Утопия и реальность. Эль Лисицкий и Илья Кабаков

29.06. - 25.08.13
http://www.hermitagemuseum.org

 Что общего между Элем Лисицким и Ильей Кабаковым, и что они думают о космосе, мусоре и советском жилье.

Кураторы пригласили Илью и Эмилию Кабаковых не только в качестве художников, но и как кураторов, предложив им сделать выставку из собственных работ и работ известного конструктивиста и авангардиста Эля Лисицкого. Лисицкий и Кабаков как бы маркируют начало и конец советской эпохи и представляют два ее полюса — большие надежды, а затем глубокое разочарование. Выставка поделена на несколько тематических разделов, общих и для Кабакова, и для Лисицкого: космос и пустота, чистота форм и мусор, повседневность и прочие. Только вот акценты оказываются немного смещены. Если конструктивист предлагает нам взглянуть на новый мир и посмотреть в будущее, наш современник Кабаков говорит о несостоявшемся будущем и утопии.

Шедевры Тициана из музеев Италии

www.arts-museum.ru
c 27 июня по 29 сентябряМосква

Великий мастер Возрождения вошел в историю мировой живописи как выдающийся колорист, основатель жанра психологического портрета, реформатор религиозной и исторической живописи, предвосхитивший Барокко. В экспозиции будут представлены его произведения самых разных жанров – портреты, религиозные и мифологические картины. Среди последних особо стоит отметить картины «Флора» из собрания галереи Уффици во Флоренции и «Даная» из Музея Каподимонте в Неаполе.

Egon Schiele and his age

Museum of Fine Arts, Budapest (Szepmuveszeti) (Budapest, Hungary)
26th June 2013 - 29th September 2013

The Museum of Fine Arts, Budapest, by way of a continuation of its exhibition presenting Gustav Klimt and the early Secession offers an insight into the work of the most outstanding artist of the following generation: Egon Schiele, and through his contemporaries into the development of Viennese Expressionism, the school that superseded Jugendstil.

The 70 works coming from the world’s richest Schiele collection, the Leopold Museum in Vienna, will be complemented by drawings and paintings by Schiele, coming from other prestigious collections and further works by Schiele, Oscar Kokoschka and Carl Moll from the collection of the Museum of Fine Arts.

Vienna’s bustling cultural life was still ablaze with the success of Art Nouveau at the beginning of the century when so-called pretenders to the throne appeared. The wilder and more rebellious (Schiele, Kokoschka) or the more withdrawn (Richard Gerstl) artists won both enthusiastic supporters and loud critics, while their work still frequently bore the influence of their “masters” (Klimt, Moll, Kolo Moser). During this versatile period rich in art and artistic discourse the relations between Vienna and Budapest were also going through a productive phase. This is proved by the fact that it was exactly one hundred years ago (in 1912 and 1913) that Schiele and other Austrian artists – among them Gustav Klimt – presented their works in Budapest.

In the centre of our present exhibition stands Egon Schiele, whose short artistic career, spanning all of ten years, is illustrated with around fifty works. At the age of 16 Schiele became the youngest pupil of the conservative Academy of Fine Arts of Vienna, which soon after he left to found a group of artists called Neukunstgruppe (new art group). His work was influenced by the leading figure of Secession, Gustav Klimt, and guest artists taking part in the society’s exhibitions (Van Gogh, Toulouse-Lautrec, Munch). Klimt’s female nudes characterised by eroticism – some of which can be seen at the exhibition – had a direct affect on the young artist who frequented his studio. The public soon turned its attention to Schiele’s anguished nudes, drawn in tormented lines, or his small town landscapes, while even public authority responded to his works of men and women lacking all taboos, as a result of which he was briefly imprisoned under the charge of pornography.

The New French follies, exhibition at the Domaine National de Saint-Germain, Le Nôtre Year

26.06-14.10.13
http://www.musee-archeologienationale.fr

Contemporary follies in natura.
Année Le Nôtre à Saint-Germain-en-Laye

After Nature mutante®, an exhibition awarded the prize for Innovation by the Ministry of Culture and Communication, essayist and curator Patrick Amine has organised an ambitious project to recreate contemporary "new follies" in the National Domain of Saint-Germain-en-Laye.

