Deze rubriek geeft een overzicht van relevante tentoonstellingen. Ieder onderdeel is gelinkt aan het desbetreffende museum.

The Renaissance in European Perspective


The Renaissance was a cultural era that gave birth to some of the most important advances in human history. All these discoveries and creations would have been unimaginable without a broad and dynamic exchange across Europe at many levels. The Renaissance was an era of dialogue that extended over great distances and time. The exhibition in Zurich focuses on the question of cultural exchange processes and shows the Renaissance as a dynamic, pan-European phenomenon. Artworks, writings and instruments and objects of everyday life are displayed in the museum’s new exhibition rooms.

Sculpture on the Move


Ellsworth Kelly (1923-2015), Blue Red Rocker, 1963. Photo: Collection Stedelijk Museum Amsterdam, Elsworth Kelly.

The exhibition focuses on sculptural art between the end of World War II and the present. The grand special exhibition on occasion of the inauguration of the enlarged Kunstmuseum Basel will map the medium’s extraordinarily dynamic evolution: the classical idea and form of sculpture grows more flexible and abstract as some artists integrate the trivial stuff of everyday life into their art or blur its spatial and conceptual boundaries, even as others return to the figurative tradition in an effort to set the genre on a new solid foundation. Selected works from the collections of the Kunstmuseum Basel and eminent pieces on loan from international museums and private collections will be brought together for a dense and exceptionally rich dialogue of positions in sculpture.
The exhibition opens with late works by Constantin Brancusi and Alberto Giacometti, two defining artists of the twentieth century. It continues with a loosely chronological arrangement highlighting various thematic emphases in sculpture between the 1940s and the 1970s, with exemplary works by Alexander Calder, Hans Arp, Max Bill, Henry Moore, Louise Bourgeois, Pablo Picasso, Eduardo Chillida, David Smith, Jean Tinguely, Claes Oldenburg, Duane Hanson, John Chamberlain, Donald Judd, Carl Andre, Joseph Beuys, Mario Merz, Bruce Nauman, Eva Hesse, Richard Serra, Robert Smithson, and others. The sequence then moves to sculptural works from the 1980s by Peter Fischli and David Weiss, Robert Gober, Charles Ray, Mike Kelley, Jeff Koons, Katharina Fritsch, Franz West, and others and concludes in the Museum für Gegenwartskunst with a survey of significant positions between the 1990s and the present, featuring sculptures by artists such as Gabriel Orozco, Matthew Barney, Absalon, Damien Hirst, Danh Vo, Monika Sosnowska, and Oscar Tuazon.

More Beautiful than Nature


Balthasar van der Ast (1593/94-1657), Fruits, flowers, parrot and snails. Photo: Suermondt Ludwig Museum

Abundant flower bouquets, fruit, shells, or just a single tulip, the magnificent still lifes by Balthasar van der Ast (1593/94-1657), are nearly unknown to the wider public. The museum presents a choice of the most important paintings by this dutch master. His production was enormous  from the start,  23 dated paintings from 1622 and 1623 are known. He held important commissions, a. o. from the Stadholder’s court in The Hague and from other noble collectors. For many years van der Ast played a leading part in still life painting, until, after 1640, young painters like Willem Kalf, Willem van Aelst and his pupil Jan Davidsz de Heem would take the place at the top of the pyramid and the elder master would sink into oblivion.

The British-French Normandy Connection


Paul Signac (1863-1935), Port-en-Bessin. Photo: Collection particulière © Collection particulière

The exhibition shows  paintings that retrace the history of Impressionism. The 19th century saw the emergence of a new pictorial genre: ‘plein-air’ or outdoor landscape painting, made possible by new inventions, for example the industrial production of paint. This pictorial revolution, born in England, would spread to the continent in the 1820s and over the course of a century, Normandy would become the preferred destination of many avant-garde painters. The region’s landscapes, architectural heritage, beaches, cities, see and the beau monde life pleased and inspired artists. Furthermore, the growing fashion for sea-bathing attracted many wealthy individuals and families. Its popularity was also increased due to its location—halfway between London and Paris, the two art capitals of the period, where British met the French beau monde (afterwards further couth, Côte- d’Azur and the Swiss Alpes).
Following the end of the Napoleonic Wars, British landscape artists such as Turner, Bonington, and Cotman travelled to Normandy, while the French (Géricault, Delacroix, Isabey) made their way to London.  From these exchanges, a French landscape school was born, with Corot and Huet at the helm. In their wake, another generation of painters would in turn explore the region (Delacroix, Riesener, Daubigny, Millet, Jongkind, Isabey, Troyon), inventing a new aesthetic. This artistic revolution truly began to take form at the beginning of the 1860s, in  Honfleur. Degas painted his first horse races at Haras-du-Pin and Berthe Morisot took up landscape painting, while at Cherbourg, Manet would revolutionize seascapes. For several decades, Normandy would be the preferred outdoor or ‘plein-air’ studio of the Impressionists.  The aim of this exhibition is to evoke the decisive role played by Normandy in the emergence of the Impressionist movement, through exchanges between French and British landscape painters, the development of a school of nature and the encounters between artists in Honfleur.