Metropolitan Museum of Art - MET
New York
1000 Fifth Avenue at 82nd Street
212 5703951 FAX 212 4722764
WEB
Three exhibitions
dal 24/2/2013 al 17/8/2013
fridays and saturdays 9:30am-9pm, sundays, tuesdays-thursdays 9:30am-5:30pm

Segnalato da

Elyse Topalian



 
calendario eventi  :: 




24/2/2013

Three exhibitions

Metropolitan Museum of Art - MET, New York

Impressionism, Fashion, and Modernity. Some 80 major figure paintings, seen in concert with period costumes, accessories, fashion plates, photographs, and popular prints, will highlight the vital relationship between fashion and art during the pivotal years. 'At War with the Obvious: Photographs by William Eggleston' features the entire suite of his remarkable first portfolio of color photographs, 14 Pictures (1974), 15 superb prints from his landmark book, William Eggleston's Guide (1976), and seven other key photographs that span his career. Plain or Fancy? contrast restrained works of art with richly ornamented ones, examining some of the historical moments when the pendulum of taste made a sharp swing in one direction or the other.


comunicato stampa

Impressionism, Fashion, and Modernity
February 26–May 27, 2013

Impressionism, Fashion, and Modernity at The Metropolitan Museum of Art will present a revealing look at the role of fashion in the works of the Impressionists and their contemporaries. Some 80 major figure paintings, seen in concert with period costumes, accessories, fashion plates, photographs, and popular prints, will highlight the vital relationship between fashion and art during the pivotal years, from the mid-1860s to the mid-1880s, when Paris emerged as the style capital of the world. With the rise of the department store, the advent of ready-made wear, and the proliferation of fashion magazines, those at the forefront of the avant-garde—from Manet, Monet, and Renoir to Baudelaire, Mallarmé, and Zola—turned a fresh eye to contemporary dress, embracing la mode as the harbinger of la modernité. The novelty, vibrancy, and fleeting allure of the latest trends in fashion proved seductive for a generation of artists and writers who sought to give expression to the pulse of modern life in all its nuanced richness. Without rivaling the meticulous detail of society portraitists such as James Tissot or Alfred Stevens or the graphic flair of fashion plates, the Impressionists nonetheless engaged similar strategies in the making (and in the marketing) of their pictures of stylish men and women that sought to reflect the spirit of their age.

The exhibition is made possible in part by The Philip and Janice Levin Foundation and the Janice H. Levin Fund. Additional support is provided by the William Randolph Hearst Foundation.

The exhibition was organized by The Metropolitan Museum of Art, New York, the Art Institute of Chicago, and the Musée d’Orsay, Paris.

This stunning survey, anchored by many of the most celebrated works of the Impressionist era, will illustrate the extent to which artists responded to the dictates of fashion between the 1860s, when admiring critics dubbed Monet’s portrait of his future wife “The Green Dress,” and the mid-1880s, when Degas capped off his famous series of milliners and Seurat pinpointed the vogue for the emphatic bustle. Highlights of the exhibition include Monet’s Luncheon on the Grass (1865-66) and Women in the Garden (1866), Bazille’s Family Reunion (1867), Bartholomé’s In the Conservatory (ca. 1881, paired with the sitter’s dress) and 15 other key loans from the Musée d’Orsay; Monet’s Camille (1866) from the Kunsthalle, Bremen, Renoir’s Lise –The Woman with the Umbrella (1867) from the Museum Folkwang, Essen, and Manet’s La Parisienne (ca. 1875) from the Nationalmuseum, Stockholm, which have never before traveled to the U.S.; Caillebotte’s Paris Street; Rainy Day (1877) and Degas’s The Millinery Shop (ca. 1882-86) from the Art Institute of Chicago; Renoir’s The Loge (1874) from The Courtauld Gallery, London; and Cassatt’s In the Loge (1878) from the Museum of Fine Arts, Boston.

Alongside both masculine and feminine costumes, a full complement of period photographs and illustrations will serve to vivify the ongoing dialogue between fashion and art, and afford a sense of the late-19th-century Parisian milieu that inspired, provoked, and nurtured the talents—and often, the ambitions—of the painters of modern life.

