concursos, exposições, curiosidades... sobre arte
escolhidos por MARIA PINTO
(Maria Regina Pinto Pereira)



quarta-feira, 25 de novembro de 2015

Discovery: In the name of the father - The Lamentation

Discovery In the name of the father

Discovery: In the name of the father

How specialists in the Old Masters department at Christie's, a team of outside experts and the use of infrared reflectography revealed the centuries-old family secrets beneath The Lamentation — offered for sale at the Old Master & British Paintings Evening Sale on 8 December

When it was brought to Christie’s, The Lamentation was thought to be the work of Cornelis van Cleve — a Dutch painter born in Antwerp, who lived from 1520-1567. But something about the work’s composition — and a remarkably similar altarpiece in the Louvre — led experts to question the existing research. What they went on to discover would transform everything that had been previously accepted.
‘For any artist we research, we refer to the painter’s most recent catalogue raisonné, if there is one, and other literature relevant to the school and period of the painting in question,’ explains Christie’s Old Master Painting specialist Assunta von Moy, who was among the team that first examined the work. ‘In this case, we turned to Max J. Friedländer’s book on Early Netherlandish Painting.’

Workshop of Joos van Cleve (Cleve circa 1485-1540/1), The Lamentation. Oil on panel, marouflaged, shaped top. 57 1/2 x 46 in. (146.1 x 116.9 cm.). Estimate: £150,000-200,000. This work is offered in the Old Master & British Paintings Evening Sale on 8 December at Christie’s in London
A quick look into the artists active in Antwerp reveals that Cornelis van Cleve came from impressive artistic stock: he was the son of Joos van Cleve, an artist who, along with Jan Gossaert and Bernard van Orley, was considered the foremost painter of his day. ‘[Joos van Cleve] had a distinct and highly successful style, combining technical accomplishment in oil, inherited from the early-Netherlandish painting tradition, with a rich palette indebted to Northern Italian — especially Venetian — models,’ comments von Moy. 
The young van Cleve was much inspired by his father and following Joos van Cleve’s death in 1440, Cornelis is believed to have become a master in the Antwerp painter’s guild, working to continue a family tradition that had produced some of the finest paintings of the Northern Renaissance. Much like those of his father before him, Cornelis’ works displayed the influence of Italian painters such as Andrea del Sarto, yet in a more mannerist style than his father.
In The Lamentation, however, the link between father and son’s work became more striking still. The similarity between the painting, attributed to Cornelis (above), and The lamentation over the dead Christ — an iconic altarpiece by Joos van Cleve (below), now displayed in the Louvre in Paris — was uncanny.

Joos van Cleve (circa 1485-1540), Alterpiece of the lamentation over the dead Christ, from the Church of the Friars Minor in Genoa, circa 1520. Detail. Paris, Musée Du Louvre

‘Apart from the figures’ faces, hands and some of their attire, reduced to the central group, the composition, the colour scheme and the detail was identical to the Louvre panel,’ explains von Moy. Produced around 1524, the work by Joos van Cleve was amongst his most famous, originally commissioned by the patrician Niccolào Bellogio for his chapel in the Genoan church of Santa Maria della Pace.
Depicting a dramatic group of mourners — the Virgin, Saint John and the expressive Magdalene — surrounding Christ’s dead body, the panel presented to Christie’s showed the same perfect foreshortening as Joos van Cleve’s masterpiece; the figures in each work so similar in scale that they might be copies of one another. ‘It made us wonder whether there was anything below the painted surface, such as traces of under drawing, that might offer an explanation,’ von Moy recounts.
To gauge whether her suspicions were justified, von Moy consulted an external expert: Peter van den Brink, Director of the Suermondt Ludwig-Museum in Aachen, Germany, and a specialist in artists active in Antwerp during the 16th century. ‘Peter was very interested in the painting and the relationship to the Louvre work,’ reveals von Moy. ‘He confirmed what we all thought: that it would be intriguing to do an infrared reflectography of the painting.’

Dr Jilleen Nadolny, Principal Investigator for AA&R London, looks at an infrared of the panel consigned to Christie's, and on the face of the Virgin sees the outline of an earlier drawing that corresponds exactly with the depiction on Joos van Cleve's altarpiece in the Louvre

Christie’s approached Art Analysis & Research (AA&R), one of the world’s leading art laboratories. Its advanced techniques have been used for a variety of purposes, from dating unattributed works to identifying forgeries. ‘Our images are highly useful in the identification of pentimenti — any aspect of the work that changed as it progressed, or change that is not meant to be visible in the final version,’ Dr Jilleen Nadolny, Principal Investigator for AA&R London, explains.
Similar to X-ray, infrared reflectography allows experts to literally ‘see through’ layers of paint otherwise impenetrable to the naked eye. Long waves of infrared radiation are passed through the layers of paint on the surface before being reflected back to a camera sensor to varying degrees. ‘Paint with a light tonality will reflect infrared, whilst black pigments will absorb,’ says Nadolny. The resulting image — a glimpse beneath the surface — is known as an infrared reflectogram.

