Edimburgh. Scottish National Gallery


Image: Carel Fabritius, The Goldfinch, 1654 © Mauritshuis.

The Goldfinch

  • 4th November − 18th December 2016
  • Scottish National Gallery | Admission free

A beautiful and mysterious masterpiece from the Golden Age of Dutch painting, which inspired a Pulitzer Prize-winning novel by the US publishing sensation Donna Tartt, made a flying visit to the Scottish National Gallery in Edinburgh this autumn. The Goldfinch, which was painted in 1654 by Carel Fabritius, already enjoyed international renown before the intense interest surrounding Tartt’s 2014 novel of the same name propelled this mesmerising painting into the limelight, bringing it to the attention of Holywood producers, who now hope to adapt Tartt’s book for the big screen.

One of only a handful of works by Fabritius known to exist, The Goldfinch traveled to the SNG from its home in the Royal Picture Gallery Mauritshuis, in The Hague, for six weeks only, from 4 November to 18 December this year. The painting has never before been shown in Scotland, and has only been exhibited in the UK on a handful of occasions. When it was shown at the Frick Collection in New York in 2014, it was seen by a record-breaking 200,000 people (many of whom happily endured long queues in sub-zero temperatures).

Carel Fabritius (1622-1654) is often seen as the link between two giants of Dutch painting: Rembrandt van Rijn (1609-69), in whose workshop he was a star pupil and Johannes Vermeer (1632-75), on whose work he had a considerable influence. An artist of remarkable skill, Fabritius was tragically killed at the age of 32, when a gunpowder store exploded, destroying large parts of the city of Delft and killing hundreds of its residents. It is presumed that much of Fabritius’s work was lost in the explosion, and only around a dozen of his paintings survive. Among these The Goldfinch, which was painted in the year he died, is considered by many to be his masterpiece.

At the time that Fabritius painted this tiny ‘portrait’ of a goldfinch (the painting measures a mere 33.5 x 22.8 cm), these little birds were popular pets, renowned for their ability to learn tricks, such as pulling up their drinking water in a tiny thimble-sized pail from a hidden glass below. In Dutch paintings of the period, they might be read as a symbol of resourcefulness and dexterity, or perhaps of captive love, but Fabritius’s Goldfinch seems to fall outside such traditions, and its meaning is more elusive. Here there are no props or tricks, just a single bird, painted with extraordinary realism, perched on its feeding-box, its leg attached to a wooden hoop by a slender metal chain.

If the image itself is unique in the art of the period, the original function of The Goldfinch, which was painted in oil on wooden panel, is also shrouded in mystery. There have been various speculations that it might have been intended as a shop sign, part of a piece of furniture or a cover for a box containing another painting. What seems certain however is that Fabritius intended to create a vivid illusion – one that might literally ‘fool the eye’ into reading the image as a living bird rather than a representation (an effect often referred to as ‘trompe l’oeuil’).

Fabritius’s goldfinch is life-sized, and the shallow box on which it sits is portrayed against a small patch of flat wall, viewed head-on and artfully painted to suggest areas of flaking plaster. The shadows cast by the box and by the bird itself are consistent with a low view point and it may be that the painting was intended to hang high on a wall, helping to create the conditions under which an observer might be wholly taken in by it.

Yet this perfect illusionism is undermined by the way in which Fabritius has painted the little bird itself – with swift and clearly distinguishable brushstrokes. Whatever pains he took to create a convincingly lifelike image, the artist did nothing to disguise the fact that he has somehow conjured the essence of a living, breathing creature merely by the skilful placement of a series of abstract marks comprised of pigment and oil.

Perhaps it is this paradox that has given The Goldfinch its power to fascinate and to inspire. Donna Tartt’s 800-page novel is an epic story of love, loss and obsession. In her fictionalised account The Goldfinch is removed from the debris of a terrorist explosion in New York’s Metropolitan Museum by a survivor, a teenage boy who loses his devoted mother in the blast. Over the course of the novel, his secret and illicit possession of this humble, but singularly beautiful painting gives the main character his only anchor in a chaotic, dislocated and grief-haunted life.

