Diaghilev e os Ballets Russos, 1909-1929: quando arte dançava com música

Léon Bakst, Russian, 1866–1924, Costume design for Vaslav Nijinsky as the Faun from The Afternoon of a Faun, 1912, graphite, tempera, and gold paint on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

National Gallery of Art

East Building Mezzanine

até 06 de outubro de 2013

Aleksandr Golovin, Russian, 1863–1930, Costume worn by Fyodor Chaliapin in title role in the Coronation scene from Boris Godunov, c. 1908, silk and metal thread, glass beads, imitation pearls, metal, painted silk lining, replacement fur, V&A, London © Victoria and Albert Museum, London

O Balé Russo, a empresa mais inovadora da dança do século 20, impulsionou a arte do espetáculo a novas alturas através de colaborações inovadoras entre artistas, compositores, coreógrafos, dançarinos e designers de moda.

The Ballets Russes—the most innovative dance company of the 20th century—propelled the performing arts to new heights through groundbreaking collaborations between artists, composers, choreographers, dancers, and fashion designers.

Alexandre Benois, Russian, 1870–1960, Costume worn by Lydia Lopokova as a Sylph from Les Sylphides, c. 1916, silk and cotton net, with metal armature for the wings, V&A, London, Cyril Beaumont Bequest © Victoria and Albert Museum, London

Fundada pelo empresário russo Serge Diaghilev (1872-1929), em Paris, em 1909, a empresa combinou tradições russas e ocidentais com uma dose saudável de modernismo, emocionando e surpreendendo o público com a sua poderosa fusão de coreografia, música e design.

Founded by Russian impresario Serge Diaghilev (1872–1929) in Paris in 1909, the company combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design.

Léon Bakst, Russian, 1866–1924, Costume for a Brigand from Daphnis and Chloe, 1912, wool, cotton, and paint, V&A, London © Victoria and Albert Museum, London

Apresentando mais de 130 figurinos originais, conjunto de desenhos, pinturas, esculturas, gravuras e desenhos, fotografias e cartazes, Diaghilev e o Balé Russo também incorpora trechos de filmes em uma instalação multimídia teatral.

Showcasing more than 130 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, and posters, Diaghilev and the Ballets Russes also incorporates film clips in a theatrical multimedia installation. 

Pablo Picasso, Spanish, 1881–1973, Costume for the Chinese Conjuror from Parade, c. 1917, silk satin fabric with silver tissue and black thread, cotton hat with woolen pigtail, V&A, London © Victoria and Albert Museum, London

Adaptado a partir da exposição concebida e exibida pela primeira vez no Victoria and Albert Museum (V & A) em 2010, a apresentação em Washington se baseia na rica pesquisa, incluindo cerca de 80 obras do V & A renomada coleção de artefatos de dança, e acrescenta cerca de 50 objetos, generosamente oferecido por mais de 20 empréstimos, públicos e privados.

Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum (V&A) in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the V&A’s renowned collection of dance artifacts, and adds about 50 objects, generously offered by more than 20 lenders, private and public.

Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon's Wife from The Tale of the Buffoon, 1921, cane‑stiffened felt and cotton, V&A, London © Victoria and Albert Museum, London

O sucesso de Diaghilev dependia principalmente de sua capacidade de identificar e reunir os artistas mais criativos de sua época.

Diaghilev’s success depended primarily on his ability to identify and bring together the most creative artists of his day.

Henri Matisse, French, 1869–1954, Costume for a Mandarin from The Song of the Nightingale, 1920, satin, paint, and tinsel, V&A, London © Victoria and Albert Museum, London

Reconhecendo a vitalidade da arte contemporânea, ele chamou Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, e Giorgio de Chirico, entre outros, para criar designs conjunto dinâmico e trajes requintadamente decorados que partilhavam uma estética unificada.

Recognizing the vitality of contemporary art, he called upon Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, and Giorgio de Chirico, among others, to create dynamic set designs and exquisitely decorated costumes that shared a unified aesthetic.

Giorgio de Chirico, Italian, 1888–1978, Set design (scene 2) for The Ball, 1929, graphite and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund



Sonia Delaunay, French, 1885–1979, Costume for title role from Cleopatra, 1918, silk, sequins, mirror, and beads, wool yarn, metallic thread braid, lamé, Los Angeles County Museum of Art, Costume Council Fund © Pracusa 2012003; Digital Image © 2013 Museum Associates / LACMA / Licensed by Art Resource, NY

Eles, por sua vez, trouxe os mais importantes desenvolvimentos artísticos do início do século 20, incluindo-futurismo, cubismo e surrealismo, para o palco do ballet.

