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In the Studio: Paintings

Curated by John Elderfield

February 17–April 18, 2015
West 21st Street, New York

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation video Play Button

Installation video

Works Exhibited

Jean-Baptiste Siméon Chardin, Attributs du peintre (Attributes of the Painter), c. 1725–27 Oil on canvas, 19 ⅝ × 33 ⅞ inches (50 × 86 cm)Princeton University Art Museum, Gift of Helen Clay FrickPhoto: Bruce White

Jean-Baptiste Siméon Chardin, Attributs du peintre (Attributes of the Painter), c. 1725–27

Oil on canvas, 19 ⅝ × 33 ⅞ inches (50 × 86 cm)
Princeton University Art Museum, Gift of Helen Clay Frick
Photo: Bruce White

Thomas Eakins, William Rush Carving His Allegorical Figure of the Schuylkill River, 1876–77 Oil on canvas (later mounted on Masonite), 20 ⅛ × 26 ⅛ inches (51.1 × 66.4 cm)Philadelphia Museum of Art, Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams

Thomas Eakins, William Rush Carving His Allegorical Figure of the Schuylkill River, 1876–77

Oil on canvas (later mounted on Masonite), 20 ⅛ × 26 ⅛ inches (51.1 × 66.4 cm)
Philadelphia Museum of Art, Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams

James Ensor, Squelette peintre (The Skeleton Painter), c. 1896 Oil on panel, 14 ⅝ × 17 ¾ inches (37 × 45 cm)Koninklijk Museum voor Schone Kunsten, Antwerp© 2014 Artists Rights Society (ARS), New York/SABAM, Brussels. Photo: Hugo Maertens

James Ensor, Squelette peintre (The Skeleton Painter), c. 1896

Oil on panel, 14 ⅝ × 17 ¾ inches (37 × 45 cm)
Koninklijk Museum voor Schone Kunsten, Antwerp
© 2014 Artists Rights Society (ARS), New York/SABAM, Brussels. Photo: Hugo Maertens

Jean-Léon Gérôme, Le travail du marbre, or L’artiste sculptant Tanagra (Working in Marble, or The Artist Sculpting Tanagra), 1890 Oil on canvas, 19 ⅞ × 15 ½ inches (50.5 × 39.4 cm)Dahesh Museum of Art, New YorkPhoto: Rob McKeever

Jean-Léon Gérôme, Le travail du marbre, or L’artiste sculptant Tanagra (Working in Marble, or The Artist Sculpting Tanagra), 1890

Oil on canvas, 19 ⅞ × 15 ½ inches (50.5 × 39.4 cm)
Dahesh Museum of Art, New York
Photo: Rob McKeever

Alberto Giacometti, L’atelier (The Studio), 1951 Oil on canvas, 29 ½ × 23 ½ inches (74.9 × 59.7 cm)Carnegie Museum of Art, Pittsburgh, Gift of Mr. and Mrs. Charles Zadok© Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, L’atelier (The Studio), 1951

Oil on canvas, 29 ½ × 23 ½ inches (74.9 × 59.7 cm)
Carnegie Museum of Art, Pittsburgh, Gift of Mr. and Mrs. Charles Zadok
© Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Jasper Johns, In the Studio, 1982 Encaustic and collage on canvas with objects, 72 × 48 × 5 inches (182.9 × 121.9 × 12.7 cm)Collection of the artist© Jasper Johns/Licensed by VAGA, New York. Photo: GraydonW

Jasper Johns, In the Studio, 1982

Encaustic and collage on canvas with objects, 72 × 48 × 5 inches (182.9 × 121.9 × 12.7 cm)
Collection of the artist
© Jasper Johns/Licensed by VAGA, New York. Photo: GraydonW

Jacek Malczewski, Melancholia (Melancholy), 1890–94 Oil on canvas, 54 ¾ × 94 ½ inches (139 × 240 cm)Muzeum Narodowe w Poznaniu, Poznań, Fundacja RaczyńskichPhoto: Adam Cieslawski

Jacek Malczewski, Melancholia (Melancholy), 1890–94

Oil on canvas, 54 ¾ × 94 ½ inches (139 × 240 cm)
Muzeum Narodowe w Poznaniu, Poznań, Fundacja Raczyńskich
Photo: Adam Cieslawski

Pablo Picasso, L’atelier (The Studio), 1928 Oil and crayon on canvas, 63 ⅝ × 51 ⅛ inches (161 × 129.9 cm)The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice© 2014 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Pablo Picasso, L’atelier (The Studio), 1928

Oil and crayon on canvas, 63 ⅝ × 51 ⅛ inches (161 × 129.9 cm)
The Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice
© 2014 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Pablo Picasso, L’atelier (The Studio), 1927–28 Oil on canvas, 59 × 91 inches (149.9 × 231.2 cm)The Museum of Modern Art, New York, Gift of Walter P. Chrysler, Jr.© 2014 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Pablo Picasso, L’atelier (The Studio), 1927–28

Oil on canvas, 59 × 91 inches (149.9 × 231.2 cm)
The Museum of Modern Art, New York, Gift of Walter P. Chrysler, Jr.
© 2014 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