Speaking of the display, Michael Clarke, Director of the Scottish National Gallery said, “We are delighted to present Carel Fabritius’s iconic The Goldfinch in Scotland for the first time. Hugely popular since it inspired Donna Tartt’s bestselling novel, this is a very rare opportunity for art and literature lovers alike to come face to face with one of the most compelling paintings in Western art.”

Prestigious collection of works by Paul Signac on view at the Fondation de l’Hermitage


Paul Signac, Saint-Tropez. Fontaine des Lices, 1895. Huile sur toile, 65 x 81 cm. Collection privée © photo Maurice Aeschimann.

LAUSANNE.-The Fondation de l’Hermitage is showing a prestigious collection of works by Paul Signac (1863-1935) from 29 January to 22 May. Almost 140 oil paintings, watercolours and drawings illustrate the prolific career of this neo-Impressionist master.

This unique collection was assembled by a family with a passion for Signac’s art and constitutes one of the largest set of his works to be held in private hands. It offers a complete panorama of Signac’s artistic development, from his early Impressionist paintings through the heroic years of neo-Impressionism, the dazzle of Saint Tropez and flamboyant portrayals of Venice, Rotterdam and Constantinople to the late watercolours of the Ports of France series. The collection is also exceptional for the diversity of techniques on display, juxtaposing the Impressionist ardour of the studies from nature with the limpid polychromy of the pointillist paintings and the bold Japonism of the watercolours with the freedom of the plein air works. Meanwhile the great preparatory washes with drawings in Indian ink reveal the secrets of serene compositions that were long pondered in the studio. So as well as an introduction to Signac’s chromatic harmonies, this exhibition will also be a true voyage of discovery.

Visitors are invited on a tour arranged by chronology and theme, enabling them to discover the many facets of a man of conviction, fascinated by the sea and boats, and to experience the chromatic harmonies of this painter whose first love was colour. An extensive documentary section will provides an introduction to the colour theories of the neo-Impressionists, including a room showing paintings by the movement’s main exponents (Pissarro, Luce, Van Rysselberghe, Cross).

The exhibition is curated by Marina Ferretti, Scientific Director at the Musée des impressionnismes, Giverny and co-custodian of the Signac Archives.

It is being mounted in partnership with the Museo d’Arte della Svizzera italiana, Lugano, where it will be on view from September 2016 to January 2017.

The exhibition is accompanied by a richly illustrated catalogue, co-published with Skira.

Paul Signac, Soleil couchant sur la ville (étude), 1892. Huile sur bois, 15,5 x 25 cm. Collection privée © photo Maurice Aeschimann
FUENTE: artdaily.com

Bruselas, Bélgica. Chagall

The Birthday. Oil on cardboard, 1915. Museum of Modern Art, New York — © The Museum of Modern Art, New York / Chagall ® SABAM Belgium 2015 / photo: Scala, Florence.

Royal Museums of Fine Arts of Belgium
Rue de la Régence / Regentschapsstraat 3
1000 Brussels
+32 (0)2 508 32 11

Over 200 works of Marc Chagall have been gathered worldwide for this major retrospective exhibition. From early paintings of 1908 to his final, monumental works of the 1980s, the show offers a rich overview of the painter’s artistic career.

The exhibition presents the main themes of his work, in particular his connection with Jewish culture, the iconography of the shtetl, folk traditions, but also his discovery of 17th century literature such as La Fontaine, the revelation of light and the particular use of colour.

Special attention is given to his Russian period at a time his personal style stands out in an avant-garde art scene featured by the cubist revolution.

