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Art from the ‘splendid’ Udaipur on view in Cleveland
From June 11 to September 10, 2023, the Cleveland Museum of Art presents “A Splendid Land: Paintings from Royal Udaipur”
Source: Cleveland Museum of Art · Image: Maharana Swarup Singh and Courtiers Play Holi at the City Palace, c. 1851.Tara.Opaque watercolor and goldon paper; 92.2 × 125.5 cm.The City Palace Museum, Udaipur, 2012.19.0012
Around 1700, artists in Udaipur (a court in northwest India) began creating immersive paintings that convey the mood (bhava) of the city’s palaces, lakes, and mountains. These large paintings and their emphasis on lived experience have never been the focus of an exhibition.
With dazzling paintings on paper and cloth—many on public view for the first time—“A Splendid Land” reveals how artists visualized emotions, depicted places, celebrated water resources and fostered personal bonds over 200 years in the rapidly changing political and cultural landscapes of early modern South Asia.
The exhibition is organized as a journey that begins at Udaipur’s center and continues outward: first to the city, then to the countryside, and finally to the cosmos.
“A Splendid Land: Paintings from Royal Udaipur” is organized by the Freer Gallery of Art and Arthur M. Sackler Gallery, the Smithsonian’s National Museum of Asian Art, in collaboration with the City Palace Museum, Udaipur, administered by the Maharana of Mewar Charitable Foundation.
All exhibitions at the Cleveland Museum of Art are underwritten by the CMA Fund for Exhibitions. Principal annual support is provided by Michael Frank in memory of Patricia Snyder. Major annual support is provided by the Womens Council of the Cleveland Museum of Art. Generous annual support is provided by Cynthia and Dale Brogan, Dr. Ben and Julia Brouhard, Mr. and Mrs. Walter R. Chapman Jr., Janice Hammond and Edward Hemmelgarn, Carl T. Jagatich, Eva and Rudolf Linnebach, Carl and Lu Anne Morrison, Henry Ott-Hansen, and Margaret and Loyal Wilson.
The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture. This exhibition is supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
The highly anticipated NordArt 2023 exhibition brings forth an extraordinary collection, unveiling a selection of ANTOINETTE’s remarkable artworks from her renowned picture cycle, “Myth of Europe.” Notably, the exhibition proudly presents drawings featuring towering figures reaching an impressive height of 2.5 meters.
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Over the past two decades, NordArt has firmly established itself as a prominent fixture among European art fairs, attracting an estimated 100,000 art enthusiasts from Germany and beyond. Spanning an expansive area of more than 20,000m2 indoors and 80,000m2 outdoors, this year’s event promises ample room to showcase a portion of ANTOINETTE’s captivating 250-piece art cycle, “Mythos Europa.”
Background: Unveiling the Cultural Identity of Europe
ANTOINETTE, an esteemed painter hailing from the Leipzig school, has dedicated over 35 years of her artistic career to exploring the cultural identity of our continent. Her extensive body of work delves deep into the subject, unraveling captivating narratives and captivating cycles. Europe, she asserts, encompasses far more than the mere sum of its nation-states, as it boasts a shared history and a collective cultural heritage.
Wasser und Angst by ANTOINETT, 150 x 280 cm, Oil on Canvas
The project “Mythos Europa” serves as a platform to elucidate stories from Europe’s mythology through figurative paintings, providing insights into how we perceive these images. It delves into the essence of the continent, exploring the inner state of Europe and the external image it projects to the world. As part of a series of events traversing European cities, the exhibition tour featuring 30-150 large-format works by ANTOINETTE constitutes the core, fostering critical reflections and discussions on Europe’s past, present, and future.
Matrix 1 by ANTOINETTE, 60 x 150 cm, Collage on Paper
Matrix 2 by ANTOINETTE, 60 x 150 cm, Collage on Paper
Matrix 3 by ANTOINETTE, 60 x 150 cm, Collage on Paper
Matrix 4 by ANTOINETTE, 60 x 150 cm, Collage on Paper
ANTOINETTE – MYTHOS EUROPA: A Journey into European Myths
ANTOINETTE’s artistic journey has centered around the exploration of myths and legends from European cultural history since her early days as a painter. She has displayed a particular fascination with the female figures who wield influence over events through their skills, destinies, emotions, and strength. Over the span of 35 years, ANTOINETTE has delved deep into the saga of Europa, the Phoenician princess who fell victim to Zeus, the father of the gods, disguised as a bull. Riding across the sea with Europa on his back, the bull arrived on the island of Crete, where legend holds that he fathered three children with her. Europa, thus, became the progenitor of the Cretan royal family and lent her name to the entire continent of Europe.
