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FYI Calendar: Mitzvah Holiday Art Market Friday in Fayetteville

By in Art World News

FYI Calendar: Mitzvah Holiday Art Market Friday in Fayetteville

Today

Winter Nights — With silver bells, frosty firs and snowy scenes, 6 p.m. until midnight on Thursday, Friday and Saturday, through Dec. 22 at the Walton Arts Center’s Bradberry Amphitheater & Rose Garden and Joy Pratt Markham Gallery in Fayetteville. Free. A limited number of snow globes with fire pits and a dedicated cocktail server for groups of up to eight can be reserved for 75-minute time slots for $100. waltonartscenter.org.

Indigenous Film Showcase — Hosted by the River Valley Film Society and the Fort Smith International Film Festival, 6:30 p.m. filmmaker mixer, 7 p.m. screening, The Bakery District in Fort Smith. $5 suggested donation. Email [email protected].

“Shaken Up!” — Devised theater by NWACC students, 7 p.m. Nov. 30-Dec. 3, White Auditorium at Northwest Arkansas Community College in Bentonville. $5. Tickets are available at the door, cash/check/Venmo accepted.

“Fiddler on the Roof” — 7 p.m. Nov. 30, 7 p.m. Dec. 2 & 2 p.m. Dec. 3, Skokos Performing Arts Center at Alma High School. $12-$18. skokospac.org.

“A Christmas Carol” — Produced by Earthen Vessels Drama Co., 7 p.m. Nov. 30-Dec. 1, 2 & 7:30 p.m. Dec. 2, 2:30 & 7 p.m. Dec. 3, King Opera House in Van Buren. $6. kingoperahouse.com.

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Friday

Hot Cocoa Crawl — 5-8 p.m. in Springdale. Springdale School District’s annual Caroling on the Creek is the same day from 5-7 p.m. in Turnbow Park.

Mitzvah Holiday Art Market — With art by more than 50 local artists including special guest artist Zeek Taylor, live jazz, an Elvis impersonator and adult beverages, 5-9 p.m., Fayetteville Town Center. Email [email protected].

Christmas Tree Lighting — 5 p.m., Basin Spring Park, before the Christmas parade at 6 p.m. in Eureka Springs. Santa Claus will be in the park from noon to 2 p.m. and 3 to 5 p.m. for the first three Saturdays in December.

Christmas Parade of Lights — 6 p.m., downtown Eureka Springs. Free. 253-8737.

Rogers Christmas Parade — 6:30 p.m., beginning at Fifth and Poplar through the heart of downtown. There will also be photos with Santa from 5-7 p.m. There will also be a Christmas market at Railyard Park and Frisco Plaza. destinationrogers.com.

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Saturday

Cookie Walk — Thousands of homemade cookies by church members, 8:30-11 a.m., Highlands Church of Bella Vista. Event also includes a Sweet Shoppe, Coffee Shoppe, Soups-T0-Go and a Craft Shoppe. Doors open at 8 a.m. $15 per cookie tin. 855-2277.

Breakfast with Santa — 9 a.m., Siloam Springs Community Building with Santa, Mrs. Claus and their Reindeer helpers. Children will have their photos taken with Santa, send a letter to the North Pole, make a craft and receive a snack. The price is $10 per child. Links and more information at facebook.com/heritageleaguesiloamsprings.

Farmington Cardinal Christmas Bazaar — 9 a.m.-3 p.m., Farmington Junior High. Admission is $3.

Holiday Market — With hot cocoa, apple cider, cookies and handmade goods by more than 50 local artists, 9 a.m.-5 p.m., Community Creative Center at WAC’s Nadine Baum Studios in Fayetteville. Holiday goods will be for sale at the center through Dec. 17. communitycreativecenter.org.

“Fireside” — With music, hot chocolate, apple cider and a bookstore sale, starting at 10 a.m., Bella Vista Public Library. www.bvpl.org

The Santa Drop — Gates open at 10 a.m., with Santa sky diving in at 11 a.m., and guests may take pictures with Santa until 1 p.m. or until the line ends at Arkansas Air and Military Museum, 4290 S. School Ave, Fayetteville. Weather backup dates Dec. 9 and 16. arkansasairandmilitary.com/calendar.

Wampus Wonderland — A holiday craft show featuring goods from local makers and creatives, 10 a.m.-5 p.m., Mount Sequoyah, 150 N. Skyline Drive in Fayetteville. wampuswonderlandonfacebook

Christmas Tour of Homes — 2-6 p.m. with carolers, Christmas music, and refreshments, Eureka Springs. eurekaspringspreservationsociety.org.

