Thursday, July 5, 2007
Marlborough Fine Art
MARLBOROUGH FINE ART
Marlborough Fine Art was founded in 1946 by Frank Lloyd and Harry Fischer who emigrated to England from Vienna, where Lloyd's family had been antique dealers for three generations and Fischer had dealt in antiquarian books. They had first met in 1940, as soldiers in the British army. In 1948 they were joined by a third partner, David Somerset, now the Duke of Beaufort, and chairman of Marlborough Fine Art (London) Ltd.
After the wartime years of recession, London became the principal market for modern art and Marlborough's role in this changing art world was established. It set standards for exhibitions that were worthy of a modern museum. These were reviewed like museum shows, and the gallery became a focus for collectors, museum directors and connoisseurs as well as history of art students. In 1952 Marlborough was already selling masterpieces of late 19th century including bronzes by Edgar Degas and paintings by Mary Cassatt, Paul Signac, Claude Monet, Camille Pissarro, Alfred Sisley, Auguste Renoir amongst others and drawings by Constantine Guys and Vincent van Gogh.
In the late 1950's and early 1960's Marlborough put on a string of prime exhibitions related to expressionism and the modern German tradition: Art in Revolt (Germany 1905-1925; Kandinsky, the Road to Abstraction and The Painters of the Bauhaus. These were followed by a major Kurt Schwitters show in 1963. In 1960 an exhibition of new paintings by Francis Bacon proved sensational. In 1961 Henry Moore's important exhibition of stone and wood carvings was applauded by clients and the press. The same year saw an exhibition of Jackson Pollock's paintings which included a very rare and early Self Portrait dating from 1933. In 1964 an extraordinary exhibition of paintings, watercolours and drawings by Egon Schiele were shown in London for the first time.
In the 1960s Frank Lloyd moved to New York and in 1972 his son Gilbert Lloyd, who joined the gallery ten years earlier, assumed control of Marlborough Fine Art in London. At the same time Pierre Levai, Frank Lloyd's nephew, took over the running of Marlborough in New York.
During the 1970's and 80's, Marlborough staged some of London's most remarkable exhibitions by such artists as: Frank Auerbach, Francis Bacon, Lynn Chadwick, Lucian Freud, Barbara Hepworth, R.B.Kitaj, Henry Moore, Ben Nicholson, Victor Pasmore, John Piper and Graham Sutherland. Important exhibitions were held of work by Jacques Lipchitz and René Magritte in 1973; Max Beckmann and Max Bill in 1974; Henri Matisse in 1978 and the innovative Schwitters in Exile show of 1981 which reshaped opinion of the late work of this artist.
During the 1980's and 90's exhibitions of work by Stephen Conroy, John Davies, Bill Jacklin, Ken Kiff, and Paula Rego were held. In 1994-95 R.B. Kitaj had a major Retrospective at the Tate Gallery, London travelling to the Los Angeles County Museum of Art and the Metropolitan Museum, New York. In 2001 the Royal Academy London showed a Retrospective of Frank Auerbach. The same year Paula Rego showed at Abbot Hall Art Gallery & Museum in Kendal which travelled to the Yale Center for British Art. In 2003 a Stephen Conroy Retrospective was shown at the Schloss Gottorf Museum in Schleswig-Holstein.Paula Rego's work is currently being shown to huge acclaim at the Serralves Museum
in Oporto until 23 January 2005 www.serralves.pt She also has a smaller exhibition as
part of the 'In Focus' series at Tate Britain until 2 January 2005 which includes her most
recent Triptych The Pillow Man www.tate.org.uk John Davies has a major Retrospective at
the Museo de Bellas Artes de Bilbao until 23 January 2005
www.museobilbao.com which travels to the Valencia
Institute of Modern Art from 10 March - 22 May 2005.-->
Paula Rego had a major Retrospective at the Serralves Museum, Oporto from October 2004 - January 2005. Her work was also shown as part of the 'In Focus' series at Tate Britain from October 2004 - January 2005 which included her Triptych The Pillow Man. John Davies's major Retrospective at the Museo de Bellas Artes in Bilbao closed on 23 January 2005 and travels to the Valencia Institute of Modern Art from 10 March - 22 May 2005.
Marlborough Fine Art was founded in 1946 by Frank Lloyd and Harry Fischer who emigrated to England from Vienna, where Lloyd's family had been antique dealers for three generations and Fischer had dealt in antiquarian books. They had first met in 1940, as soldiers in the British army. In 1948 they were joined by a third partner, David Somerset, now the Duke of Beaufort, and chairman of Marlborough Fine Art (London) Ltd.
