x 14.1 diameter
Purchased, 1881
Photo: Victoria Zschommler

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Liquid Light: 500 Years of Venetian Glass on display at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Installation view of 'Candelabrum' c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer)

 

Installation view of Candelabrum, c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Liquid Light: 500 Years of Venetian Glass on display at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

Installation view of 'Tazza' c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer)

 

Installation view of Tazza, c. 1880, Venice and Murano Glass and Mosaic Company, Venice (manufacturer) on display as part of Liquid Light: 500 Years of Venetian Glass at NGV International from 8 March 2018 – 13 April 2020. Photo: Tom Ross

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859 'Tazza' c. 1880

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Tazza
c. 1880
Glass (applied decoration)
23.4 x 22.3 cm diameter
Purchased, 1881
Photo: Victoria Zschommler

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Left to right

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Ewer
c. 1880
Glass (blown, applied decoration)
25.8 x 9.9 x 9.2 cm
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Ewer
c. 1880
Glass (blown, applied decoration)
26.0 x 9.7 cm diamater
Purchased, 1881
Photo: Victoria Zschommler

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Left to right

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Goblet
c. 1870
Glass
14.1 x 10.2 x 9.4 cm
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Goblet
c. 1880
Glass (pincered and applied decoration)
28.7 x 9.9 cm diameter
Purchased, 1881
Photo: Victoria Zschommler

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Clockwise from left

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Tazza
c. 1880
Glass
11.9 x 14.2 cm diameter
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Goblet
c. 1878
Glass
19.7 x 12.4 cm diameter
Purchased, 1881

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Vase
c. 1880
Glass
13.2 x 8.8 x 7.9 cm
Purchased, 1881
Photo: Victoria Zschommler

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Venice and Murano Glass and Mosaic Company, Venice (manufacturer) Italian est. 1859
Bottle
c. 1878
Glass
(a-b) 16.0 x 13.1 x 11.8 cm (overall)
Purchased, 1881
Photo: Victoria Zschommler

 

Venini & Co., Murano (manufacturer) Italy est. 1921 Fulvio Bianconi (designer) (Italy 1915-96) 'Handkerchief (Fazzoletto) vase' 1949

 

Venini & Co., Murano (manufacturer) Italy est. 1921
Fulvio Bianconi (designer) (Italy 1915-96)
Handkerchief (Fazzoletto) vase
1949 designed, c. 1950-60 manufactured
Glass (vetro a fili decoration)
19.8 x 34.0 x 21.7 cm
National Gallery of Victoria, Melbourne Purchased from Admission Funds, 1989

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Clockwise from right

Vetreria Fratelli Toso, Murano, Venice (Italian 1854-1901) (manufacturer)
Vase
c. 1890-1900
Glass (murrine decoration)
25.5 x 19.7 x 15.1 cm
Purchased, 1996

Richard Marquis (American born 1945) (designer)
Non-functional teapot
1976
Glass (murrini (mosaic) decoration, applied decoration)
8.6 x 15.8 x 12.6 cm
Presented through The Art Foundation of Victoria by Terence Lane, Fellow, 1996

Venini & Co., Murano (Italian est. 1921) (manufacturer)
Fulvio Bianconi (Italian 1915-1996) (designer)
Patchwork (Pezzato) vase
c. 1950
Glass
36.6 x 14.6 x 10.9 cm
Felton Bequest, 1952
Photo: Victoria Zschomm

 

Venini & Co., Murano (manufacturer) Italy est. 1921 Fulvio Bianconi (designer) (Italy, 1915-96) 'Patchwork (Pezzato) vase' c. 1950

 

Venini & Co., Murano (manufacturer) Italy est. 1921
Fulvio Bianconi (designer) (Italy, 1915-96)
Patchwork (Pezzato) vase
c. 1950
Glass
36.6 x 14.6 x 10.9 cm
National Gallery of Victoria, Melbourne Felton Bequest, 1952

 

Installation view of 'Liquid Light: 500 Years of Venetian Glass' on display at NGV International

 

Installation view of Liquid Light: 500 Years of Venetian Glass on display at NGV International from 8 March 2018 – 13 April 2020
Photo: Tom Ross

 

 