Little Craft Show — With stained glass, clay, digital art prints and more, 10 a.m.-5 p.m., Fayetteville Town Center. experiencefayetteville.com

Holiday Open House — With hot cider and cookies, 4 p.m., Gravette Public Library. Children will receive a Christmas ornament and an art kit from Crystal Bridges while supplies last.

Christmas Parade — 4:30 p.m., downtown Gravette.

Holiday Open House — With hot chocolate and cookies, after the parade, Gravette Historical Museum. Photos with Santa and Mrs. Claus are free in the Gravette Community Building across from the museum. gravettear.com/christmas-parade

Christmas Parade — Themed Gingerbread Houses, 5:30 p.m., Curtis Avenue to downtown Pea Ridge, followed by the tree lighting and performances by the high school choir and band, pictures with Santa, hot chocolate and shopping.

Light Up Siloam Springs Christmas Parade — Themed Reindeer Games, 5:30 p.m. starting on Tulsa Street. More information at discoversiloam.com.

Christmas Parade — Themed “Christmas Movies,” 6 p.m., Southwinds to Cimarron Way in Farmington. Holiday market 4-8 p.m. next to the library.

“The Grand Ol’ Christmas Show” — A musical variety and comedy sketch show hosted by Will Hearn featuring Dalton Flake and members of Blue Water Highway & The Dirty River Jazz Band, 7 p.m. at The Aud in Eureka Springs. $20-$30. greatpassionplay.org/christmas.

Holiday Celebration — With the Fort Smith Symphony, 7 p.m., ArcBest Performing Arts Center in Fort Smith. $25-$55. fortsmithsymphony.org.

“The Nutcracker” — Presented by Ozark Ballet Theater, 1 p.m. Dec. 2-3, Berry Performing Arts Center at John Brown University ($35) in Siloam Springs and at 7 p.m. Dec. 9 and 2 p.m. Dec. 10 at Don Tyson School of Innovation in Springdale ($31-$45). ozarkballettheater.com

“Holiday Cabaret” — Presented by Theatre Collective of Northwest Arkansas, 7 p.m. Dec. 2 and 3 p.m. Dec. 3, Canvas Church, 1106 N.W. 10th St. Bentonville. $18-$27. theatrecollectivenwa.org.

— Becca Martin-Brown

[email protected]

Weed sculpture welcomed to Bay

By in Sculpture

Weed sculpture welcomed to Bay
Eurobodalla Mayor Mathew Hatcher officially opened the latest sculpture acquired for the Batemans Bay Sculpture Walk on Thursday 20 November.’Weed’ by

Coffee with: Rogelio Esparza, Art House co-founder and photographer

By in Photography

Coffee with: Rogelio Esparza, Art House co-founder and photographer
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It’s a nice fall afternoon when photographer Rogelio Esparza meets for coffee at Chimera Cafe, 212 N. Main St.

An immigrant from Mexico, Esparza grew up in Tulsa and graduated from Union High School in 2011 and then Oklahoma State University Institute of Technology in 2015 before moving to New York City and Los Angeles. He returned home in 2019.

He’s co-founder of the nonprofit Art House, which has a mission to organize and facilitate community art shows and gatherings by providing a platform for local artists to showcase their work and connect with a diverse audience.

Esparza thought he wanted to work in professional photography, but prefers his artistic freedom … I learned the creative stuff is stuff that does not pay, and stuff that I hate to do is the stuff that’s going to pay. So I was like, “Maybe I don’t want to do photography as a job,” and I think that’s how I’m still thinking about it now. I like to do it more as a hobby. 

That said, in August 2021 he photographed singer-songwriter-actor Sturgill Simpson in Pawhuska for Rolling Stone, and shot Turnpike Troubadours at Philbrook Museum of Art for the music publication earlier this year … With the Sturgill shoot I probably got my favorite images I’ve ever taken. I’ve probably got like over 150 images where I was like, “I like every single image.” It was because I didn’t over prepare. He was like, “Here are my two shirts that I brought. We have till sunset. We can do whatever we want.” … I took photos of him for a good two hours on the horse on the hills as much as I could, and that was it. He was really nice.

After settling back into Tulsa, Esparza and roommate Allison Ward developed then launched Art House in December 2019. It has evolved into a nonprofit that has spawned nine more shows that have spotlighted more than 125 local artists who paint, sculpt, create fashion, do photography and more … The way we see ourselves is like the middle person. We want to be able to get money from people and then funnel it to the artists who live in Tulsa, want to live in Tulsa and are doing stuff in Tulsa without getting paid to move here and then leaving. I think for us as artists in Tulsa, we feel a little salty. We want to live here. We’re creating here. Why don’t you help us a little bit to continue to build it? People have the drive to do it for free. Imagine what people can do with a little bit of money. So I think that’s where we find ourselves, where if (funders like Tulsa Artist Fellowship) are not willing to do it, then we should do that ourselves.

