Friday, March 24, 2017

American Artists in Europe: Selections from the Permanent Collection


The Hyde Collection

February 28 through June 11, 2017


Childe Hassam’s ‘Geraniums,’ painted in 1888/89, is part of The Hyde’s permanent collection and one of the work’s featured in its current show.

Childe Hassam’s ‘Geraniums,’ painted in 1888/89, is part of The Hyde’s permanent collection and one of the work’s featured in its current show.

When Childe Hassam returned to the United States after living in Paris for three years, he brought with him an American form of Impressionism. His Hyde House favorite Geraniums will be exhibited — along with the works of other American artists who found inspiration overseas — in American Artists in Europe: Selections from the Permanent Collection, which opened Tuesday, February 28, in The Hyde Collection's Whitney-Renz Gallery.
The featured works are drawn from the Museum's permanent collection, highlighting American artists inspired by their travels. "Americans go as students or as established artists, but they both come back with distinctly American versions of movements they encountered in Europe," said Jonathan Canning, Curator of The Hyde.

Forebodings by Winslow Homer, Hyde Collection
When, for example, Winslow Homer tired of painting Americans, he traveled overseas in 1881 in search of strong-willed women exuding natural beauty. The revered painter found his muses on the rough shores of Cullercoats, England. He came back to the States with the subjects that would come to dominate his later years, fisherfolk and the power of the sea.
Before the Civil War, America lacked the cultural equivalents of artists' cafes, salons, and the Bohemian lifestyle that made Europe the center of Western culture. "Artists traveled wanting to see Europe's great cities, art collections, and monuments," Canning said. "It wasn't until after the war that Americans started to develop art academies and cultural institutions of their own."
American Artists in Europe: Selections from the Permanent Collection features works from Hassam; Homer, who traveled to England twice in the mid-1800s; 

Duveneck Frank Florentine Flower Girl 

Frank Duveneck, who traveled and taught extensively in Italy and Germany; 

Elihu Vedder, who found inspiration in Italy and eventually lived there permanently; 

and Leonard Freed, who traveled in Europe and Africa before settling in Amsterdam to photograph its Jewish community; among others.
American Artists in Europe runs through June 11 in Whitney-Renz Gallery.

William Eggleston Los Alamos

FOAM, Amsterdam
17 March – 7 June 2017

The American photographer William Eggleston (1939, Memphis Tennessee, US) is widely considered one of the leading photographers of the past decades. He has been a pioneer of colour photography from the mid-1960s onwards, and transformed everyday America into a photogenic subject. In William Eggleston – Los Alamos, Foam displays his portfolio of photographs that were taken on various road trips through the southern states of America between 1966 and 1974. The exhibition includes a number of iconic images, amongst which Eggleston’s first colour photograph.

William Eggleston, En Route to New Orleans, 1971–1974, from the series Los Alamos, 1965–1974 © Eggleston Artistic Trust 2004 / Courtesy David Zwirner, New York/London

Los Alamos starts in Eggleston’s home town of Memphis and the Mississippi Delta and continues to follow his wanderings through New Orleans, Las Vegas and south California, ending at Santa Monica Pier. During a road trip with writer and curator Walter Hopps, Eggleston also passed through Los Alamos, the place in New Mexico where the nuclear bomb was developed in secret and to which the series owes its name.

The over 2200 images made for Los Alamos were originally intended to be published in parts, but were forgotten over the years. The photographs were rediscovered almost 40 years after the project started. They were published and exhibited for the first time in 2003. The vibrant photographs of traffic signs, run-down buildings and diner interiors distinctly betray the hand of the wayward autodidact. His early work evidences his penchant for the seemingly trivial: before the lens of Eggleston’s ‘democratic camera’, everything becomes equally important.

Eggleston began Los Alamos ten years before his contested solo exhibition at MoMA in 1976, which placed colour photography on the map as a serious art form. At the time, colour photography in the fine arts was regarded as frivolous, or even vulgar. It earned Eggleston the scorn of many. However, this did not stop him from experimenting with the no longer used dye-transfer process, a labour-intensive and expensive technique that was mainly used in advertising photography. The process allowed the photographer to control the colour saturation and achieve an unparalleled nuance in tonality; a quality that also characterizes the 75 dye-transfer prints exhibited at Foam.