Robert Rauschenberg, Small Rebus, 1956 Oil, pencil, paint swatches, paper, newspaper, magazine clippings, black-and-white photograph, map fragments, fabric, and three-cent stamps on canvas, 37 ⅜ × 46 ¼ inches (95 × 117.5 cm)Museum of Contemporary Art, Los Angeles, The Panza Collection© Robert Rauschenberg Foundation/Licensed by VAGA, New York

Robert Rauschenberg, Small Rebus, 1956

Oil, pencil, paint swatches, paper, newspaper, magazine clippings, black-and-white photograph, map fragments, fabric, and three-cent stamps on canvas, 37 ⅜ × 46 ¼ inches (95 × 117.5 cm)
Museum of Contemporary Art, Los Angeles, The Panza Collection
© Robert Rauschenberg Foundation/Licensed by VAGA, New York

Diego Rivera, Estudio del pintor, or Lucila y los judas (The Painter’s Studio, or Lucila and the Judas Dolls), 1954 Oil on canvas, 70 × 59 inches (178 × 150 cm)Acervo Patrimonial, Secretaría de Hacienda y Crédito Público, Mexico City© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Diego Rivera, Estudio del pintor, or Lucila y los judas (The Painter’s Studio, or Lucila and the Judas Dolls), 1954

Oil on canvas, 70 × 59 inches (178 × 150 cm)
Acervo Patrimonial, Secretaría de Hacienda y Crédito Público, Mexico City
© 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

About

Gagosian is pleased to present a pair of major exhibitions, curated by John Elderfield and Peter Galassi, devoted to images of artists’ studios, in paintings and in photographs. The subject of the artist’s studio in works of art is a very large one with a long history: the spaces where art is made, and the means by which it is made in that space, have proved fascinating to both its creators and its viewers. The aim of this pair of exhibitions is to explore important themes in the development of the subject within these two mediums.

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at the Museum of Modern Art, New York, In the Studio: Paintings, on view at 522 West 21st Street, spans from the mid-sixteenth through the late twentieth centuries and includes over fifty paintings and works on paper by nearly forty artists. The earliest and longest standing motifs—the painter at the easel, pedagogical scenes, and images of artists and models—can be observed in works by Wilhelm Bendz, Honoré Daumier, Thomas Eakins, Lucian Freud, Jean-Léon Gérôme, William Hogarth, Henri Matisse, and Pablo Picasso. Focus on the appearance of the studio itself, which came later in the history, is represented here in paintings by Constantin Brancusi, Alberto Giacometti, Louis Moeller, and Alfred Stevens. Fictional or imaginary studios, a popular subject beginning at the end of the nineteenth century, include canvases by James Ensor, Jacek Malczewski, and Diego Rivera. Emphasis on artists’ materials can be traced from eighteenth-century works by Jean-Baptiste Siméon Chardin to nineteenth-century works by Carl Gustav Carus and Adolph von Menzel, through postwar American artists Jim Dine, Philip Guston, and Jasper Johns. Representations of the wall of the studio, illustrating both the artist’s own work and that of others, were also prevalent in the postwar period, as seen here in paintings by Richard Diebenkorn, Helen Frankenthaler, Roy Lichtenstein, Robert Rauschenberg, and Larry Rivers.

Several paintings in this exhibition have not previously been seen in New York, including Jacek Malczewski’s Melancholia (1890–94, Muzeum Narodowe, Poznań, Poland) and Diego Rivera’s The Painter’s Studio (1954, Acervo Patrimonial, Secretaría de Hacienda y Crédito Público, Mexico City). A pair of paintings by Picasso, both titled L’Atelier (1927–28, on loan from the Museum of Modern Art, New York, and the Peggy Guggenheim Collection, Venice), have never been exhibited together in the United States.

Curated by Peter Galassi, former Chief Curator of Photography at the Museum of Modern Art, New York, In the Studio: Photographs, on view at 980 Madison Avenue, includes nearly 150 photographs by over fifty artists—spanning from the origin of the medium to the late twentieth century—and is divided into three particularly rich themes within the broader subject of images of the artist’s studio. The first of these identifies the studio as an arena for “Pose and Persona,” an artificial zone for the display of the body, and includes works by artists ranging from Eadweard Muybridge, Brassaï, and Walker Evans to Richard Avedon, Lee Friedlander, and Cindy Sherman. The nudes and portraits assembled here are exemplary because they acknowledge the role of the setting, accentuate the deliberateness of a pose, or highlight the purposeful enactment of a persona. In the second section, “Four Studios,” in-depth selections of photographs by Constantin Brancusi, André Kertész (photographing Piet Mondrian’s Paris studio), Lucas Samaras, and Josef Sudek show the studio as a total aesthetic environment. For these photographers (as well as for Mondrian), the studio was home as well as workplace and became an all-encompassing aesthetic environment—an embodiment of a unique artistic identity and perhaps an instrument for realizing it. In the third and final section, “An Embarrassment of Images,” photographs by John O’Reilly, Robert Rauschenberg, Weegee, and others engage the studio wall as a site for the accumulation and display of images.

Read more

In the Studio: John Elderfield and Peter Galassi

In the Studio: John Elderfield and Peter Galassi

Curators John Elderfield and Peter Galassi discuss their major exhibitions In the Studio: Paintings and In the Studio: Photographs.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

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The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Helen Frankenthaler, Riverhead, 1963 (detail).

Frankenthaler

On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.

Still from video Visions of the Self: Jenny Saville on Rembrandt

Visions of the Self: Jenny Saville on Rembrandt

Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.