Agenda

The exhibition has been set up as a suite of sequences on themes striving to illustrate what lies behind Art Déco’s international success and its influence in various forms of artistic expression. With its sleek, powerful geometric lines, Art Déco style (1919-1940) stands out thanks to its lively appeal. Born of the impetus driving French artists such as architects Henri Sauvage, Robert Mallet-Stevens, Roger-Henri Expert and Pierre Patout, designers André Véra, Louis Süe, André Mare and Jacques-Émile Ruhlmann, fashion designers Paul Poiret and Jean Patou and sculptors Martel, Janniot and Sarrabezolles, it is the product of a vision shared by various artistic spheres.
It starts with a comparative study of differences and points in common with Art Nouveau using plans, mock-ups and photographs of Henri Sauvage’s Villa Majorelle in Nancy and Robert Mallet-Stevens’ Villa Cavrois. The exhibition then presents major French designers whose 1910–1919 output already bore distinctive Art Déco features: architects

Henri Sauvage and Auguste Perret, designer André Véra, fashion designer Paul Poiret and interior designer Jacques-Emile Ruhlmann. Next comes a large sequence devoted to the 1925 Exposition Internationale des Arts Décoratifs and Industriels Modernes, the name of which led to the coining of the term «Art Déco». The last major section focusses on the global resonance of this aesthetic movement. Further to the huge success of the 1925 Paris exhibition, French architects, artists and designers were invited to demonstrate their talents in major cities all over the world.

The Städel Museum is showing the portrait of Pope Julius II that recently came to the attention of the public. Also on view are the two versions of the painting by Raphael and Titian from the Uffizi and the Palazzo Pitti in Florence. By moreover encompassing technological documents such as x-ray and infrared images of the painting, the exhibition will provide detailed insights not only into the artistic genesis of the Frankfurt painting, but also into its relationship to the other versions of the Julius portrait and the related attribution issue.

The exhibition is a tribute to the Russian avant-garde of the early 20th century, with Malevich as its focal point. Although best known for his purely abstract work, he was inspired by diverse art movements of his day, including Impressionism, Symbolism, Fauvism, and Cubism. His own visual language was also influenced by Russian icon painting and folk art. Through oil paintings, gouaches, drawings, and sculptures, the exhibition traces the rich variety of his oeuvre. All the phases in Malevich’s career will be on view, from his Impressionist period to his iconic Suprematist phase to the lesser-known figurative works that followed.
The show explores Malevich’s rich career from distinctive vantage points, focusing on different aspects of the artist’s remarkable career, including the context in which he formed his unique language, the radicality of his artistic trajectory, and his later return to landscapes and figures. Seen in their totality, these exhibitions thus provide the unprecedented opportunity to reassess one of the defining figures of twentieth-century modernism. The exhibition also shows works by Others artists Marc Chagall, Ilia Chashnik, Boris Ender, Ksenia Ender, Maria Ender, Yurii Ender, Natalia Goncharova, Wassily Kandinsky, Ivan Kyun, Mikhail Larionov, El Lissitzky, Kazimir Malevich, Mikhail Matyushin, Mikhail Menkov, Vera Pestel, Lyubov Popova, Ivan Puni, Alexander Rodchenko, Olga Rozanova, Nikolai Suetin, Vladimir Tatlin and Nadezhda Udaltsova.

Organised to mark the 2000th anniversary of his death on 19 August 14 AD, the exhibition in Frankfurt presents the stages in the story of Rembrandt Harmensz. van Rijn (1606–1669). As a painter of exceptional portraits and history paintings he ienjoys world fame. Yet there was another subject that also preoccupied him throughout his career: landscape. The Dutch painter addressed himself to this theme not so much in painting, but all the more intensively in drawing and printmaking. The presentation will feature sixty-two works, including forty-six etchings. The artist’s pure landscape etchings will be supplemented in the show by further works. The latter include etched self-portraits, early etchings in which landscapes are depicted in connection with history motifs and depictions of pastoral scenes which Rembrandt encountered with a perceptible sense of humour. Other prints to be presented are engravings, woodcuts and etchings by Pieter Bruegel the Elder (ca. 1525–1569) Domenico Campagnola (ca. 1500–1564), Hendrick Goltzius (1558–1616), Hercules Seghers (ca. 1590–ca. 1638) and Claude Lorrain (1600–1682). Theu will place Rembrandt’s works into the context of his forerunners and contemporaries in the area of landscape in printmaking.