Thursday, March 23, 2017

Calm and Exaltation. Van Gogh in the Bührle Collection

4 March to 17 September 2017

Fondation Vincent van Gogh Arles 


 The exhibition Calm and Exaltation. Van Gogh in the Bührle Collection presents eight paintings by Vincent van Gogh. This selection allows us to see not only the different phases in the Dutch artist’s career, but also the vision of a collector, the Swiss industrialist Emil Bührle (1890–1956), for whom it was crucial that his collection should convey the stylistic development of each artist represented within it. Thus the thread running through his dazzling acquisitions of works by Van Gogh is the lightening and brightening of Vincent’s palette and his synthesis of different influences in his art. 

The Fondation Vincent van Gogh Arles has been granted the loan of six canvases from the Foundation E. G. Bührle Collection, Zürich, which holds in all seven works by Van Gogh. 

These six canvases are presented here alongside two other loans. 

The Old Tower (1884) 

and Peasant Woman, Head (1885) 

are early works painted in the Dutch town of Nuenen, 


Bridges Across the Seine at Asnières, Paris, 1887 Oil on canvas, 53.5 x 67 cm Foundation E. G. Bührle Collection, Zürich
Bridges Across the Seine at Asnières (1887) 

Self-Portrait, Paris, 1887 Oil on canvas, 47 x 35.4 cm Foundation E. G. Bührle Collection, Zürich

and Self-Portrait (1887) 

date from the artist’s time in Paris, where he was inspired by Impressionism and Pointillism. 


The Weeders, Saint-Rémy-de-Provence, 1890 Oil on paper, on canvas, 49.3 x 64 cm Foundation E. G. Bührle Collection, 

 The Weeders  

and  Blossoming Chestnut Branches  (both 1890) testify to the artistic maturity that Vincent attained at the end of his career. 

In  Blossoming Chestnut  Branches , Van Gogh shows us the exaltation of spring. The brushwork is resolutely energetic, the colours vibrant and the composition bold in its horizontality. 

Vincent’s extended stay in Provence is represented by two loans respectively issuing from a private collection and the Van Gogh Museum in Amsterdam. Although the clear light and bright colours of the South found their way into his paintings of this period, in 

Entrance to a Quarry , Saint-Rémy- de-Provence, mid-July 1889 Oil on canvas, 60 x 74.5 cm Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) 

Entrance to a Quarry (1889) Van Gogh returns to the more sombre palette he had favoured in the North. 

Writing to his brother Theo on 22 August 1889, Vincent says of Entrance to a Quarry : 

“And it was precisely a more sober attempt, matt in colour  without looking impressive, broken greens, reds and rusty ochre yellows, as I told you that from time to time I felt a desire to begin again with a palette like the one in the north.” 

 This palette of the North is that of the earth, made up of ochres and dark greens. Vincent van Gogh,

With Olive Orchard (1889), likewise painted in the countryside around Saint-Rémy, one of the artist’s favourite Provençal motifs takes its place in the exhibition. 

Exhibition curators: Bice Curiger, Lukas Gloor 


Vincent van Gogh is born on 30 March 1853 in Groot-Zundert in the Netherlands. At the age of 16 he joins Goupil & C ie , a firm of art dealers in The Hague, and subsequently works in the company’s offices in Brussels,  London and finally Paris. He gradually loses interest in the commercial art world and, in 1878–79, he becomes a lay preacher in a mining community in the Borinage area of Belgium. 

In August 1880 Van Gogh decides to become an artist. He wants to be a painter of everyday life, and, above all, of peasant life, following in the footsteps of artists such as Jean-François Millet. Landscapes and still lifes, too, become an important part of his oeuvre. 

In 1886 in Paris he discovers Japanese prints and he meets Impressionist artists. Convinced that colour is the key to modernity, Van Gogh leaves for Provence in search of bright light and vibrant colours. 

Dreaming of establishing a community of artists, in February 1888 he settles in Arles. Gauguin joins him in October, but their collaboration collapses in late December 1888. 

Disappointed and ill, in May 1889 Van Gogh has himself admitted to a psychiatric hospital in Saint-Rémy, where he remains for a whole year. He continues with his search for an expressive art based on colour and brush strokes, creating more than 500 paintings and drawings during his 27 months in Provence. 

