Category Archives: art history

Picasso at Gagosian: Go now!

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As you know, if you read yesterday’s or the day before’s post, I had a great list of galleries in Chelsea that I wanted to go see. Yesterday was beautiful outside, so I biked up to 20th Street. Overall, I had a mixed reaction, but one thing stands out as being an incredible show and opportunity for any art lover:

The Picasso exhibition at Gagosian

It’s amazing to see Picasso in a smaller, intimate gallery setting. This is Gagosian’s new space at 522 W. 21st St, and it’s beautifully lit. The sheer number of works in the 4 large spaces is dauntingly fun, and it really helps you make sense of Picasso’s late period during the 60s and 70s, from which all the works were drawn. Called Mosqueteros, due to an abundance musketeers, cavaliers and prostitutes in these later works, the show comes mostly from private collections that are not accessible to the public. So Gagosian’s exhibition is an unprecedented chance to see this grouping.

The artist in 1971

Gagosian‘s business acumen is amazing: rather than focusing on lower-priced works in these economic times, he is marshalingl his resources to create shows like the Pierro Manzoni retrospective and this one to generate buzz and excitement at a time when it’s hard to generate sales. The exhibitions themselves have been wonderful.

I felt within the Mosqueteros, there was certainly an uneven quality to the grouping. Some paintings were great, others very great. The paintings themselves were jarring, ruthlessly honest, and aggressive with haunting eyes. If the exhibition shows you anything, it’s that Picasso remains fresh and relevant today. It’s on view until June 6, so go see it while you can.

Albrecht Durer

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Self-portrait of 1493, artist aged 22

Albrecht Durer (1471 – 1528) doesn’t get the attention those great Renaissance Italians do, Leonardo, Michelangelo, Donatello. Yet Durer did more that just woodcuts; he reinvented what was possible with woodcuts, but was also a remarkable draftsman and painter.

Self-Portrait of 1498, artist aged 26

Although traditional in style, Durer brought a tirelessly innovativion to his work, and is known for merging the Italian style with the German. Born in soon-to-be Protestant Nuremburg, Durer was a humanist in the vein of Martin Luther and was one of it’s first artist-gentleman, so to speak (rather than artist-craftsman).

Self-Portrait of 1500, artist aged 28 (and yes, he knew he looked like Jesus)

Durer’s woodcuts were widely disseminated and successful. He also produced some very modern watercolors (at a time when other artists used crayon and paper). Durer was among the first to sign his sketches rather than consider them so much wastepaper. He also painted portraits, like the ones of himself above, but also of other individuals, large religious scenes, and some singularly beautiful works of pieces of turf and animals. More and more Durer tried to capture the secret of natural beauty. Interestingly, he disliked painting commissions because they paid so little compared to the amount of work involved.

Durer’s paintings were work-intensive. He had a painstaking method of going over the colors again and again so that they have the luminosity of tempura, and the really pure colors he used highlight this. He insisted upon revarnishing the canvases himself when they got dry, because he used a special good wax that didn’t yellow as it aged. He painted for things to last forever. While his painting method changed as he grew more successful and had assistants help him with his larger compositions, it remains exemplary of the enormous amount of attention he devoted to his craft.

Adam and Eve, 1507


Durer’s placement of the couple as nudes facing each other on a dark background become a popular style of depicting Adam and Eve (and the ideal human proportions) was later used by Cranach, among others.

Art Reads: Straight Up or With a Twist?

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I enjoy art history straight up, but I don’t mind it with a twist. Lately, I’ve stumbled upon more than one exciting new fiction read that takes you into the art world. The fine arts get plenty of non-fiction, wether they are art historical or, like the bestselling 7 Days in the Art World, sociological. Artist’s biographies are fascinating. While I might indulge in a little creative biographical fiction, Leonardo’s Muse or whathaveyou, I put those books on the shelve right above the romance novels. I can admit to another weakness though, which developed out of a passion for Agatha Christie and art.
Art heist and forgery books get me every time, and it doesn’t matter to me if they are based on real life. Clever, with the most interesting characters (when they aren’t out and out thugs) involving passion, nerve, and wiles I love these escapades. I secretly hope that if I read enough of them I’ll be able to pull off my own heist. I just finished The Art Theif’s Guide to Paris, which, if not plausible, does involve a theft from the Pompidou and a forgery, making it the best of both worlds. The Forger’s Spell : a True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century is on my list next.
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