They in turn brought the most important artistic developments of the early 20th century—including futurism, cubism, and surrealism—to the ballet stage. 

Eugène Druet, French, 1868–1917, Vaslav Nijinsky in Siamese Dance from The Orientals, 1910, gelatin silver print, Lent by The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005

Diaghilev também encomendou dezenas de balés de compositores inovadores, como Igor Stravinsky, Sergei Prokofiev, e Erik Satie, e renomados dançarinos conhecidos por seu brio técnico, tornando a empresa um terreno fértil para a inovação musical e coreográfica: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento.

Diaghilev also commissioned ballet scores from innovative composers such as Igor Stravinsky, Sergei Prokofiev, and Erik Satie, and featured dancers noted for their technical brio, making the company a breeding ground for musical and choreographic innovation: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento. 

Amedeo Modigliani, Italian, 1884–1920, Léon Bakst, 1917, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection

As produções da trupe – especialmente a famosa Sagração da Primavera, agora comemorando o seu 100 º aniversário instigado uma revolução na dança.

The troupe’s productions—notably the infamous Rite of Spring, now celebrating its 100th anniversary—instigated a revolution in dance. 

Jacques‑Émile Blanche, French, 1861–1942, Vaslav Nijinsky in Siamese Dance, c. 1910, oil on canvas, Collection of Ann and Gordon Getty, San Francisco

Esta exposição pretende destacar essas e outras conexões promovidas por Diaghilev.

This exhibition seeks to highlight these and other connections fostered by Diaghilev. 


Alexandre Benois, Russian, 1870–1960, Design for the front cloth from Petrushka (Copenhagen revival), 1925, pen, ink, and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

Organizada pelo Victoria and Albert Museum, em Londres, em colaboração com a National Gallery of Art, Washington.

Organized by the Victoria and Albert Museum, London, in collaboration with the National Gallery of Art, Washington.

Coco Chanel, French, 1883–1971, Costumes for La Perlouse and a Gigolo from The Blue Train, 1924, knitted wool and wool, V&A, London © Victoria and Albert Museum, London


Nicholas Roerich, Russian, 1874–1947, Costumes for two Maidens and an Elder from The Rite of Spring, 1913, wool, leather, metal belts and necklace, napped cotton, wood, and fur, V&A, London © Victoria and Albert Museum, London

40 under 40: Futuros Artesanatos

Jeffrey Clancy, Tea for One, 2002, silver, mahogany, Smithsonian American Art Museum, Museum, purchase made possible by the Charles and Margaret, Craver Withers Bequest.

Renwick Gallery

Washington, DC

20 de julho de 2012, 03 de fevereiro de 2013

Stephanie Liner, Mementos of a Doomed Construct, 2011, upholstery, plywood, fabric, sequins, yarn, embroidery, adhesive, cardboard, Courtesy of the artist, photo by John Michael Kohler Art Center.

40 under 40: Futuros Artesanato apresenta o trabalho inovador de 40 artistas nascidos desde 1972, ano em que a Galeria Renwick foi estabelecida como ramo do Smithsonian American Art Museum para artes artesanais e decorativas.

40 under 40: Craft Futures features the innovative work of 40 artists born since 1972, the year the Renwick Gallery was established as the Smithsonian American Art Museum’s branch for craft and decorative arts.

Daniel Michalik assembling 3/1 Chair with Leon, photo by Nina Cinelli.

40 under 40 investiga noções de artesanato em evolução dentro das mídias tradicionais, como cerâmicas e metais, bem como em áreas tão variadas como escultura, desenho industrial, instalação de arte, design de moda, produção sustentável e matemática.

40 under 40 investigates evolving notions of craft within traditional media such as ceramics and metalwork, as well as in fields as varied as sculpture, industrial design, installation art, fashion design, sustainable manufacturing and mathematics.

Lara Knutson, Soft Glass Basket, 2011, Reflective glass fabric and steel wire, Courtesy of the artist, Photo by Eugene Young, Renwick Gallery 40 Under 40: Craft Futures, Designer: Christine Philp, Palindrome Design, www.palindromedesign.net.