Art House started in Esparza and Ward’s home with the inaugural event, then grew to a family member’s backyard before becoming so big it needs 22,000-square-feet of warehouse space to showcase the installations. The goal is to make Art House so big it grows into regions surrounding Tulsa to help local artists grow without moving away … I feel like that’s where Art House is moving toward. We want to make it regional, so it expands to Oklahoma City and maybe a little bit of northwest Arkansas because I feel like a lot of artists feel they have to move to a big city to make it, but I feel like that’s not necessarily the truth. I want to build stuff, but I want to build it here. I don’t want to move back to New York and build something I feel like would be more special here in Tulsa. 

Learn more at arthousetulsa.com or on Instagram @arthousetulsa.

 

An Indian artist who helped decolonise Christian art has been relegated to the margins in death

By in Native

An Indian artist who helped decolonise Christian art has been relegated to the margins in death
An Indian artist who helped decolonise Christian art has been relegated to the margins in death

Ângela Trindade in the United States.

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Courtesy: Fundação Oriente.

At the first All India Women Artists’ Exhibition in 1936, 27-year-old Ângela Trindade won the gold medal. This was a period when the figure of the professionally trained woman artist was just beginning to emerge in South Asia, with relatively few individuals being able to make a mark that is discernible after nearly a century. Among Trindade’s contemporaries at Bombay’s JJ School of Art was Ambika Dhurandhar, another accomplished artist whose design for a commemorative scroll box for the Maharaja of Baroda’s diamond jubilee won a prize in 1935. Elsewhere, in 1934, the Indo-Hungarian painter Amrita Sher-Gil arrived in Simla with a view to setting up her studio in India. Since the mid-’30s, the three artists’ careers have enjoyed varying fates: Dhurandhar’s work is held largely in private collections and seldom exhibited, while Sher-Gil is one of India’s most famous artists, accorded the status of a navratna by the Indian government in the 1970s, her work permanently on view at the National Gallery of Modern Art in New Delhi. Trindade’s visibility is somewhere in the middle: while low-profile, her paintings are surprisingly accessible – on public display in Panjim’s old Fontainhas neighbourhood.

The ground-floor gallery of Fundação Oriente, a Portuguese cultural organisation, exhibits works by two important Indian artists, the father-daughter pair of António Xavier Trindade and Ângela Trindade. While the place of the elder Trindade in the story of modern Indian art is beginning to be acknowledged, Ângela remains on its margins. Indeed, it wasn’t until 2014 – 54 years after her last show – that a solo exhibition of her works was mounted at Fundação Oriente, titled Lights, Colours and Emotions – An Exhibition of Religious Paintings by Angela Trindade (1909-1980). The collection at Fundação Oriente consists of 59 paintings across a range of mediums (oil, watercolour, China ink and pencil) and types (religious-themed, portraits, landscapes, still lifes and abstracts). Though only nine of these are on permanent public display in a small gallery off the main section, the curation manages to capture a snapshot of Trindade’s changing stylistic trajectory over the decades, loosely paralleling shifts in Indian modernism.

Punjabi with Mandolin, 1949. Ângela Trindade. Courtesy: Fundação Oriente.

Early influences

But before we delve into Trindade’s Panjim oeuvre and significance as one of India’s early “lady artists”, we must briefly acquaint ourselves with her beginnings. A monograph by historian Fátima da Silva Gracias titled Angela Trindade: A Trinity of Light, Colour and Emotion (2016) draws on existing scholarship, interviews, letters and reportage to provide a wealth of information – perhaps all that is currently known – about the artist and her practice. Born in 1909 to Bombay-based Goans António Xavier and Florentina Trindade, Ângela grew up in Mahim with seven siblings and two cousins. Her father was part of the first generation of colonial Indian art school graduates who achieved success in the salon. A prominent artist of the academic realist Bombay School, he was a faculty member at the JJ School of Art alongside MV Dhurandhar (Ambika’s father) for 28 years. The creative, liberal atmosphere of the Trindade home influenced Ângela to take up art from a young age by scribbling on walls with charcoal, and also probably gave her the impetus to tread what at the time was an unconventional professional path for an Indian woman.

