Sunday, January 14, 2018

Berthe Morisot, Woman Impressionist

Berthe Morisot

Berthe Morisot, Woman at Her Toilette, 1875–1880, oil on canvas, The Art Institute of Chicago, Inv.  no.  1924.127, Photo courtesy The Art Institute of Chicago / Art Resource, NY
Berthe Morisot, Woman at Her Toilette, 1875–1880, oil on canvas, The Art Institute of Chicago, Inv. no. 1924.127, Photo courtesy The Art Institute of Chicago / Art Resource, NY [NOTE: The Barnes Foundation and Dallas Museum of Art presentations only]

The Musée national des beaux-arts du Québec (Québec City, Canada), the Barnes Foundation (Philadelphia, PA), the Dallas Museum of Art (Dallas, TX), and the Musée d’Orsay (Paris, France) have announced an internationally touring exhibition dedicated to one of the revolutionary artists of the French Impressionist movement, Berthe Morisot (1841–1895). Co-organized by the four institutions, Berthe Morisot, Woman Impressionist will focus on the artist’s figure paintings and portraits through approximately 50 to 60 paintings from both public institutions and private collections. This tour will be the first dedicated presentation of Morisot’s work to be held in the United States since 1987, the very first solo exhibition of her work to be mounted in Canada, and the first time since 1941 that a French national museum will devote a monographic show to this important painter.
One of the founding members of the French Impressionists, Berthe Morisot was celebrated in her time as one of the leaders of the group, and her innovative works were coveted by dealers and collectors alike. Despite her accomplishments, today she is not as well-known as her Impressionist colleagues, such as Claude Monet, Edgar Degas, and Pierre-Auguste Renoir. Co-curated by Sylvie Patry, Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris and Consulting Curator at the Barnes Foundation, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art, Berthe Morisot, Woman Impressionist will both illuminate and reassert Morisot’s role as an essential figure within the Impressionist movement and the development of modern art in Paris in the second half of the 19th century.
The exhibition traces the exceptional path of a female painter who, in opposition to the norms of her time and social background, became an important member of the Parisian avant-garde from the late 1860s until her untimely death in 1895. Through her portrayal of the human figure, Morisot was able to explore the themes of modern life that came to define Impressionism, such as the intimacy of contemporary bourgeois living and leisure activities, the importance of female fashion and the toilette, and women’s domestic work, all while blurring the lines between interior and exterior, public and private, finished and unfinished.
Organized semi-chronologically, the exhibition will examine Morisot’s painterly innovations and fundamental position within Impressionism across the arc of her productive, yet relatively short life. The exhibition explores the following periods and themes of Morisot’s work:
  • Becoming an Artist – The introductory section looks at Morisot’s formative years, when she left behind the amateur artistic practice associated with women of her upbringing and established herself as both a professional artist and a key contributor to the emerging Impressionist movement in the late 1860s and early 1870s.
  • Painting the Figure en plein air – A selection of Morisot’s plein-air paintings of figures in both urban and coastal settings highlights her innovative treatment of modern themes and immersive approach that integrates her subjects within their environments through brushwork and palette.
  • Fashion, Femininity, and la Parisienne – The importance of fashion in constructing modern bourgeois femininity forms a central part of the artist’s paintings of the 1870s and 1880s. This interest is revealed in Morisot’s creations and adaptations of quintessential Impressionist subjects, such as elegant Parisian women shown at the ball or dressing in their homes, and the leisure activities associated with suburban parks and gardens.
  • Women at Work – Morisot’s depictions of the domestic servant—the majority of whom she employed in her household—reflect her own status as a working professional woman. Her interest in painting these women raises questions about bourgeois living and the intimacy of the shared domestic setting.  
  • Finished/Unfinished – The increasing immediacy of Morisot’s technique, and her radical experimentation with the concept of finished and unfinished in her work, exposes the process of painting and furthers the indeterminacy between figure and setting begun in her plein-air work.
  • Windows and Thresholds – Morisot’s interest in liminal spaces is revealed in her paintings of subjects such as doorways and windows. Within these often spatially ambiguous settings, Morisot’s masterful evocation of light and atmosphere, the most ephemeral of her subjects, serves to anchor the human figure within these transitory spaces. 
  • A Studio of Her Own – Morisot’s late career paintings from the 1890s often depict her personal  domestic space, which served as both studio and setting. During this period, Morisot reached a new expressiveness in her painting as figures become increasingly enveloped by their surroundings. The vibrant, saturated palette and sinuous brushwork that she adopted in these final works demonstrate their visual and symbolic affinities with the emerging Symbolist aesthetic of the time.
Exhibition Organization:

Berthe Morisot, Woman Impressionist is organized by Musée national des beaux-arts du Québec, the Barnes Foundation, the Dallas Museum of Art, and the Musées d’Orsay and de l’Orangerie. The exhibition is co-curated by Sylvie Patry, Chief Curator/Deputy Director for Curatorial Affairs and Collections at the Musée d’Orsay, Paris and Consulting Curator at the Barnes Foundation, and Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture at the Dallas Museum of Art.

Exhibition Catalogue:



The exhibition is accompanied by a fully illustrated catalogue that emphasizes the importance of understanding Morisot’s work in light of her dialogue with contemporary artistic movements—Impressionism, but also Post-Impressionism and Symbolism. Berthe Morisot, Woman Impressionist makes an important contribution to the field, with interdisciplinary scholarship and a specific focus on Morisot’s pioneering developments as a painter first, woman second. Edited by Sylvie Patry, an English- and French-language catalogue will be co-published by Rizzoli International Publications, Inc. and the Barnes Foundation, Philadelphia, in association with the Dallas Museum of Art and the Musée national des beaux-arts du Québec, Québec.

A separate French-language catalogue will be published by the Musée d’Orsay, Paris. The book contains essays by Morisot scholars including the exhibition co-curators Sylvie Patry and Nicole R. Myers; Cindy Kang, Barnes Foundation; Marianne Mathieu, Musée Marmottan; and Bill Scott, Pennsylvania Academy of the Fine Arts, as well as a chronology by Amy Wojciechowski with additional research by Monique Nonne,

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Berthe Morisot, Self-Portrait, 1885, oil on canvas. Musée Marmottan-Claude Monet, Fondation Denis et Annie Rouart, 
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Berthe Morisot, The Cradle, 1872, oil on canvas, Musée d’Orsay, Paris, RF 2849 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
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Berthe Morisot, Winter, 1880, oil on canvas, Dallas Museum of Art, Gift of the Meadows Foundation, Incorporated, 1981.129; 
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Berthe Morisot, In England (Eugène Manet on the Isle of Wight), 1875, oil on canvas, Musée Marmottan-Claude Monet, Fondation Denis et Annie Rouart, Photo by Erich Lessing / Art Resource, NY; 


 

Saturday, January 13, 2018

Christie’s New York in the Spring of 2018


In spring of 2018, the sale of The Collection of Peggy and David Rockefeller  will take place at Christie’s Rockefeller Center Galleries in New York. In keeping with David Rockefeller’s pledge to direct the majority of his wealth to philanthropy and provide for the cultural, educational, medical, and environmental causes long supported by him and his wife, all of the Estate’s proceeds from the sales across a wide variety of categories will be donated to the Rockefeller family’s charities of choice. As such, it will be the most important philanthropic auction ever held.

Impressionist & Modern Art Highlights

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A Picasso Rose Period masterpiece, executed in 1905, Fillette à la corbeille fleurie is a highlight of the collection (estimate in the region of $70 million). Rich in pathos in its depiction of bohemian life at the turn of the 20th century, this rare work is a technical tour de force of draftsmanship and atmosphere. The painting maintains a storied provenance; it was acquired in 1905 by brother and sister, Leo and Gertrude Stein, and passed to Alice B. Toklas upon Gertrude’s death in 1946, where it remained throughout Alice’s lifetime for another 21 years. In 1968, David Rockefeller formed a group of important art collectors to acquire the renowned collection of Gertrude Stein. Drawing slips of numbered paper from a felt hat, David Rockefeller drew the first pick in the syndicate, and he and Peggy were able to acquire their first choice of the Young Girl with a Flower Basket, and placed it in the library of their 65th Street New York townhouse.