Todos os trabalhos selecionados para exibição na exposição foram criados desde 11 de setembro de 2001. Este novo trabalho reflete o mundo modificado que existe hoje, que coloca novos desafios e considerações para os artistas.

All of the artworks selected for display in the exhibition were created since Sept. 11, 2001. This new work reflects the changed world that exists today, which poses new challenges and considerations for artists. 

Gabriel Craig, Pro Bono Jeweler 2, 2008-2010, CD-R, photo by Amy Weiks.

Estes 40 artistas estão unidos por filosofias para viver de forma diferente na sociedade moderna, com ênfase na sustentabilidade, um retorno à valorização do feito à mão e o que significa viver em um estado de conflito persistente e desconforto.  Nicholas R. Bell, The Fleur e Charles Bresler  curadores do Artesanato  Americano e Artes Decorativas da Galeria Renwick, organizaram a exposição.

These 40 artists are united by philosophies for living differently in modern society with an emphasis on sustainability, a return to valuing the hand-made and what it means to live in a state of persistent conflict and unease. Nicholas R. Bell, The Fleur and Charles Bresler Curator of American Craft and Decorative Art at the Renwick Gallery, organized the exhibition.

Erik Demaine and Martin Demaine, Green Balance, 2011, Mi-Teintes watercolor paper, Smithsonian American Art Museum, Gift of the artists in honor of the 40th anniversary of the Renwick Gallery.

"Quando a Galeria Renwick abriu em 1972, introduziu uma nova geração de artistas ao público americano", diz Elizabeth Broun, The Margaret e Terry Stent Diretor do Smithsonian Art Museum. "Estou animado que estamos prontos agora para apresentar a comunidade do museu estes 40 jovens artistas que irão inspirar uma nova geração."

“When the Renwick Gallery opened in 1972, it introduced a new generation of artists to the American public,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “I am excited that we are poised now to introduce to the museum’s community these 40 young artists who will inspire a new generation.”

Olek, Knitting is for Pus**** (detail), mixed media and 100 percent acrylic Red Heart yarn, Courtesy of the artist, photo by Olek.

Os 40 artistas presentes na exposição são: Vivian Beer, Melanie Bilenker, Jeffrey Clancy, Dave Cole, Cristina Córdova, Gabriel Craig, Jennifer Crupi, Erik Demaine, Joshua DeMonte, Brian Dettmer, Nick Dong, Joseph Foster Ellis, Jeff Garner, Theaster Gates, Sabrina Gschwandtner, Jenny Hart, Sergey Jivetin, Lauren Kalman, Lara Knutson, Stephanie Liner, Marc Maiorana, Sebastian Martorana, Christy Matson, Cat Mazza, Daniel Michalik, Matt Moulthrop, Christy Oates, Olek, Andy Paiko, Mia Pearlman, LJ Roberts, Laurel Roth, Shawn Smith, Jen Stark, Matthew Szösz, Uhuru (Jason Horvath e William Hilgendorf), Jamin Uticone, Anna Von Mertens, Stacey Lee Webber e Bohyun Yoon.

Sergey Jivetin, Poultry Accumulus Necklace, 2009, eggs, carbon fiber, gold, steel, Courtesy of the artist

and Ornamentum gallery.

The 40 artists featured in the exhibition are: Vivian Beer, Melanie Bilenker, Jeffrey Clancy, Dave Cole, Cristina Córdova, Gabriel Craig, Jennifer Crupi, Erik Demaine, Joshua DeMonte, Brian Dettmer, Nick Dong, Joseph Foster Ellis, Jeff Garner, Theaster Gates, Sabrina Gschwandtner, Jenny Hart, Sergey Jivetin, Lauren Kalman, Lara Knutson, Stephanie Liner, Marc Maiorana, Sebastian Martorana, Christy Matson, Cat Mazza, Daniel Michalik, Matt Moulthrop, Christy Oates, Olek, Andy Paiko, Mia Pearlman, L.J. Roberts, Laurel Roth, Shawn Smith, Jen Stark, Matthew Szösz, Uhuru (Jason Horvath and William Hilgendorf), Jamin Uticone, Anna Von Mertens, Stacey Lee Webber and Bohyun Yoon.