Drag left and right with the image slider to see the image of the panel originally thought to be by Cornelis van Cleve and the scan which reveals its secrets

This infrared reflectogram was expected to reveal ‘underpainting’ — the ghostly trace of early designs, laid out in the very first stages of the work’s creation. ‘With Old Masters, we sometimes find an early work that was abandoned, or a drawing laid out by a master and repainted by his studio,’ Nadolny comments. ‘You can get a lot of insight into the complex processes of a workshop, where you often had a number of people working together — particularly for large altarpieces.’ 
In the case of The Lamentation, infrared reflectography revealed something remarkable, however. Beneath the visible layer of paint, lay an entirely different image — an earlier drawing and paint layer whose design corresponded exactly to that of Joos Van Cleve’s altarpiece in the Louvre. Christie’s specialist Assunta von Moy explains the findings: ‘The ghostly shape of the Virgin’s upright oval face can be seen clearly beneath the surface.

From left: The face of the Virgin in The Lamentation, the scan which reveals an earlier drawing of a more upright face, which corresponds exactly with that of the face in Joos van Cleve's earlier work (right)
There is more: ‘The Magdalene’s headdress and extravagantly lavish bodice, embroidered with pearls and tassels, is also made visible. Like the Virgin, her small elegant head corresponds precisely to that in the Louvre panel.’

The scan reveals matching details on Mary Magdalene's lavish bodice and dress, both below and above the waist (centre and right)
Other details, too, suggested a link between the two works that was beyond the purely coincidental: ‘In the infrared reflectogram, St John, returns to the more mature and emaciated figure (below right) who features in Joos’s Genoese altarpiece. The underpainting reveals that the present work also corresponds exactly to the LouvreLamentation in its details — for example, the locks framing John’s face, the button of his shirt, and the same pattern of the Magdalene’s brocaded dress.’

From left: St John is transformed from the more youthful figure in the work consigned to Christie's into the older, more drawn presence in the earlier work. The position of the button and his hair are also the same
For Peter van der Brink, the results were conclusive: ‘The fact that the original figures here are of exactly the same size as those in the Louvre panel, would mean you have an exceedingly strong argument to place the picture in Joos’ workshop in the second half of the 1520s.’ In other words, Joos himself may have been involved in the creation of this painting — long believed to have been painted by Cornelis many years after his father’s death.
For Christie’s Old Master specialists, the shared height of the two panels suggested that a single ‘cartoon’, or highly refined to-scale preparatory drawing on paper, had been used for both the Louvre work and The Lamentation. An examination of the Louvre’s underdrawing, however, showed a freeness of style that suggested this mechanical transfer was unlikely. Far more probable was that Joos had entrusted his finished work to an assistant, who traced its design by placing oiled paper onto the dried panel.
Further supporting the theory that the paintings were contemporaneous was the eventual location of Joos’ altarpiece — in an Italian church hundreds of miles from his Antwerp workshop. ‘The fact that it relates in so many details to the original, including the colours, suggests that it was probably executed immediately after the completion of the Santa Maria della Pace Altarpiece, before the latter was dispatched to Genoa,’ von Moy adds.

The scanner is a mechanised metal frame system on which a painting (here a panel, seen from the reverse, to the left) is mounted. To the right, the camera in use and the lighting system are moved along in automated increments, the camera taking a series of high resolution images at precise intervals.

Van der Brink had no doubt that Joos’ studio would have been capable of producing two works of such scale and ambition: ‘I have always held the opinion that Joos’ studio was one of the most efficient in early 16th century Antwerp.’ Indeed, Joos van Cleve is understood to have employed a team of highly skilled assistants, each specialising in different areas — including drapery, landscape, and brocade — while the master himself would focus on original designs, figures, and finishing touches.
‘The high quality of the original passages in the work offered in our sale, such as the still life in the foreground and the landscape in the background, are on a par with original works emanating from [Joos van Cleve’s] studio,’ says von Moy. ‘As in many of his large-scale paintings, Joos may have been responsible for this panel’s original faces, whose quality may only be appreciated today with the aid of the infrared reflectogram.’

