Art in NYC: World War I and the Visual Arts at The Met

Art in NYC: World War I and the Visual Arts at The Met

The horrors of war in the eyes of the witnessing artists

The Parents by Kathe Kollwitz, 1922

This rather small exhibition at The Met, Fifth Avenue museum is guaranteed to leave a strong impression on the viewers. So powerful are the dark images that one hardly brings oneself to see the rest of art splendor at the museum. The sirens of bombardments, the smelly trenches, the victims in pain tell a sad story of war and devastation as it depicted by Kathe Kollwitz, Otto Dix, George Grosz, Gino Severini and many others.

Art in NYC: World War I and the Visual Arts The Met
Plague German by Otto Dix, 1919 / not in the exhibition

The exhibition starts with the patriotic posters issued by each and every country that had participated in the military actions at the time. The mood of the posters is about the same no matter which country they belong. In loud and demanding voices they all were asking their respective compatriots to bravely participate in collective sacrifice to support the honor of the king, or emperor, or kaiser, or sultan. That heroic and brave mood changes to the cries of the wounded and the tears for the dead as the exhibition continues.

The World War I, which started with the assassination of the archduke Franz Ferdinand of Austria in June of 1914, lasted till November, 1918 and had resulted in the death of one million combatants and seven million civilians making it one of the deadliest conflicts in history.

The exhibition opens with the cautious works from 1914-1915 such as lithographs by Natalia Goncharova, graphics by Christopher Nevinson and Gino Severini. While not exactly endorsing the war, in those initial years of the conflict many were looking at it as redemption. As more countries entered the war and more horrors started to fall on the civilians and the soldiers, the patriotic tunes turned to the screams for help.

Art in NYC: World War I and the Visual Arts The Met
Made in Germany by George Grosz – website of the MOMAPage: http://www.moma.org/collection/browse_results.php / image courtesy of https://en.wikipedia.org/w/index.php?curid=20544655

The last gallery in the exhibition delivers probably the most powerful message begging to remember where the war leads. In that gallery you will find The War (Der Krieg) cycle of 50 etchings by Otto Dix released in 1924 to commemorate the ten-year anniversary of the war start. Dix had volunteered for the German Army in 1914, served for 4 year and was badly wounded. Being profoundly affected by the conflict, his feelings about it changed as the nightmares of destruction continued to hound him for some time.

The same gallery also presents the drawings and prints by George Grosz. A contemporary and friend of Dix, Grosz was also serving in German army at the time of WWI but not with such clear patriotic overtones. His works satirize the high ranks of the military and depict the sorry state of the soldiers.

One of the most potent entries in the show are the lithographs by Kathe Kollwitz. Having experienced firsthand the grieve and pain of the loss of her son in WWI, Kollwitz’s depiction of women in deep mourning are a mighty plea to stop any posturing towards the war. This year as the world celebrates her 150th anniversary, Kollwitz humanistic works condemning the war and oppression can be seen at various exhibitions in London, Berlin and Cologne. An expose on Artnet.com  points out that at each of these shows “there is good, hard art to be discovered”.

As for the show at The Met, its message is particularly relevant today amid the reckless threats and provocations.

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Venue: The Met Museum on Fifth Avenue   

 

Time: July 31, 2017 – January 7, 2018

 

 

Art in NYC: Modigliani Unmasked Exhibition at the Jewish Museum

Art in NYC: Modigliani Unmasked Exhibition at the Jewish Museum

Early works by Amedeo Modigliani on view from September 15, 2017 – February 4, 2018

Jewish Museum Modigliani nudes portraits sculptures
Jeanne Hébuterne with Yellow Sweater, 1918-19 / Image provided by Solomon R. Guggenheim Foundation / Art Resource NY

The drawings, paintings, and sculptures by Amedeo Modigliani are easily recognized for their characteristic elongated features and warm color palette. The Jewish Museum presents the works from Dr. Paul Alexandre collection who was the artist’s close friend and first patron. The show covers Modigliani’s first years in Paris from 1906 when he arrived on the scene till primarily 1912. While many of the works look very familiar, others are exhibited in New York for the first time refreshing the visitors understanding of the artist oeuvre and getting deeper into the roots of his creative style.

Jewish Museum Modigliani nudes portraits sculptures
Kneeling Caryatid, 1911-12, Paul Alexandre Family, courtesy of Richard Nathanson, London / Image provided by Richard Nathanson, photo: Prudence Cuming Ass.