In May 1890 Van Gogh moves to Auvers-sur-Oise, where in just over two months he produces the final  70 paintings of an oeuvre that comprises more than 2,000 works. He dies on 29 July 1890 at the age of 37.  Van Gogh’s artistic genius and the poignant story of his life transform him into a veritable international icon. 

During his stay at the Saint-Paul-de-Mausole psychiatric hospital in Saint- Rémy-de-Provence, Van Gogh turns to the surrounding countryside to enrich his geography as an artist. He tirelessly paints and draws new Provençal motifs: cypress trees, olive groves and hills. The low Alpilles range rising behind the hospital buildings provides Vincent with an opportunity to paint the rugged massif as well as the quarry located nearby. In 1889 he treats this latter in two canvases, of which he  executes the first in mid-July – just after suffering a fresh health crisis – and the second in October. 

Monet to Matisse: A Century of French Moderns

McNay Art Museum 
March 1 to June 4, 2017
The McNay Art Museum is proud to present Monet to Matisse: A Century of French Moderns (March 1 to June 4, 2017) in its newly reconfigured Tobin Exhibition Galleries. Curated by McNay Director Richard Aste and Brooklyn Museum Curator of European Painting and Sculpture Lisa Small, the exhibition includes nearly 60 paintings and sculptures from Brooklyn’s renowned European art collection as well as selections from the McNay’s prized holdings.

“Bringing Brooklyn’s French collection to the McNay is a reunion decades in the making,” says Aste. “Our founder, Marion Koogler McNay, was a visionary collector. Putting her keen collecting eye back on a par with those of her mostly male peers at the Brooklyn Museum, one of the nation’s pioneering art institutions, is powerful, appropriate, and long overdue.”

At the McNay, Monet to Matisse is organized by René Paul Barilleaux, Chief Curator/Curator of Contemporary Art, and Heather Lammers, Director of Collections and Exhibitions.

Indeed, the McNay boasts artworks from the same era—Modernism—and by many of the same artists featured in Monet to Matisse. To reinforce collecting-practice parallels between the McNay and Brooklyn and to highlight the McNay’s growing Modern art collection, the Museum is introducing paintings, sculptures, and prints typically exhibited in the main collection galleries to the Tobin Exhibition Galleries, along with key works on loan from private collectors. Notable examples include:

Paul Gauguin’s Portrait of the Artist with the Idol,

Raoul Dufy, French, 1877-1953
Seated Woman - Rosalie


Oil on canvas

21 7/8 x 18 1/4in (55.6 x 46.4cm)

Bequest of Marion Koogler McNay

© Artists Rights Society (ARS), New York/ ADAGP, Paris

Raoul Dufy’s Seated Woman-Rosalie , and

Vincent van Gogh’s Women Crossing the Fields, all bequests of Marion Koogler McNay.

An iconic suite of ten Mary Cassatt aquatints, graciously donated to the McNay by prominent philanthropist and collector Margaret Batts Tobin in 1977


Claude Monet masterpiece Nympheas (Water Lilies)

 An arresting Paris-made still life by African American painter Lois Mailou Jones on loan from the Harmon and Harriet Kelley Foundation for the Arts.

Frederick Carl Frieseke’s The Bathers, an exquisite painting on loan from the collection of Marie and Hugh Halff.

Also on view in the McNay’s Charles Butt Paperworks Gallery is the complementary exhibition Sur Papier: Works on Paper by Renoir, Chagall, and Other French Moderns, drawn entirely from the Museum’s renowned prints and drawings collection.

Monet to Matisse: A Century of French Moderns celebrates France as a major artistic center of international Modernism from the mid-19th to mid-20th centuries. At the time, the genres of portraiture, landscape, the still life, and the nude were redefined in radical ways. The paintings, sculptures, and works on paper in this presentation exemplify the avant-garde movements that defined a hundred years, spanning early attempts to faithfully capture everyday life and concluding with introspective reflections of a disrupted landscape, beginning with the reign of naturalism and ending with the rise of abstraction.

