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The National Gallery in London Shows a Major Exhibition of Leonardo da Vinci

artwork: Leonardo da Vinci - "Madonna of the Rocks" (detail shown before and after restoration), circa 1508 - Oil on panel - 189.5 x 120 cm. Collection of the National Gallery, London. On view in "Leonardo Da Vinci: Painter at the Court of Milan" until February 5th 2012.

London.- What is undoubtedly the most eagerly awaited blockbuster exhibition of the 21st century opened earlier this week at the National Gallery in London. "Leonardo Da Vinci: Painter at the Court of Milan", will remain on view through February 5th 2012 and is truly a landmar exhibition. Concentrating on his career as a court painter in Milan, working for the city’s ruler Ludovico Maria Sforza, il Moro (‘the Moor’) in the 1480s and 1490s, the exhibition brings together the largest ever number of Leonardo’s rare surviving paintings, it will include international loans never before seen in the UK. Private and institutional lenders have proved exceptionally generous, taking full and proper account of the serious scholarly ambition of this project.

artwork: Leonardo da Vinci - "Lady With Ermine", 1489-1490 Oil on wood panel - 54 x 39 cm. Collection of the Czartoryski Museum, Kraków. - At the National Gallery, London until Feb. 5th 2012.

artwork: Leonardo da Vinci - "Lady With Ermine", 1489-1490 Oil on wood panel - 54 x 39 cm. Collection of the Czartoryski Museum, Kraków. - At the National Gallery, London until Feb. 5th 2012.

While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first exhibition to be dedicated to his aims and ambitions as a painter. ‘Leonardo da Vinci: Painter at the Court of Milan’ will display more than 60 paintings and drawings by the great artist, as well as pictures by some of his closest collaborators. Nearly every surviving picture that he painted in Milan during this period will be exhibited. These include the 'Portrait of a Musician' (Biblioteca Ambrosiana, Milan), the 'Saint Jerome' (Vatican, Rome), 'The Lady with an Ermine' (Czartoryski Foundation, Cracow), the 'Belle Ferronnière' (Musée du Louvre, Paris) and the National Gallery’s own recently restored Virgin of the Rocks.

Leonardo, a musician himself, worked closely with other musicians, designing musical instruments and devising settings for courtly entertainments. It was during this time that he painted his only portrait of a man – 'The Portrait of a Musician'. The highly idealised 'Belle Ferronnière' may be a portrait of Ludovico il Moro’s duchess or of one of his mistresses. But the most justly celebrated of the three is the exquisite portrait of Il Moro’s mistress Cecilia Gallerani, 'The Lady with an Ermine', arguably his greatest masterpiece of these years. The exhibition also oncludes "Savator Mundi", a painting once sold for £45 at auction, but which has nowbeen identified as a work by Leonardo Da Vinci and is estimated to be worth a world record £120million. "Salvator Mundi (Saviour of the World", depicts Christ with his right hand raised in blessing and his left hand holding a globe. It was previously attributed to a pupil of Da Vinci. But now an international group of experts has established that it was by the master himself.

artwork: Leonardo da Vinci - "Portrait of a Musician", 1485 Oil on panel - 31 x 43 cm. Collection of the Biblioteca Ambrosiana, Milan. On view at the National Gallery, London

artwork: Leonardo da Vinci - "Portrait of a Musician", 1485 Oil on panel - 31 x 43 cm. Collection of the Biblioteca Ambrosiana, Milan. On view at the National Gallery, London

The portrait of Cecilia Gallerani, painted in 1488–90 has been acclaimed as the first truly modern portrait. The sitter’s twisting pose and nuanced expression convey her inner life, mind, soul – and what we would now call psychology. Cecilia was renowned for her beauty, wit, scholarship, and poetry. Still in her teens in 1489 when she became Ludovico’s mistress, the painting of her portrait allowed Leonardo to demonstrate how a painter could capture a beauty that time would destroy. He portrayed Cecilia holding a white ermine, an enigmatic feature that has multiple meanings. It may be a visual pun on her surname since the Greek for ermine or weasel is 'galay'. It could also stand for her lover, Ludovico Sforza, since he had been awarded the order of the ermine by the King of Naples and was known as ‘l’Ermellino’ as a result. The ermine was also written about by Leonardo as a traditional symbol of purity and honour. More than 50 drawings relating to the paintings will be exhibited for the first time. Highlights include 33 sketches and studies from the Royal Collection. The many Leonardo drawings owned by Her Majesty the Queen were probably purchased during the reign of Charles II but were rediscovered by chance only in 1778, when writer, Charles Rogers wrote: ‘Mr Dalton fortunately discovered the album of drawings at the bottom of a chest at the beginning of the reign of his present Majesty [George III]’. UK collections are rich in drawings by Leonardo – and other graphic masterpieces will be lent by the British Museum, the Courtauld Gallery, the Fitzwillam and Ashmolean Museums and the National Galleries of Scotland. From further afield come drawings from Paris, Florence, Venice and New York.