Cornelis would have been just a boy when this panel was painted, but he could conceivably have inherited it with his father’s studio

Though research now appears to identify Joos, unmistakably, as the true author of The Lamentation, its life beyond Joos death is still a mystery. ‘The question remains as to why, when and by whom this panel was subsequently adapted,’ says von Moy. ‘The figures that are now visible display a more mannerist style, datable to the mid-16th century, if not later, closely resembling the work of Joos van Cleve’s son Cornelis.’
Cornelis would have been just a boy when this panel was painted, but he could conceivably have inherited it with his father’s studio — perhaps as an unsold work or a commission that was never paid for. ‘He, or perhaps one of his associates, may then have wished to assert their own character on the picture through the repainting of its principal figures — perhaps in an attempt pass it off as their own work,’ von Moy speculates. ‘It may have occurred as Cornelis was trying to cement his own reputation, or possibly around 1546, when he was struck by financial difficulties.’
What is certain, though, is that the exceptional story of The Lamentation makes it a far more complex work than ever previously thought. The etched lines, reworked brushstrokes, and hidden faces that lie beneath its surface combine to reveal an elaborate history of ownership, artistic identity and one of art’s most famous dynasties.
‘Both the genesis and the afterlife of this painting, make it a key witness to the fascinating complexity of artistic practices in Antwerp during the Northern Renaissance,’ confirms von Moy. Beneath its melancholy surface, there is — quite literally — more to The Lamentation than meets the eye.

Talentos Contemporâneos . Fundación François Schneider . FR

Fundacion-François-Schneider_editais-e-afinsAberto a artistas de todas as nacionalidades e idades, nas seguintes categorias das artes visuais: pintura, desenho, escultura, instalação, fotografia e vídeo.
Nas categorias "instalação" e "escultura", os artistas podem apresentar tanto obras ou projetos. Para as outras categorias, somente obras prontas apenas podem ser apresentadas.
Tendo como tema a Água, os artistas são convidados a apresentar as suas propostas realistas ou utópicas, figurativas ou abstratas, vestindo um olhar singular e sensível sobre o tema.
Cada candidato pode apresentar apenas um trabalho ou um projeto.
Para os artistas que apresentam suas obras (instalação ou escultura) em forma de projeto, os registros devem incluir uma estimativa orçamental de todos os custos (incluindo taxas de entrega e instalação da obra). Esses custos serão suportados pela Fundação, no limite de € 150.000.
O concurso "Contemporary Talents" irá resultar em uma exposição coletiva no centro de arte e uma edição bilingue que caracteriza o trabalho dos vencedores.
CRONOGRAMA– Inscrições: até 15 de dezembro/2016, via web
– Taxa de inscrição: não
– Premiação: 6 prêmios aquisição de € 20.000; prêmio do júri de € 30.000 e prêmio para projetos no valor máximo de € 150.000.
by Editais e Afins

edital Exposições Temporárias 2016 – Museu de Arte de Blumenau – SC

O Edital visa contribuir para a dinamização do Museu de Arte, democratizar a utilização dos espaços públicos, promovendo, dessa forma, a difusão das produções contemporâneas das artes visuais.
Podem se inscrever artistas de todo o Brasil nas mais diversas categorias da arte contemporânea, além de curadores, colecionadores e instituições públicas ou privadas, nacionais e/ou estrangeiros.
CRONOGRAMA– Inscrições: até 22 de fevereiro/2016, via Correios
– Taxa de inscrição: não
– Premiação: não
by Editais e Afins

terça-feira, 24 de novembro de 2015


Saturday, December 5th at 6:30 pm 
for an Artist Talk by 
Catherine Kernan
Catherine Kernan is a painter and printmaker, and currently resides in Somerville, MA. She has widely exhibited her works in New England, most recently at the Danforth Museum of Art in Framingham, MA, the Soprafina Gallery in Boston, MA and in New York City at the Jason McCoy Gallery. 

Her work is in many institutional collections, including: the Boston Museum of Fine Arts, Cleveland Museum of Art, Fogg Museum of Art, Detroit Institute of Art, Boston Public Library and the Library of Congress.

She is co-founder, and partner of Mixit Print Studio. Kernan is currently also Director of Maud Morgan Arts, an art center in Cambridge, MA. 