The original poetic language of Chagall is faithfully revived and the visitors are immersed in his amazing artistic world influenced by different cultures and traditions.

chagal cow w parasol

Cow with Parasol. Oil on canvas, 1946. The Metropolitan Museum of Art, New York — © The Metropolitan Museum of Art, New York / Chagall ® SABAM Belgium 2015
chagal i and the village
I and the Village. Pencil, watercolour and gouache on paper, 1912. Royal Museums of Fine Arts of Belgium, Brussels, inv. 11108 — © RMFAB, Brussels / Chagall ® SABAM Belgium 2015 / photo: J. Geleyns – Ro scan
Organized by the Royal Museums of Fine Arts, in partnership with the Palazzo reale in Milan, 24 ORE, Arthemisia Group, GAmm Giunti, this retrospective exhibition is curated by Claudia Zevi, with the collaboration of Meret Meyer and Michel Draguet.
This show brings together artworks from over twenty international institutions: Tate, MoMA New York, Centre Pompidou, Musée d’Art Moderne de la Ville de Paris, Museo Thyssen-Bornemisza, Beyeler Foundation, Maeght Foundation, Nagoya City Art Museum Japan, the State Russian Museum in St Petersburg, etc.

Richard Gray Gallery at Art Basel Miami Beach 2014



Richard Gray Gallery at
Art Basel Miami Beach

Booth C-03
December 4 – 7, 2014
Robert Motherwell, The Grand Inquisitor, 1989-90, acrylic and graphite on canvas, 72 x 171 inches (182.9 x 434.3 cm).

Richard Gray Gallery exhibiting works by

Olivia Berckemeyer
Louise Bourgeois
Alberto Burri

John Chamberlain
Bethany Collins

Mark di Suvero
Sam Francis 
Ewan Gibbs
Arshile Gorky
Mark Grotjahn

David Hockney
Malia Jensen
Alex Katz
David Klamen

Roy Lichtenstein
Robert Motherwell
Claes Oldenburg

Jack Pierson
Jaume Plensa
James Rosenquist

Susan Rothenburg
Mitchell Squire
John Stezaker

Marc Swanson
Andy Warhol

Tom Wesselmann
Christopher Wool
Nate Young


Public Hours
Thursday, December 4, 2014, 3pm to 8pm
Friday, December 5, 2014, 12 noon to 8pm
Saturday, December 6, 2014, 12 noon to 8pm
Sunday, December 7, 2014, 12 noon to 6pm

Richard Gray Gallery

875 N Michigan Ave.
Suite 3800
Chicago, IL 60611


New York

1018 Madison Avenue
4th Floor
New York, NY 10075


Jennifer Kostuik Gallery. Sculptural works by Arno Kortschot


Jennifer Kostuik Gallery is pleased to formally  introduce the 3-dimensional sculptures of Vancouver based, Dutch artist, Arno Kortschot. Kortschot searches for the connection of form and material in relation to both natural and man made environments. The geometric shapes employed by the artist are a reflection of both architectural elements and the rhythms and colors of Nature. His affection for minimalism creates a strong urge to fill spaces with objects that are stripped of all meaning to exist purely as a spatial concept. Inspired by the history of geometric abstraction that can be found in the art and architecture of his native country, The Netherlands, Kortschot creates sculptures that are meticulously placed side by side, are free standing, or lean at an angle against a wall. Kortschot shapes his ideas into sculptures with bright color and often with a repetition of the same shapes together. In some works, he has incorporated LED light to allow the form to glow with color from the inside out. In others, a slight tension exists where the sculptures almost touch. Shadow play is integral to the entire reading of all his installations. The painstaking craftsmanship of straight lines and angles is embraced with an artistic style in which materiality is central to Kortschot’s work, zinc being his primary medium. The patina of zinc, created over time through air, the environment, and also especially by a person’s touch, brings out the unique character and is considered as part of the art. Kortschot sees his chosen medium having a timeless and imperfect character enabling the sculptures to blend with the work’s surroundings, allowing the viewing of his art as a visceral, physical experience. These objects are directions to see things differently and to experience the beauty of minimal concepts; To recognize, to appreciate and to be inspired to change the way of looking at things and your daily surroundings. In fact, they will give the opportunity to travel further than any landscape will do.  – Arno Kortschot     To view the entire show, please click here: View Show