Monet to Matisse: A Century of French Moderns is accompanied by an illustrated catalogue, co-authored by Rich Aste and Lisa Small, the exhibition’s organizers from the Brooklyn Museum. The catalogue includes an introductory essay (with a general overview of the exhibition and relevant social and artistic histories), brief thematic essays, and short interpretive entries on individual works of art.

 Claude Monet (French, 1840–1926).Rising Tide at Pourville (Marée montante àPourville), 1882. Oil on canvas,26 × 32 in. (66 × 81.3cm).Brooklyn Museum, Gift of Mrs. Horace O. Havemeyer, 41.1260

This exhibition is organized by the Brooklyn Museum.

Wednesday, March 22, 2017

Slow Food: Still Lifes of the Golden Age

From 9 March through 25 June 2017 the Mauritshuis presents Slow Food: Still Lifes of the Golden Age, the first exhibition to be devoted to the development of meal still lifes in Holland and Flanders from 1600 onwards. The cornerstone of the exhibition is a masterpiece acquired by the museum in 2012, Still Life with Cheeses, Almonds and Pretzels by Clara Peeters.

The exhibition features 22 masterpieces from Washington’s National Gallery of Art, Rijksmuseum Amsterdam, Oxford’s Ashmolean Museum among others including all the works by Peeters from the Museo Nacional del Prado in Madrid.
The meal still life – a subset of the genre that shows prepared food laid out on a table without figures in the composition - originated around 1600 with painters in Antwerp such as Clara Peeters and Osias Beert. Haarlem-based painters such as Floris van Dijck and Nicolaes Gillis followed them shortly thereafter. Meal still lifes showing richly set tables piled high with tempting morsels and precious objects became increasingly popular in the first decades of the seventeenth century. Various artists eagerly devoted themselves to depicting the objects on display in great detail. The exhibition in the Mauritshuis features paintings from the early years of this genre, the period 1600-1640.

Astonishing detail

Masters of the meal still life depicted refined delicacies such as fish, oysters, prawns, cheese, bread, olives and nuts, offset by fine glassware, gilded goblets, pottery jugs or oriental porcelain. The way in which the details have been rendered is a feat of extraordinary precision, as is the play of light on the various materials. Peeters succeeds in replicating the somewhat crumbly texture of the biggest cheese and the creaminess of the butter curls on the plate with great accuracy in her  

Still Life with Cheeses, Almonds and Pretzels.

The delicate play of light on the blade of the knife is also beautifully rendered. Virtuosity is also on display in the work of Claesz and Heda.

In Heda’s impressive Still Life with Gilt Goblet dated 1635, for example, the suggestion of reflected light on the large glass is magnificent. The glass not only reflects the rays of light coming in through a window, but also the muted sheen of a silver tazza (shallow drinking bowl) and a gilded goblet. The reflection resembles a fine mesh on the glass and is a superb example of the craftsmanship that is so characteristic of these early meal still lifes.


The delicacies and precious objects shown in the meal still lifes evoke a utopian world free of hunger and need. The paintings often incorporate a sense of mortality, of the transience of earthly life. This vanitas symbolism is made explicit in the meal still lifes by Claesz and Heda, each of whom include a timepiece in their compositions. At the same time, a good meal also symbolises prosperity and well-being. It is possible that the cornucopia of food shown in the paintings was also intended as an exhortation to moderation. In a number of paintings by Peeters, for example, a knife with the word ‘TEMP[ERANTIA]’ (moderation) on its blade figures prominently. Her aim may have been to impart a deeper meaning to her compositions.

11 Beert NGA (2)

Osias Beert (Antwerpen? c.1580-1623 Antwerpen), Dishes with Oysters, Fruit, and Wine, c.1610-1620, oil on panel, 53 x 73 cm. Washington, National Gallery of Art, Patrons’ Permanent Fund

Pieter Claesz (Berchem 1597/98-1660 Haarlem), Still Life with Roemer, Tazza, and Watch, 1636, oil on panel, 44 x 61 cm (17 5/16 x 24 in.), Royal Picture Gallery, Mauritshuis, The Hague, on long-term loan from the Friends of the Mauritshuis Foundation (Gift of Willem Baron van Dedem) 

Clara Peeters (Active  in Antwerpen, c.1607-1621 of later), Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl, c.1611, oil on panel, 55 x 73 cm. Madrid, Museo Nacional del Prado.