Christy Oates, Crane Chair, 2009, laser-cut and engraved plywood, maple veneer, bungee cord,

acrylic paint, wood dyes, Smithsonian American Art Museum, Gift of Miriam and Leon Ellsworth in honor of the 40th Anniversary of the Renwick Gallery

"Estamos vendo o início de um novo ciclo em artesanato contemporâneo, em que a urgência da idéia é de suma importância", diz Bell. "A indefinição de linhas disciplinares dentro do ofício é uma marca dos artistas do século 21 , estes 40 foram selecionados para mostrar o trabalho mais interessante de sua geração e para realçar as tendências recém-prevalentes no campo."

“We are seeing the beginning of a new cycle in contemporary craft, one in which the urgency of the idea is paramount,” said Bell. “The blurring of disciplinary lines within craft is a trademark of 21st-century artists; these 40 were selected to show the most engaging work of their generation and to highlight newly prevalent trends in the field.”

Cristina Cordova, Dulce, 2011, ceramic and cut paper, Smithsonian American Art Museum, Gift of Judy S. Weisman in honor of the 40th anniversary of the Renwick Gallery, Photo by Steve Mann, Renwick Gallery 40 Under 40: Craft Futures, Designer: Scott Cooke: www.scottcookedesign.com.

Em 2010, Bell revisou trabalhos por 2.000 artistas de todo o Estados Unidos. Selecionando galerias, mestres dos programas de artes plásticas, feiras, blogs e recomendações de colegas, ele escolheu os artistas cujo trabalho representam uma nova direção em artesanatos. Nenhum dos artistas selecionados jamais mostrou o trabalho no Smithsonian, e para a maioria, Washington, DC, é uma nova etapa.

In 2010, Bell reviewed work by 2,000 artists from across the United States. Scouring galleries, master’s of fine arts programs, fairs, blogs and colleague recommendations, he chose artists whose work represents a new direction in craft. None of the artists selected has ever shown work at the Smithsonian Institution, and for most, Washington, D.C., is a new stage.

Andy Paiko, Spinning Wheel, 2007, blown glass, cocobolo wood, steel, brass, leather, Smithsonian

American Art Museum, Gift of Peg and Bob Van Andel, photo by Andy Paiko.

O museu espera para adquirir obras de cada artista apresentado na exposição para comemorar o 40 º aniversário da Galeria Renwick e reforçar a sua coleção para o futuro.

The museum hopes to acquire works by every artist featured in the exhibition to commemorate the 40th anniversary of the Renwick Gallery and strengthen its collection for the future.

Sebastian Martorana, Impressions, 2008, marble, Smithsonian American Art Museum, Gift of Patricia A. Young in honor of the 40th Anniversary of the Renwick Gallery and the 30th Anniversary of the James Renwick Alliance.

Duas obras da exposição pode ser controladas diretamente pelo visitante -  A Estrutura II Sonica de  Matson e o Quarto Iluminado de Dong. Outras obras de Craig, Liner, Olek e Paiko estimulam a interação com o artista ou alguém afiliado com a obra de arte na ocasião.

Two works in the exhibition can be engaged directly by a visitor — Matson’s Sonic Structure II and Dong’s Enlightenment Room. Other works by Craig, Liner, Olek and Paiko encourage interacting with the artist or someone affiliated with the artwork on occasion.

Nick Dong, Enlightenment Room, 2008, handmade porcelain tiles, acrylic mirror tiles, LED lamp, Courtesy of the artist, photo by Nick Dong.

A Instalação dos trabalhos pela equipe do museu exposição começou no final da Primavera. Vários artistas estavam à mão para instalar obras pessoalmente, inclusive Dong, Ellis, Olek, Paiko e Pearlman.

Installation of work by the museum’s exhibition staff began late spring. Several artists were on hand to install works personally, including Dong, Ellis, Olek, Paiko and Pearlman. 

Uhuru (Jason Horvath & Bill Hilgendorf), Cyclone Lounger, 2011, Reclaimed Coney Island boardwalk (Ipe), with laser cut powder coated steel base, Smithsonian American Art Museum, Gift of Bill Higendorf and Jason Horvath in memory of Cynthia Bricker Hilgendorf, Gift of Fern Bleckner in celebration of Etta B. Brown’s 95th birthday, and Gift of Shirley Jacobs in honor of the 40th Anniversary of the Renwick Gallery, photo by Uhuru Design.

