Posts Tagged ‘museum of fine arts’

Mexican painter Frida Kahlo – Exhibition – Museum of Fine Arts 2018

July – 2018

The Hungarian National Gallery (MNG) and the Museum of Fine Arts,the latter institution will reopen after three years of renovations this year in October.  Around the month of October  showcasing the influential era’s of  the British paintings Francis Bacon, Lucian Freud and the School of LondonDezső Korniss

.The Gallery will also host an exhibition of Mexican painter Frida Kahlo, the first of its kind in Hungary, mainly based on the collection of Museo Dolores Olmedo in Mexico City. The exhibition will open on the 111th anniversary of the painter’s birth, in July of this year.

Further plans include a major exhibition of the works of Rubens, Van Dyck and masters of the Flemish baroque  late  next year.  In 2020 there are plans to exhibit Cézanne (2012).

Later this year, MNG will continue to display the works of Hungarian masters as well to honor the 110th anniversary of the birth of Dezső Korniss. The Gallery will organize an exhibition on the art of the 20th century Hungarian painter in December.

The renewed Roman Hall of the Museum of Fine Arts will be open to the public from March, 15. until April, 2. free of charge, every day from 10 a.m. – 6 p.m. (last admission:5 p.m.).
Entry is on ʺfirst come, first served” basis. Will not arrange reservations or bookings (not even for groups).  Due to the limited capacity of the museum hall, the number of visitors is limited, therefore occasionally waiting outside the building can be expected.​ There will not be provided any tour guides.

Update Aggie Reiter

HERALD NEWS TO FINE ART LOVERS … FROM CARAVAGGIO TO CANALETTO

Michelangelo Merisi da Caravaggio, Saint John the Baptist, 1602

Michelangelo Merisi da Caravaggio, Saint John the Baptist, 1602

Two Centuries of Italian Masterpieces from Caravaggio to Canaletto

 

Fine Art Museum – Budapest

District XIV. 41, Dózsa György Rd. – Budapest

 

October, 26. 2013 – February, 16. 2014.

“The Fine Arts Museum staff a few years ago, the ambitious target set themselves to two consecutive exhibitions showing 15-18. century Italian painting. The first 2009-2010 exhibition held in the Botticelli to Titian, was the most successful event in the museum’s more recent history. Italian painting of the period of time following our exhibition devoted to the representative of the Hungarian-Italian Cultural Season closing event from Caravaggio to Canaletto.

The Italian painting has been host to two centuries of masterpieces title. The exhibition has special significance as the Museum of Fine Arts and the Hungarian cultural life for: the Italian painting of the same period the overall premier has not yet taken place in Hungary, and Italy for the last time in 1922, staged similar.

Hungary 17-18. century, a vibrant artistic relations with Italy maintained, especially in the northern Italian art centers. The results of the new Baroque and Rococo painting in Hungary flow through a large number of Italian masters, as well as artifacts from the country of broadcast. The Old Gallery is internationally revered, about six hundred counting the Italian Baroque and Rococo collection is characterized by thematic and stylistic variety. The core of the great aristocratic families of the Esterházy family, the collections are Pálffy and Zichy, but significant pieces from the Archbishop of Eger and former Patriarch of Venice from the gallery is János László Pyrker. Pulszky Charles, the first director of the National Gallery – is the state budget – an outstanding new compositions and enriched the fabric.

Museum of Fine Arts collection held at the exhibition Thirty-work – a cutting-edge masters works as Annibale Carracci, Artemisia Gentileschi, Guercino, Luca Giordano, Bernardo Strozzi, Giovanni Battista Tiepolo, Canaletto, Bernardo Bellotto – some of Hungary’s private collection-edge image, and about a hundred different European and American paintings borrowed from museums and collections supplemented. Among the museums  in the London National Gallery, Musée du Louvre in Paris, the Museo Nacional del Prado in Madrid and the Museo Thyssen-Bornemisza, the Florence Uffizi and Pitti Gallery, the Pinacoteca Capitolina in Rome and Galleria Borghese, the Gemäldegalerie in Berlin and Dresden, as well as Vienna’s Kunsthistorisches Museum. The rentals are missing from the collection of Budapest masters, genres, and themes we are trying to make up your own pictures or want to refocus.The anthology can not miss one of the greatest masters in the history of painting, Michelangelo Merisi da Caravaggio, whom he unfortunately did not check a single piece of the Museum of Fine Arts. This time of loans allow many outstanding works of the Hungarian public know.”

The exhibition concept:  dr. Laszló Baan, Zsuzsanna Drummer
The exhibition curated by Zsuzsanna Drummer

Source: Fine Art Museum – Budapest

Update by Aggie Reiter

CÉZANNE – INTERNATIONAL SYMPOSIUM – MUSEUM OF FINE ARTS – BUDAPEST

At the Budapest’s Museum of Fine Arts you can rarely see such a great life’s work  held at the comprehensive exhibition with the show of Cézanne. Previously, had the pleasure to visit the breathtaking exhibition and looking forward to be present at the forthcoming International Symposium.