After the wartime years of recession, London became the principal market for modern art and Marlborough's role in this changing art world was established. It set standards for exhibitions that were worthy of a modern museum. These were reviewed like museum shows, and the gallery became a focus for collectors, museum directors and connoisseurs as well as history of art students. In 1952 Marlborough was already selling masterpieces of late 19th century including bronzes by Edgar Degas and paintings by Mary Cassatt, Paul Signac, Claude Monet, Camille Pissarro, Alfred Sisley, Auguste Renoir amongst others and drawings by Constantine Guys and Vincent van Gogh.
In the late 1950's and early 1960's Marlborough put on a string of prime exhibitions related to expressionism and the modern German tradition: Art in Revolt (Germany 1905-1925; Kandinsky, the Road to Abstraction and The Painters of the Bauhaus. These were followed by a major Kurt Schwitters show in 1963. In 1960 an exhibition of new paintings by Francis Bacon proved sensational. In 1961 Henry Moore's important exhibition of stone and wood carvings was applauded by clients and the press. The same year saw an exhibition of Jackson Pollock's paintings which included a very rare and early Self Portrait dating from 1933. In 1964 an extraordinary exhibition of paintings, watercolours and drawings by Egon Schiele were shown in London for the first time.
In the 1960s Frank Lloyd moved to New York and in 1972 his son Gilbert Lloyd, who joined the gallery ten years earlier, assumed control of Marlborough Fine Art in London. At the same time Pierre Levai, Frank Lloyd's nephew, took over the running of Marlborough in New York.
During the 1970's and 80's, Marlborough staged some of London's most remarkable exhibitions by such artists as: Frank Auerbach, Francis Bacon, Lynn Chadwick, Lucian Freud, Barbara Hepworth, R.B.Kitaj, Henry Moore, Ben Nicholson, Victor Pasmore, John Piper and Graham Sutherland. Important exhibitions were held of work by Jacques Lipchitz and René Magritte in 1973; Max Beckmann and Max Bill in 1974; Henri Matisse in 1978 and the innovative Schwitters in Exile show of 1981 which reshaped opinion of the late work of this artist.
During the 1980's and 90's exhibitions of work by Stephen Conroy, John Davies, Bill Jacklin, Ken Kiff, and Paula Rego were held. In 1994-95 R.B. Kitaj had a major Retrospective at the Tate Gallery, London travelling to the Los Angeles County Museum of Art and the Metropolitan Museum, New York. In 2001 the Royal Academy London showed a Retrospective of Frank Auerbach. The same year Paula Rego showed at Abbot Hall Art Gallery & Museum in Kendal which travelled to the Yale Center for British Art. In 2003 a Stephen Conroy Retrospective was shown at the Schloss Gottorf Museum in Schleswig-Holstein.Paula Rego's work is currently being shown to huge acclaim at the Serralves Museum
in Oporto until 23 January 2005 www.serralves.pt She also has a smaller exhibition as
part of the 'In Focus' series at Tate Britain until 2 January 2005 which includes her most
recent Triptych The Pillow Man www.tate.org.uk John Davies has a major Retrospective at
the Museo de Bellas Artes de Bilbao until 23 January 2005
www.museobilbao.com which travels to the Valencia
Institute of Modern Art from 10 March - 22 May 2005.-->
Paula Rego had a major Retrospective at the Serralves Museum, Oporto from October 2004 - January 2005. Her work was also shown as part of the 'In Focus' series at Tate Britain from October 2004 - January 2005 which included her Triptych The Pillow Man. John Davies's major Retrospective at the Museo de Bellas Artes in Bilbao closed on 23 January 2005 and travels to the Valencia Institute of Modern Art from 10 March - 22 May 2005.
Wednesday, July 4, 2007
John Connelly presents
www.johnconnellypresents.com
John Connelly presents
Augusto ArbizoTauba AuerbachJeff ElrodKim FisherDana FrankfortDaniel HesidenceAlex KwartlerCarrie MoyerElizabeth NeelRaha RaissniaWendy WhiteMichael Zahn
Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists – including seven women painters – from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and ‘expressionistic’ abstractions, as well as shaped and chromatically engaged ‘painted’ sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.
For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued – and often used as strategy for conceptually based work – it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.
But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous – and exciting – a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation – from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and ‘constructed’ or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound’s famously quoted mandate to ‘make it new’ apparently still fits the bill, but for today’s artists it is a risky, perilous and rousing proposition – offering Late Liberties.
John Connelly presents
Augusto ArbizoTauba AuerbachJeff ElrodKim FisherDana FrankfortDaniel HesidenceAlex KwartlerCarrie MoyerElizabeth NeelRaha RaissniaWendy WhiteMichael Zahn
Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists – including seven women painters – from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and ‘expressionistic’ abstractions, as well as shaped and chromatically engaged ‘painted’ sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.
For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued – and often used as strategy for conceptually based work – it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.
But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous – and exciting – a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation – from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and ‘constructed’ or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound’s famously quoted mandate to ‘make it new’ apparently still fits the bill, but for today’s artists it is a risky, perilous and rousing proposition – offering Late Liberties.
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