Fotografias a seguindo o progresso da exposição serão postadas no mural de fotos do flickr.com / photos / americanartmuseum. As informações sobre cada artista está disponível no site do museu em americanart.si.edu/renwick40.

Photographs following the progress of the exhibition will be posted to the museum’s photo stream at flickr.com/photos/americanartmuseum. Information about each artist is available on the museum’s website at americanart.si.edu/renwick40.

Dave Cole, Kevlar Romper (3 Piece Suit), 2008, Kevlar (used Gulf War bullet proof vest) cut, sewn,
and hand knit, Courtesy of the artist and DODGE gallery, photo by Casey McNamara.

O público pode participar da conversa sobre a exposição no Twitter, seguindo @ americanart e usando # renwick40.

The public can join the conversation about the exhibition on Twitter by following @americanart and using #renwick40.

Gabriel Craig, Deco Ring (sample from Pro Bono Jeweler 2), 2008, polymer clay, cubic zirconia, Smithsonian American Art Museum, Gift of Lloyd E. Herman, founding director and director emeritus of
the Renwick Gallery (1971-1986) in honor of the 40th Anniversary of the Renwick Gallery.

Stacey Lee Webber, Penny Shovel, 2011, pennies, Courtesy of the artist.

Sabrina Gschwandtner, Hula Hoop, 2010, 16mm film and polyamide thread, Smithsonian American Art Museum, Gift of Chris Rifkin in honor of the 40th Anniversary of the Renwick Gallery, Photo by Sabrina Gschwandtner, Renwick Gallery 40 Under 40: Craft Futures, Designer: Miriam Dillon, Barnes Vanz Architects, barnesvanze.com.

Jennifer Crupi, Ornamental Hands: Figure One, 2010, sterling silver, acrylic, inkjet print on vellum, courtesy of the artist, photo by Christian Luis.

Jen Stark, Power of Being, 2011, acid-free colored
paper on wood, Smithsonian American Art Museum,
Gift of Gwen and Jerry Paulson, Sandy and Norman
Mitchell, and Diane and Marc Grainer, photo by Jen
Stark.

Joshua DeMonte, Aqueduct Collar, 2008, gypsum, cyanoacrylate, Courtesy of the artist, photo by Joshua DeMonte.

Daniel Michalik, 3/1 Chair, 2011, recycled cork, FSC-certified ply, Smithsonian American Art Museum, Gift of Phyllis and Sidney Bresler in memory of Charles S. Bresler and in honor of Fleur Bresler, photo by Daniel Michalik.

Joseph Foster Ellis, China Tree, 2011, porcelain sauce pots, string, LED lights, Courtesy of the artist, photo by Joey Foster Ellis.

Shawn Smith, Between 1 and 0, 2011, 1-cm. wood cubes and spray paint, Courtesy of the Artist, Photo by teresa Rafidi.

Olek, Knitting is for Pus****, 2005-2011, mixed, media and 100 percent acrylic yarn, Courtesy of the artist, photo by Jeffrey Kilmer.

Matthew Szösz, Untitled (inflatable) No. 43, 2010, fused and inflated window glass, Smithsonian American Art Museum, Gift of Elmerina and Paul Parkman, in honor of the 50th anniversary of American studio glass,

Renwick Gallery
Pennsylvania Avenue at 17th Street N.W.
202-633-7970
Washington, DC

Reino colorido: Pássaros e Flôres Japonesas - Pinturas de Itō Jakuchu (1716-1800)

Itō Jakuchū, Peonies and Butterflies (J. Shakuyaku gunchō zu), c. 1757 (Hōreki 7), ink and color on silk, from Colorful Realm of Living Beings (J. Dōshoku sai-e), set of 30 vertical hanging scrolls, c. 1757–1766, Sannomaru Shōzōkan (The Museum of the Imperial Collections), The Imperial Household Agency



Comemorando o centenário da doação do Japão das árvores de cerejeiras para a capital da nação, esta exposição apresenta um dos mais renomados tesouros culturais do Japão, o conjunto de 30 rolos de pinturas de pássaros e de flores por Itō Jakuchu.

Celebrating the centennial of Japan's gift of cherry trees to the nation's capital, this exhibition features one of Japan's most renowned cultural treasures, the 30-scroll set of bird-and-flower paintings by Itō Jakuchū.


