The Discovery of Mondrian at The Gemeentemuseum

A rediscovery of Piet Mondrian’s early works shows the Dutch painter in a new lightArt

By Giovanna Dunmall

If you thought Piet Mondrian’s art was all abstract geometric forms and primary colours, a new exhibition in the Gemeentemuseum will have you reconsidering this notion. Upon entering the first room, you spot the still life of a dead hare and faithful recreation of an early morning view of Amsterdam’s famed Singel canal.

The next few halls continue in the same vein, showing dozens of bucolic and, at first glance, traditional landscapes and depictions of the sea, dunes and windmills. In total some 300 of the artist’s works – a quarter of his entire output and almost the entirety of the museum’s Mondrian collection – are on show in the exhibition titled ‘The Discovery of Mondrian.’ Many of them have never seen before by the public, but rediscovered by the museum staff during a massive restoration project between 2009 and 2015.

The little-known early work is important believes curator Hans Janssen, as it shows just how innovative and modern the artist truly was.’ He speaks of the ‘sense of depth’ that carried through to his later work, the visibly sophisticated brushwork techniques (‘the working of the paint’) but also of something else: ‘At first glance some of them look like 19th century rubbish but they have a quality that is very hard to describe and that has to do with a sense of inner self’. Indeed there is a sense of quiet spirituality and optimism that is a constant in all the work, as well as a potent luminosity that lifts the work out of the mundane. (…)

Read more : The Discovery of Mondrian at The Gemeentemuseum | Wallpaper*

Karst, la dimension cassée |

Karst, la dimension cassée

Exposition du Collectif Multi-Prises

Du 09/06/2017 au 23/07/2017 de 14h00 à 19h00

Exposition Galerie du Faouëdic, 2 boulevard général Leclerc 56100 Lorient, 02 97 02 22 57

L’association Multi-Prises a carte blanche pour s’emparer des murs de la galerie du Faouëdic en proposant une installation immersive. L’exposition vient en contrepoint d’un projet artistique mené auprès des élèves des classes à horaires aménagés musique et danse du collège Anita Conti, en partenariat avec le conservatoire de Lorient.Artistes du collectif engagés dans ce projet : Simon Augade, Thomas Daveluy, Nicolas Desverronières, Nastasja Duthois, Arnaud Goualou, Sylvain Le Corre, Jérémy Leudet, Claire Vergnolle.

Consulter le site du collectif Multi-Prises :

Du 9 juin au 23 juillet
Du mercredi au dimanche
De 14h à 19h à la galerie du Faouëdic.
Visites commentées par les artistes
11 juin à 17h
4 juillet à 12h30
22 juillet à 17h
Entrée libre

Source : Karst, la dimension cassée |

Ad Reinhardt | WideWalls

The advocate of the philosophy he called Art-as-Art, Ad Reinhardt was a prominent painter, writer, critic and educator whose work has been associated with the Abstract Expressionism although it had its origins in Geometric Abstraction, announcing the Minimal and Conceptual Art and Monochrome Painting. As a member of the American Abstract Artists, he was a part of the group gathered at Betty Parsons Gallery that became known as Abstract Expressionism. Recognizable for his cartoons that made fun of the art, Reinhardt is also remembered for the Black or Ultimate Paintings that he claimed to be the “last paintings” that anyone can paint.

Ad Reinhardt – Abstract Painting, 1948, photo via

Early Life and Decision to Study Art History

Adolph Frederick Reinhardt was born on December 24, 1913, in Buffalo, New York. He showed an interest in art from his early childhood, working as an illustrator for the school’s newspapers. Rejecting several scholarships from art schools, he chose to study art history at Columbia University in New York, under the famous Meyer Shapiro who gave him a solid background in theory and humanities through latest trends and contemporary approaches. Shapiro also had a great influence on Reinhardt’s political views, introducing him to the radical leftist Marxist believing that he adhered for the rest of his life. In 1935, he began artistic training at the national Academy of Design and at the American Artists School in New York, falling under the influence of two prosperous painters, Carl Holty and Francis Criss who worked under the postulates of the Cubism and Constructivism.