Soliciting 27 renowned international artists (Hervé di Rosa, Bob Verschueren, Jan Fabre, Bae Lee, Loris Cecchini, etc.), the gardens become a stage for ephemeral (or perennial) works and in natura vegetable sculptures around the garden, its avenues and terraces. It is also a playful and imaginative area for walks, to be enjoyed by people all ages, adapted to the site and its history.

Thanks to his passion for gardens and history and his knowledge of contemporary art, Patrick Amine is the ideal organiser for this project which is to be part of the tribute to André Le Nôtre, in a dialogue between heritage and contemporary creation.
Exhibition of international contemporary artists in the National Domain and the National Archaeological Museum.

Vermeer and Music: The Art of Love and Leisure

26.06 - 08.09.2013
www.nationalgallery.org.uk

Explore the musical pastimes of the 17th century Netherlands through a lively display combining the art of Vermeer and his contemporaries with rare musical instruments and songbooks of the period.
For the first time the National Gallery’s two paintings by Vermeer, Young Woman Standing at a Virginal and Young Woman Seated at a Virginal will be brought together with Vermeer’s Guitar Player, which is currently on exceptional loan from the Iveagh Bequest, Kenwood House.

These beautiful and evocative paintings by Vermeer will be displayed with works by his contemporaries and juxtaposed with musical instruments and songbooks from the same period.

Music was one of the most popular themes in Dutch painting, and carried many diverse associations. In portraits, a musical instrument or songbook might suggest the education or social position of the sitter; in scenes of everyday life, it might act as a metaphor for harmony, or a symbol of transience.

The exhibition will display 17th-century virginals (a type of harpsichord), guitars and lutes alongside the paintings to offer a unique insight into the painters’ choice of instruments, and the difference between the real instruments and the way in which the painters chose to represent them.

The exhibition will also incorporate music of the era in various ways, enriching the visitor’s experience of the serene and elegant ambiance created in paintings by Vermeer and other masters of the Dutch Golden Age

Il gran principe Ferdinando De' Medici (1663 - 1713) Collezionista e Mecenate

25 giugno  - 03 novembre 2013
Firenze, Galleria degli Uffizi

Nel terzo centenario della morte del Gran Principe Ferdinando de' Medici (1663-1713), la Galleria degli Uffizi dedica una mostra a questo importante personaggio che fu tra i principali collezionisti e mecenati d'arte della famiglia granducale di Toscana.

Figlio di Cosimo III e di Marguerite - Louise d'Orléans, Ferdinando coltivò fin da giovanissimo una grande passione per il teatro, la musica e le arti figurative.
La mostra vuole rendere la complessità dei suoi interessi e la novità delle sue scelte che convogliarono su Firenze, allo scadere del Seicento e nel primo decennio del XVIII secolo, i grandi protagonisti di quell'era (musicisti, strumentisti, pittori, scultori).

