Tag: Impressionism

Lecture | Something on High: Van Gogh, Nature and the Seasons – Sjraar van Heugten | NGV International

Vincent van Gogh A wheatfield, with cypresses early September 1889 Saint-Rémy oil on canvas 72.1 x 90.9 cm F 615, JH 1755 National Gallery, London Bought, Courtauld Fund, 1923 (NG3861) © The National Gallery, London Photo: The National Gallery, London

Something on High: Van Gogh, Nature and the Seasons Sjraar van Heugten Date: Saturday 29th April 2017, 2pm  Venue: Clemenger BBDO AUditorium, NGV International Tickets $16 M / $20 A / $18 C (Book here http://www.ngv.vic.gov.au/program/something-on-high/) The seasons had profound meaning for Vincent van Gogh: they represented the circle of life within nature – birth, bloom, maturity and death. For the artist, this ongoing cycle represented the greatness of nature and the existence of a higher force. Celebrate the opening weekend of Van Gogh and the Seasons as exhibition curator Sjraar van Heugten explores Van Gogh’s love of nature in both his life and work and the role of the seasons in his oeuvre. Sjraar van Heugten is an independent art historian and former Head of Collections at the Van Gogh Museum, Amsterdam. Sjraar joined the Van Gogh Museum in…

Melbourne Masterclass: Van Gogh’s Four Seasons

Monday, 1 & 8 May and Wednesday, 17 & 24 May 2017, 6.00pm–8.30pm In partnership with the National Gallery of Victoria’s Melbourne Winter Masterpiece exhibition Van Gogh and the Seasons, the Faculty of Arts is pleased to present a masterclass exploring the life and art of one of the most recognisable artists of the 20th century, Vincent van Gogh. The four seasons run like a thread throughout Van Gogh’s art work and for the artist represented the circle of life in all its beauty and majesty. By focussing on a different season each week this four-part masterclass, Van Gogh’s Four Seasons, will explore the artist’s work and the varied shades of his personality and life experiences. Each session includes evening lectures and talks by some of the University of Melbourne’s finest scholars and NGV’s Senior Curators, light refreshments and the privilege…

Lecture | How Pre-Raphaelite Frames Influenced Degas and the Impressionists | NGV International

Enter the world of picture framing through a lecture by British art historian and specialist Lynn Roberts. Although often ignored, picture frames have a huge impact on our viewing and perception of pictures. This fact was well appreciated by many artists connected with the British Pre-Raphaelite and the French Impressionist movements, including Edgar Degas. For these artists, framing was a critical aspect of their art, and literally integral to it. In different ways their frames radically contrasted to the conventional, ornate frames in which pictures were hung in official exhibitions such as the Salon in Paris and Royal Academy in London. Explore the connections between the frame designs of the British Pre-Raphaelites and those of the French Impressionists, as seen in original Pre-Raphaelite and Impressionist frames. Roberts is an art historian specializing in the history of picture frames, of all periods from the…

Lecture | International Degas expert Xavier Rey on Degas and the Nude | NGV International

Edgar Degas Woman in a tub c. 1883 pastel 70.0 x 70.0 cm Tate, London Bequeathed by Mrs A.F. Kessler 1983 (T03563) © Tate, London 2016

The nude figure was central to the art of Edgar Degas, and yet frequently the artist’s expansive body of work in this area has been overshadowed by focus on portraits and dancers. Listen in as Xavier Rey, Director of Collections, Musée d’Orsay explores the evolution of Degas’s nude, from the academic and historical approach of his early years to the role of the body in modernity. Xavier Rey is the Director of Collections at the Musée d’Orsay. He has curated numerous exhibitions including Degas and the Nude (2012); Degas. The Masterpieces of the Musée d’Orsay, Paris (2012-13) and Faces of Impressionism: Portraits from the Musée d’Orsay (2014-15). Date: Friday 8th July, 2.30pm Cost: Free, booking essential. Book via the NGV website: http://connect.ngv.vic.gov.au/single/SelectSeating.aspx?p=8686 Venue: Clemenger BBDO Auditorium, NGV International

Exhibition | Impressions of Paris: Lautrec, Degas, Daumier, Atget | Monash Gallery of Art

MONASH GALLERY OF ART| 17 July—20 September 2015 The exhibition Impressions of Paris: Lautrec, Degas, Daumier, Atget is now open at the Monash Gallery of Art. The exhibition features over 120 prints, posters and photographs drawn from the collection of the National Gallery of Australia. The exhibition focuses on the work of artists Honoré-Victorin Daumier (1808–1879), Edgar Degas (1834–1917), Henri de Toulouse-Lautrec (1864– 1901) and Eugène Atget (1857–1927). Lautrec, Degas and Daumier were consummate draughtsmen whose innovative compositions and embrace of modern subject matter played a significant role in artistic developments in France over the nineteenth century. Atget, the only specialist photographer among these artists, spent much of his life documenting the streets of Paris as they underwent modernisation. The generation of French artists who followed Daumier in the nineteenth century were inspired by his critical observations, which became an extraordinary…

Exhibition Review | Australian Impressionists in France. Reviewed by Caroline Jordan

Australian Impressionists in France Caroline Jordan The National Gallery of Victoria (NGV) has offered a number of Impressionist blockbusters over 2012-13: Monet’s Garden, Radiance: the Neo-Impressionists and now Australian Impressionists in France. Given its present ubiquity in our state gallery, it is well to remember that when Impressionism debuted in France in the 1870s and 1880s it was considered to be beyond the pale of official patronage. Impressionism offended by rejecting the mythological, classical or historical subject matter of academic painting, replacing it with such unimportant things as dance halls, picnics, cabbage patches, haystacks, stretches of beach and random scenes of the street. Spurning the studio, the Impressionists ventured outdoors to paint direct from the motif, daubing slashes and spots of pure, bright colour onto white-primed or bare canvases. Impressionist compositions were similarly innovative, drawing on the novel influences of…