These pictures show how Leonardo, benefiting from his salaried position, used his artistic freedom to find new ways of perceiving and recording the natural world - focusing especially on the human anatomy, soul and emotions. These investigations could take on their own life, but they also fed into the meanings and evolution of his paintings. Leonardo da Vinci’s time in Milan was the making of him – both as an artist and as a public figure. It was in Milan that Leonardo executed his two profoundly different versions of the mysterious 'Virgin of the Rocks', as well as the almost uncannily perfect wall-painting of 'The Last Supper'. This work will be represented in the exhibition by a near contemporary, full-scale copy by his pupil Giampietrino (1500–1550), lent by the Royal Academy. Leonardo also painted a trio of portraits that were to revolutionalise the genre – pictures that will be seen together in London for the first time.

artwork: Giampietrino - "The Last Supper", circa 1515 - Oil on canvas - 302 x 785 cm. - Collection of the Royal Academy of Arts, London. On view at the National Gallery, London in "Leonardo Da Vinci: Painter at the Court of Milan" until February 5th 2012.

The exhibition will include all the surviving drawings which are connected to the 'Last Supper' and the 'Madonna Litta', which will be lent by the State Hermitage, St Petersburg. Leonardo was born in or near Vinci in Tuscany and was trained in Florence by the sculptor-painter Andrea del Verrocchio. In about 1482-3 he moved to Milan, slightly later finding work as a court artist for the ruling Sforza family. He remained there until just after the city was invaded by the French in 1499. He may have visited Venice before returning to Florence in 1500. A second period in Milan lasted from 1506 until 1513, and it was then that he finished the London 'Virgin of the Rocks'; this was followed by three years based in Rome. In 1517, at the invitation of the French king, Leonardo moved to the Château de Cloux, near Amboise in France, where he died in 1519.

The first paintings in the National Gallery collection came from the banker and collector John Julius Angerstein. They consisted of Italian works, including a large altarpiece by Sebastiano del Piombo, "The Raising of Lazarus", and fine examples of the Dutch, Flemish and English Schools. In 1823 the landscape painter and art collector, Sir George Beaumont (1753 – 1827), promised his collection of pictures to the nation, on the condition that suitable accommodation could be provided for their display and conservation. The gift of the pictures was made in 1826. They went on display alongside Angerstein's pictures in Pall Mall until the whole collection was moved to Trafalgar Square in 1838. Initially, the Gallery had no formal collection policy, and new pictures were acquired according to the personal tastes of the Trustees. By the 1850s the Trustees were being criticised for neglecting to purchase works of the earlier Italian Schools, then known as the Primitives. Following the reform of Gallery administration in 1855, the new Director travelled throughout Europe to purchase works for the Gallery. In the 10 years that he was Director, Sir Charles Eastlake ensured that the Gallery's collection of Italian painting expanded and widened in scope to become one of the best in the world. Eastlake's purchases included Botticelli's "Adoration of the Kings" and Uccello's, "The Battle of San Romano". In 1871 the Gallery's collection was broadened yet further, when 77 paintings were bought from the collection of the late Prime Minister, Sir Robert Peel. These consisted mainly of Dutch and Flemish paintings, and included Hobbema's "The Avenue at Middleharnis". From the very beginning, the National Gallery's collection had included works by British artists. By the mid-1840s, the rooms of the National Gallery had become overcrowded. When Robert Vernon presented a large gift of British works to the Gallery in 1847, they had to be displayed elsewhere: first at Vernon's private house, and later at Marlborough House. Not long afterwards, the artist Joseph Mallord William Turner bequeathed over 1000 paintings, drawings and watercolours. When they came into the collection in 1856, they had to be displayed at South Kensington, along with the Vernon collection, which was moved from Marlborough House. In 1876 the National Gallery was enlarged, and the paintings were returned to Trafalgar Square. Following the completion of the Sainsbury Wing in 1991, the Gallery has a total floor area of 46,396 metres squared - equivalent to around six football pitches. It would be big enough to hold over 2,000 London double-decker buses. Visit the museum's website at ... http://www.nationalgallery.org.uk

Morton´s Auction House Sale of Important Latin-american Works of Art

artwork: Roberto Montenegro - "Skull Pierrot", 1945 - Oil on canvas - 48 x 64 cm. Courtesy of Morton´s Auction House, Mexico City, where it's featured in the November 10th auction sale. Estimate: $200,000 to 300,000.

Mexico City.- On very few occasions have so many important works of art from Mexican and Latin-American painters have been offered in the same auction. This November 10th in Morton Casa de Subastas the different faces of Latin-American art will all be present, from portraits to still lives, to monumental pieces from the great masters of contemporary abstracts. The expressions of colour manifest the spirit of this land, one which surpasses the frontiers of the region and bring an added value to their voices. All of these works of art will be offered, works of art from renowned artists from the caliber of: Diego Rivera, David Alfaro Siqueiros, Francisco Zúñiga, Juan Soriano, Guillermo Meza and Ricardo Martínez, to name but a few. Great female artists are lso represented with works by María Izquierdo, Cordelia Urueta, Lilia Carrillo, Valetta Swann and Silvia H. González. Latin-American art at its finest by Kcho, Eduardo Kingman, Fernando de Szyszlo, Roberto Fabelo and Santiago Rebolledo. Boris Viskin, José Antonio Farrera, Héctor de Anda and Gabriel Orozco, will be under the hammer as well.

The Berlinische Galerie Displays “Art in Berlin 1880 – 1980”

artwork: Anton von Werner - "Unveiling of Richard Wagner Memorial in Berlin", 1908 - Collection of the Berlinische Galerie.