Il percorso espositivo si articolerà in sezioni che illustreranno le complesse problematiche legate alle scelte culturali di Ferdinando, presentando anche gli edifici nei quali il suo mecenatismo prese vita.
Una sezione introduttiva presenterà il principe in effige e la famiglia d'appartenenza, con opere di Giovan Battista Foggini, Justus Suttermans, Anton Domenico Gabbiani.
La seconda sezione illustrerà gli inizi del mecenatismo e del collezionismo di Ferdinando, esplicitatisi soprattutto nella villa di Pratolino, luogo prediletto dal principe, nella quale, accanto a musici, cantanti, costumisti e compositori, fanno comparsa i grandi scenografi bolognesi, i Bibbiena, mentre la residenza si trasforma nei decori interni e si arricchisce di opere dei pittori preferiti da Ferdinando in quel periodo: tra questi, i toscani, Livio Mehus, Pier Dandini, Domenico Tempesti ma anche 'stranieri' quali il romano Crescenzio Onofri o il padano Cristoforo Munari, tutti impegnati a produrre opere spesso strettamente legate all'edificio e alle attività ludiche che vi si praticavano.
La terza sezione interesserà invece il rinnovamento di palazzo Pitti, del teatro della Pergola e del Duomo fiorentino in occasione delle nozze di Ferdinando con la principessa Violante Beatrice di Baviera (1689). In questo frangente la reggia subì radicali trasformazioni che interessarono il piano nobile, gli appartamenti degli sposi, i mezzanini rinnovati con grande fantasia, documentati in mostra da memorie e disegni preparatori degli artisti che vi lavorarono (Luca Giordano, Diacinto Maria Marmi, Alessandro Gherardini, Giovanni Battista Foggini, Anton Domenico Gabbiani). Al contempo si darà ragione - esponendo disegni e documenti - delle cerimonie e delle feste fiorentine fatte per gli sponsali del principe.
La quarta sezione illustrerà l'interesse sempre crescente del principe per le arti figurative, per la scultura contemporanea come per la pittura, con i principali artefici allora attivi, spesso specialisti nei moderni 'generi' dell'arte tardo - seicentesca quali la natura morta e il ritratto. In questa parte della mostra si vedranno quindi opere sia sacre come profane (di Carlo Dolci, Carlo Loth, Baldassarre Franceschini, il Volterrano), sia di 'natura dipinta' (di Jacopo Ligozzi, Bartolomeo Bimbi, Margherita Caffi, Fardella, Houbracken, Michelangelo Pace da Campidoglio). Non meno interessante, la presenza di oggetti sontuari, di mobili e di suppellettili evocativi del gusto raffinato di Ferdinando, con opere dei grandi intagliatori, intarsiatori, argentieri allora attivi per la corte.


Collecting Gauguin: Samuel Courtauld in the 20s at The Courtauld Gallery


www.courtauld.ac.uk

Collecting Gauguin offers a fascinating insight into the development of Gauguin’s reputation in the UK.

The Courtauld Gallery holds the UK's most important collection of works by the Post-Impressionist master Paul Gauguin. Assembled by the pioneering collector Samuel Courtauld, it includes major paintings and works on paper as well as one of only two marble sculptures ever created by the artist.

This special summer display presents the complete collection together with the loan of two important works by Gauguin formerly in Courtauld’s private collection: Martinique Landscape and Bathers at Tahiti.

Today, Gauguin is widely celebrated as one of the most important artists of the 19th century.

Выставка одного шедевра. Картина Андреа Мантеньи "Святой Георгий"

Московский Кремль
с 19 июня по 18 июля

Музеи Московского Кремля и Посольство Италии в Москве рады представить российскому зрителю одно из самых известных произведений выдающегося художника итальянского Возрождения Андреа Мантеньи - "Святого Георгия".

Экспонирование этого шедевра именно в Московском Кремле является по-настоящему знаковым событием. На протяжении веков святой Георгий оставался для русского народа олицетворением мужества, благородства и служения правому делу.

Показ "Святого Георгия" в Музеях Кремля имеет исключительное значение еще и потому, что в богатейших собраниях российских музеев нет ни одной картины Мантеньи - прекрасного художника, принадлежащего к числу самых значимых мастеров, оказавших огромное влияние на сложение самобытного стиля живописи Северной Италии Раннего Возрождения.

Riotous Baroque: From Cattelan to Zurbarán

Guggenheim Museum Bilbao (Bilbao, Spain)
18th June 2013 - 6th October 2013

Featuring contemporary artworks presented alongside 17th-century paintings, Riotous Baroque: From Cattelan to Zurbarán attempts to extricate the concept of the baroque from established clichés and traditional perceptions. With a clear shift away from pomp, ornament, and gold, the exhibition focuses on the baroque as a celebration of the precarious vitality that was hailed, rediscovered, lost, projected, and threatened by death.Riotous Baroque does not mark the emergence of a new neo-baroque style. Instead, the exhibition highlights the way in which several contemporary artworks touch reality, striving toward existentialist issues.

Usually associated with dynamism, sensuality, extravagance, and theatricality, withdrawn from the quiet solemnity of classical forms, the baroque era also exemplified an age of instability, marking the collapse of an established order. As noted by the art historian Erwin Panofsky, the baroque was founded in “the victory of subjectivism, which aims to express suffering and humor in equal measure.”