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The most important work by Henri Matisse to be offered on the market in a generation is Odalisque couchée aux magnolias, painted in Nice in 1923 (estimate in the region of $50 million). The subject of the odalisque, the reclining female figure, held special significance for Matisse as it presented the opportunity to measure his art against past masters. Odalisque couchée aux magnolias, with its symphonic synthesis of pattern and form, has long been counted among the greatest of Matisse’s paintings in private hands. This sumptuous painting resided in the living room of Peggy and David’s Hudson Pines home. Odalisque couchée aux magnolias is also the highest estimated work by Matisse to ever be offered at auction.

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Monet’s beloved garden of Giverny was a source of unending inspiration. Nymphéas en fleur is among the largest scale, most brilliantly colored, and vigorously worked canvases that the artist executed – a glorious tribute to the natural world (estimate in the region of $35 million). This work belongs to a group of paintings Monet painted in a burst of untrammeled creativity between 1914 and 1917, as Europe plunged into the chaos of war. Upon the recommendation of Alfred Barr, the first director of the Museum of Modern Art, Peggy and David Rockefeller visited the Parisian dealer Katia Granoff and purchased the present painting in 1956. “One, which was almost certainly painted in the late afternoon and in which the water is a dark purple and the lilies stand out a glowing white, we bought immediately,” David Rockefeller recalled in Memoirs.

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Paul Signac - Portrait de Félix Fénéon

Also on offer: significant works by ,Georges Seurat, Juan Gris, Paul Signac, Edouard Manet, Paul Gauguin, Jean Baptiste and Camille Corot, among others.

 American Art

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Gilbert Stuart (1755-1828), George Washington (Vaughan type), 1795. Oil on canvas. 29 x 24 in (74 x 61.3 cm). Estimate: $800,000-1,200,000.
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Charles Sheeler (1883-1965), White Sentinels, 1942. Tempera on board. 15 x 22 in (38.1 x 55.9 cm). Estimate: $1,000,000-1,500,000.
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Edward Hopper (1882-1967), Cape Ann Granite, 1928. Oil on canvas 29 x 40 in (71.1 x 102.2 cm). Estimate: $6,000,000-8,000,000

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Fairfield Porter (1907-1975), The Schooner I, 1965. Oil on canvas. 37 x 54 in (94.2 x 137.5 cm). Estimate: $1,000,000-1,500,000. 

Sotheby’s Evening Sale of Master Paintings on 1 February 2018

 
An exceptional selection of European paintings, spanning from the 14 th to the 19 th centuries will be offered in Sotheby’s Evening Sale of Master Paintings on 1 February 2018 in New York. 

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The February sale features a rare and striking portrait of Cristoforo Segni, Maggiordomo to Pope Innocent X  painted and signed by Velazquez and Cremonese painter Pietro Martire Neri Martire (estimate $3/4 million). Painted around 1650, during Velazquez’s second trip to Rome, the work is one of a series of portraits painted for the Court of Pope Innocent X on the occasion of his Jubilee, the most famous being Portrait of Innocent X (1650, Galleria Doria Pamphilij). 

Having remained hidden in the present collection since the mid -20 th century, the painting was recently featured in a dedicated exhibition to Velazquez at the Grand Palais, Paris in 2015. Velazquez’s highly expressive and distinctive brushwork is clearly evident in areas of the canvas, in particular the head of the sitter. 

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A Wooded River Landscape with a Landing Stage, Boats, Various Figures and Village Beyond is a stunning work by 17 th -century Flemish master Jan Bruegel the Elder, and stands as one of the finest river landscapes by the artist in private hands (front page, middle, estimate $2.5/3.5 million). A primary example of his work on copper, the painting’s vibrant colors, intact glazes and thick impasto are evidence of its remarkable condition, and its meticulous attention to detail further contributes to the captivating jewel -like effect so prized in works by the major Flemish mas ter. 

The February auction offers an impressive pair of Venetian views by Canaletto, whose inimitable success in capturing the architecture of 18th -century Venice has made him the undisputed leader of the genre (estimate $3/4 million). Most likely completed in England in the 1740s, the pair offers waterfront views of two of the most recognizable façade in La Serenissima: 

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the Church of the Redentore 

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and the Prisons of San Marco. 

While there are other known views of the Church of the Redentore by Canaletto, the present view of the Prisons of San Marco is a unique composition for the artist of which no other version is known. 