Attending JJ School of Art from 1926 to 1932, while her father was still working there, Trindade not only trained in the dominant realist tradition but also studied closely with JM Ahivasi and principal WE Gladstone Solomon, both proponents of the Bombay Revivalist. This was an artistic movement similar to the contemporaneous one in Bengal, inspired by the precolonial art of the subcontinent, such as Mughal-Rajput miniatures and Ajanta murals. From an interview that Gracias quotes, we learn that Gladstone Solomon included the younger Trindade in his exclusive Indian art class. She says, “It was he, who first started classes in Indian art for a few select students and I was fortunate to be one of them.”

Trindade’s earliest paintings, while still a student, were still lifes, portraits and everyday scenes. In her initial years Trindade hewed to the realism of her father’s art, especially his portraiture, even revisiting his subjects at times. However, since she was exposed to techniques and themes belonging to both Western and Indian aesthetics and drew on both approaches to the canvas at different times in her career, it is challenging to periodise her work by style. For example, the two realist works in the Panjim exhibit that most recall António Xavier were made almost 30 years apart – Punjabi with Mandolin (1949) and Rice Pickers (1977).

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Christ, 1948. Ângela Trindade. Courtesy: Fundação Oriente.

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Mother and Child, 1959. Ângela Trindade. Courtesy: Fundação Oriente.

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Rice Pickers, 1977. Ângela Trindade. Courtesy: Fundação Oriente.

Against the backdrop of the Indian independence movement, from the early 1940s up to the late 1950s (during which she also made well-received paintings of MK Gandhi and Jawaharlal Nehru), Trindade engaged seriously with a project that would dominate her artistry and bring her acclaim in the realm of religious art: the development of an indigenous visual language to decolonise the representation of Christian themes and Biblical scenes. She was in excellent company: during these decades, fellow Goan Angelo da Fonseca was on the same mission, with his sari-draped Madonnas and charpai nativities. Gracias notes that Trindade too painted “more than two dozen Madonnas, depicting her with or without a Child”. In Panjim, the watercolours Our Lady of the Lotus (1941) and Our Lady of Conception (1956) are examples of such a painting. Trindade combines Christian figures and tableaux in the Revivalist style with Indic religious iconography such as lotuses, mudras and chhatras, and wearing Indian accoutrements. To make sense of the lotus in Our Lady of the Lotus, we may turn to a 1951 article titled Art in the Service of the Church, in which Trindade exclaims, “What could more beautifully express the great truth of the Incarnation of Christ raising human nature to a divine dignity than the lotus growing out of mud and blossoming into a glorious immaculate flower!” In Our Lady of Conception, Trindade adorns the protagonist with a maangtikka, gajra and bangles, fashioning her as Madonna devi. Both these Virgin Marys have their hands arranged into mudras, which Trindade felt “very Indian and an effective means of conveying what words or expression cannot”.

Our Lady of the Lotus, 1941. Ângela Trindade. Courtesy: Fundação Oriente.

Apart from her Madonna series, Trindade composed 45 paintings featuring episodes from the life of Christ, in watercolour and Chinese ink. These images too were peopled by figures recognisable as Indian in colour and culture, transplanting the narrative of Christ into the tropics. Three of these works on view at Fundação Oriente are: Christ Preaching (1948), Baptism on the River Jordan (1948) and Christ (1956). There is a bold, graphic quality to these works, perhaps evidence of the fact that smaller versions of them circulated as devotional or holy pictures, greeting cards and posters, as Gracias reports. In fact, Trindade garnered attention far and wide for her adaptation of Christian art. Her paintings were used not only as objects of domestic devotion and reproduced on front covers of magazines; in 1955 she received a Papal decoration, Pro Ecclesia et Pontifice, and in 1956, 15 of her works were part of a large exhibition of Christian Art in Lucknow, for the catalogue of which she wrote the introduction.

Spiritual themes

Her significance in the world of sacred art gave her opportunities to travel abroad and show in Europe and North America. In 1949, two years after her first solo at Bombay’s Chetana Gallery, Trindade embarked on a three-year tour of the United States at the invitation of the Liturgical Art Society. During this time, she held six exhibitions, delivered lectures, conducted courses and interacted with other artists. Her relationship with the US would only continue to intensify over the next 20 years as she shuttled between that country and India, finally relocating to New York in 1968, to live with her sister. American abstraction may have had an impact on Trindade’s art, propelling her artistic interest in spiritual themes towards a non-representational idiom.