Amedeo Modigliani was born in a Sephardic Jewish family in Livorno, Italy in 1884. His father’s side came from Italian businessmen clan, while his mother’s side origins were from Marseille, France bringing a cultivated, intellectual ancestry which traced its lineage to Spinoza. The family’s fortunes collapsed at the time of Modigliani’s birth, but the family was able to maintain a flare of decent means because of his mother’s enthusiasm and resourcefulness. Modigliani had experienced multiple health crises in his childhood and youth leading eventually to tuberculosis that claimed his life at an early age of 35.

When Modigliani arrived in Paris at the turn of the twentieth century, it was an artistic hub and the center of creative expression counting in its ranks founders of every modernist artistic movement. The unprecedented vibrancy of creative scene was calling for finding new styles away from the classical determinism towards the freedom of abstract art. Modigliani, however, embraced figurative style likely because he had already experimented with Macchiaioli, en plain air painting technique which pre-dates impressionism, back in Florence, Italy when he was attending art school there. He didn’t fall in love with it and continued to work in his studio.

Jewish Museum Modigliani nudes portraits sculptures
Seated Female Nude, possibly Anna Akhmatova, 1911; Paul Alexandre Family, courtesy of Richard Nathanson, London / photo: Prudence Cuming Ass.

In Paris he was getting his inspiration from African, Egyptian and Southeast Asian art that he intensively studied at the museums rich in exotic artifacts. The current show traces the influence of these ancient cultures on Modigliani’s works and emphasizes the successful mix of forms and poses found in his portraits.

A fascination with the nonwestern representation of the faces and figures taken by the artist at the time when he met Russian poet Anna Akhmatova had resulted in numerous sketches of her as a goddess. The drawings on view have accentuated angular forms reminding of the paintings from the Ancient Egypt. Another gallery in the show is dedicated to the exploration of the caryatids and other devotional figures from the ancient world. Yet in another gallery, there is a collection of limestone sculpture heads reminiscent of the African masks. The build-up of influences and elements leads to the familiar oil paintings of nudes and portraits.

Modigliani’s short life was almost too full of all sorts of excesses. Too many lovers, too much alcohol and drugs, too many rushed ideas, too noisy parties. The latest biography by Meryle Secrest “Modigliani: A Life” tells a sympathetic story of this talented artist “putting his art at the center” in the words of the New Yorker review of the book.

One peculiar aspect of Modigliani’s oeuvre is that it attracts the imitators making Modigliani “the most faked artist in the world” according to Secrest. The seemingly easy to replicate compositions commanding sky-high prices combined with a poorly documented portfolio of works have led to the notorious number of forgeries. The fakes even found its way into acclaimed museum collections. An exhibition in Genoa, Italy in the summer of 2017 had to close early according to Artnet  because of the high number of fakes on view.

Modigliani Unmasked will surely get one think about many of the artist’s intentions and make his art even more enjoyable for the viewers!

 

Jewish Museum Modigliani nudes portraits sculptures
Amedeo Modigliani, Head of a Woman, 1910/1911, limestone, Chester Dale Collection

Dates: September 15, 2017 – February 4, 2018

Venue: Jewish Museum, 1109 5th Avenue, NY          

 

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Beyond NY: Brodsky/Baryshnikov Play at Winter Garden Theater in Toronto, ON

Beyond NY: Brodsky/Baryshnikov Play at Winter Garden Theater  in Toronto, ON

Show One Productions presents Brodsky/Baryshnikov at Winter Garden Theater in Toronto on January 24 – 27, 2018 

Brodsky/Baryshnikov
M.Baryshniov, photo credit Janis Deinats / Image courtesy of Cherry Orchard Festival

90 min one-man show Brodsky/Baryshnikov, directed by Alvis Hermanis, is a delicate theatrical staging of complex poetry by Josef Brodsky  performed by Mikhail Baryshnikov, a celebrated dancer and actor, and a close friend of J. Brodsky. The show is presented by the Show One Productions with the performances at the Winter Garden Theater in Toronto, ON on January 24-27, 2018. This engagement will follow the performances in Boston, MA.

Josef Brodsky, 1987 Nobel Prize winner in Literature, was a Russian and American poet and essayist. Born in 1940 in St. Petersburg (then Leningrad) Russia, he started writing poetry early in his teens. His writings were gaining popularity in literary circles and caught the attention and support from a Grand Dame of the Silver Age of Poetry, Anna Akhmatova. However, Brodsky’s poetry and life style were denounced by the authorities as anti-Soviet , and in 1963 he was sent to a hard labor camp in the Far North. He was eventually expelled from Russia in 1972 and settled in the USA.