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The sale includes a monumental painting by leading Italian Renaissance master Titian and his workshop. One of only two known versions of the subject by the artist, Saint Margaret Sotheby’s New York Evening auction of Master Paintings on 1 February 2018 will offer a monumental and striking painting by Titian and his workshop. One of only Titian, and Workshop  two known versions of the subject by the artist, Saint Margaret (estimate $2/3 million) was first recorded in the English royal collection of King Charles I (1600 – 1649), where it was displayed alongside the King's most highly prized works at Whitehall Palace. 

The present  work is being offered at a particularly poignant time, as the Royal Academy of Art’s upcoming exhibition Charles I: King and Collector (27 January – 15 April 2018) seeks to reunite the King’s treasures that were dispersed following his execution. 

During his reign, Charles I competed ferociously with the great powers of Europe to assemble an art collection rivaling to all others. Born into a family with deep ties to art, Charles I had an immense appreciation of art history and traveled across Europe to acquire works by some of the greatest artists, including Leonardo Da Vinci, Raphael and Correggio. It was in the Privy Lodging Rooms at Whitehall Palace – a series of private apartments – where Charles kept his most highly- prized paintings. 

According to inventory records and notes from 1639, Saint Margaret is listed as hanging in the First Privy Lodging Room, an apartment so distinguished that no other could rival in splendor, where it was displayed alongside the King's collections of Titians, including the early  

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Jacopo Pesaro Presented to Saint Peter (Koninklijk Museum voor Schone Kunsten, Antwerp),  

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Venus with an Organ Player 

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and Alonso de Avalos addressing his Troops (both Prado, Madrid), and three other remarkable works currently hanging at the Musée du Louvre, Paris. 

Soon after the King's execution in 1649, the decision was taken by Parliament to sell off his grand collection. Much of the collection was sold quickly to raise funds for the state, while others were sold to pay off the King’s debt. 

Alexander Bell, Worldwide Co -Chairman of Sotheby’s Old Master Paintings Department, commented: (images added)

“The inventories and valuations of Charles I’s collection compiled mainly in 1649 are unique document s that provide fascinating insights into the relative value of the works at this particular moment in time. The inventories record Saint Margaret at £100 – a little less than the more celebrated paintings by Titian, such as Venus with an Organist (Prado, Madrid) at £150 and the Allegory of Alfonso d’Avalos (Louvre, Paris) at £250, but more than the vast majority of works in the 3 enormous and storied collection, including the now-world-famous

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Salvator Mundi by Leonardo Da Vinci at £30.
The most renowned pictures in the King’s collection were valued considerably higher:
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Raphael’s Madonna della Perla (Prado, Madrid) was recorded at £2,000,
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and Correggio’s Jupiter and Antiope (Louvre, Paris) at £1,000.”

 As one of two versions of the subject of Saint Margaret signed by Titian – the other being in the Museo del Prado, Madrid – it seems probable that the works were painted alongside one another , with Titian utilizing his workshop to block in areas of the painting and finishing the key areas himself. The expressive power of Titian’s later style is nowhere more clearly demonstrated than in the atmospheric depiction of the city of Venice on fire in the background. On the skyline, the campanile of St Mark glows in fiery orange and pinks, whilst the stormy waves of the sea are animated by dark blue and green brushstrokes. As is characteristic with Titian’s late works, the darker tones, fiery landscape and swift handling of the paint in the present work create a sense of drama that is entirely fitting to the narrative. 

Titian depicts the legendary virgin martyr, Saint Margaret, as she emerges unscathed from the body of Satan, who had appeared to her in the form of a dragon and swallowed her whole. The cross she held in her hand irritated the monster’s insides and the dragon burst open allowing her to escape unharmed. Painted in a myriad of colors, her luminous light green tunic with its bright white sleeves and rose pink veil stand out from the earthier, brown based tones of the rest of the canvas. The dragon that occupies the bottom register of the canvas is predominantly painted in brown and blackish hues and the only flashes of color are the strokes of red and white delineating his vicious mouth. Depicted in dramatic contrapposto, the implied movement in Saint Margaret’s twisting body contrasts to the solidarity of the rock behind her , emerging from the picture plane as an impressive figure, trampling the dragon underfoot and holding her crucifix aloft.