Just a brief reminder of  Cézanne’s past … “Although Cézanne (1839-1906) is usually associated with Provence, he cannot be confined to the south of France. He spent more than half of his time as a painter in Paris and its environs. He travelled between Aix-en-Provence and Paris over 20  occasions, of course, not for the same reasons when he was 20, nor  when he was 60 yrs. old.. When he was already an elderly man and still racked with doubts (“I am making slow progress,” he wrote at the end of his life) he painted in secluded spots on the banks of the Marne or near Fontainebleau, or made portraits of an art dealer or a critic and often his wife. He was no longer the young man eager to “conquer” Paris, wanting to be admitted to the fine art school and show his works in the Salon. In Paris, he came up against both tradition and modernity. He worked out “formulas” that he later used in Provence. He shuttled back-and forth between Provence and the Ile de France, although the rhythm of his journeys changed. After 1890, critics, art dealers, and collectors started to take an interest in his work. Cézanne longed for recognition which could only come from Paris. More than any other artist, he left his stamp on modern art: avant-garde artists from the postimpressionists to Kandinsky looked on him as a forerunner, “the father of us all” as Picasso said.”

Below the source is from the Museum of Fine Arts -Budapest

Symposium-Cézanne and the Past

Cézanne and the Past. Tradition and Creativity

International Symposium

At the Museum of Fine Arts, Budapest, Baroque Hall

Access: District XIV. 41 , Dózsa György Rd.

Monday, January 28, 2013.

Open hour 10 a.m. to 5.30 p.m.

The conference is free of charge.

This symposium, organised in the occasion of the Cézanne and the Past. Tradition and Creation exhibition will focus on different themes and issues that could not be dealt with in detail within the frame of the show and its catalogue (such as Cézanne and Antiquity, Cézanne and Courbet etc.). The invited lecturers (all internationally renowned scholars) will examine different aspects of Cézanne’s relationship to the past from a new, original point  of view.

 

The symposium will be chaired by Richard Shiff, professor at the University of Texas at Austin, who also participated to the exhibition catalogue with an article entitled Sensation, Cézanne. His book Cézanne and the End of Impressionism. A Study of the Theory, Technique, and Critical Evaluation of Modern Art, published in 1984, was one of the most influential studies on Cézanne of the last decades.

Faya Causey, Head of the academic programs department at the National Gallery of Art, Washington, D.C. A specialist in ancient art, Causey is the author of many articles appearing in a variety of journal and catalogues. She will examine the influence of Antiquity (especially Greek and Roman sculpture) on the art of Cézanne. Causey studied the relationship between antique and modern art in her essay Jasper Johns: Ancient Aspects.

Matthew Simms, associate professor at California State University, Long Beach, will present a lecture entitled Cézanne, Drawing and the Past. Simms has worked extensively on nineteenth century French art and criticism. His research and writing on Paul Cézanne resulted in articles or reviews. His first book, entitled Cézanne’s Watercolors: Between Drawing and Painting was published by Yale University Press in 2008.

Mary Tompkins Lewis, professor at Hartford Trinity College, Connecticut contributed to the catalogue of the Cézanne and the Past exhibition with an essay on „Cézanne and Louvre”. On the occasion of the symposium, she will examine the copies made by Cézanne after the so-called „Écorché”. The French artist copied this sculpture, traditionally attributed to Michelangelo, no less than twenty times in drawing, watercolour and oils.

André Dombrowski, Assistant Professor at the University of Pennsylvania, Philadelphia will discuss the topic Cézanne, Wagner and the Origin of Art. His dissertation, completed in 2006, focuses on Cézanne’s early works and many of his essays articles deal with the French artist. He is the author of Cézanne, Murder, and Modern Life (University of California Press, December 2012)

Jean-Claude Lebensztejn Parisian art historian and critic will present the circumstances of creation of Cézanne’s painting Female Nude (Léda II) (presently exhibited at the Museum of Fine Arts, Budapest). This lecture will provide an interesting complement to Lebensztejn’s analysis of Cézanne’s „Leda series”, published in his book Études Cézanniennes (2006), collecting his essays on the French master.

Denis Coutagne will study Cézanne and Courbet’s artistic relationship. As the former director of musée Granet in Aix-en-Provence and being the president of the Paul Cézanne Society, Coutagne participated to the preparation of several exhibitions on Cézanne. In 2006, Coutagne was cocurator of the Cézanne in Provence exhibition showed in Aix and Wahington. In 2011, he was member of the Scientific committee of the exhibition Cézanne and Paris (musée du Luxembourg, Paris).

The Symposium will end with András Rényi’s lecture focusing on the copies by Cézanne after Caravaggio’s Entombment. András Rényi, Head of the Institute for Art History at Faculty of Humanities, Eötvös University (ELTE), Budapest. He studied Caravaggio’s masterpiece in an article published in 2001: A holtpont igézete. Adalékok Caravaggio testfelfogásához és „naturalizmusának” képi szintaxisához (Enigma, 2001, 30 sz).

The conference will be held in English and French (Simultaneous interpretation from French to Hungarian will be provided).

Update by Aggie Reiter