NGV International
180 St Kilda Rd, Melbourne

Opening hours:
Open daily, 10am – 5pm

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22
Dec
14

Exhibition: ‘Irving Penn, Resonance’ at the Palazzo Grassi, Venice

Exhibition dates: 13th April – 31st December 2014

Curated by Pierre Apraxine and Matthieu Humery

 

 

Irving Penn’s platinum photographs fetch tens of thousands of dollars at auction. I could think of better things to spend my money on…

I have never been a fan – of his cigarette butts, fruit dishes, vanitas as well as animal skulls and ethnographic photos. There are just too clinically cold and dead for me. Other people may love them, but for work that supposedly investigates the ephemerality and brevity of human existence Penn tightens his essentially reductive approach until the conceptual (and formal) noose strangles the subject.

Irving Penn’s Worlds in a Small Room (where he set up baffles and stood “mudpeople” and other tribespeople), his masks, and his platinum prints of cigarette butts are his claim to fame. They were champoined by the US East Coast and commercial interests. They are not terrible, but I don’t believe they are deserving of their fame – well, they are terrible in a way because they are just sort of mildly pathetic really. The work was deliberately made to attract the limelight too, at least in the vibe I get from them.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

Irving Penn: The Enduring Power of Formal Simplicity

“Irving Penn was one of the most significant and prolific photographers of the 20th century whose signature blend of classical elegance, cool minimalism and monumentality still command our attention… Penn’s visual innovations, compositional originality and intensity, his diversity and range, his meticulous perfectionism and his technical precision and insistence on clean spare elegant compositions are his trademarks… A remarkable sixty-year career was filled with amazing commissioned images which could not have been sustained without a relentless sense of precision and unyielding attention to details as well as a restless sense of curiosity… Penn’s approach from the beginning was essentially reductive – he described it as a ‘tightening process – the plastic search.’  He preferred the simple studio backdrop in order to concentrate on preserving the ‘sanctity of the document’… Penn’s legacy is his prodigious insatiable breadth of work blurring the worlds of commerce and fine art. He was constantly questioning the meaning of time, of life and its fragility.

.
Diana Edkins April 2014

 

 

Irving Penn. 'Lion (Front View)' Prague 1986

 

Irving Penn
Lion (Front View)
Prague, 1986
Copyright © by The Irving Penn Foundation

 

Irving Penn. 'Poppy: Showgirl' London, 1968

 

Irving Penn
Poppy: Showgirl
London, 1968
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Cuzco Children' 1948

 

Irving Penn
Cuzco Children
1948
Copyright © by Condé Nast Publications, Inc.

 

 

“The exhibition Irving Penn, Resonance, curated by Pierre Apraxine and Matthieu Humery, brings together on the second floor of Palazzo Grassi 130 photographs, taken between the end of the 1940s and the mid-1980s. The exhibition is a collection of 90 platinum prints, 30 gelatin silver prints, 4 colorful dye transfer prints and 17 internegatives, which will be shown to the public for the first time.

It tackles the themes dear to Irving Penn and which, beyond their apparent diversity, all capture every facet of ephemerality. This is true of the selection of photographs from the series small trades, taken in France, England and the United States in the 1950s. It is also the case for the portraits taken between the 1950s and the 1970s of celebrities from the world of art, cinema, and literature. Exhibited alongside ethnographic photographs of the people of Dahomey and of tribesmen from New Guinea and Morocco, they strongly underline the brevity of human existence, whether affluent or resourceless, famous or unknown.

The exhibition path, which encourages dialogue and connections between works that differ in subject matter and period of time, gives prominence to still life photography from the late 1970s and the beginning of the 1980s: they are composed of cigarette ends, fruit dishes, vanitas as well as animal skulls photographed at the Narodni National Museum in Prague in 1986 for the series Cranium Architecture.

This broad overview of Irving Penn’s work puts relatively unknown images side-by-side with the most iconic ones, thereby revealing the particular ability to synthesize that characterizes this photographer: in his work, modernity is not necessarily in opposition with the past and the way he exerts control over every step of the process, from the studio to the printing (to which he dedicates a lot of attention and unprecedented care), enables one to come nearer to the truth of things and people, through a constant questioning of the meaning of time, of life and of its fragility.