Berlin.- Following its redevelopment by Canadian architect David Saik, the Berlinische Galerie has been taking advantage of the opportunities provided to present highlights from its collection of Berlin Art. “Art in Berlin 1880 – 1980” is the ongoing display of works from the collection. David Saik studied art and architecture at the Universities of Alberta, British Columbia and Toronto. He has been working in Berlin since 2002, including in the offices of New York architect Richard Gluckman, Swiss architects Herzog & De Meuron, and British architect David Chipperfield. He was involved in the concepts for the Deutscher Guggenheim, the De Young Museum in San Francisco, and the Neues Museum in Berlin. He has built a studio for Canadian artist Jeff Wall, realised contemporary art galleries, developed a number of private housing projects for collectors, and is one of those responsible for this year’s presentation of artist Steven Shearer in the Canadian pavilion of the Biennale di Venezia 2011.

The Nationalgalerie Hamburger Bahnhof Shows Paul Laffoley's "Secret Universe"

artwork: Paul Laffoley - "The Visionary Point", 1970 - Oil and acrylic on canvas - 186.7 x 186.7 cm. - Private collection, NY. - © the artist. On view at the Hamburger Bahnhof, Berlin in "Secret Universe II: Paul Laffoley" until March 4th 2012.

Berlin.- The Hamburger Bahnhof is pleased to present "Secret Universe II: Paul Laffoley" on view through March 4th 2012. In the exhibition series entitled "Secret Universe", the Hamburger Bahnhof is dedicating itself to artists who have largely gone unnoticed within the established art discourse and will feature them in monographic projects. The second exhibition in this series presents works by the American artist and architect Paul Laffoley (born 1940). Since the mid-1960s, Laffoley has confronted scientific, philosophical and spiritual matters in his work with equal verve. He studied art history, history, philosophy and architecture and spent more than 38 years living in a one-room apartment in Boston, which he dubbed the 'Boston Visionary Cell'. He is influenced in his work by his collaboration with the visionary architect Frederick Kiesler, as well as by the theories of Buckminster Fuller and C.G. Jung and the literature of Johann Wolfgang Goethe and William Blake. Another factor that has left a mark on his work is the fact that Laffoley was once engaged by Andy Warhol to watch television through the night on his behalf so that he could keep abreast of events.

Walt Disney Animation Cels Featured in Leslie Hindman Auctioneers Illustration Art Auction

artwork: Walt Disney - "Snow White and Sneezy on the Doorstep", 1937 - Original animation cel - Property from the Ralph Esmerian Collection, New York. To be auctioned by Leslie Hindman Auctioneers, Chicago in the November 15th Illustrated Art Auction.

Chicago, Illinois.- On Tuesday, November 15, Leslie Hindman Auctioneers will auction an impressive collection of original illustration art belonging to Ralph Esmerian, including early Walt Disney rare animation cels from the 1930’s and 1940’s and original story-board watercolors from the beloved French children’s series, Babar the Elephant. The collection is expected to bring over $50,000. Public previews for the sale will be held Saturday, November 12th 10am – 3pm, Sunday, November 13th 12pm – 5pm, and Monday, November 14th, 10am – 5pm. In the Golden Age of Animation, from 1928 to 1942, Walt Disney studios produced five of the most spectacular feature-length animated films of all time: Snow White and Seven Dwarfs, Pinocchio, Fantasia, Dumbo and Bambi. Their influence remains today, as the studio continues to re-release them from “The Vault” for a new generation.

Pangolin London Exhibits Figurative Sculptures by Anthony Abrahams

artwork: Anthony Abrahams - "Leaning". - Bronze, Edition of 9 - Photo: Pangolin London/ Steve Russell.

LONDON.- In a time where vitality focuses primarily on youth, Anthony Abrahams’ sculptures are the perfect antidote to ageism as both a celebration of the human spirit and the body in all its forms. Pangolin London presents an exhibition of works of life affirming warmth and beauty with the first London solo show of Anthony Abrahams for over ten years. Encompassing a selection of works from the past two decades, this exhibition is testament to Abrahams’ unique artistic talent. Born in London in 1926 Abrahams first attended the University of Cambridge, where he read English, and went on to study painting at the Anglo-French Art Centre in London. Following this he made a successful career in the world of advertising before he turned to his artistic practice full time in 1991.

The Guggenheim Presents an Exhibition Focused on Vasily Kandinsky

artwork: Vasily Kandinsky - "Painting with White Border (Bild mit weissem Rand)", 1913 - Oil on canvas - 140.3 x 200.3 cm. - Collection of the Solomon R. Guggenheim Museum, New York. © 2011 Artists Rights Society (ARS), New York/ADAGP, Paris. On view in "Kandinsky’s Painting With White Border" on display until January 15th 2012.