Brodsky/Baryshnikov
M. Baryshnikov, photo credit: Janis Deinats / Image courtesy of Baryshnikov Productions

The Paris Review notes Baryshnikov’s description of his first meeting with Brodsky pointing to a minute details like it was just yesterday. In Baryshnikov words “He gave me a cigarette, my hands were trembling … For me, he was a legend.” Their friendship lasted for more than two decades until Brodsky’s death in 1996.

Brodsky was more than just a friend, but a teacher and a mentor for Baryshnikov. In the FT  “Poetry and Motion” article Baryshnikov refers to Brodsky as “his university”.

The first performance of Brodsky/Baryshnikov play took place in 2015 in Riga, Latvia, a birth city for both Baryshnikov and Hermanis. It was then taken on an international tour to Tel-Aviv, New York, London, reviewed here in the spring of 2017, and in 2018 to Boston, Toronto and Chicago.

While Brodsky was forcefully thrown out of Russia for becoming a cause célèbre in demonstrating a demonic nature of the soviet regime, Baryshnikov had defected to the West when he was on tour in Canada with Mariinsky ballet in 1974. They met in New York City at a party organized by Mstislav Rostropovich, an acclaimed Soviet and Russian cellist and conductor who also left Russia in the early seventies.

Brodsky/Baryshnikov
M. Baryshnikov and A. Hermanis, photo credit Janis Deinats / Image courtesy of Baryshnikov Productions

Although it is a one-man show, the audience gets to hear both voices. The Times of London says that there is “an eerie sense of an artistic collaboration that transcends mortality”. The depth of the verses, the grace of movements, the spare stage set bring back a sense of the passing time. And even when Hermanis describes the show as an anti-ballet, one still sees elegant moves in Baryshnikov’s ways of reading Brodsky’s verses and acting them on stage. The reading is done is Russian, so non-Russian speakers have to rely on a translation which surely misses the elegance and the poetic rhythm. Never the less its a theater to it’s highest degree that will surely be enjoyed by the theater lovers.

Toronto,ON Show Dates and Discounted Tickets with the code TICKETS3

Wednesday, January 24, 2018

Thursday, January 25, 2018

Friday, January 26, 2018

Saturday, January 27, 2018

 

Venue: Winter Garden Theater, 189 Yonge St, Toronto, ON 

 


Art in NYC: Leonardo to Matisse Drawings at the Met Museum

Art in NYC: Leonardo to Matisse Drawings at the Met Museum

Master Drawings from the Robert Lehman Collection

Leonardo to Matisse Met Museum master drawings Robert Lehman collection
Albrecht Dürer,
Self-portrait, Study of a Hand and a Pillow (recto),1493 / Image courtesy of the Met Museum

Intimate and insightful survey of European drawings from the Renaissance to Early Modernism is on view at the Met Museum on October 4, 2017 – January 7, 2018. The works are selected from the collection of Robert Lehman who spent six decades on building his fast art assemblage with 700 sheets of drawings complementing his father’s collection of paintings.  Leonardo to Matisse show comprises of 4 sections dedicated to Italian Renaissance, Dutch and German drawings from 15th to 17th centuries, the 18th and 19th century works from Italy and France, and ending with Impressionists and Early Modernists.

The exhibition is organized in the chronological progression mirroring the establishment of the medium as a fully developed form of creative expression. It begins with the pieces by Italian Renaissance masters covering the time when the medium of drawing was starting to claim its rights. From sketches and quick studies of compositions and gestures, it had progressed to the finished works prized by patrons and collectors. Giorgio Vasari, a painter, and art-historian who defined our appreciation of the drawing and its foundational place in art was among the first collectors. One of the pieces from his collection by Antonio Pollaiuolo is on view now at the Met. Vasari’s book “Live of the Most Eminent Painters, Sculptors and Architects” first time published in 1550 is still a great source for art-historians and history buffs. Vasari dedicated his book to Grand Duke Cosimo I De’Medici. Medici’s patronage of the arts helped to speed up the Renaissance.

Leonardo to Matisse Met Museum master drawings Robert Lehman collection
Rembrandt, The Last Supper, after Leonardo da Vinci, 1634–35 / Image courtesy of the Met Museum

An extremely detailed sketch of a bear by Leonardo is an example of the artist’s keen technique and close observation of the world around him. Leonardo kept copious notebooks full of sketches and momentous studies as well as in-depth engineering designs and scientific research. The New Yorker preview of the recently published biography “Leonardo Da Vinci” by W. Isaacson notes a point made by Isaacson about Leonardo’s tendency to rush and abandon his projects. The medium of drawing with its fast pace seems to be an ideal one for someone endlessly on the creative move.