The selection of baroque paintings and contemporary works on display constitute an approach to real life that creates a universe of contrasts ruled by the illusionistic, the hyperreal, and the longing for an exalted vitality. Avant-garde artists of the 20th century also sought to put art and life on equal terms. Although this essentialist enthusiasm appears to have been forgotten today, its reflection still prevails among artists who probe the permeability of the frontier between art and life.

Looking back at history from a contemporary perspective, Riotous Baroqueexplores the coarseness, earthiness, religiosity, and sensuality of the baroque, grotesque, burlesque, and virile. The exhibition eludes the most obvious the- matic or formal analogies, opting to present baroque and contemporary works within an installation influenced by film, designed to enable the two realities, past and present, with all their differences and affinities, in order to cross-fertilize, permeate, and invite new interpretations.

История советских павильонов

Музейно-выставочный центр «Рабочий и колхозница»
18.06. – 18.08.2013

История советских выставочных павильонов – это история архитектуры и тотальных инсталляций, грандиозный мировой смотр достижений разных стран, соревновательные командные выступления архитекторов, графиков, макетчиков, столяров, техников, шрифтовиков, фотографов, скульпторов, живописцев, кинематографистов, садовников… История международных выставок стартовала в середине XIX века в лондонском Гайд- парке – тогда Джозеф Пакстон построил из стекла и железа «Хрустальный дворец» площадью 90 000 кв. м. Венецианская биеннале была организована по другому принципу: с 1895 года в садах Джардини проходит «Международная художественная выставка», для которой страны-участники строят постоянные павильоны, заказывая проекты знаменитым архитекторам.

Но многие мировые смотры приглашали участников к созданию временных построек на заранее выделенной территории: каждый раз это были практически экспериментальные сооружения с совершенно оригинальным внутренним композиционным решением и составом экспонатов, создававшиеся в стилевой доминанте своей эпохи – это конструктивизм 1920-х, неоклассицизм 1930-х и функционализм 1960-х годов.

Le Corbusier: An Atlas of Modern Landscapes

MOMA (The Museum of Modern Art), New York
15th June 2013 - 23rd September 2013

MoMA presents its first major exhibition on the work of Le Corbusier (Charles-Édouard Jeanneret, 1887–1965), encompassing his work as an architect, interior designer, artist, city planner, writer, and photographer. Conceived by guest curator Jean-Louis Cohen, the exhibition reveals the ways in which Le Corbusier observed and imagined landscapes throughout his career, using all the artistic techniques at his disposal, from his early watercolors of Italy, Greece, and Turkey, to his sketches of India, and from the photographs of his formative journeys to the models of his large-scale projects. His paintings and drawings also incorporate many views of sites and cities. All of these dimensions are present in the largest exhibition ever produced in New York of his prodigious oeuvre.

Organized by guest curator Jean-Louis Cohen, Sheldon H. Solow Professor in the History of Architecture, Institute of Fine Arts, New York University, with Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design at MoMA.

Stradivarius

13.06 - 11.08.2013
www.ashmolean.org

Antonio Stradivari (c.1644–1737) – or Stradivarius as he is usually known – is the only maker of musical instruments whose name ranks alongside those of the great composers. For the first time will twenty of his instruments, from guitar to cello to violin, be on display together in the UK.
While the details of his life are not as familiar as those of Vivaldi or Mozart, his name succeeds in evoking a creative genius in the popular imagination. The Ashmolean’s summer 2013 exhibition will feature twenty of the world’s most important musical instruments, some of which have never been shown in public, on loan from international collections: from the early Silvestre violin of 1666, to the Fountaine violino piccolo, the Boissier-Sarasate of 1713, to his later violins of the 1730s. It will also show a recreation of Stradivarius’s workshop where visitors will be able to follow the creation of a violin from a log of spruce through to the finished instrument.

