May 5, 2010 |
Paintings of collectors’ cabinets orrooms of art celebrate collecting.The form emerged in the early seventeenthcentury in the rich merchant cityof Antwerp, where this exhibition, ajoint venture of the Rubenshuis thereand the Mauritshuis in The Hague, wasrecently on view. For the first time, theexhibition brings together the threeextraordinary works by the early masterof the genre, Willem van Haecht II,whose father, Tobias Verhaecht, wasPeter Paul Rubens’s first teacher. Haechtserved as the curator of the collectionof Cornelis van der Geest in Antwerp,and all three of the paintings depictworks known to have been in that collection,particularly the one of 1628now in the Rubenshuis.
The sumptuous example from theMauritshuis’s collection shows rows ofpaintings soaring up the walls of a spaciousroom fi lled with classical sculptures, celestialand terrestrial globes, and a bevy ofcollectors, models, attendants, and evena painter at work. The third painting, shown here, is a rarely…» More
February 10, 2010 | After months of anticipation, Masterpiece London, the new art and antiques fair from the organizers of the prestigious 75-year-old Grosvenor House Fair, received the permissions necessary to confirm that it will take place on 24-29 June 2010 at the Chelsea Barracks.
In spite of the bureaucratic quagmires and delays that these permissions took, those in the know have bet strongly on Grosvenor House's royal ties to see it through. Last June, Prince Charles succeeded in stopping plans to have the site, owned by the royal family of Qatar, turned into a steel-and-glass modern development. What more approvable use, then, of the historic site than the new venue for the most strictly vetted of London's art and antiques shows?
Planning permissions aside—can this show deliver the goods with only months to pull it off?
January 27, 2010 | On the heels of its seventy-fifth anniversary last June, the Grosvenor House Art and Antiques Fair announced that it would close. Only time will tell how its absence will shift the balance of European fairs in 2010. In the meantime, Europe's organizers unveil their plans for the coming year.
Held at the same time as the Winter Antiques Show in New York, the Brussels Antiques and Fine Arts Fair (BRAFA) is too often overlooked by Americans. Now in its fifty-fifth year, BRAFA features 130 top-tier dealers with 60 percent of them coming from Belgium. Among the rest are exhibitors from Hungary, Portugal, and Spain who are not always seen in London or Paris, as well as Hicham Aboutaam of Phoenix Ancient Art, the sole American dealer there in 2010. Recently, the show has also featured dealers from Canada, China, and Russia. According to Aboutaam, the growing internationalism of attendees and exhibitors are good indicators of the fair's significance.
BRAFA-Brussels Antiques and Fine Arts Fair · Through January 31 · www.brafa.be
December 24, 2009 | Keeping winter doldrums at bay during Europe's darkest days, the Sun King lights up London and Versailles; the Magi gleam with baroque opulence in Basel; the stars illuminate the Vatican; and Dionysian ecstasies fire up Berlin.
A sumptuous Cucci cabinet on offer at Christie's creates a splashy finale to the auction season.
As 2009 draws to a close, the indisputable star of December's European decorative arts sales in London is the so-called Cucci cabinet that was sold by the March family at Christie's on December 10. This tour de force of 1665 to 1675, attributed to the Italian-born ébéniste Domenico Cucci and the French Gobelins workshops, first commands the eye with the bold sculptural figures representing the seasons (attributed to Cucci's cousin Philippe Caffieri the elder) that support its stand. Closer inspection reveals the exquisite craftsmanship of its execution throughout: colorful pietre dure panels by the grand-ducal workshops in Florence, marquetry in rich veneers and engraved pewter, deftly rendered internal compartments, and refined gilt-bronze mounts surmounting it. One of only three cabinets now known by or attributed to the master, its appearance in a public sale is significant.
November 12, 2009 | Moctezuma
The British Museum inaugurates a fall blockbuster season with a sweeping exhibition on the last Aztec ruler.
Anticipating the 2010 bicentennial of Mexican independence and the centennial of the Mexican Revolution, the British Museum completes its four-part series on great rulers with the first major show devoted to the Aztec emperor Moctezuma II. That the museum has chosen to use the spelling Moctezuma, which more closely approximates the ruler's name in his native Nahuatl tongue, instead of the more familiar Montezuma, right away proclaims its intention to reach beneath hackneyed stereotypes.
Most radically, the exhibition and its catalogue challenge the widely held notion that the ruling lord (Huey Tlatoani), who had been elected to this semidivine status in 1502, and whose formidable military prowess allowed him to consolidate the Aztec state, complacently ceded his nation to the Spanish, for which betrayal his own people stoned him to death. Presented alongside depictions of this account, are two manuscript images of the 1560s attributed to Aztec artists in the service of the Spanish. They portray Moctezuma with a rope around his neck and shackled as he was led to be hung.
These dual representations open up more questions about this elusive personality than they answer, calling into question the "truth" of the accounts. This investigation into one of history's most enigmatic personalities presents an aesthetically stunning array of Aztec, colonial, and European objects and artworks, some newly excavated. A dramatic turquoise mask; a stone box bearing Moctezuma's name-glyph; his coronation stone; fragments of his palace; ceremonial weaponry, and elaborate works in gold illustrate the heights of Aztec craftsmanship. Enconchados (oil-on-panel paintings inlaid with mother-of-pearl) vividly depict Hernán Cortés's 1519 landing and conquest, while subsequent Aztec codices offer a native interpretation of these events. European portraits present a romanticized view of Moctezuma. Repurposed artifacts, such as an Aztec serpent sculpture later inverted to form a baptismal font, bear witness to the hybrid creations that arose from this cataclysmic clash of two cultures, as encapsulated in the biography of a single man.
Moctezuma: Aztec Ruler · British Museum, London · to January 24, 2010 · www.british museum.org
The Victoria and Albert Museum reexamines India's maharajas from the eighteenth century through the end of British occupation.
The Victoria and Albert Museum opens its fall show, Maharaja: The Splendour of India's Royal Courts, on October 10, just days after London's auctions of Indian art (October 6 at Christie's and 7 at Sotheby's). The more than 250 objects on view include many first-time loans to the United Kingdom from India's royal collections: silver and gilded thrones, gem-encrusted weapons, sumptuous ceremonial paintings and portraits as well as, from the last years of British occupation, extravagant Indian commissions from Western firms such as Rolls Royce, Cartier, and Van Cleef and Arpels. Dripping magnificence, the show and its hefty catalogue nevertheless reach beneath the sparkle to present a new assessment of the evolution of Indian rule from the height of the maharajas' powers in the eighteenth century until the end of British occupation in 1947
The curators draw out the nuanced subcategories of rulers, whose powers fluctuated over time and across the Indian subcontinent. In particular, they reassess the period after the collapse of Mughal rule in 1739 not as one merely of fragmentation and turmoil, but as an era in which powerful new states emerged. The glamorous Anglo-Indian aesthetic that developed as these rival entities gradually came under the authority of the English East India Company is studied as evidence of how India's rulers incorporated Western notions of hierarchy and ceremony into their own. Under outright British rule from 1876 to 1947, the last maharajas are examined as patrons whose lavish commissions often drove fashion in the West as much as in the East. This visually opulent exhibition offers up an insightful exploration of power and its manifestations in India.
Maharaja: The Splendour of India's Royal Courts · Victoria and Albert Museum, London · October 10 through January 17, 2010 · www.vam.ac.uk
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All