For the duration of the exhibition there will be a greenhouse on the square of the Mauritshuis: Taste Station MH.
27 Peeters Ashmolean Museum (2)

Clara Peeters (Active in Antwerpen, c.1607-1621 of later), Still life with fruits and flowers, c.1612-1613. Cooper, 64 x 89 cm, Oxford, Ashmolean Museum, Bequeathed by Daisy Linda Ward, 1939

30 Van Schooten Frans Hals Museum os 2011-20 (2)

Floris van Schooten (Haarlem? c.1585/88-1656 Haarlem), Still Life with herring and oysters, c.1625-1630, oil on panel, 35 x 49 cm, Haarlem, Frans Hals Museum, purchased with support from "Donation Drs. J-P. de Man "and the Rembrandt Society, 2011

Detail: Floris van Schooten, Still Life with Pewter Flagon and Basket of Cheese, c.1623-1625 Private collection. Now on view in the Mauritshuis

Joachim Beuckelaer  "Kitchen Scene with Christ at Emmaus" Now on view in the Mauritshuis



The Mauritshuis and Waanders Publishers will offer a catalogue to accompany the exhibition. Slow Food: Dutch and Flemish Meal Still Lifes 1600-1640 contains more than 150 colour illustrations, published in English (ISBN 978 94 6262 117 6) and Dutch (ISBN 978 94 6262 116 9). The catalogue is written by Quentin Buvelot, Senior Curator at the Mauritshuis, with additional contributions by Yvonne Bleyerveld, Milou Goverde, Zoran Kwak, Anne Lenders, Fred G. Meijer and Charlotte Rulkens. .

Tuesday, March 21, 2017

Helen Frankenthaler Paintings and Woodcuts

As in Nature: Helen Frankenthaler Paintings
Clark Art Institute, Williamstown, Massachusetts
July 1–October 9, 2017

This exhibition comprises a selection of large paintings by Helen Frankenthaler from the 1950s through the 1990s, focusing on nature as a longstanding inspiration. Like many abstract artists, Frankenthaler continually tested the constraints of the genre, at times inserting into her compositions elements of recognizable subject matter that throw the abstract elements into relief. The paintings in this exhibition represent the full range of styles and techniques that she explored over five decades of work; while all are primarily abstract, they also contain allusions to landscape, demonstrating how Frankenthaler’s delicate balance between abstraction and a nuanced responsiveness to nature and place developed and shifted over time. As Frankenthaler once commented, “Anything that has beauty and provides order (rather than chaos or shock alone), anything resolved in a picture (as in nature) gives pleasure—a sense of rightness, as in being one with nature.”

No Rules: Helen Frankenthaler Woodcuts
Clark Art Institute, Williamstown, Massachusetts
July 1–September 24, 2017

In 1994, when being interviewed by printer/publisher Ken Tyler, Helen Frankenthaler stated, “There are no rules, that is one thing I say about every medium, every picture . . .  that is how art is born, that is how breakthroughs happen. Go against the rules or ignore the rules, that is what invention is about.”

No Rules explores Helen Frankenthaler’s inventive and groundbreaking approach to the woodcut. The artist began creating woodcuts after experimenting with lithography, etching, and screen printing. She produced her first woodcuts,

East and Beyond (1973)

and her ethereal Savage Breeze (1974), by carving pieces of wood with a jigsaw, inking each block of wood separately and arranging the pieces of wood to print them on paper.

 In Essence Mulberry (1977)

and Cameo (1980),

she invented a new technique termed “guzzying,” working the wood’s surface to achieve specific results when printed. Throughout her career, the artist worked with a variety of print publishers to push the medium in new directions. In 1983 she traveled to Japan and worked in traditional methods of color woodblock printing with an expert carver and printers to produce  

Cedar Hill (1983), resulting in an entirely different, layered approach to color.

In the 1990s and 2000s, Frankenthaler continued to experiment with enthusiasm and daring. For Freefall and Radius (both 1992–93), the artist worked with dyed paper pulp to create the maquettes for the final woodcuts. In Tales of Genji (1998)

and Madame Butterfly (2000), she worked with a dazzling array of blocks and papers, collaborating with an expert Japanese carver, printers, and paper-makers to create serial images acknowledged to be landmarks in the evolution of the medium. Her final three woodcuts,  

Snow Pines (2004),

Japanese Maple (2005),

and Weeping Crabapple (2009), pay homage to three different types of trees in strikingly divergent ways.