“Was vor Ihr liegt, was hinter Ihr liegt” by ANTOINETTE, 150 x 200 cm, Pastel on Paper
The first painting featuring the iconic “Lady on the Bull” motif dates back to 1980. Initially, ANTOINETTE explored the role of the female figure, delving into the formal contradictions between femininity and masculinity, as well as the dynamics between genders. The motif remained a recurring theme in her creative contemplations, leading to the exploration of other subjects such as the acquisition and preservation of power, the shared archaic roots of mythology, and the contemporary identity of Europe. Through symbolic imagery, ANTOINETTE subtly references the current political landscape of the continent, touching upon themes of unity, divergence, the advent of a single currency, and the shared historical and cultural foundations of the European value system.
Europa und die Narren by ANTOINETTE, 150 x 300 cm, Oil on Canvas
The Face of EUROPE: A Celebration of Women’s Contributions
Since 2014, ANTOINETTE has embarked on a quest to find the face of EUROPA, the namesake of our continent. Coinciding with upcoming anniversaries commemorating women’s suffrage across numerous European nations, she has crafted 100 life-size portraits of women from various European countries. These portraits serve as a testament to the profound impact these women have had on society, leading the way to gender equality. The thematic exploration in this collection seeks to highlight and celebrate the accomplishments of European integration, intertwining the threads of success with the vibrant tapestry of the continent.
ANTOINETTE
The NordArt 2023 exhibition promises a captivating journey into the heart of Europe’s cultural mythology through ANTOINETTE’s masterpieces. With her artistic prowess and profound insights, ANTOINETTE invites visitors to ponder the intricate layers of our shared heritage and contemplate the complexities of the present and the future. As the exhibition unfolds, it offers a unique opportunity to engage in an immersive exploration of Europe’s artistic and cultural tapestry, leaving a lasting impression on all those who seek to understand and appreciate the rich depth of our collective identity.
The Artist’s Mother: Whistler’s most famous portrait visits Philadelphia
From June 10 to October 29, 2023, the Philadelphia Museum of Art presents the exhibition “The Artist’s Mother: Whistler and Philadelphia”
Source: Philadelphia Museum of Art · Image: James Abbott McNeill Whistler, “Arrangement in Grey and Black No. 1”, (“Whistler’s Mother” or “Portrait of Artist’s Mother”), 1871. Musée d’Orsay, Paris
When James Abbott McNeill Whistler’s portrait of his mother, Anna Matilda McNeill Whistler, was exhibited at the Pennsylvania Academy of the Fine Arts in 1881, few could have predicted that it would one day be an iconic American painting. Philadelphia newspapers initially paid little attention to the painting, the second work by the Lowell, Massachusetts-born artist (1834–1903) to be shown in the United States. Its title, Arrangement in Grey and Black: The Mother puzzled viewers, as did its somber palette and sparse details. The painting, however, exerted a powerful force on local artists, and Whistler was surprised by the degree to which the public engaged with the subject. Years later, he wrote: “to me it is interesting as a picture of my mother, but what can or ought the public to care about the identity of the portrait?” It turned out that the public cared greatly about the connection between painter and sitter, and the painting, known today as Whistler’s Mother, is among the most recognizable in the world.
To celebrate this exceptional loan to the Philadelphia Museum of Art—the first time in 142 years that it will be seen in this city—the exhibition explores the circumstances surrounding the portrait’s creation and its legacy in Philadelphia. Just as Whistler was inspired by Rembrandt’s etchings of his own mother, so too were local artists spurred by Whistler and their own ambitions to make depictions of their mothers. Some would respond directly to Whistler’s Mother while others took an entirely different approach. The installation brings Whistler’s iconic portrait into dialogue with paintings, drawings, and etchings by artists associated with Philadelphia—Cecilia Beaux (1855–1942), Henry Ossawa Tanner (1859–1937), Dox Thrash (1893–1965), Alice Neel (1900–1984), and others—and invite consideration of the individual women represented and the relationship between artist and sitter, child and parent.
Representatives for The Trust for Governors Island said they could not accommodate the fair’s requests amid surging demand for exhibition space on the island.
In addition to a Koonsian clash inside the Guggenheim, "Spider-Man: Across the Spider-Verse" features a fleeting Bansky reference—just like the film's predecessor
The art market salary report offers insights into salaried employment but the impact of low wages—and having children—in a time of rapid inflation are missing