The next section in the exhibition is dedicated to the Northern Europeans from 15th through 17th centuries. From delicate portraits to scenes from everyday life, the works on view are by Jan van Eyck and his circle, Rogier van der Weyden and his workshop with an allegorical scene used as a prep for sculptural work, and a fascinating study by Rembrandt of Leonardo’s Last Supper done in red chalk. German masters are represented by amazing pieces including a self-portrait and highly textured sketches of household items, in this case, pillows by Albrecht Durer.

Moving to 18th and 19th century Italian and French works, the show presents fine examples of new highs in using pen, ink, wash and other material to convey the story and emotions. Works by Tiepolo, Giambattista, Goya, Corot, Watteau and Fragonard introduce new techniques and highly refined skills.

Leonardo to Matisse Met Museum master drawings Robert Lehman collection
Antoine Watteau, Seated Woman, 1716–17 / Image courtesy of the Met Museum

The last section is dedicated to the Impressionists and Modernists ranging from Degas to Seurat to Matisse. The drawings on view give a window into artists’ minds letting us see how they developed the subjects of the future paintings. All alone the drawings are taking a deserved place as a form of art with all its power and thought-provoking allure.

The exhibition will delight every art lover!

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Venue: The Met Museum on Fifth Avenue       

Time: October 4, 2017 – January 7, 2018

Music in NYC: Carla Bruni Concert at The Town Hall in NYC

Music in NYC: Carla Bruni Concert at The Town Hall in NYC 

Returning to The Town Hall on February 16, 2018 with new program  

Carla Bruni USA tour February 2018 album French Touch
Carla Bruni / Image courtesy of Metropolitan Entertainment

Carla Bruni, a French singer-songwriter and a former first lady and ex-supermodel is bringing her latest collection of songs to concert halls in the US in February 2018. Her dreamy yet sultry singing style of the love chansons accompanied on guitar playing by Bruni herself is guaranteed to give a terrific music night for the concertgoers.

Carla Bruni Sarkozy (née Carla Gilberta Bruni Tedeschi) was born in 1967 in Turin, Italy and moved to France at the age of 7. Starting with the piano in school, she discovered a guitar when she was about 11 years old. Right there at the first group lesson, she realized that this is her instrument. Singing and playing guitar became her purpose in life.

Carla Bruni USA tour February 2018

She started her music career in 1997 before successfully modeling for the top couture houses in France. Her success in songwriting began when in 1999 she sent her lyrics to Julien Clerc. The songs were later included in his album Si j’étais elle . Bruni’s first personal disc Quelqu’un m’a dit was released in 2002. That followed by No Promises in 2007. She continued to record after her marriage to Nicolas Sarkozy, President of France in 2007-2012.Carla Bruni USA tour February 2018

Bruni’s third album Comme si de rien n’état  was published in 2008 and Little French Songs in 2012. A 4-year interval between the releases did not mean that she stopped her career in light of becoming the first lady of France. Carla Bruni USA tour February 2018 But even though she finished the work on the songs and the recordings by 2011, “it wasn’t considered appropriate to release it while she was First Lady” according to 2013 expose in Vanity Fair.

The latest album French Touch, released  by Verve in October 2017, is her fifth. She regained the pace of her performing and recording music career when her husband had lost the reelection in 2012 and the family had fully relocated from the Élysées Palace to a private residence on Right Bank. The songs included in this album are all her favorites from when “I was a teenager” as she confided in the interview to NPR’s Scott Simon.

Carla Bruni USA tour February 2018 An idea for Bruni to record English language pop and country classics was David Foster’s, an acclaimed music producer and a former chairman of Verve. The collection includes the covers that she knew by heart, so the whole project felt like a smooth sailing full of distant memories and charming reveries. In the interview with The New York Times, she reveals that its “her secret passion: singing classic rock, country and jazz standards in English”.

Carla Bruni USA tour February 2018 album French Touch
Carla Bruni / Image courtesy of Metropolitan Entertainment

She has been including classic rock in her latest concert programs in Paris and on tours in Europe. However, her program at the NYC appearance in 2013 has featured primarily the songs from the newly released at that time Quelqu’un m’a dit album. All were in French or Italian delivered with the mastery, elegance, and simplicity.

The upcoming concert in February in NYC will give her fans a chance to enjoy an unbelievable mix of familiar classics performed in subtly sexy voice making it even more chic with a hint of French accent.

 

 

 

 

Carla Bruni USA tour February 2018 album French Touch

Concert Dates and Discounted Tickets with the code TICKETS3:

 

New York City at The Town Hall on Friday, February 16, 2018

 

Venue: The Town Hall, 123 W 43rd Str, NY, NY