Белый город. Архитектура Баухауза в Тель-Авиве


12.06. - 15.09.13
http://www.hermitagemuseum.org 

Над застройкой Тель-Авива в 30-е годы XX века работали архитекторы немецкой школы «Баухаус», дома строились 2—3-этажными, бетонными, улицы строго перпендикулярны или параллельны побережью. Главной целью постройки было создание недорогого массового жилья. Дома 30-х годов XX века являются сегодня архитектурным памятником, и благодаря им Тель-Авив занесён в список культурных ценностей ЮНЕСКО под названием «Белый город»

Белый город был сооружен в период с начала 1930-х до 1950-х гг. на основе градостроительного плана Патрика Геддеса, отражавшего самые прогрессивные в то время принципы органичной планировки. Здания были спроектированы архитекторами, получившими образование в Европе, где они занимались профессиональной деятельностью до иммиграции. Они создали выдающийся архитектурный ансамбль в стиле «Современного движения», выполненный в новом культурном контексте.

Залы современного искусства в Главном штабе, 4 этаж

Reflections. From Van Eyck to Magritte

11th June 2013 - 15th September 2013
Thyssen - Bornemisza Museum (Madrid, Spain)

The depiction of reflections on the surfaces of objects within a painting is a recurring motif in painting and one that fascinated numerous artists from the 15th century onwards due to its pictorial potential. The interplay between the real and the reflected image is now the chosen subject for a new installation of works from the Museum’s Permanent Collection, in which Old and Modern Masters are juxtaposed in the same space. In this new edition of <exchanging gazes> artists of different periods reveal their technical mastery by using metals, glass and mirrors to reflect details outside the pictorial space or hidden within the scene. On occasions they even offer a display of artistic narcissism by using this device to depict themselves painting behind their easels. The visual game becomes fully evident in this new installation, encouraging the viewer to raise questions about what is reality and what is reflection in each painting

Прерафаэлиты: Викторианский авангард

ГМИИ им. А.С. Пушкина
c 10 июня по 22 сентября

Основанное в 1848 году «Братство прерафаэлитов» по праву можно считать первым авангардным движением в Европе. Три таинственные буквы P.R.B. (Pre-Raphaelites Brotherhood) на картинах молодых и никому не известных художников привели в смятение английскую общественность: авторы выступили с новым художественным манифестом, желая изменить не только принципы современного искусства, но и его роль в социальной жизни общества. За образец искренности и художественной свободы Данте Габриэль Россетти, Уильям Холман Хант, Джон Эверетт Милле и их последователи взяли искусство раннего Возрождения, «до Рафаэля». Близость к природе, поклонение красоте, обращение к новым темам, яркость и образность работ прерафаэлитов стали оппозицией и критикой академических традиций. Задолго до импрессионистов прерафаэлиты начали работать на пленэре, актуализировали вопрос о правах женщин и способствовали формированию важнейшего стиля конца столетия – искусства Ар Нуво.

В экспозицию, которая будет представлена в ГМИИ им. А.С. Пушкина, войдёт живопись и прикладное искусство – более 80 произведений из музейных и частных коллекций США и Великобритании, включая жемчужины коллекции Тейт – живописные полотна «Офелия», «Мариана» Джона Эверетта Милле, «Возлюбленная» и «Прозерпина» Данте Габриэля Россетти.

The Presence of the Past: Peter Zumthor Reconsiders LACMA

LACMA
June 9, 2013–September 15, 2013

As part of the Getty’s initiative, Pacific Standard Time Presents: Modern Architecture in L.A., LACMA features The Presence of the Past: Peter Zumthor Reconsiders LACMA, an exhibition about the proposed future of the museum's campus. Swiss architect Peter Zumthor has been commissioned to rethink the east campus, providing new insight into the meaning and function of an encyclopedic museum and the relationship of architecture to its site. The exhibition begins with a detailed examination of the museum's buildings within the complicated history of Hancock Park. It then focuses on Zumthor’s preliminary plans for a new building to house the permanent collection, with several large models built by the architect’s studio.

The exhibition will also present key projects in Zumthor’s career that are most relevant to his vision for LACMA: the Therme Vals in Switzerland, Kunsthaus Bregenz in Austria, and the Kolumba Art Museum of the Cologne Archdiocese in Germany. These projects have resulted in Zumthor winning the highest accolades in the field of architecture, including The Pritzker Prize (2009) and the Royal Institute of British Architects Gold Medal (2013). Together, these examples elucidate key aspects of Zumthor’s practice – his interest in the geologic history of the site; his passion for materials, craftsmanship, and sensory experience; and his commitment to an architecture of total integration.