New York City - Completed nearly 100 years ago, the canvas "Painting with White Border (Bild mit weissem Rand)" by Vasily Kandinsky (1866–1944) was inspired by a trip the artist took to Moscow in fall 1912. Upon his return to Munich, where he had been living intermittently since 1896, Kandinsky searched for a way to visually record the “extremely powerful impressions” of his native Russia that lingered in his memory. Over a period of five months, he explored various motifs and compositions in study after study, moving freely between pencil, pen and ink, watercolor, and oil. After he produced at least sixteen studies, Kandinsky finally arrived at the pictorial solution to the painting: the white border. This focused exhibition, co-organized with the Phillips Collection, Washington, D.C., will reunite for the first time the Guggenheim’s final version of the painting from May 1913 with twelve related drawings and watercolors and one major oil sketch and will feature the results of an extensive conservation study of the Guggenheim and Phillips paintings. This study revealed a previously unknown painting beneath the surface of the Phillips’s "Sketch I for Painting with White Border (Moscow)". A rare glimpse into Kandinsky’s creative process, this presentation reveals the gradual and deliberate way the artist sought to translate his ideas into a bold new language of abstraction.

artwork: Vasily Kandinsky - "Sketch I for Painting with White Border (Moscow)", 1913 - Oil on canvas 100 x 78.4 cm. - The Phillips Collection, Washington, D.C. © 2011 Artists Rights Society (ARS), New York/ADAGP.

artwork: Vasily Kandinsky - "Sketch I for Painting with White Border (Moscow)", 1913 - Oil on canvas 100 x 78.4 cm. - The Phillips Collection, Washington, D.C. © 2011 Artists Rights Society (ARS), New York/ADAGP.

This focused exhibition traces Kandinsky’s working method through a roughly chronological display of twelve drawings and watercolors and one major oil sketch related to Painting with White Border. According to a May 1913 essay Kandinsky wrote about the picture, later published in an album titled Kandinsky 1901–1913 (1913), the artist executed the first oil sketch (owned by the Phillips) “immediately upon my return from Moscow in December 1912.” The orientation of his preliminary studies evolved from a vertical to a horizontal format, and he used pencil, pen and ink, and watercolor throughout the many iterations. Kandinsky explored key motifs reminiscent of his native Russia, including the troika (a three-horse sled) and Saint George. Ultimately the artist executed more studies than he had for any of his previous paintings before resolving the composition with a soft, undulating white border that he compared to a white wave. In his seminal 1911 treatise Über das Geistige in der Kunst. Insbesondere in der Malerei (On the Spiritual in Art: And Painting in Particular), Kandinsky wrote that the color white expresses a “harmony of silence. . .pregnant with possibilities.” In preparation for this presentation, a team of conservators from the Guggenheim and the Phillips, led by Gillian McMillan, Associate Chief Conservator for the Collection, Guggenheim Museum, and Elizabeth Steele, Head of Conservation, the Phillips Collection, worked with scientists Narayan Khandekar and Erin Mysak from the Straus Center for Conservation, Harvard Art Museum. The group undertook new technical research on the painting and its related oil study, offering further insight into Kandinsky's creative process. The conservators examined "Painting with White Border"and its study "Sketch I for Painting with White Border (Moscow)" side-by-side for the first time. With techniques including infrared imaging, X-radiography, and cross-sectional and chemical analysis of the paints Kandinsky used, conservators scrutinized both paintings, comparing the brushwork, mediums, and development of the compositions. The conservation study supports interpretations of Kandinsky’s working method. For example, the direct application of the brush to canvas of "Sketch I" implies a more spontaneous technique as compared to the more methodical treatment of the final work, Painting with White Border, in which Kandinsky used a graphite pencil to lay out compositional elements before painting. Studies of microscopic samples of paint from both works show that Kandinsky created his own palette out of combinations of as many as ten different pigments per hue.

The conservation team also discovered a previously unknown painting beneath the surface of Sketch I for Painting with White Border (Moscow). The underpainting, a representational landscape with figures, has been attributed to the German artist Gabriele Münter, Kandinsky’s companion from 1903 to 1916, based on its similarity to Münter’s gouache, Garden Concert (Gartenkonzert, ca. 1912), on view in this exhibition, and a canvas on the same subject in a private collection. While there are few known instances of Kandinsky painting over an existing canvas and no other known instance of him painting over a work by Münter, limited study has been done of Kandinsky’s canvases to date. Future research and conservation analysis may better clarify the attribution of the underpainting. Besides the focused presentation surrounding Painting with White Border, three Kandinsky canvases from 1913, all from the Guggenheim’s collection, will be on view in a neighboring gallery. "Black Lines (Schwarze Linien)" and "Light Picture (Helles Bild)", included in this selection of paintings, were both executed in December 1913 and were among the first works the artist considered to be truly non-representational. Along with Painting with White Border, these paintings were also some of the first Kandinsky works to enter Solomon R. Guggenheim’s collection.

artwork: Gabriele Münter - "Garden Concert (Gartenkonzert)", circa 1912 - Gouache - 32.4 x 44.8 cm. Gabriele Münter-und Johannes Eichner-Stiftung, Munich - © 2011 Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn. - Shown with "Kandinsky’s Painting With White Border".

In addition to the artwork on view, interactive touch-screen displays will allow visitors in-depth exploration of the conservation findings, institutional history, and related topics in Kandinsky’s oeuvre. An illustrated chronology in the gallery will trace the artist’s life in Munich from 1896 through 1914. In an adjacent room, Essay: Painting with White Border, a segment of the film Kandinsky: A Close Look by Grahame Weinbren and commissioned by the Sackler Center for Arts Education, will be screened continuously. This close cinematic examination of "Painting with White Border" is interlaced with voiceovers of the artist’s own words from his 1913 essay on the painting. It explores how an artistic interpretation can provide viewers with a visual experience that helps to develop their own observational and critical apparatuses to become more informed and engaged viewers. Kandinsky’s work is a cornerstone of the Solomon R. Guggenheim Museum’s collection. The museum’s founder, industrialist Solomon R. Guggenheim, began acquiring Kandinsky’s paintings, including Painting with White Border, as early as 1929. Today, the Guggenheim’s holdings of his work are among the most extensive in the world. In 2009, as part of its 50th anniversary celebration, the museum mounted the major retrospective Kandinsky. The opening date of Kandinsky’s "Painting with White Border" at the Guggenheim Museum coincides with the 52nd anniversary of the Frank Lloyd Wright–designed building, which opened its doors to the public on October 21, 1959.