"The premise that human relationships with the earth are dynamic, mutable, interactive, and move in ever-evolving cycles of repetition and variation underlies most of my work. My choices are guided by oppositional constructs of order and chaos, perception and obstruction, that manifest the control and serendipity of life.
In recent years I have abandoned the depiction of a particular place, preferring to work in a more abstract, improvisatory way, drawing on internalized experiences in a painterly process of controlled accident. Working at the interface between printmaking and painting, Using large-scale woodblocks in unorthodox ways as a transfer tool, I build images layer by layer without predicting the outcome. No longer a purist, I exploit any available tool or means to transfer color and form to surface. Interruption and interference with the "perfect transfer" are integral to the process".
Images: at top: Breathing Space $4, Woodcut and Monotype 
center: Breathing Space #12, Woodcut and Monotype
below, left: artist's studio / right: Catherine Kernan

  250 WEST 40 STREET, FIFTH FLOOR | NYC 10018 | 212-219-8783

Frida Kahlo - conexões entre mulheres surrealistas no México - mesa redonda - SP

segunda-feira, 23 de novembro de 2015

4º Salão de Outono da América Latina

O Salão de Outono da América Latina é um espaço contemporâneo, voltado para as artes, que objetiva por em evidência a diversidade de linguagens, o confronto de tendências, um espaço aberto à atualidade.
Tem por objetivo, descobrir novos talentos no meio artístico brasileiro e sul americano, dando aos artistas, a oportunidade de mostrar suas obras em uma exposição internacional, aberta à todas as tendências, pluridisciplinar e de qualidade.
Somente serão aceitas obras inéditas, correspondentes às modalidades: pintura, escultura, artes gráficas, fotografia, livro de artista, video, instalação, performance e street art.

CRONOGRAMA– Inscrições: até 30 de dezembro/2015, via email
– Taxa de inscrição: não
– Premiação:Serão atribuídos prêmios por categorias (que serão divulgados na abertura do Salão).
– Regulamento:

by Editais e Afins

sexta-feira, 20 de novembro de 2015

exposição de fotografias - frontalismo - Facundo de Zuviria - SP

mostra “TRIO ALEMAN” - Florian Foerster, Blonay Fuchs e Sabine Kutt - São Paulo - SP

 A Diretora do Banco de la República Oriental del Uruguay e do Espacio Uruguay, Sra. Irene González Pino, e o Sciacco Studio, têm a satisfação de convidar para a abertura da Mostra “TRIO ALEMAN”, ​apresentando xilogravuras, esculturas, e fotografias dos Artistas Plásticos alemães Florian Foerster, Blonay Fuchs e Sabine Kutt, ​os quais interpretam a si mesmos como cidadãos do mundo, o que se reflete em sua arte.

Dear friends,
The Director of the Banco de la República Oriental del Uruguay and of the Espacio Uruguay, Ms. Irene González Pino, and Sciacco Studio, would like to invite you to the opening reception of "Trio Aleman" exhibiton.  You will explore a presentation of sculptures, photographs and paintings by the artists Blonay Fuchs, Sabine Kutt and Florian Foerster.  All three artists have German nationality, however, they see themselves as a citizens of the world, and they reflect this in their artwork.

Verehrte Freunde der Künste,
Der Direktor der Banco de la República Oriental del Uruguay und des Espacio Uruguay, Frau Irene González Pino und Sciacco Studio,​ ​möchten Sie recht herzlich zur Ausstellungseröffnung "Trio Aleman" einladen.​ ​Sie werden eine Präsentation von Skulpturen, Fotografie und Malerei der Künstler Blonay Fuchs,​ ​Sabine​ ​Kutt und Florian Foerster erleben.​ ​Alle drei Künstler sind deutscher Nationalität,  verstehen sich jedoch insbesondere als Weltenbürger, was sie in ihren Arbeiten übergreifend reflektieren.


Sciacco Studio é um escritório de arte localizado em São Paulo.
Desde 2003 cura e organiza exposições nacionais e internacionais (EUA, Inglaterra, França, Portugal), em Galerias e Feiras de Arte.
Visa desenvolver a carreira de seus artistas exibindo seu trabalho para um vasto público e publicando livros de arte e catálogos, mostrando sua arte online em sites e mídias sociais e criando projetos diferentes para chamar a atenção das pessoas.
Os últimos projetos especiais foram: e chovendo Arte , apresentando objetos (esculturas de cachorros e guarda-chuvas) customizados por artistas, levando arte para lugares incomuns e ajudando ONGs que se preocupam com causas importantes, através da doação de parte dos lucros. Saiba mais sobre os projetos: www. e
​S​ciacco Studio is a Brazilian company located in São Paulo.  Since 2003 curates and organizes exhibitions nationally and abroad (USA, England, France, Portugal), in Galleries and Art Fairs.
​Its goal is to develop the career of emerging artists by showing their work to a wide audience and also by publishing art books and catalogs, displaying their art online on websites and social media and doing unusual projects to get the public’s attention.
​The last two of those projects were: and chovendo Arte (Raining Art), presenting objects (sculptures of dogs and umbrellas) customized by artists, taking art to different places and helping important causes through the donation of part of the pro ts to charity. Check everything about it at: and