30 março - 29 abril, 2012
National Gallery's West Building, Ground Floor





Itō Jakuchū, Old Pine Tree and Peacock (J. Rōshō kujaku zu), c. 1759–1761 (Hōreki 9–11), ink and color on silk, with gold, from Colorful Realm of Living Beings (J. Dōshoku sai-e), set of 30 vertical hanging scrolls, c. 1757–1766, Sannomaru Shōzōkan (The Museum of the Imperial Collections), The Imperial Household Agency


Intitulado Reino Colorido dos Seres Vivos (J. Dōshoku sai-e; c. 1757-1766), estes pergaminhos extraordinários estão sendo emprestados para a Galeria Nacional de Arte pela Casa Imperial.

Titled Colorful Realm of Living Beings (J. Dōshoku sai-e; c. 1757–1766), these extraordinary scrolls are being lent to the National Gallery of Art by the Imperial Household.





Itō Jakuchū, Nandina and Rooster (J. Nanten yūkei zu), c. 1761–1765 (Hōreki 11– Meiwa 2), ink and color on silk, from Colorful Realm of Living Beings (J. Dōshoku sai-e), set of 30 vertical hanging scrolls, c. 1757–1766, Sannomaru Shōzōkan (The Museum of the Imperial Collections), The Imperial Household Agency



Sua exposição em Washington por um mês apenas oferece uma única oportunidade na vida: não sòmente é a primeira vez que todas as 30 pinturas poderão ser vistas nos Estados Unidos, mas é também a primeira vez que qualquer uma das obras serão mostradas aqui depois de seu restaurauro de seis anos.

Their exhibition here—for one month only—provides a unique, once-in-a-lifetime opportunity: not only is it the first time all 30 paintings will be on view in the United States, but it is also the first time any of the works will be seen here after their six-year-long restoration.





Itō Jakuchū, Wild Goose and Reeds (J. Rogan zu), c. 1765–1766 (Meiwa 2–3), ink and color on silk, from Colorful Realm of Living Beings (J. Dōshoku sai-e), set of 30 vertical hanging scrolls, c. 1757–1766, Sannomaru Shōzōkan (The Museum of the Imperial Collections), The Imperial Household Agency



Reino Colorido se destaca como a mais dinâmica e compreensiva, meditativa e destilada expressão do mundo natural em toda a arte japonesa.

Colorful Realm stands as the most dynamic and comprehensive—yet meditative and distilled—expression of the natural world in all of Japanese art.




 
Itō Jakuchū, Fish (J. Shogyo zu), c. 1765–1766 (Meiwa 2–3), ink and color on silk, from Colorful Realm of Living Beings (J. Dōshoku sai-e), set of 30 vertical hanging scrolls, c. 1757–1766, Sannomaru Shōzōkan (The Museum of the Imperial Collections), The Imperial Household Agency



Sintetizando diversas tradições do leste asiático das pinturas de pássaros e flores, o conjunto apresenta cada uma de seus 30 temas em detalhes maravilhosamente meticulosos, mas de tal modo a transcender aparências e captar a essência de outra forma inefável, vital do cosmos, o Buda a própria natureza.

Synthesizing numerous East Asian traditions of bird-and-flower painting, the set depicts each of its 30 subjects in wondrously meticulous detail, but in such a way as to transcend surface appearances and capture the otherwise ineffable, vital essence of the cosmos, the Buddha nature itself.




Itō Jakuchū, The Buddha Śākyamuni (J. Shaka nyorai), from Śākyamuni Triptych (J. Shaka sanson zō), c. first half of the 1760s (Hōreki 11– Meiwa 2), set of three hanging scrolls, ink and colors on silk, Jōtenkaku Museum, Shōkokuji Monastery, Kyoto



Para apresentar o significado completo do Reino Colorido, a exposição e seu catálogo reunem esta obra-prima com o tríptico Jakuchu de Buda Sakyamuni do mosteiro Zen Shokokuji em Kyoto. Jakuchu havia doado os dois trabalhos para o mosteiro, que exibia em uma sala grande templo durante os rituais budistas.