An internationally renowned art museum and one of the most significant architectural icons of the 20th century, the Guggenheim Museum is at once a vital cultural center, an educational institution, and the heart of an international network of museums. Visitors can experience special exhibitions of modern and contemporary art, lectures by artists and critics, performances and film screenings, classes for teens and adults, and daily tours of the galleries led by experienced docents. Founded on a collection of early modern masterpieces, the Guggenheim Museum today is an ever-growing institution devoted to the art of the 20th century and beyond.The permanent collection of the Guggenheim Foundation embodies the institution’s distinctive history, which has intersected with and catalyzed the development of 20th and 21st century art. The story of the Guggenheim collection is essentially the story of several very different private collections that have been brought together. Augmented through numerous acquisitions under the leadership of the Foundation’s directors, curators, and international partners, these collections form a unique, shared global collection that reflects the rich trajectory of art from the mid-19th century through the present. Visit the museum's website at ...www.guggenheim.org/new-york

Our Editor Visits Lentos Kunstmuseum Linz ~ One Of The Most Important Museums of Modern & Contemporary Art in Austria

Met Museum's Installation Positions African Masks with Works by Modern & Contemporary Artists

artwork: Calixte Dakpogan (Beninese, born 1958), "Papa Sodabi – The Drunk", 2002. - Steel, metal, plastic, glass and other found materials, H. x W. x D.: 24 x 21 x 9 in. (61 x 53.3 x 22.9 cm) Courtesy CAAC - The Pigozzi Collection, Geneva © Calixte Dakpogan.

NEW YORK, NY.- Highly creative re-imaginings of the iconic form of the African mask comprise a unique installation held at The Metropolitan Museum of Art beginning March 8. Featuring 20 works of art—19 sculptures and one photograph—Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents reflects on the enduring relevance of African masks as a source of inspiration for artists across cultures into the present. Highlights of the installation are whimsical sculptures created from discarded consumption goods by contemporary artists Romuald Hazoumé (b. 1962) and Calixte Dakpogan (b. 1958), both from the Republic of Benin. Seventeen of the 20 works selected are on loan from European and American private collections; the others are drawn from the Museum's own collection.

12th Annual Art London to Open in Chelsea with More than 70 Art Galleries

LONDON.- Some 70 art galleries from the UK and around the world are exhibiting at the 12th annual Art London, which opens in the special marquee at the Royal Hospital in London’s fashionable Chelsea from Thursday 7 until Monday 11 October 2010. The eclectic mix of art on sale offers visitors works by internationally renowned names, as well as accomplished emerging artists. The art comes in many forms and media, including: paintings, drawings, glass works, sculpture and photography. These all sell from a few hundred pounds to six figures sums.

Albertina Museum shows The Collection of Eberhard W. Kornfeld

artwork: Marc Chagall - The Cattle Dealer, 1912 - © VBK, Vienna 2008 / Eberhard W. Kornfeld, Berne

Vienna, Austria - The Albertina Museum presents Routes Through Modern Art - From The Collection of Eberhard W. Kornfeld, on view through Fabruary 8, 2009. In honour of the 85th birthday of Swiss art dealer Eberhard W. Kornfeld, some 200 works from his remarkable private art collection are on exhibit at the Albertina. The auction house owner and art publisher is a distinguished expert on prints and the author of catalogues raisonnés on Ernst Ludwig Kirchner, Paul Klee, Marc Chagall, Käthe Kollwitz and numerous other artists. Like the collection as a whole, the exhibition focuses on multifaceted selections of their works, as well as works by the collector’s close friends Pablo Picasso, Sam Francis and Alberto Giacometti.

Marc Chagall's Illustrations for Gogol's "Dead Souls" at the Tel Aviv Museum of Art

artwork: Marc Chagall - "Chichikov and Sobakevich after Dinner" illustration for Nikolai Gogol Dead Souls, 1923-1927. Etching, 21 x 27.5 cm., Collection of the Tel Aviv Museum of Art.

TEL AVIV, ISRAEL - In the spring of 1931, Marc Chagall set sail for a visit in Eretz-Israel. He had been invited by Tel Aviv Mayor Meir Dizengoff, following their acquaintance in Paris in 1930. Chagall was taken with Dizengoff's passion to establish a museum in the emerging Jewish city, and agreed to join the Paris Committee set up to promote the project. Chagall brought a gift, his series of prints illustrating Nikolai Gogol's novel Dead Souls. The series was personally dedicated to Dizengoff, and was intended to enrich the collection of the museum, due to open in 1932.

With More Than 80 Galleries Art Dubai Presents Its Most Diverse Edition To Date

artwork: The high jewelry collection of Van Cleef & Arpels, 'Les Voyages Extraordinaires', inspired by the french author Jules Vernes // collage by Vicky Schneider On view at the Art Dubai exhibition, in Dubai, United Arab Emirates, 16-19 March 2011. The 5th edition of the contemporary art fair that gathers collectors, galleries, artists and art professionals from more than 30 countries.