Chagall: Modern Master

Tate Liverpool (Liverpool, United Kingdom)
8th June 2013 - 6th October 2013

Marc Chagall (1887–1985) is one of the great artists of the last century. Bringing together more than sixty paintings and a selection of works on paper from across the world, Chagall: Modern Master takes a fresh look at this compelling artist who created some of the most poetic and enduring images of the twentieth century. This exhibition will be the first major presentation of the Russian painter’s work in the UK for more than fifteen years.

 The exhibition will explore Chagall’s development from the ‘naïve’ folkloristic narratives in his early work, towards his unique style combining fauve, cubist, expressionist and suprematist influences while reflecting his native Jewish Russian culture.

 Chagall: Modern Master will focus on the artist’s time in Paris before the First world War, his visit to Berlin and his exhibition there in 1914, and the years he spent in his native Russia around the time of the Revolution in 1917. Chagall’s experiences during this period reinforced his highly personal visual language.  The universal, timeless themes of these early works – including love, suffering and death – alongside self-portraits and depictions of the circus, music and peasants, recurred and formed the core of his art for the remainder of his long career

Georges Braque and the Cubist Still Life, 1928–1945


08.06-01.09.2013
http://www.phillipscollection.org

This exhibition is the first in-depth study of still life in Georges Braque’s (1882–1963) career framed within the historical and political context of 1928 to 1945. Approximately 40 paintings chart Braque’s work in this genre from small, intimate interior scenes of the late 1920s, to vibrant, large-scale canvases of the 1930s, to darker and more personal interpretations of daily life in the 1940s. Duncan Phillips played a pioneering role in introducing this important European modernist to American audiences, acquiring 11 works by the artist and presenting Braque’s first U.S. retrospective in 1939.
The exhibition is co-organized by The Phillips Collection and the Mildred Lane Kemper Art Museum, part of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.

Dale Chihuly: A Master of Contemporary Glass

8.06 - 20.10.2013
www.mmfa.qc.ca

Considered the "Tiffany" of our time, American artist Dale Chihuly has been exploring the plastic potential of blown glass for over forty years. His spectacular pieces challenge the apparent fragility of the material and transport us to a magical world. Inspired by nature, this consummate master plays with colours, reflections and organic shapes.

 Come and discover the spellbinding environments created by his brilliant glass installations, presented for the first time in Canada.
An exhibition organized by the Montreal Museum of Fine Arts in collaboration with Chihuly Studio.

Noir et Bleu. Un rêve méditerranéen...

Un musée pour l’Europe et la Méditerranée
http://www.mucem.org
7 juin 2013 - 6 janvier 2014

Le noir et le bleu, Goya et Miro, ombre e sole…

Les Lumières et leurs ombres, tels l’envers et l’endroit d’un même monde, qui répond à l’idée même de civilisation, née au xviiie siècle. Goya en est la clef. Illuminados, homme des Lumières, il est un des rares qui aient su voir leurs ombres. Dans ses Désastres de la guerre il fait surgir « ce qui, en l’homme, aspire à le détruire » (Malraux).

Ce noir-là, sorte de basse continue, se retrouve dans tout le parcours de l’exposition.     Mais le noir appelle le bleu…   Bleu : « Ceci est la couleur de mes rêves. » Miro se retire dans son île, à Majorque, et s’immerge dans la Méditerranée. Puissance inaugurale du rêve, de l’utopie, son bleu est un symbole, une icône même de ce désir de trouver en l’homme ce qui parvient à le créer.

Un rêve méditerranéen… Rêve souvent unilatéral, projection du Nord sur le Sud, qui nous conduit à aller voir de l’autre côté du miroir ce qui se passe. Quel est le rêve de l’Autre ?

Traversée dans les imaginaires et les représentations de la Méditerranée, cette exposition est une invitation au récit et au voyage, en douze moments, parmi des nappes de temps, du xviiie siècle à nos jours. Une invitation au rêve, qui n’oublie jamais de regarder bien en face les cauchemars de l’histoire, car « il n’est pas de document de civilisation qui ne soit en même temps un document de barbarie » (Walter Benjamin).

