Support Hyperallergic’s independent arts journalism.
The National Gallery in London has acquired Lucas Cranach the Elder’s painting “Venus and Cupid” (1529), which was gifted to the National Gallery from the Drue Heinz Charitable Trust after the death of Mrs. Heinz. The Heinz family acquired the painting in 1964, and it has only been on UK public display once since the 1950s. The work is now on view in Room 4 of the National Gallery. “‘Venus and Cupid’ is a significant addition to the Gallery’s representation of Cranach, one of the most impressive and prolific painters of the Renaissance in Germany,” said Gabriele Finaldi, Director of the National Gallery. “We are grateful to Mrs Heinz and her charitable trust for this generous gift to the nation.”
The Van Gogh Museum has acquired 91 prints by Camille Pissaro. The prints make up the entirety of the Samuel Josefowitz Collection, which had been developed over several decades. The collection was acquired through the help of BankGiro Loterij, the Vincent van Gogh Foundation, and members of The Yellow House. From March 1–May 26, 42 of the prints will be on display in the print cabinet in the Exhibition Wing of the museum.
Stanford University’s Cantor Arts Center has acquired Titus Kaphar’s painting “Page 4 of Jefferson’s ‘Farm Book’” and Do Ho Suh’s sculpture “Cause & Effect,” two works that, according to the Arts Center’s website, “reference how forced and unforced global migration transform personal and cultural identity.” The works were acquired through the support of the Patricia Geary Johnson Fund for Asian Art Acquisition and the Palmer Gross Ducommun Fund.
The Museum of Modern Art has acquired Tarsila do Amaral’s painting “The Moon (A Lua)” (1928), the first painting by the Brazilian modernist artist to enter MoMA’s collection. Last spring, MoMA, in conjunction with the Art Institute of Chicago, organized the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil. “Last year’s exhibition, co-organized by Luis Pérez-Oramas and Stephanie D’Alessandro, confirmed our belief that a painting by Tarsila was essential to MoMA’s collection,” said Ann Temkin, MoMA’s Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture. “However, we knew that finding such a work for us would be a major challenge. We feel extremely fortunate to add her work to the history we tell in our fifth-floor collection galleries.” The work will go on display in the fifth-floor collection galleries in March. [via email announcement]
Christie’s Hidden Treasures: Impressionist & Modern Masterpieces from an Important Private Collection sale in London brought in a total of £50,552,001 (~$67,221,000) on February 27. The sale’s top lot, Paul Cézanne’s “Nature morte de pêches et poires” (1885–1887), sold for £21,203,750 (~$28,196,000).
Christie’s Impressionist and Modern Art Evening sale in London brought in a total of £71,306,251 (~$94,819,000) on February 27. The sale’s top lot, Paul Signac’s “Le Port au soleil couchant, Opus 236 (Saint-Tropez)” (1892), sold for £19,501,250 (~$25,932,000).
Christie’s The Art of the Surreal Evening sale brought in a total of £43,566,251 (~$57,932,000) on February 27. The sale’s top lot, René Magritte’s “Le lieu commun” (1964), sold for £18,366,250 (~$24,422,000).
Sotheby’s Impressionist & Modern Art Day sale in London brought in a total of £21,367,125 (~$28,434,000) on February 27. The sale’s top lot, Théo van Rysselberghe’s “À L’ombre des Pins (Agay) or Sous les Pins (Agay)” (1905), sold for £1,035,000 (~$1,377,000).
Sotheby’s Surrealist Art Evening sale in London brought in a total of £13,789,400 (~$18,350,000) on February 26. The sale’s top lot, René Magritte’s “L’Étoile du Matin” (1938), sold for £5,323,500 (~$7,084,000).
Sotheby’s sale of Impressionist & Modern Art Evening sale in London brought in a total of £73,918,400 (~$98,366,000) on February 26. The sale’s top lot, Claude Monet’s “Le Palais Ducal” (1908), sold for £27,534,000 (~$36,641,000).
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.