DUBAI.- Welcoming a total of 81 galleries from 34 countries—with one-third of the participants based in the Middle East, one-third in Europe and one-third in the United States and Asia—the latest edition of Art Dubai is presented from Wednesday, 16 March through Saturday, 19 March 2011, under the patronage of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE, Ruler of Dubai. This year’s Art Dubai, the first organised under the leadership of Fair Director Antonia Carver, is also the most diverse and forward-looking to date for the Middle East’s largest contemporary art event. This year, Art Dubai also launches Art Week, an initiative showcasing the broad programme of cultural events taking place across the UAE and Qatar in March.

“Dubai has been a trading post and meeting point for South Asia, Iran, the Arab world and Africa for hundreds of years,” said Antonia Carver. “Over the past decade, Dubai has become the commercial art centre of the region and a city of ideas and entrepreneurship, providing homegrown support for artists, exhibitions and galleries. Through the fair and our platforms for dialogue, Art Dubai has been an integral part of this development and while rooted in the region, we are committed to looking to the future and continuing our role as a catalyst linking Asia and the Middle East with the rest of the world.”

Antonia Carver continued, “We aim for Art Dubai to be a fair of discovery – for the international collectors, curators, artists, gallerists and museum groups that attend the fair aiming to catch up on all that’s happening in the Middle East and South Asia, and for those based in the region to engage with the most dynamic of international galleries. At Art Dubai, these audiences will be able to discover the work of more than 500 artists, as presented in booths, installations, performances, dispatches, talks and screenings.”

artwork: Moebius - "Peranance", from the collection of the Fondation Cartier pour l'Art Contemporain On view at the Art Dubai exhibition, in Dubai, United Arab Emirates, 16 -19 March 2011.

Showcasing paintings, sculpture, photography, works on paper and video installations from a host of first-timers as well as returning galleries, the fifth edition of Art Dubai features exciting work from emerging artists and museum-quality masterworks. The fair features an ambitious range of galleries, with more than a dozen significant, curatorially focused galleries exhibiting in the Middle East for the first time; an increased number of single-artist gallery shows, allowing viewers to delve into an artist’s practice in depth; and the strongest showing ofgalleries from Turkey and South Asia to date.

This year also sees the debut of MARKER, a new platform for experimental art spaces from Asia and the Middle East showcasing projects by emerging artists. Curated by Nav Haq, this section includes five dynamic project spaces: Alexandria Contemporary Arts Forum (Alexandria, Egypt), GREY NOISE (Lahore, Pakistan), Liu Ding’s Store (Beijing, China), Makan (Amman, Jordan) and Ruangrupa (Jakarta, Indonesia). Each organisation will present new projects that have been conceived specifically for Art Dubai and that bridge the gap between the commercial and curatorial components of the art fair.

Programming for the fair includes Global Art Forum _5, a four-day series of discussions curated by a committee chaired by Shumon Basar, which explores how a changed world has changed audiences for contemporary art, how expectations have affected artists and their work, and how art and fashion collide. The result of a dynamic partnership between Dubai Culture & Arts Authority (Dubai Culture), Mathaf: Arab Museum of Modern Art in Doha, Qatar, Abu Dhabi Authority for Culture & Heritage (ADACH), Ministry of Culture, Kingdom of Bahrain, this year’s forum is the most collaborative yet. Speakers include: Hans Ulrich Olbrist, Co-Director, Exhibitions and Programmes, and Director of International Projects, Serpentine Gallery, London; Francesco Vezzoli, artist; Germano Celant, Director, Fondazione Prada; Sultan Sooud Al Qassemi, Founder, Barjeel Art Foundation; Wassan Al Khudhairi, Director, Mathaf: Arab Museum of Modern Art; and Vasif Kortun, Director of Research and Programs, SALT, Istanbul; Curator, UAE Pavilion for the Venice Biennale 2011. Natascha Sadr Haghighian, this year’s Global Art Forum Artist-inResidence, responds to the discussions through a bibliographic journey hosted on www.artdubai.ae. 2011 also marks the launch of Forum Fellows, a programme that offers a group of young curators and artists from Abu Dhabi, Antakya, Dhaka, Karachi, Jerusalem and Tehran the opportunity to engage with all aspects of the fair.

In addition to the Global Art Forum, Art Dubai hosts a series of talks including On Collecting, focusing on arts patronage; Art Park Talks, which include performances, conversations and practical workshops; and THE BIG IDEA, a dynamic forum for UAE-based artists and designers, organised by Bidoun Projects.

artwork: Youssef Nabil - "I Will go to Paradise, Hyeres", 2008, - Hand coloured gelatin print, 50 x 75 cm. Private Collection

Art Dubai Projects takes an observational, almost anthropological approach to the gallery metropolis created by Art Dubai. The rich programme of new works and performances includes painters Ali Chitsaz and Mounira Al Sohl in collaboration with Bassam Ramlawi taking on the theme of ‘labour’ in a live mural; the commissioning of Oraib Toukan to create a new work within the grounds of the fair while Hrair Sarkissian has adapted an existing work that – in its new state – plays with the façade of Madinat Jumeirah; works created by Abbas Akhavan and Shaikha Al Mazrou during the Delfina Foundation’s eight-week residency programme in Bastakiya, with the support of Dubai Culture & Arts Authority (Dubai Culture) and Tashkeel; performative tours of the fair by Malak Helmy and Abhishek Hazra; a bank of radio dispatches from artists’ studios curated by The Island (Victoria Brooks and Andrew Bonacina); and Art Park, a series of films, talks and projects curated by Bidoun Projects that features retrospectives of video artists Wael Shawky and Sherif El-Azma.

