by Carol Vogal, New York Times
What motivates people to sell at auction, especially given the precariousness of the economy, is a matter of constant speculation. And when the consignors’ names are published in catalogs, it further fuels the interest...
...Rosenberg’s Treasures
Two years ago the Museum of Modern Art was promised the archives from the Paul Rosenberg Gallery. A legendary French dealer who ran one of the most important galleries for major masters of the School of Paris, Rosenberg supported, sold and showed the work of Picasso, Braque and Léger, among others.
When he died in 1959, his son, Alexandre, ran the gallery until his own death in 1987. Together they amassed tens of thousands of photographs, letters, index cards and more that chronicle a slice of art history.
After Alexandre’s widow, Elaine, promised the archives to the Modern, the museum hired Donald Prochera to put them in order so that students and scholars could examine the contents. A sampling of some 50 items will be on view at MoMA from Jan. 27 through April 5.
“It was important to keep it clear and focused,” said Michelle Elligott, who runs the museum’s archives, explaining that the amount of material to choose from was overwhelming. “We wanted to educate the general public who may not have heard of the Rosenberg gallery by illustrating its importance in the history of 20th-century art. And for those who already know the name, we have tried to show the relationship the two protagonists — Paul and Alexandre Rosenberg — had with these modern artists.”
The gallery originally opened in Paris, but when World War II broke out, the Rosenbergs fled to Manhattan, arriving in 1940 and opening a space on East 57th Street a year later. Some of the inventory and records were confiscated in Europe, although much has been retrieved over the years.
Throughout its existence the gallery sold and donated important works to the Modern, including Picasso’s “Harlequin” from 1915 and Cézanne’s “Château Noir” from 1903-4.
Van Gogh’s “Starry Night,” one of the museum’s most popular paintings, came from the Rosenberg gallery. On view will be a 3-by-5 index card on the painting with a photograph from the original glass negative.
HARVEST THE REWARDS OF AN INVESTMENT IN A FRENCH VINYARD
Ever dreamed of rolling hills punctuated by vines laden with rich fruit, ripe for picking, the bright sun warming your land, in advance of a plentiful harvest? With the pressures of modern life and the stress of the daily commute taking its toll on a nation struggling to pull itself out of what has become known as the worst recession faced in 100 years (according to MP Ed Balls), many British people are looking to the French countryside to make their dream of owning a vineyard a reality...
...One region that has wide appeal is Provence, where not only some of the country’s most famous wines are made, but which also has a great deal to offer those looking at relocating. This region in south-eastern France is famed for its unique micro-climate and stunning sweeping countryside, as well as picturesque towns and villages, scattered throughout the hills. Saint Rémy de Provence is one such village, encircled by the remains of 14th century fortifications, and one of the oldest in France. The location where Van Gogh painted ‘Starry Night’ and Nostradamus was born, Saint Rémy is 20km south of Avignon and 90km from Marseille.
2010 FINE ARTS PREVIEW: JAMES CASTLE, TRISHA BROWN, MASTER IMPRESSIONISTS COMING TO BAY AREA
by Jennifer Modenessi
The biggest buzz is coming from the other side of the Bay Bridge with a slew of exhibits commemorating the 75th anniversary of the San Francisco Museum of Modern Art. But other Bay Area museums and galleries are sure to attract their fair share of crowds with a fascinating array of shows...
..."Birth of Impressionism: Masterpieces from the Musee d'Orsay" and "Van Gogh, Gauguin, Cezanne and Beyond: Post-Impressionist Masterpieces from the Musee d'Orsay": Yes, both of these exhibits — which include works on loan from France's other famous art museum — will be stuffed with visitors. And yes, blockbuster shows of Impressionist paintings are nothing new. But for those who have yet to see works such as Monet's "Saint Lazare Station," Gauguin's "Tahitian Women, On the Beach" or Van Gogh's "Starry Night Over the Rhone" in person, these shows will be a real treat.
PARIS MASTERPIECES HAVE TOURISM OPERATORS STARRY-EYED
Canberra tourism operators hope the latest blockbuster at the National Gallery of Australia (NGA) will attract a record number of interstate visitors to the capital this summer.
Masterpieces From Paris is the largest and most valuable collection of art ever exhibited in Australia and features 112 paintings including works by Vincent van Gogh, Paul Gauguin, Paul Cezanne and Claude Monet.
The priceless works are on loan from the Musee d'Orsay in Paris and it is the first time they have been brought together in an exhibition outside of France.
The NGA is running its largest-ever marketing campaign to promote the exhibition around the country.
Around 250,000 visitors are expected to see the exhibition, 70 per cent of whom are predicted to come from interstate and stay overnight in the capital.
David Marshall from the ACT Tourism Taskforce says it could generate $40 million for the local economy.
"We're hoping that it will be a record summer for Canberra," he said.
"If you provide a reason for Sydney-siders in particular and regional New South Wales people to come to Canberra they will come.
"So events and exhibitions of national or international significance are very important tourism drivers into the ACT."
FORGET PARIS: THIS IS A MASTERPIECE
by Claire Low, Canberra Times
IT’S ‘‘BETTER than in Paris’’.
French ambassador Michel Filhol’s wife, Catherine, was so enamoured of the National Gallery of Australia’s latest blockbuster exhibition that she saw it twice, heaping praise upon Masterpieces from Paris: Van Gogh, Gauguin, Cezanne and Beyond.
She is one of more than 60,000 visitors to the exhibition since it opened a month ago.
It continues until April, on track for its target of 230,000 visitors.
According to the gallery’s assistant director, Shanthini Naidoo, about 70 per cent of visitors have come from interstate.
Ms Naidoo said she was pleased the gallery had drawn tourists to the capital at a time that tended to be quiet for restaurants and cafes.
‘‘We’ve been doing a lot of interstate marketing with the support of the ACT Government – it’s great to see it’s working,’’ she said.
‘‘The feedback from our visitors is overwhelmingly positive.’’
Of the 112 masterpieces, Ms Naidoo described van Gogh’s self-portrait, his work Starry Night, and Gauguin’s Tahitian Women as highlights.
In fact, the exhibition as a whole was a rare opportunity for art lovers.
‘‘There aren’t many Post-Impressionist works in Australia and because of their value, it is unlikely that Australian galleries will be able to purchase them.
‘‘To be able to see this many Post-Impressionist works in Australia is a oncein-a-lifetime opportunity.’’
Senior curator Christine Dixon supervised the exhibition.
It took four of Australia’s curatorial team working with curators of the Musee D’Orsay in Paris, along with transportation and installation teams, to mount the exhibition.
The paintings are displayed differently from the way they were shown at their home in Paris, but the National Gallery’s display has been lauded.
‘‘One of the things the director of the Musee D’Orsay, Guy Cogeval, commented on at the opening was how well-lit the paintings are,’’ Ms Naidoo said.
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