O primeiro Espacio Uruguay construído no exterior, localizado junto à sede do estatal do Uruguai - Banco de la República Oriental del Uruguay  - em São Paulo, no coração de São Paulo, a Av. Paulista.
Este local foi idealizado e projetado, para promover e potencializar o intercâmbio e cooperação, apostando em estreitar os vínculos internacionais do Uruguai com os países com os quais atua.  Aqui dispõe de um espaço físico amplo e confortável, que conta com toda a informação, contatos e recursos tecnológicos necessários a facilitar a realização de exposições, eventos e negócios.
A partir de seu início, tornou-se um espaço fundamental para o desenvolvimento das oportunidades que ocorram na cidade, recepcionando um número importante, diariamente, de executivos brasileiros e estrangeiros.
Além disso, inclui um espaço cultural, onde são expostas permanentemente diferentes manifestações artísticas da cultura de países da América Latina e do mundo, o qual já integra oficialmente, o circuito das Artes da cidade de São Paulo.

The “Espacio Uruguay” was conceived and designed to promote and strengthen exchanges and cooperation, a commitment to strengthen international ties of Uruguay and worldwide..Here in Sao Paulo has a large and comfortable space that has all the information, contacts and technological tools to facilitate the conduct of business by its users in various areas.
Among the most outstanding services are the meeting rooms and business multifunctional hall, equipped with the most advanced technological tools, such as LCDs, home theaters, PCs, video-up phone calls conference screen.
This project includes a cultural space, where permanently display, the different artistic and cultural manifestations, and today forms part of the official cultural tour of the city. This area of ​​show-room, is also ideal for presentations and conferences. The “Espacio Uruguay”, becomes an important developing relationship, business and cultural opportunities that arise among all  countries, by identifying and offering talents, products and services in addition to the positive visibility.

Local| Place | Ort:                                                                                            “Espacio Uruguay” - Banco de la República Oriental del Uruguay
Endereço| Address | 
Anschrift:                                                                  Av. Paulista, 1.776, 9º andar| 9th floor​ – Edificio Parque Avenida – Elev3 e 4 – São Paulo - Brasil
Visitação:​ | On display: | Auf Display:                                                     Até 15 de janeiro de 2016 | ​Until January 15, 2016 | Bis 15. Januar 2016
Dias e Horários:| ​Days and Hours: | Tage und Öffnungszeiten:     2ª a 6ª das 14 às 18hs | Monday to Friday from 2 to 6pm | Montag bis Freitag von 14 bis 18 Uhr
Estações de Metrô| Subway Stations | ​U-Bahnstationen
:                       Consolação & Trianon-MASP
Estacionamento| Parking | 
Parken:                                                         Com manobrista (terceirizado CARPARK) – no Edifício | Valet parking (CARPARK) in the Building | Parkservice (CARPARK) im Gebäude

Carla Mourão - Tel. 55 11 3373.6648 -
Av. Paulista, 1.776 – Edifício Parque Avenida -  9º andar - Elev. 3 e 4 – CEP 01310-921 - São Paulo – SP
Banco de la Republica Oriental del Uruguay – São Paulo - SP – Brasil - Tel. +55 11 3373-6641 -
SAC: 11 3373-6600 – Ouvidoria: 0800-7715959 – e-mail: de segunda a sexta-feira, das 10 às 16h.

quarta-feira, 18 de novembro de 2015

Rubens House brings newly discovered study for a portrait by Van Dyck to Antwerp

The portrait is a preparatory study for a life-size painting featuring seven Brussels aldermen (known as the Magistrates of Brussels) and depicts one of them, a Brussels magistrate.

A 'New' Van Dyck

400 years old yet brand new
In 2013 the Roman Catholic priest Jamie MacLeod experienced what many would call a miracle. The painting he had bought for a mere £400 proved to be an original Anthony Van Dyck. That’s the good news, but the best news is that you can now admire this painting at the Rubens House. Anthony van Dyck (1599-1641), the most famous pupil of Peter Paul Rubens, is paying the master a visit.