Visitors to the fair will be the first in the world to see the completed works of the five recipients of the third annual Abraaj Capital Art Prize (ACAP) .Winners of this year’s prize include Hamra Abbas, Jananne Al-Ani, Shezad Dawood, Nadia Kaabi-Linke and Timo Nasseri with guest curator Sharmini Perreira. Footnotes to a Project*, a specially commissioned book project tracing the process of production for each artist’s work for ACAP 2011 and launches on the fair’s closing day.

In addition, visitors to Art Dubai can enter the fantasy world created in the Van Cleef & Arpels exhibition Les Voyages Extraordinaires, inspired by four stories by the French writer Jules Verne: Five Weeks in a Balloon, Journey to the Centre of the Earth, From the Earth to the Moon and Twenty Thousand Leagues under the Sea.

Tamara de Lempicka's Art Deco Paintings on View for the First Time in Mexico City

artwork: A man stands beside the painting "M. Tadeusz Lempicki" during the exhibition of works of art made by Tamara de Lempicka which opened at the Palace of Fine Arts in Mexico City/ - Photo: EFE / Mario Guzmán

MEXICO CITY.- President Felipe Calderón inaugurated the Tamara de Lempicka Exhibition at the Palace of Fine Arts, adding that during his government, an enormous effort has been made to enable Mexicans to discover and enjoy great national and international exhibitions, some of which have been unparalleled. He said that Tamara de Lempicka belongs to the great 20th Century women painters who were attracted to Mexico and found refuge and a source of inspiration here, such as Remedios Varo, Leonora Carrington and Alice Rahon. Of Tamara de Lempicka, the President said that her fascinating, avant-garde plastic discourse made her one of the main exponents of Art Déco. The exhibition gathers 48 paintings, 15 works on paper and 21 photographs, that come from private collections in France, Belgium, Germany, Spain, United States and Mexico. It is important to mention that Jack Nicholson’s collection has been included in the show.

" EAT ART " Exhibition opens at the Kunsthalle Dusseldorf

artwork: Sonja Alhäuser - Emsrausch , 2006 - Butter sculpture, Meeresfrüchte, diverse Lebensmittel, Überwachungskamera, Miniaturaquarelle - Foto: Carsten Gliese, Köln / © VG Bild-Kunst, Bonn 2009

DUSSELDORF.- Eat Art, a term coined by Daniel Spoerri for art made with and involving food, has its institutionalized origins in Düsseldorf. Two years after opening his restaurant at the Burgplatz, the Swiss artist founded the Eat Art Gallery in 1970 and inspired numerous artists to produce various editions made of edible materials and food wastes. The exhibition “Eating the Universe” — a title created in the 1970's by Peter Kubelka, former professor for Film and Cooking at the Frankfurt Städelschule, for a TV-show about cooking as an artistic genre — takes generous stock of the phenomena from today's perspective and traces the original character of eat art from its origins until today. On exhibition through 28 February, 2010.

The Walters Art Museum to exhibit "Heroes: Mortals & Myths in Ancient Greece"

artwork: Helen & Menelaos at the Sack of Troy/Youth Departing, 440-430 BCE. Attic red-figure bell-krater. Attributed to the Persephone Painter, height 32.5 cm. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

BALTIMORE, MD.- From ancient times to present day, heroes and heroines have played vital cultural roles in society by defining trends, creating norms and shaping behavior. Sometimes heroes are portrayed as superhuman protagonists while at other times they emerge as average people who rise above the ordinary. Heroes are acknowledged with admiration by the mass media and sometimes even with offerings, rituals or monuments. On view Oct. 11, 2009 through Jan. 3, 2010, at the Walters Art Museum, Heroes: Mortals and Myths in Ancient Greece will explore the inherent human need for heroes through the arts of one of the oldest and most influential cultures in history.

The Sterling and Francine Clark Art Institute to show 19th Century Photographs of Rome

artwork: The Porto di Ripetta, Viewed from Downstream, 1870–75, attributed to Gustave Eugène Chauffourier. Albumen print from glass negative, 9 3/4 x 7 3/8 in. Collection of W. Bruce and Delaney H. Lundberg.

WILLIAMSTOWN, MA.- Through 100 photographs taken between 1850 and 1880, the exhibition Steps off the Beaten Path: Nineteenth-Century Photographs of Rome and its Environs encourages a "walking tour" through Rome with recognizable sites among the out-of-the-way scenes nineteenth-century Romans and Europeans encountered in their daily lives. The exhibition opens at the Sterling and Francine Clark Art Institute on Sunday, October 11th through 3 January, 2010,

Lentos Art Museum celebrates Oskar Kokoschka ~ A Vagabond in Linz : Wild & Denigrated

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The Albertina Opens "René Magritte ~ The Pleasure Principle"

artwork: artwork: René Magritte - "Le baiser", 1951 - Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011. On view at the Albertina, Vienna in "René Magritte: The Pleasure Principle" from November 9th until February 26th 2012.