Art and Art History News | September 13th 2013

A round up of recent news from the world of art Katrina Grant A press release from the Australian Academy of the Humanities has cautioned that ‘the Coalition’s proposal to redirect Australian Research Council funds away from projects it deems to be “wasteful” compromises the fundamental principle of funding research based on the criteria of excellence.’ Made last week, pre-election, but, still relevant. A good post-election follow up in the Guardian Australia by Hila Shacher from UWA who writes that “Politicians shouldn’t be allowed to decide what is “relevant” in research any more than they have the right to tell business owners whether they like or dislike their products.” And that “if the waste lies anywhere, it is in the over-bureaucratic and counter-productive sections in ARC grant applications in “which researchers bend over backwards to mollify politicians concerned that somebody, somewhere, might be doing…

Short Course | The Age of Impressionism – France & Australia | Monet’s Garden

Presented by art and cultural historians this series of lectures will delve into the social and cultural world of the Impressionist era in Paris and will address how the Australian artists connected with their international contemporaries. In conjunction with Australian Impressionists in France exhibition.   Sat 3 Aug, 2pm From the Gare Saint Lazare to Giverny We will trace Claude Monet’s artistic and personal journey as he moved ever further from Paris via Argenteuil, Vetheuil to Giverny and became increasingly engrossed in the study of landscape and light. Speaker: Sylvia Sagona, Fellow, The University of Melbourne Sat 10 Aug, 2pm The word and the image Emile Zola, art critic and champion of the Impressionists, wrote a series of now famous novels on the districts of Paris represented in their canvasses, using a literary style inspired by their ideas and techniques.…

Reflections on Monet | Floor talks at the NGV

During July the NGV is presenting a series of floor talks that will link the permanent collection with the current exhibition Monet’s Garden. Join experts in various fields as they explore the NGV collection, making connections with Monet’s life, work and the Impressionist era. Please note these talks will not take place in the Monet’s Garden exhibition. Free Entry. Meet at the Information Desk on the ground Floor of NGV International (St Kilda Rd) Enquiries contact the NGV http://www.ngv.vic.gov.au/whats-on/programs/public-programs/floor-talk-series-the-impressionist-era Wed 3 Jul, 12.30pm | Art & Music during the Impressionist period French composers found just as much inspiration in gardens as Monet did. This floor talk explores garden-themed music from France in the late nineteenth century, exploring the works of Monet’s great contemporaries Debussy and Fauré as well as lesser-known masters such as Roger-Ducasse, D’Indy and Bruneau. Speaker John Weretka, musicologist and art…

Exhibition Review | Monet’s Garden at the National Gallery of Victoria. Reviewed by David R. Marshall

The latest NGV exhibition is, again, sourced largely from a secondary French museum (the Musée Marmottan Monet, henceforth MMM). Monet exhibitions have traditionally draw large crowds, and are much loved by gallery directors needing to feed the political machines to which they are beholden that equate numbers with success. But if ‘Monet’ is the brand of brands for art exhibitions, for organisers there is the problem of finding new ways to give a Monet show intellectual credibility and thematic coherence, while marketeers may feel the need to enrich a brand that runs the risk of becoming stale. And, given the economics of international exhibitions in Australia, the bulk of the works need to come from a single source. Hence Monet’s Garden.

‘Monet’s Garden’ is an idea rich in possibilities: it connects cultural tourism (a trip to Giverny) with high-art glorification of artistic genius. While previous NGV exhibitions have emphasised, through videos, places associated with the objects on display (notably the Musée Moreau in the Moreau exhibition and Malmaison with Napoleon), Monet’s Garden takes the place/artwork nexus one step further. I once taught a subject in art history on the history of gardens called Visions of Paradise: Art of the Garden, a title stolen from a picture book by Marina Schinz, and did a week on Monet and Giverny. One of the essay questions was whether Monet was a better gardener than painter. This generated some interesting responses. By asking this question one is forced to look at his Giverny paintings differently: as topographical painting, subordinate to the place represented, rather than a this-is-a-work-of-genius painting. It is quite intriguing, after studying the now well-known colour photos of Monet in his garden nearest the house (e.g. pp. xxiv-xxv of the catalogue) (Fig. 1), to be able to identity what the paintings actually represent. The strength of Impressionism was that it accepted the facts and went from there, so that its underpinning of visual factuality is there if you choose to look. A visit to the waterlily pond at Giverny makes you realise that his Nymphéas paintings are much more realistic than you had thought when you saw them in a gallery (Figs. 3, 14). This helps us to see Monet differently: as the last of the estate topographers, rather than as a wannabee modernist abstractionist.

Symposium | Impressions of Monet

Impressions of Monet | Monet’s Garden To celebrate the most extensive exhibition of Monet’s work ever to travel to Australia the NGV is holding a symposium with local and international experts that will explore key themes of the exhibition. The symposium is generously supported by the Australian International Cultural Foundation, an affiliate of Art Exhibitions Australia. Program Tony Ellwood, Director, NGV | Welcome Colta Ives, Curator Emerita, The Metropolitan Museum of Art, New York | Monet: Impressionist in the garden Marianne Mathieu, Assistant Director and Curator, Musée Marmottan Monet | Impressionism at the Marmottan Sophie Matthiesson, Curator, International Art, NGV | Monet’s political garden Prof Emerita Virginia Spate, University of Sydney | Paint and water Dr Matthew Martin, Assistant Curator, International Decorative Arts and Antiquities, NGV | Inside Monet’s house at Giverny Date: Saturday 11th May, 1:30-5pm Venue: BBDO Clemenger Auditorium,…