 

Irving Penn

Irving Penn was born in 1917 in Plainfield, New Jersey. In 1934 he enrolled at the Philadelphia Museum School of Industrial Art where he studied design with Alexey Brodovitch. In 1938 he began a career in New York as a graphic artist – then, after a year painting in Mexico, he returned to New York City and began work at Vogue magazine where Alexander Liberman was art director.

Liberman encouraged Penn to take his first color photograph, a still life which became the October 1, 1943 cover of Vogue, beginning a fruitful collaboration with the magazine that lasted until his death in 2009. In addition to his editorial and fashion work for Vogue, Penn also worked for other magazines and for numerous commercial clients in America and abroad.

He published many books of his photographs including: Moments Preserved (1960); Worlds in a Small Room (1974); Inventive Paris Clothes (1977); Flowers (1980); Passage (1991); Irving Penn Regards The Work of Issey Miyake (1999); Still Life (2001); Dancer (2001); Earthly Bodies (2002); A Notebook At Random (2004); Dahomey (2004); Irving Penn: Platinum Prints (2005); Small Trades (2009); and two books of drawings and paintings.

Penn’s photographs are in the collections of major museums in America and abroad, including the Metropolitan Museum of Art, Moderna Museet in Stockholm, The National Gallery of Art in Washington, D.C., Smithsonian American Art Museum in Washington, D.C., The J. Paul Getty Museum in Los Angeles, and the Museum of Modern Art in New York, which honored him with a retrospective exhibition in 1984. This exhibition was circulated to museums in twelve countries. Irving Penn made a donation, in 1997, to the Art Institute of Chicago of prints and archival material. In November of that year, the Art Institute mounted a retrospective that also toured to 5 museums around the world beginning at The State Hermitage in St. Petersburg, Russia.”

Press release from the Palazzo Grassi website

 

Irving Penn. 'Black and White Vogue Cover (Jean Patchett)' New York, 1950

 

Irving Penn
Black and White Vogue Cover (Jean Patchett)
New York, 1950
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Truman Capote (1 of 2)' New York, 1965

 

Irving Penn
Truman Capote (1 of 2)
New York, 1965
Copyright © by Condé Nast Publications, Inc.

 

Irving Penn. 'Deep-Sea Diver (C)' New York, 1951

 

Irving Penn
Deep-Sea Diver (C)
New York, 1951
Copyright © by Condé Nast Publications, Inc.

 

 

Palazzo Grassi
Dorsoduro, 2 
30123
Venezia
, Italy

Opening hours:

Palazzo Grassi website

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07
Apr
13

Exhibition: ‘Candida Höfer: A Return to Italy’ at Ben Brown Fine Arts, London

Exhibition dates: 12th February – 12th April 2013

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Ah symmetry, that vague sense of harmonious and beautiful proportion and balance, that patterned self-similarity that, through Hofer’s large format photographs, reflects the vainglorius human edifices of Northern Italy, superbly beautiful in their empty pride. Customarily devoid of human presence, Hofer’s photographs are technically and aesthetically superb. One has to examine the photographs with respect to their relationship to the passage of time, utilising spatial awareness to try to understand why things exist in specific locations within human culture.

“Both in ancient and modern times, the ability of a large structure to impress or even intimidate its viewers has often been a major part of its purpose, and the use of symmetry is an inescapable aspect of how to accomplish such goals.” (Wikipedia) Symmetries are informative of the world around us, and peer relationships are based on symmetry sending the message “we are all the same.” So Hofer’s symmetrical photographs possess opposing messages: we are all the same but some of us are more important (read powerful) than others.

Hofer’s highly symmetrical rooms are unavoidably also rooms in which anything out of place or potentially threatening can be identified easily and quickly, which has implications for safety, security, and familiarity. In this case it is the absence of human presence. To me this is the critical reading of Hofer’s photographs: they comment on the foibles of the human race, a race nearing the destruction of its only place of habitation, reaching the tipping point on the path to annihilation, yet indulging itself in a continuing race of construction and consumption. There will come a point when these edifices are crumbling and in ruins, as an Ebola-like virus races airborne around the world, destroying 90 percent of the population of the earth within months. The Earth will self balance and all we will be left with will be the memory of an empty symmetry.