To present the full significance of Colorful Realm, the exhibition and its catalogue reunite this masterpiece with Jakuchū's triptych of the Buddha Śākyamuni from the Zen monastery Shōkokuji in Kyoto. Jakuchū had donated both works to the monastery, which displayed them in a large temple room during Buddhist rituals.


http://www.nga.gov/exhibitions/jakuchuinfo.shtm




 


The National Gallery of Art
4th and Constitution Avenue NW, Washington, DC 20565

Desenhos de Picasso, 1890-1921: Reinventando a Tradição

Pablo Picasso
Self-Portrait, Paris, late 1901 / early 1902
black chalk with watercolor on paper
30.4 x 23.8 cm (11 15/16 x 9 3/8 in.)
National Gallery of Art, Washington, Ailsa Mellon Bruce Collection, 1970


National Gallery of Art
Washington, DC
29 de janeiro-06 de maio de 2012




Pablo Picasso
Juggler with Still Life, Paris, autumn 1905
gouache over graphite on cardboard
100 x 69.9 cm (39 3/8 x 27 1/2 in.) framed: 121.6 x 92.1 x 8.2 cm (47 7/8 x 36 1/4 x 3 1/4 in.)
National Gallery of Art, Washington, Chester Dale Collection, 1963


Pablo Picasso (1881-1973) é geralmente reconhecido como o maior desenhista do século 20.

Pablo Picasso (1881–1973) is generally acknowledged as the greatest draftsman of the 20th century.

 


Pablo Picasso
The Death of Harlequin, Paris, end 1905 / beginning 1906
gouache over charcoal on cardboard
68.5 x 95.7 cm (26 7/8 x 37 5/8 in.)
National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1996


Através de cerca de 55 obras, a exposição apresenta o desenvolvimento deslumbrante de desenhos de Picasso durante um períodode 30 anos -- dos exercícios acadêmicos precoces  de sua juventude na década de 1890 às obras virtuosas do início dos anos 1920, incluindo as inovações radicais do cubismo e colagens.


Through some 55 works, the exhibition presents the dazzling development of Picasso's drawings over a 30-year period—from the precocious academic exercises of his youth in the 1890s to the virtuoso works of the early 1920s, including the radical innovations of cubism and collage.





Pablo Picasso
Seated Nude and Standing Nude, Paris, autumn 1906
charcoal on Ingres paper
63.7 x 48 cm (25 1/8 x 18 7/8 in.) 90.2 x 75.6 cm (35 1/2 x 29 3/4 in.)
Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950

O desenho serviu como um meio essencial de invenção e descoberta na arte multifacetada de Picasso, conectando-o com a grande tradição de desenho dos grandes mestres europeus do passado próximo e distante.


Drawing served as an essential means of invention and discovery in Picasso's multifaceted art, connecting him with the grand tradition of drawing by European masters of the near and distant past.

 


Pablo Picasso
Yellow Nude (Study for "Les Demoiselles d'Avignon"), Paris, 1907
watercolor, gouache, and India ink on paper
59.7 x 39.6 cm (23 1/2 x 15 5/8 in.)
Gretchen and John Berggruen, San Francisco




Pablo Picasso
Nudes in a Forest, Paris, spring 1908
watercolor, gouache and graphite on wove paper
47.6 x 59.1 cm (18 3/4 x 23 1/4 in.)
Philadelphia Museum of Art: The Samuel S. White III and Vera White Collection, 1967






Pablo Picasso
Landscape, Paris, spring 1908
gouache over charcoal on thick beige paper
47.6 x 61.6 cm (18 3/4 x 24 1/4 in.)
KALART LLC




The Cup of Coffee, Paris, spring 1913
papier épinglé with charcoal and white chalk
60.5 x 35 cm (23 3/4 x 13 3/4 in.)
National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon, 1985





Pablo Picasso
Portrait of Madame Georges Wildenstein, Biarritz, summer 1918
graphite on Ingres paper
35 x 24.4 cm (13 3/4 x 9 5/8 in.)
Private collection





Pablo Picasso
Pierrot and Harlequin, Juan-les-Pins, 1920
pen and black ink with gouache on cream paper
sheet (folded in half): 27.3 x 21.3 cm (10 3/4 x 8 3/8 in.)
National Gallery of Art, Washington, Gift of Mrs. Gilbert W. Chapman, 1981



http://www.nga.gov/ginfo/index.shtm#hours



 



National Gallery of Art, localizada no National Mall, entre as ruas 3 e 7 na Constitution Avenue NW, está aberto de segunda a sábado 10:00 - 17:00 e domingo 11:00 - 18:00 A Galeria está fechado em 25 de dezembro e 01 de janeiro.