Impressionism, Fashion, and Modernity is organized by Susan Alyson Stein, Curator in the Department of European Paintings at The Metropolitan Museum of Art, in collaboration with Gloria Groom, the David and Mary Winton Green Curator in the Department of Medieval to Modern European Painting and Sculpture, Art Institute of Chicago; Guy Cogeval, President, Musée d’Orsay and Musée de l’Orangerie, Paris; and Philippe Thiébaut, Curator, Musée d’Orsay, Paris.

The exhibition is accompanied by a fully illustrated catalogue with essays by 14 international scholars in the fields of fashion, photography, literature, art, and architectural history. It is published by the Art Institute of Chicago, and is available in the Museum’s book shops (available in hardcover, $65, and paperback, $40).

A range of education programs will complement the exhibition.

Education programs are made possible by The Georges Lurcy Charitable and Educational Trust.

An audio tour, part of the Metropolitan's Audio Guide program, will be available for rental ($7, $6 for members, and $5 for children under 12).

The Audio Guide program is sponsored by Bloomberg.

The Metropolitan Museum’s website will feature the exhibition www.metmuseum.org.

After its display in New York, the exhibition will travel to the Art Institute of Chicago (June 26–September 22, 2013). It is currently on view at the Musée d’Orsay in Paris (through January 20, 2013).

Press Preview: Tuesday, February 19, 10:00 a.m.—noon

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At War with the Obvious: Photographs by William Eggleston
February 26—July 28, 2013

The American photographer William Eggleston (born 1939) emerged in the early 1960s as a pioneer of modern color photography. Now, 50 years later, he is arguably its greatest exemplar. At War with the Obvious: Photographs by William Eggleston at The Metropolitan Museum of Art presents the work of this idiosyncratic artist, whose influences are drawn from disparate if surprisingly complementary sources—from Walker Evans and Henri Cartier-Bresson in photography to Bach and late Baroque music. Many of Eggleston’s most recognized photographs are lush studies of the social and physical landscape found in the Mississippi delta region that is his home. From this base, the artist explores the awesome and, at times, the raw visual poetics of the American vernacular.

The exhibition celebrates the fall 2012 acquisition of 36 dye transfer prints by Eggleston that dramatically expanded the Metropolitan Museum’s collection of this major American artist’s work. It added the entire suite of Eggleston’s remarkable first portfolio of color photographs, 14 Pictures (1974), 15 superb prints from his landmark book, William Eggleston’s Guide (1976), and seven other key photographs that span his career.

The exhibition is made possible in part by Renée Belfer.

Eggleston wrote that he was “at war with the obvious,” a statement well-represented in works such as Untitled [Peaches!] (1970)—a roadside snapshot of rocks and half-eaten fruit thrown atop a sunlit corrugated tin roof capped with a sign announcing “PEACHES!” The exhibition features a number of the artist’s signature images, including Untitled [Greenwood, Mississippi] (1980), a study that takes full advantage of the chromatic intensity of the dye-transfer color process that, until Eggleston appropriated it in the 1960s, had been used primarily by commercial photographers for advertising product photography; and Untitled [Memphis] (1970), an iconic study of a child’s tricycle seen from below. It was the cover image of the artist’s seminal book William Eggleston’s Guide, which accompanied his landmark show at the Museum of Modern Art in 1976.

As much as Eggleston was influenced by various sources, he, too, has proved influential. His inventive photographs of commonplace subjects now endure as touchstones for generations of artists, musicians, and filmmakers from Nan Goldin to David Byrne, the Coen brothers, and David Lynch.

At War with the Obvious: Photographs by William Eggleston is organized by Jeff Rosenheim, Curator in Charge in the Department of Photographs at The Metropolitan Museum of Art.