Vienna.- The Albertina is proud to present "René Magritte: The Pleasure Principle" on view at the museum from November 9th through February 26th 2012. A selection of more than 100 works from around the world will cover every creative phase of the artist, retracing Magritte’s artistic career. Conceived in collaboration with the Tate Liverpool, the exhibition addresses hitherto little-explored aspects of Magritte’s life and artistic activity. It focuses on his use of patterns and recurring objects, the subject of covering and unveiling, visual breaks and eroticism in his oeuvre. On the basis of Magritte’s most important works and early commercial pieces, the exhibition examines the connection between the artist’s paintings and his work for the advertising industry as well as the influence of pop culture. Drawings and collages, rarely shown photographs and films will also be on display in the exhibition.

artwork: René Magritte - "Le paysage de Baucis", 1966 Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011.

artwork: René Magritte - "Le paysage de Baucis", 1966 Oil on canvas - Collection of the Houston Museum of Fine Arts. © VBK Vienna, 2011.

René Magritte was born in Lessines, in the province of Hainaut, in 1898, the eldest son of Léopold Magritte, who was a tailor and textile merchant, and Régina (née Bertinchamps), a milliner until her marriage. Little is known about Magritte's early life, but he began lessons in drawing in 1910. On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. She was later discovered a mile or so down the nearby river, dead. According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse. Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte's paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants. Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. From 1916 to 1918 he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring.

The paintings he produced during the years 1918–1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger. Most of his works of this period are female nudes. In 1922 Magritte married Georgette Berger, whom he had met as a child in 1913. From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922–1923, he worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, "The Lost Jockey (Le jockey perdu)", and held his first exhibition in Brussels in 1927.

artwork: René Magritte - "The Spirit of Geometry", 1937, Gouache on paper Collection of the Tate, London. - © VBK Wien, 2011. On view at the Albertina, Vienna in "René Magritte" until February 26th 2012.

Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group. Galerie la Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising. He and his brother, Paul, formed an agency which earned him a living wage. Surrealist patron Edward James allowed Magritte, in the early stages of his career, to stay rent free in his London home and paint. James is featured in two of Magritte's pieces, "Le Principe du Plaisir (The Pleasure Principle)" and "La Reproduction Interdite", a painting also known as "Not to be Reproduced". During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir Period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium. In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto 'Surrealism in Full Sunlight'. During 1947–48—Magritte's "Vache Period" — he painted in a provocative and crude Fauve style.

During this time, Magritte supported himself through the production of faked works purporting to be by Pablo Picasso, Georges Braque and Giorgio de Chirico - a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul Magritte and fellow Surrealist and 'surrogate son' Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, he returned to the style and themes of his prewar surrealistic art. His work was exhibited in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992. Magritte died of pancreatic cancer on 15 August 1967 in his own bed, and was interred in Schaerbeek Cemetery, Evere, Brussels. Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist and conceptual art. In 2005 he came 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

artwork: René Magritte - "L'assasin menacé/Der bedrohte Mörder", 1927 - Oil on canvas The Museum of Modern Art, NY- © Charly HERSCOVICI Brussels - © VBK Vienna.

The Albertina is a museum in the Innere Stadt (First District) of Vienna, Austria. It houses one of the largest and most important print rooms in the world with approximately 65,000 drawings and approximately 1 million old master prints, as well as more modern graphic works, photographs and architectural drawings. Apart from the graphics collection the museum has recently acquired on permanent loan two significant collections of Impressionist and early 20th century art, some of which will be on permanent display. The museum also houses temporary exhibitions. Vienna's Albertina was erected on one of the last remaining sections of the fortifications of Vienna, the Augustian Bastion. In 1745, it was refurbished by the director of the Hofbauamt, Emanuel Teles Count Silva-Tarouca, to become his palace. The building was later taken over by Duke Albert of Saxen-Teschen. He used it as his residence and later brought his graphics collection there from Brussels, where he had acted as the governor of the Habsburg Netherlands. For that purpose, he had the building extended by Louis Montoyer. Since then, the palace has immediately bordered the Hofburg. The collection was expanded by Albert's successors. The collection was created by Duke Albert with the Genoese count Giacomo Durazzo (Austrian ambassador in Venice). In 1776 the count presented nearly 1,000 pieces of art to Duke Albert and his wife Maria Christina (Maria Theresia's daughter). Count Giacomo Durazzo – brother of Marcello Durazzo (Doge of Genoa) – "wanted to create a collection for posterity that served higher purposes than all others: education and the power of morality should distinguish his collection...." In the 1820s Archduke Charles, the foster son of Duke Albert and Maria Christina, initiated further modifications of the building by Joseph Kornhäusel, which affected mostly the interior decoration. After Archduke Charles, his son Archduke Albrecht and then Albrecht's nephew Archduke Friedrich, Duke of Teschen lived in the building. In early 1919, the building and the collection passed from the Habsburgs into the ownership of the Republic of Austria. In 1920, the collection of prints and drawings was unified with the collection of the former imperial court library. The name Albertina was established in 1921. In March 1945, the Albertina was heavily damaged by bomb attacks. The Albertina was completely refurbished and modernized from 1998 to 2003, but the graphics collection did not reopen until 2008. Visit the museum's website at ... http://www.albertina.at

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