Византийские древности

Московский Кремль
с 07 июня по 25 июля

Выставка в Парадном вестибюле Оружейной палаты приурочена к выходу в свет фундаментального научного каталога "Византийские древности в Музеях Кремля". Новые атрибуции, сделанные сотрудниками музея во время подготовки каталога и обследования фондов, археологические находки на территории Кремля и закупки позволили существенно приумножить византийское собрание – его численность возросла в пять раз.

Экспозиция включает лишь часть вошедших в каталог предметов. На выставке демонстрируются культовые вещи - иконы, кресты, панагии, образки, Евангелие в золотом окладе, а также монеты, стальной шлем, серебряные ложка, чаша и ковш. Каждый из экспонатов, тесно связанный с историей Московского Кремля и московских государей, заслуживает особого внимания. Некоторые из представленных памятников демонстрируются впервые.

Pissarro

4th June 2013 - 15th September 2013
Thyssen - Bornemisza Museum (Madrid, Spain)

In the summer of 2013 the Museo Thyssen-Bornemisza will be presenting the first monographic exhibition in Spain on the Impressionist painter Camille Pissarro (1830-1903). A key figure within Impressionism (he wrote the movement’s foundational letter and was the only one of its artists to take part in all eight Impressionist exhibitions from 1874 to 1886), Pissarro was nonetheless eclipsed by the enormous popularity of his friends and colleagues, in particular Claude Monet. The exhibition includes more than 70 works with the aim of restoring Pissarro’s reputation and presenting him as one of the great pioneers of modern art. Landscape, the genre that prevailed in his output, will be the principal focus of this exhibition, which offers a chronologically structured tour of the places where the artist lived and painted: Louveciennes, Pontoise and Éragny, as well as cities such as Paris, London, Rouen, Dieppe and Le Havre. While Pissarro is traditionally associated with the rural world, to which he devoted more than three decades of his career, at the end of his life he shifted his attention to the city and his late output is dominated by urban views. Curated by Guillermo Solana, this exhibition will subsequently be shown at the CaixaForum, Barcelona.

Frida Kahlo, Diego Rivera and Masterpieces of Modern Mexico

June 1, 2013 - August 18, 2013
http://www.nelson-atkins.org/art/exhibitions/gelman.cfm

More than 100 paintings, sculptures, photographs and drawings by artists such as Frida Kahlo and Diego Rivera showcase the rich artistic traditions of the Mexico of yesterday and celebrate the vitality of Mexican art today. Never before seen in this region, art from the Gelman collection includes a variety of subject matter and styles that range from the figurative to the surreal, the abstract and the conceptual. Share in the passion that inspired this exceptional private collection of Mexican art.

This exhibition has been organized by The Nelson-Atkins Museum of Art with the Vergel Foundation, through support of the Donald J. Hall Initiative.

Generous funding has been received from The Keith and Margie Weber Foundation, Belger Cartage Service, Inc., the Campbell-Calvin Fund and Elizabeth C. Bonner Charitable Trust for exhibitions, and our donors to the Annual Fund.

55th International Art Exhibition

1.06 - 24.11.2013
http://www.labiennale.org

The Encyclopedic Palace

The 55th International Art Exhibition will take place in Venice from June 1st to November 24th, 2013 at the Giardini and at the Arsenale (preview: May 29th, 30th and 31st  2013), as well as in various venues the city.   The title chosen by curator Massimiliano Gioni for the 55th International Art Exhibition is: Il Palazzo Enciclopedico / The Encyclopedic Palace. Massimiliano Gioni introduced the choice of theme evoking the artist self-taught Italian-American Marino Auriti that“on November 16, 1955 filed a design with the US Patent office depicting his Palazzo Enciclopedico (The Encyclopedic Palace), an imaginary museum that was meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite. Auriti’s plan was never carried out, of course, but the dream of universal, all-embracing knowledge crops up throughout history, as one that eccentrics like Auriti share with many other artists, writers, scientists, and prophets who have tried - often in vain - to fashion an image of the world that will capture its infinite variety and richness.”