Tuesday, January 9, 2018

Rueland Frueauf the Elder and his Circle

Belvedere, Vienna
23 November 2017 until 11 March 2018

https://www.belvedere.at/press

This exhibition at the Upper Belvedere focuses on the works of the Late Gothic painter Rueland Frueauf the Elder and his workshop. It has been organized to display the panels from Frueauf’s Salzburg altarpiece following the painstaking conservation work undertaken by the Belvedere.

These works are at the heart of the exhibition about the generation of artists preceding Albrecht Dürer , who are so rarely placed in the spotlight . Rueland Frueauf the Elder was probably born around 1440/50. He first lived and worked in Salzburg and later on, from the 1480s, in Passau, where he completed the painting of the town hall, taking over from the official city painter. Frueauf the Elder, who died in Passau in 1507, can be regarded as one of the greatest Late Gothic painters in the German-speaking area. 

At the heart of the exhibition are eight altarpiece panels by the artist. These scenes from the Passion and the Life of the Virgin were painted in 1490/91, presumably for St. Peter’s Church in Salzburg, and they are the starting point for qu estions of attribution concerning the many works associated with the Frueauf circle. 


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Rueland Frueauf the Elder, Portrait of the painter Jobst Seyfried, around 1495 Photo: Johannes Stoll, © Belvedere,

A further masterpiece by the artist in the Belvedere’s collection is the portrait of a man, whom recent discoveries in the archives have identified as the Passau-based painter Jobst Seyfrid.

“For this exhibition, we were able to bring togethe r more works by the Frueauf group than have ever before be en shown at one place. This opens up new perspectives on these extremely valuable paintings that have long preoccupied art history scholars and interested museum visitors,” said Björn Blauensteiner, the curator of the exhibition.

Besides the oeuvre of Frueauf the Elder, the exhibition also presents a selection of works by artists from his circle. These include several examples by the Master of Großgmain that are striking for their exquisite painting technique. 

Thanks to generous loans from Klosterneuburg Monastery art collections, all of the known works by Frueauf’s son, Rueland Frueauf the Younger, are also on display, including the famous

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Legend of Saint Leopold. This first juxtaposition of the younger Frueauf’s oeuvre with his father’s work means that both painters can be compared in detail and promises plenty of food for thought conc erning questions surrounding the Frueauf circle. 

“The combination of works by the Frueauf father and son offers Klosterneuburg Monastery the unique opportunity to re-evaluate major works f rom its own picture gallery and see them in a fresh light. I am delighted about this temporary ‘family reunion’ after over 500 years,” said Wolfgang Christian Huber, custodian of the art collections at Klosterneuburg Monastery. 

The Salzburg altarpiece panels showing scenes from the Passion and the Life of the Virgin are in the Belvedere’s collection and have been painstakingly conserved in recent years. 

What was different about this project was that it was partially carried out as a public restoration at the Upper Belvedere and was thus made accessible to visitors. 

One particular challenge for the conservators was that the panels, originally painted on both sides, had been separated in the 1920s and 1930s. For a long time, this was common practice in order to be able to present both sides of the panels at the same time. However, the paintings were left very fragile as a result. 

A major aim of this conservation project was therefore to improve the stability of the paintings and secure the layers of paint. A further objective was to respectfully draw out the beauty of Rueland Frueauf the Elder’s unique art. 

Stella Rollig, CEO of the Belvedere, said: 

“The altarpiece panels by Rueland Frueauf the Elder are an example of the outstanding achievements of the Belvedere’s Conservation Department. The exhibition is the output of years of meticulous work – almost detective work – that has safeguarded the fu ture existence of these masterpieces from the Late Gothic period.” 

In addition to the eight paintings from the Salzbur g altarpiece, many other works from the Frueauf group were examined in preparation for the exhibition. 

The underdrawings hidden beneath layers of paint were brought to light using infrared reflectography, revealing original ideas that had actually been abandoned centuries ago. 

These paintings were also examined using X-rays and pigment analysis, ultraviolet light, raking light, and also under the microscope. The results are presented in the exhibition and published in the accompanying catalogue, the first monograph about Rueland Frueauf the Elder for over seventy years. 

The exhibition is curated by Björn Blauensteiner and has been organized in collaboration with Klosterneuburg Monastery.