Symmetry can be a source of comfort not only as an indicator of biological health, but also of a safe and well-understood living environment. The paradox of Hofer’s environments is that in these colourful, exuberant, profusive environments nothing is alive, the interiors becoming meaningless “noise” in an empty, vacuous world. The human race will have left the building.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Ben Brown Fine Arts 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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Candida Höfer. 'Galleria Degli Antichi Sabbioneta' I 2010

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Candida Höfer
Galleria Degli Antichi Sabbioneta I 2010
2010
Light Jet print
Edition of 6
180 x 220.7 cm (70 7/8 x 86 7/8 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Palazzo Ducale Mantova I' 2011

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Candida Höfer
Palazzo Ducale Mantova I 2011
2011
Light Jet print
Edition of 6
180 x 246 cm (70 7/8 x 96 7/8 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Teatro Comunale di Carpi I' 2011

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Candida Höfer
Teatro Comunale di Carpi I 2011
2011
Light Jet print
Edition of 6
180 x 237 cm; (70 7/8 x 93 1/4 in.)
Edition of 6 © 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Teatro La Fenice di Venezia III' 2011

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Candida Höfer
Teatro La Fenice di Venezia III 2011
2011
Light Jet print
Edition of 6
180 x 242 cm (70 7/8 x 95 1/4 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida-Höfer-Teatro-La-Fenice-Di-Venezia-V-2011-WEB

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Candida Höfer
Teatro La Fenice di Venezia V 2011
2011
Light Jet print
Edition of 6
180 x 235 cm (70 7/8 x 92 1/2 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Teatro Olimpico Vicenza II' 2010

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Candida Höfer
Teatro Olimpico Vicenza II 2010
2010
Light Jet print
Edition of 6
180 x 235 cm (70 7/8 x 92 1/2 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Teatro Scientifico Bibiena Mantova I' 2010

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Candida Höfer
Teatro Scientifico Bibiena Mantova I 2010
2010
Light Jet print
Edition of 6
180 x 226 cm (70 7/8 x 89 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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“German photographer Candida Höfer makes a significant return to Ben Brown Fine Arts in London on 12 February with a major solo show, unveiling thirteen new and previously unseen photographs which catalogue the architectural treasures of Northern Italy.

Mantova, Vicenza, Sabbioneta, Venice and Carpi provide the glorious setting for this new series shot over the past two years, a continuation of Höfer’s previous work in Central and Southern Italy. The interiors of palaces, opera houses, libraries and theatres, which Höfer captures with incredible skill, are part of her meticulous documentation of public spaces – places of culture, knowledge, communication and exchange with a rich history and clear functionality. Having rarely visited the Northern region, Höfer was particularly touched by the naturalness and ease with which the local people there accepted this extraordinary architecture as a part of their daily lives.

Höfer’s portraits of interiors, customarily devoid of human presence, emphasize the solemn magnificence of the Palazzo Ducale, Teatro La Fenice and Biblioteca Teresiana, amongst others. By featuring spaces that celebrate mankind’s greatness, yet where people are nowhere to be found, Höfer’s images possess an unexpected poignancy which has become the hallmark of her work. Höfer produces these large-format photographs without digital enhancement or alteration, using long exposure and working solely with the existing light source. The effect is a rare combination of intimacy and scale, in which intricate architectural detail is captured without sacrificing the sense of space and civilised order.

Höfer, a member of the Düsseldorf School (Kunstakademie Düsseldorf), was a noted pupil of the Bechers, who were heavily influenced by the 1920s German art tradition of Neue Sachlichkeit and pioneered a type of detached objectivity. The Bechers’ black and white photographs of industrial landscapes and architecture embodied a clinical, documentary style, which Höfer has retained in her work through the same neutral and methodical process. Yet Höfer’s large-scale colour prints differ in their more sympathetic approach to the building’s culture and history.”