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Plain or Fancy? Restraint and Exuberance in the Decorative Arts, on view at The Metropolitan Museum of Art beginning February 26, 2013, will contrast restrained (plain) works of art with richly ornamented (fancy) ones, examining some of the historical moments when the pendulum of taste made a sharp swing in one direction or the other.
Visitors will be encouraged to ponder their own responses and to consider them in the light of different stylistic imperatives of the past. Drawn from the Museum’s holdings of European sculpture and decorative arts, this installation of about 40 objects will represent several media, including ceramics, metalwork, and glass.

Modernism was not the first movement to cast a shadow on ornament and adornment, though it was the most effective one. In the century since the Austrian architect Adolf Loos described ornament as “degenerate” and even “criminal,” Modernism has generally dominated the public sensibility. But the debate between restraint and exuberance in the visual arts has a long history. The stylistic choices of individuals tend to be moral ones, and aesthetic responses are never neutral. Words, both positive and negative, that are used routinely to describe works of art can be loaded with the baggage that people bring to their viewing experiences—for example, “precious,” “vulgar,” “inventive,” “decadent,” “moderate,” “austere,” “feminine,” “effeminate,” “ornate,” “ambitious,” “severe,” “dull,” “restrained,” and “exuberant.”

Plain or Fancy? will explore the tension in design and the visual arts between the austere and the extravagant, and will address several historical moments when that tension was openly discussed. For example, court culture in Spain in the 16th century was dominated by the somber gravitas of King Philip II. A contemporary treatise promoting restraint in dress, comportment, and decoration argued: “…a quiet manner is the inevitable mark of a grave and dignified man, ruled by reason rather than by appetite…” These values are expressed in the architecture and metalwork of the period, which is characterized by a distinctive geometric simplicity. Implicit in this taste, which is often referred to as the “Severe Style,” is a rejection of what was seen as the sensuous decadence of Mannerist design.

Another moment of debate occurred in the 18th century, when the Rococo style was derided by advocates of Neoclassicism. The whimsical fantasies of Rococo designers, rooted in nature’s capriciousness, were seen by critics as excessive and depraved. In 1753, the Rococo taste for fanciful Chinese subjects was mocked as the “monstrous offspring of wild imagination, undirected by nature and truth.”

The exhibition will introduce six general themes: “Framing Beauty,” “Form and Function,” “Rococo,” “Historicism,” “Material Beauty,” “Morality,” “Neoclassicism,” and “Modernism.” In addition, several works will be shown whose character—whether plain or fancy—can be debated. Visitors will be encouraged to consider their own sensibilities and preferences—are they at home with minimalism, or are they drawn to
ornament? The rich and whimsical ornament of a Sèvres vase may be anathema to some viewers, while others may be mystified by the austere simplicity of a Meissen vase.

These apparently simple, daily choices are reflective of deeply embedded cultural affiliations. They are influenced by personal memories, cultural heritage, and aspirations. And though we are affected by them in ways we don't always fully understand, judgments made today are not the same as those made by our ancestors. To ask now if people like art “plain” or “fancy” is to ask whether they are aristocrats or revolutionaries, Protestants or Catholics, modernists or traditionalists. In looking at works of art, people look at themselves.

Plain or Fancy? Restraint and Exuberance in the Decorative Arts is organized by Luke Syson, Iris and B. Gerald Cantor Curator in Charge, and Ellenor Alcorn, Associate Curator, both of the Metropolitan Museum’s Department of European Sculpture and Decorative Arts.

Education programs include exhibition tours and a Friday evening program during which visitors will participate in a multi-sensory exploration of the question of “Plain or Fancy?” through several collection galleries.

Communications Department:
Phone: (212) 570-3951 Fax: (212) 472-2764 Email: communications@metmuseum.org

Press Preview: February 25, 2013, 10:00 a.m.—noon

Metropolitan Museum of Art MET - Galleries 225-232
1000 Fifth Avenue at 82nd Street, New York
Hours
Fridays and Saturdays 9:30 a.m.-9:00 p.m.
Sundays, Tuesdays-Thursdays 9:30 a.m.-5:30 p.m.
Admisison
Adults $25.00, seniors (65 and over) $17.00, students $12.00
Members and children under 12 accompanied by adult free

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