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Meister von Großgmain, Hl. Ambrosius, 1498


Rueland Frueauf the Younger, Baptism of Jesus, beginning of the 16th century
Painting on spruce wood, 74 x 43 cm

Sunday, January 7, 2018

Michelangelo to Degas: Major New Acquisitions


  • La Surprise, ca.  1718, Jean Antoine Watteau (French, 1684 – 1721).  Oil on panel.  36.3 x 28.2 cm.  The J.  Paul Getty Museum, Los Angeles
    La Surprise, ca. 1718, Jean Antoine Watteau (French, 1684 – 1721). Oil on panel. 36.3 x 28.2 cm. The J. Paul Getty Museum, Los Angeles

    In July 2017, the J. Paul Getty Museum announced one of the most important acquisitions in its history: sixteen major drawings and an exquisite painting by Jean Antoine Watteau. Michelangelo to Degas: Major New Acquisitions, presents these newly acquired works to the public from January 17–April 22, 2018 at the J. Paul Getty Museum at the Getty Center.

    “This latest acquisition has been the most transformative ever in the history of the Department of Drawings, bringing into the collection a number of extremely rare masterpieces by some of the greatest artists of the Renaissance through the 19th century,” says Timothy Potts, director of the J. Paul Getty Museum. “Showcasing these works together will demonstrate the monumental nature of this purchase, which also includes a famous painting by the French artist Jean Antoine Watteau. It is increasingly rare to be able to acquire masterpieces of this stature, which have been highly sought after by connoisseurs since the 16th century, and by now have long been swept up by museums.”

    With a particularly strong group of rare Italian Renaissance sheets, the acquisition features exceptional works by many of the most celebrated draftsmen in the history of European art, including Michelangelo, Lorenzo di Credi, Parmigianino, Andrea del Sarto, Domenico Tiepolo, Goya, and Degas.

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Study of a Mourning Woman, ca. 1500-05, Michelangelo Buonarroti (Italian, 1475-1564). Pen and brown ink, heightened with white. 26 x 16.5 cm. The J. Paul Getty Museum, Los Angeles

Highlights include Michelangelo’s Study of a Mourning Woman (about 1500-1505), a celebrated drawing of a mourning figure, with her face semi-hidden. Michelangelo made the work at a pivotal moment early in his career when, already renowned as a sculptor, he became increasingly esteemed as a painter. The drawing was discovered pasted into an album in the library at Castle Howard, England in 1995.

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Parmigianino, "Head of a Young Man," circa 1539-40, ink (Getty Museum)
The Head of a Young Man (about 1539-40), made toward the end of Parmigianino’s short life when he was at the peak of his artistic mastery, is one of his most famous drawings. Working in pen and ink on an under-lifesize scale with absolute precision and control of line, Parmigianino yields an astonishing impression of the sitter, who was probably a studio assistant. The influence of classical portrait busts on this jewel of a drawing is apparent in the gaze of the eyes and the sense of delicate perfection.

Degas is represented by two exceptional, complementary works. Two Studies of Dancers (about 1873), a superbly-preserved preparatory drawing on green paper, captures two dancers as one extends her leg and the other looks down, while strokes of white chalk indicate light streaming in from an unseen source. After the Bath (Woman Drying Herself) (about 1886) is a magnificent, large pastel of a nude in a densely patterned, dizzily colorful interior, made when the artist had all but ceased to exhibit, retreating into his studio to produce increasingly bold, experimental work.

“To be able to share any one of these drawings with our visitors would be an extraordinary privilege, but to add a group such as this to the collection, and to exhibit them together, is beyond a dream,” said Julian Brooks, senior curator of drawings.

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The exhibition also includes one of Jean Antoine Watteau’s finest paintings, La Surprise (The Surprise), painted in 1718-19. Watteau created and defined the genre of the fěte galante, evocative outdoor scenes of romantic encounters and entertainment, which embodies the light-hearted spirit of French painting in the early eighteenth century. Thought to have been lost for centuries, and only known to historians from a 1731 engraving and copy in the British Royal Collection, this painting was rediscovered in 2007. At the Getty, it joins other exceptional eighteenth-century French paintings by Lancret, Chardin, Greuze, Fragonard, and Boucher.

Michelangelo to Degas: Major New Acquisitions will be on view January 17-April 22, 2018, at the J. Paul Getty Museum. The exhibition is curated by Julian Brooks, senior curator of drawings at the J. Paul Getty Museum.

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