Press release from Ben Brown Fine Arts

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Candida Höfer. 'Museo Civico Di Palazzo Te Mantova IV' 2010

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Candida Höfer
Museo Civico Di Palazzo Te Mantova IV 2010
2010
Light Jet print
Edition of 6
180 x 187 cm; (70 7/8 x 73 5/8 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Teatro Olimpico Vicenza III' 2010

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Candida Höfer
Teatro Olimpico Vicenza III 2010
2010
Light Jet print
Edition of 6
180 x 144 cm (70 7/8 x 56 3/4 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Biblioteca Teresiana Mantova I' 2010

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Candida Höfer
Biblioteca Teresiana Mantova I 2010
2010
Light Jet print
Edition of 6
180 x 163 cm (70 7/8 x 64 1/8 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Palazzo Ducale Mantova III' 2011

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Candida Höfer
Palazzo Ducale Mantova III 2011
2011
Light Jet print
Edition of 6
180 x 169 cm; (70 7/8 x 66 1/2 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Palazzo Ducale Mantova V' 2011

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Candida Höfer
Palazzo Ducale Mantova V 2011
2011
Light Jet print
Edition of 6
180 x 176 cm (70 7/8 x 69 1/4 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Candida Höfer. 'Palazzo Ducale Mantova IV' 2011

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Candida Höfer
Palazzo Ducale Mantova IV 2011
2011
LightJet print
Edition of 6
180 x 176 cm (70 7/8 x 67 3/4 in.)
© 2013 Candida Höfer, VG Bild-Kunst, Bonn
Courtesy of Ben Brown Fine Arts

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Ben Brown Fine Arts
12 Brook’s Mews, London W1K 4DG
T: +44 (0)20 7734 8888

Opening hours:
Monday to Friday 11am – 6pm
Saturdays 10.30am – 2.30pm

Ben Brown Fine Arts website

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06
Apr
12

Video: New Australian Pavilion for the Venice Biennale by architects Denton Corker Marshall

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Australian Pavilion Venice Flythrough from Australia Council for the Arts

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The outside looks vaguely interesting – the aspect of the building within its surroundings and how it fits into the landscape – but really it is just a safe, unthreatening and conformist structure. The inside is the usual white cube. Says it all really that the inside rates about 5 seconds of the whole video!!

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03
Sep
09

Exhibition: ‘Vera Lutter’ at Gagosian Gallery, Beverly Hills, California

Exhibition dates: 24th July – 12th September 2009

 

I really like this atmospheric work – the scale, the ‘grandness’ of it, the dismemberment through verticality, the immersion into inky darkness – there is something almost subterranean (man living under-earth, under-evolution) about the pictures vestigial structures.

Marcus

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

 

 

Vera Lutter. 'Campo Santa Sofia, Venice, XV: December 12, 2007' 2007

 

Vera Lutter (American, b. 1960)
Campo Santa Sofia, Venice, XV: December 12, 2007
2007
Unique gelatin silver print
68 5/16 × 56 in
173.5 × 142.2 cm

 

Vera Lutter. 'Campo Santa Sofia, Venice, XXIII: December 17, 2007' 2007

 

Vera Lutter (American, b. 1960)
Campo Santa Sofia, Venice, XXIII: December 17, 2007
2007
Unique gelatin silver print
85 7/16 × 112 in
217 × 284.5 cm

 

Vera Lutter. 'Ca Del Duca Sforza, Venice II: January 13-14, 2008' 2008

 

Vera Lutter (American, b. 1960)
Ca Del Duca Sforza, Venice II: January 13-14, 2008
2008
Unique gelatin silver print
104 1/2 × 168 in
265.4 × 426.7 cm

 

Vera Lutter (American, b. 1960) 'Calle Vallaresso, Venice XXVII: January 31, 2008' 2008

 

Vera Lutter (American, b. 1960)
Calle Vallaresso, Venice XXVII: January 31, 2008
2008
Unique gelatin silver print
55 3/8 × 68 1/4 in
140.7 × 173.4 cm

 

 

“Instability, uncertainty, suspense, and monumentality are entities that I consider and think about; they inform my work.” ~ Vera Lutter

 

Gagosian Gallery is pleased to announce an exhibition of large-scale unique photographs by Vera Lutter. This is her first exhibition in Los Angeles.