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Tate. Henri Matisse: The Cut-Outs


Henri Matisse The Snail 1953 Gouache on paper, cut and pasted on paper mounted on canvas support: 2864 x 2870 mm Purchased with assistance from the Friends of the Tate Gallery 1962 Succession Henri Matisse/DACS 2002

View the main page for this artwork

Henri Matisse Blue Nude (II) 1952
Henri Matisse Blue Nude (II) 1952

Tate Modern: Exhibition
17 April – 7 September 2014

Adult £18.00 (without donation £16.30) Concession £16.00 (without donation £14.50) Help Tate by including the voluntary donation to enable Gift Aid Additional booking fee of £1.75 (£2 via telephone) per transaction applies For a quieter viewing experience, try Matisse Sunday latesUnder 12s go free (up to four per parent or guardian)

Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Droits réservés © Succession Henri Matisse / DACS 2013

  • Henri Matisse The Sheaf 1953
    Henri Matisse The Sheaf 1953

    Collection University of California, Los Angeles. Hammer Museum © Succession Henri Matisse / DACS 2013

Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began ‘carving into colour’ and his series of spectacular cut-outs was born.

The exhibition represents a once-in-a-lifetime chance to see so many of the artist’s works in one place and discover Matisse’s final artistic triumph.

In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium.

From snowflowers to dancers, circus scenes and a famous snail, the exhibition showcases a dazzling array of 120 works made between 1936 and 1954. Bold, exuberant and often large in scale, the cut-outs have an engaging simplicity coupled with incredible creative sophistication.

The exhibition marks an historic moment, when treasures from around the world can be seen together. Tate’s The Snail 1953 is shown alongside its sister work Memory of Oceania 1953 and Large Composition with Masks 1953 at 10 metres long. A photograph of Matisse’s studio reveals that these works were initially conceived as a unified whole, and this is the first time they will have been together since they were made. Matisse’s famous series of Blue Nudes represent the artist’s renewed interest in the figure.

London is first to host, before the exhibition travels to New York at the Museum of Modern Art and after which the works return to galleries and private owners around the world.

These are extraordinarily forward-looking works. They are more like installations or environments than paintings; and they seem very contemporary now. They were a way of collapsing line and colour; at the same time they were a kind of sculpture – carving into pure colour. Nicholas Cullinan, Curator

Henri Matisse’s eye popping colour cut-outs are brought together for a blockbuster show at Tate Modern The Sunday Times

A sense of joyous celebration almost unmatched in the history of art. Unmissable The Spectator

It will be startling and spectacular The Observer

An important and eagerly awaited survey of the 20th century master Telegraph

Matisse’s greatest works – mouth watering. Evening Standard

Henri Matisse: The Cut-Outs is curated by Nicholas Cullinan, Curator, Modern and Contemporary Art, The Metropolitan Museum of Art, New York; Nicholas Serota, Director with Flavia Frigeri, Assistant Curator, Tate and at the Museum of Modern Art, New York by Jodi Hauptman, Curator, Department of Drawings, and Karl Buchberg, Senior Conservator, with Samantha Friedman, Assistant Curator.

Related events

Private view

Tuesday 15 April 2014, 10.00 – 17.15
Wednesday 16 April 2014, 10.00 – 17.15
Every Saturday and Sunday from 19 April – 7 September 2014
Tuesday 22 April 2014, 18.45 – 21.30
Thursday 8 May 2014, 18.45 – 21.30

Special event

Sundays 27 April –  24 August 2014, 20.00 – 22.00
Thursday 8 May 2014, 18.45 – 20.00