Gemeentemuseum Den Haag in the Netherlands 
November 5, 2016 through February 12, 2017

Fondation Vincent van Gogh Arles  
4 March through 17 September 2017

Deichtorhallen Hamburg, Germany
October 13, 2017, through January 14, 2018

This retrospective of paintings by Alice Neel (1900–1984) – one of North America’s most important female artists, although largely unappreciated during her own lifetime – is the fruit of a collaboration between several European institutions. The exhibition at the Fondation Vincent van Gogh Arles places the US painter and her realist brush firmly in the spotlight. Imbued with a powerful psychological dimension, Neel’s portraits bear witness to  almost a century of evolution in attitudes towards gender and ethnicity, and to radical changes in fashion at the heart of American society. 

Working in an epoch that declared abstraction the new modernism, Neel would always remain a “painter of modern life” as imagined by Charles Baudelaire, with whom she shared the same vision of modernity and the artist’s role in relation to it. Hallmarked at once by expressionism and realism, Alice Neel’s œuvre translates the paradoxical personality of its maker, who wanted to paint individuals from all social classes and create a visual history of her time – a Comédie Humaine . 

Conceived by Jeremy Lewison, the leading expert on Alice Neel, the exhibition presents more than seventy paintings, including a portrait of Andy Warhol “laid bare” under the artist’s keen gaze. 

After the Ateneum Art  Museum in Helsinki and the Gemeentemuseum Den Haag in The Hague, the Fondation Vincent van Gogh Arles  welcomes this major exhibition from 4 March to 17 September 2017, after which it will travel on to Germany and the Deichtorhallen in Hamburg. 

Exhibition curator: Jeremy Lewison 


Alice Neel is born on 28 January 1900 in Gladwyne, Pennsylvania, USA. She studies art at the Philadelphia School of Design for Women, an institution that distances itself from the formalist approach to art taught during this epoch. In the 1930s Alice Neel lives in Greenwich Village, a district of New York with a Bohemian reputation and popular with artists. She is entered on the payroll of the Works Progress Administration, for which she paints  urban scenes. During this period she also meets and paints the portraits of fellow Communist Party sympathizers. 

In 1938 she moves to Spanish Harlem (today East Harlem), where she embarks on a new series of portraits featuring Puerto Ricans, among others. In the 1960s she settles in Upper West Side, where she reconnects with the art world and executes her  famous portraits of artists, gallerists and curators. At the end of the decade she finds inspiration for her art not only among family members, but also by observing women and children, whom she thus paints at the dawn of the feminist movement. From this period onwards, too, her painting is finally recognized by the American art scene and celebrated in the form of numerous solo and collective shows. 

Alice Neel dies on 13 October 1984 in New York. 



This groundbreaking book re-evaluates the work of Alice Neel, one of the most renowned American portrait painters of the 20th century   

This insightful catalogue examines anew the full range of Alice Neel’s (1900-1984) celebrated paintings of people, still life, and cityscapes. Featuring around seventy paintings spanning the entire length of her career, this handsome book accompanies a major retrospective of her work, and reveals her underlying interest in the history of photography, German painting of the 1920s, and other artists, such as Van Gogh and Cézanne, all of which provided an important precedent for the veracity and raw emotional intensity of her figurative works. Neel is renowned for her visual acuity and psychological depth, and her portraits and nude paintings of friends, family, strangers, and prominent cultural figures alike convey an incredibly consistent intimacy regardless of the relationship to her subject.

The accompanying essays trace the trajectory of Neel’s artistic language as it evolved alongside contemporaneous trends in the New York City art world and examine the manner in which her own work figured into the social and cultural contexts of her time. Created over a sixty-year period, Neel’s oeuvre offers a remarkably expressive document of the specific milieus she navigated through and ultimately transcends the marker of time altogether.