In Lutter’s conceptual approach to the camera obscura, the most rudimentary form of photography, the apparatus records in a very direct and immediate way what exists in the world outside. By choosing to retain the negative image, she transforms the visual facts of her chosen environments into uncanny scenes that reflect on the two principal realities of time and space.

In recent years, Lutter has made the hauntingly romantic city of Venice an object of prolonged study. Building on her previous recordings of industrial landscapes and cities surrounded by water, such as Old Slip, New York (1995), and Cleveland (1997), the works created in Venice elaborate her intention “to create an image in which the city appears to be suspended above its own reflection, rendering a place that appears to exist outside of gravity.”

During the anticipated high-water season of 2005, Lutter captured mirage-like emanations of San Marco and Piazza Leoni in which the spectral landmarks appear to hover above their own reflected image in the placid water. Lutter returned to Venice the following year to record the area where the Grand Canal flows into the Bacino, which then opens up into the lagoon. This unstable body of water not only gives Venice its special ethereal character; it also threatens the floating city’s very existence.

Lutter revisited Venice in 2007 and 2008 to explore further the physical, technical, and architectural complexities of the city. Works such as San Giorgio (2008), Campo Santa Sofia (2007) and Calle Vallaresso (2008) reveal certain innate qualities and conditions of the city that elude direct observation and can be experienced only through her luminous incarnations, the physical image.”

Text from the Gagosian Gallery website [Online] Cited 01/09/2009 no longer available online

 

“Vera Lutter uses the camera obscura, the most basic photographic device, to render in massive form images that serve as faithful transcriptions of immense architectural spaces. The camera obscura was originally developed during the Renaissance as an aid in the recording of the visible world.

Vera Lutter is best known for monumental black-and-white photographs of cityscapes. Her unique silver gelatin prints are negatives made by transforming a room into a pinhole camera obscura chamber. Directly exposed, often over many hours, onto photosensitive paper, these vistas appear as solarised images, their ethereal platinum tones imbuing the scenes with a haunting melancholy. From an early concentration on the Manhattan skyline, Lutter has turned lately to more industrial sites, including a dry dock, a zeppelin factory, an airport runway, a marina and a deserted warehouse.”

Vera Lutter Biography on the Metro Art Works website [Online] Cited 01/09/2009 no longer available online

 

Installation view of Vera Lutter at Gagosian Gallery, Beverly Hills

Installation view of Vera Lutter at Gagosian Gallery, Beverly Hills

 

Installation views of Vera Lutter works at Gagosian Gallery, Beverly Hills

 

Vera Lutter. 'San Giorgio, Venice XVIII: January 26, 2008' 2008

 

Vera Lutter (American, b. 1960)
San Giorgio, Venice XVIII: January 26, 2008
2008
Unique gelatin silver print

 

Vera Lutter. 'San Marco, Venice, XIX: December 1, 2005' 2005

 

Vera Lutter (American, b. 1960)
San Marco, Venice, XIX: December 1, 2005
2005
Unique gelatin silver print
92 ¼ x 112 ¾ in
234.3 x 286.4 cm

 

Vera Lutter (American, b. 1960) 'Ca' del Duca Sforza, Venice XXXI: July 14, 2008' 2008

 

Vera Lutter (American, b. 1960)
Ca’ del Duca Sforza, Venice XXXI: July 14, 2008
2008
Unique gelatin silver print
56 × 80 3/4 in
142.2 × 205.1 cm

 

Vera Lutter (American, b. 1960) 'Ca del Duca Sforza, Venice, XXXXIII: July 24, 2008' 2008

 

Vera Lutter (American, b. 1960)
Ca del Duca Sforza, Venice, XXXXIII: July 24, 2008
2008
Unique gelatin silver print
50 1/2 × 67 1/8 in
128.3 × 170.5 cm

 

Vera Lutter. 'Ca del Duca, Venice, XA: December 8, 2007' 2007

 

Vera Lutter (American, b. 1960)
Ca del Duca, Venice, XA: December 8, 2007
2007
Unique gelatin silver print

 

 

Gagosian Gallery
456 North Camden Drive
Beverly Hills, CA 90210
Phone: 310.271.9400

Opening hours:
Monday – Saturday 10 am – 6 pm

Gagosian Gallery website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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