Reinhardt studied art history at Columbia University in New York under the famous Meyer Shapiro
Ad Reinhardt – Abstract Painting, 1960, photo via (Left) – Red Abstract, 1952, photo via

Strivings for an Absolute Abstract Forms

During the late 30’s Reinhardt was among the artists employed by the government WPA project, which proved to be important for his further career, considering his acquaintance with Willem de Kooning and Arshile Gorky with whom he became a life-long friend. Creating in a realm of the geometric abstraction, his work starting to show the aspects of gestural abstraction. In this period, he worked a freelance illustrating job for several New York publications. Constantly striving for an absolute form of abstraction deprived of narratives or any kind of reference to anything outside the canvas, Reinhardt could no longer find himself in Abstract Expressionism, charging it for the opulence of emotional indications and a cult of the ego. Highly influenced by the art of Kazimir Malevich and Russian Suprematist theories, he became occupied with solid fields of color arranged in geometric forms of squares and rectangles, directly inspired by Malevich’s Black Square (1915). In his theoretical writings Reinhardt has brought these ideas into connection with complex philosophies, as Neo-Platonism, Negation Theology and Zen Buddhism.

Reinhardt was highly influenced by the art of Kazimir Malevich and Russian Suprematist theoriesAd Reinhardt – Untitled, 1966, photo via (Left) – Abstract Painting Blue, photo via

Painting in Red, Blue and Black

Believing in an absolutely pure, ordered and balanced abstract art, in 1950’s Reinhardt began his experiments using the single color in the series of paintings. He started with Red paintings, then the Blue ones and finally came to the Black that marked his career for the rest of his life. Bringing the medium of painting to its limits of expression, he tended to create absolute zero, the end of the light. Challenging the viewer’s patience, making him stunned by the complete absence of narrative, palette, or any other element that everybody was used to, Reinhardt explained that everything is on the move, so the art should be still. He created collaborative art pieces, the ones whose existence were impossible without the viewer’s presence. As our experience of particular painting alters, instead of the inert images, these works became events. They change in every different feeling of their audience. Read more (…) : Ad Reinhardt | WideWalls

He was in a constant search for the pure and balanced abstract art

Top Image : Ad Reinhardt portrait, 1966, photo via

Tate Britain brings back labels and rehangs in themes to help audience understand the art

Tate Britain is to rehang its entire collection as it reinstates proper labels explaining what the art is about, it has emerged, as its director says he wants to invite audiences to understand the works properly.

Alex Farquharson, who took over Tate Britain 18 months ago after the surprise departure of Penelope Curtis, said he will be grouping paintings into themes in a bid to improve the audience experience.

Curtis, who departed the gallery for Lisbon in 2015 after five years at the helm, had faced much criticism over her exhibitions, with strident calls for her dismissal described at the time as “verging on a vendetta”.

Her decisions including hanging the Tate Britain collection in chronological order, and overseeing a change in labelling to cut down on information to let visitors interpret more of the art for themselves.

Chris Stevens, curator, explained in 2013: “Your [the audience’s] response is as valid as our knowledge, and this re-hang presents a sort of release for the artist and their work from this encumbrance of academic protocols.” (…)

Lire la suite : Tate Britain brings back labels and rehangs in themes to help audience understand the art

The Incredible Life and Collection of Peggy Guggenheim | WideWalls

The Life of Peggy Guggenheim

Marguerite ”Peggy” Guggenheim was born in New York in 1898 to a Jewish family. Her biographer Jacqueline Bograd Weld said that it wasn’t just Marguerite who was fascinating as a subject, but that her entire family was full of wonderful eccentricities. Her mother Florette Seligman who came from a family of bankers was known to repeat everything three times, while one of her aunts used to sing most of what she said, possibly leading her husband to an early death. Her father, Benjamin Guggenheim was member of the prominent mining family. They had two more daughters – Hazel and Benita, who were Peggy’s only companions in her childhood and who both lost their lives tragically as young women. The family enjoyed the wealth and comforts of high society. For Peggy, those early years of bourgeois lifestyle were insufferably boring. When her father died on the RMS Titanic she was 13 years old and her family fortune was already decimated. At the age of 19 she inherited her father’s money. She called herself a poor Guggenheim, which was true only in a sense that her inherited wealth was considerably less than that of her cousins. This was just one more thing setting her apart from what she knew. Peggy craved adventure, fulfillment and recognition. Rebelling against aristocratic lifestyle and future as some rich guy’s wife, she found a job in the avant-garde bookshop The Sunrise Turn, where she was exposed to artist and radical thinkers. A year later, in 1921, she moved to Paris, to a city that was giving birth to an art revolution. She marveled at the bohemian world, sharing it intimately with women and men like Kiki de Montparnasse, Man Ray, James Joyce and Ezra Pond. It was in Paris where her love for sex and art was fully awakened.

News is that Man Ray wrote many letters to GuggenheimLeft: Man Ray – Peggy Guggenheim, 1924, photo via / Right: Peggy Guggenheim in in her bedroom; Behind her Alexander Calder’s Silver Bed Head (1945–46), 1961, photo via

Lire la suite : The Incredible Life and Collection of Peggy Guggenheim | WideWalls