Main exhibitions (a selection) 

• Face Value: Portraiture in the Age of Abstraction , National Portrait Gallery, Smithsonian Institution, Washington, 18 April 2014 – 11 January 2015 

Alice Neel: Painted Truths , Museum of Fine Arts, Houston, 21 March – 13 June 2010, and subsequently touring to the Whitechapel Gallery, London, and the Moderna Museet, Malmö 

• Alice Neel , Whitney Museum of American Art, New York, 29 June – 17 September 2000, and subsequently touring to Andover, Philadelphia, Minneapolis and Denver 

• Féminin-Masculin,  Le Sexe de l’art , Centre Georges Pompidou, Paris, 24 October 1995 – 12 February 1996 


Alice Neel: The Spanish Family© Estate of Alice Neel 
  Alice Neel: Frank O'Hara© Estate of Alice Neel 
Alice Neel: Jackie Curtis and Ritta Redd© Estate of Alice Neel 
Alice Neel: Joey Skaggs© Estate of Alice Neel 
Alice Neel: Self-Portrait© Estate of Alice Neel 

Alice Neel: Gus Hall© Estate of Alice Neel  

José , 1936 Oil on canvas, 58.4 x 46 cm Estate of Alice Neel Photo credit: Malcolm Varon, New York 

Pregnant Julie and Algis , 1967 Oil on canvas, 107.6 x 161.9 cm Estate of Alice Neel Photo credit: Malcolm Varon, New York


Ginny and Elizabeth , 1975 Oil on canvas, 106.7 x 76.2 cm Estate of Alice Neel Photo credit: Ethan Palme 


 Great review, more images

Pissarro. A Meeting on St. Thomas

Ordrupgaard Museum, Denmark
10 March – 2 July 2017

 Is there a connection between Danish Golden Age painting and French Impressionism? Now, Ordrupgaard is marking the centenary of the sale of the Danish West Indies with an exhibition that highlights the meeting between the Danish Golden Age painter, Fritz Melbye, and the ‘father’ of French Impressionism, Camille Pissarro at Saint Thomas. The exhibition adds a completely new angle to the origins of Impressionism. 

Most people are familiar with the great impressionist painter, Camille Pissarro, but few are aware that he was a Danish citizen. Pissarro was born in 1830 in the town of Charlotte Amalie at Saint Thomas. In 1850 the Danish painter, Fritz Melbye travelled from Copenhagen to the Danish colony, and the two young artists spend a couple of years in each other’s company. 

Into Impressionism 

Pissarro. A meeting on St. Thomas presents an extensive number of early works by Pissarro and Melbye, painted during their years together in the Danish West Indies and Venezuela. With paintings, sketches and drawings loaned from museums and collections around the world, the exhibition shows how Pissarro built upon his early years of learning with Melbye as his mentor, and how he applied these lessons in Impressionism.

The exhibition Pissarro. A Meeting on St. Thomas tells the story about the meeting of Pissarro and Melbye, and the creative exchange between the two artists, which Pissarro brought with him into Impressionism. The exhibition presents both artists with pieces borrowed from museums and collections all over the world. 

Pissarro. A Meeting on St. Thomas is an invitation to join an artistic exploration from the Danish West Indies, through the jungle of Caracas and Venezuela, all the way to France where Impressionism was born. The exhibition shows Melbye’s influence on the slightly younger Pissarro as his first mentor and teacher, and thus presents a unique new angle on the origins of French Impressionism. 

Camille Pissarro. Inlet with Sailboat, 1856. Colección Patricia Phelps de Cisneros 

Camille Pissarro. Landscape from the Antilles, Rider and Donkey on a Road, 1856. Ordrupgaard

Fritz Melbye. Palm Trees and Grasses, n.d.
Olana State Historic Site, Hudson, New York /
Office of Parks, Recreation and Historic Preservation

Camille Pissarro, People discussing in the Roadside, 1856. Stern Pissarro Gallery, London 

Camille Pissarro (1830-1903), Landscape, St. Thomas, 1856, Oil on canvas, 46,3 x 38 cm, Virginia Museum of Fine Arts  

Camille Pissarro, The Ennery road. Val d'Oise., 1874. Paris, musée d'Orsay. Photo ©, Musée d'Orsay, Dist. RMN-Grand Palais / Patrice Schmidt .

Fritz Melbye, Parti fra Skt. Thomas havn i Charlotte Amalie, 1851-52, Museet for Søfart.