In the late 1950s, the artist was moving towards the philosophy and aesthetic of Tantra, observing a congruence between the Trinity, the trimurti and the tantric form of the trikona that spoke to universal harmony. Working with oil and creating a cubist vocabulary based on triangles – a mode she facetiously dubbed Trindadism – she painted portraits (including of the first couples Kennedy and Ford) as well as religious and secular subjects as kaleidoscopic arrangements of space and light. Comparable in form to the work of Jehangir Sabavala, the two paintings in this style in the Panjim collection – Madonna and Child (1959) and Shakuntala and Deer (1960) – evoke a mysticism, symbols replacing icons in geometries that afford dazzling clarity. In one handwritten note, the artist offers a glimpse into her process: “….the inner eyes sees forms and shadows with more dimensions and connects one point with another, in order to form a picture of the entire whole in three dimensional forms.”

Ângela Trindade, circa 1948. Courtesy: Fundação Oriente.

Rice Pickers (1977) was possibly among the last two paintings that Trindade made as an Indian. In February 1978, she became an American citizen and, two years later, she passed away while visiting relatives in São Paolo. The return to the style of her father towards the end of her life holds a certain poignancy. The Trindade father and daughter were close – so much so that she would paint on his behalf, according to his instructions, in his final wheelchair-bound years before his death in 1935. Throughout her life, Trindade tried to preserve António Xavier’s legacy and secure a proper exhibitionary space for his artworks, writing to various government bodies at the municipal, state and national level. Finally, many years after her own death, the AX Trindade Foundation set up by her sister donated many of the two Trindades’ works to the Fundação Oriente. Even so, Ângela’s work could be better served. At the moment, her nine works are mounted like an afterthought in a gallery to the side, replicating the way she has been sidelined in even this genealogy, and putting one in mind of a ritual wherein one has to ask the father’s permission to see the daughter. Still, something is better than nothing, which it could well have been for Indian viewers. Ângela’s works are not easy to come by on public display – some have gone missing (from Lisbon’s Hall of Justice and en route from Brazil to the US), others have been stolen (from the Vatican Pavilion at the Brusses World Fair, 1959). Within India, outside Goa, only four other paintings are on display, at New Delhi’s Apostolic Nunciature, the diplomatic mission of the Vatican City, where access is restricted. It is only in the siesta-steeped afternoons of Panjim that one can spend time at leisure with Ângela and António, together, always at home to the world.

Town Scene, 1948. Ângela Trindade. Courtesy: Fundação Oriente.

[Interview] The Van Gogh Museum’s 50th Anniversary: A Look Back and a Look Ahead With Samsung Art Store

By in Art World News

[Interview] The Van Gogh Museum’s 50th Anniversary: A Look Back and a Look Ahead With Samsung Art Store

Few artists are as well known and beloved as Vincent van Gogh. From “Almond Blossom” and “Sunflowers” to his iconic self-portraits and striking impressionist works, Van Gogh is recognized worldwide for his use of bold colors and dramatic brush strokes. Housing the largest collection of Van Gogh’s art in the world, the Van Gogh Museum in Amsterdam, Netherlands, is dedicated to the work of both the artist and his contemporaries.

▲ The Van Gogh Museum, Amsterdam

Samsung Newsroom sat down with Jordy Howldar, Head of Business Development Asia at the Van Gogh Museum, to discuss how technology is preserving Van Gogh’s legacy for future generations and how the partnership with Samsung Art Store has enhanced art accessibility.

Democratizing Access to Art With Samsung Art Store

Q: Could you give us an overview of your role at the Van Gogh Museum?

As Head of Business Development Asia at the Van Gogh Museum, I am responsible for partnerships and licensing in Asia. My work primarily involves building the museum’s presence within the Asian market, collaborating with notable brands to expand reach and managing these partnerships to ensure they align with the values and goals of the Van Gogh Museum.

 

Q: The relationship between Samsung Art Store and the Van Gogh Museum dates back to 2018. Since then, has the museum changed how it selects art pieces to feature in Samsung Art Store?

Our approach when selecting art pieces for Samsung Art Store has evolved since 2018. Now, we carefully consider the preferences and trends among global audiences and aim to showcase a diverse collection of Van Gogh’s work that resonates with different cultures and tastes. Over the years, Van Gogh’s art has become immensely popular with The Frame users — as both his famous pieces and lesser-known works have attracted massive viewership.

▲ “Self-Portrait with Grey Felt Hat” (1887)

Q: What is the significance of making Van Gogh’s work available to large audiences through a platform like Samsung Art Store?

Platforms such as Samsung Art Store democratize access to art, allowing people to experience Van Gogh’s creativity without needing to travel. In addition, his pieces are exposed to new audiences who might not otherwise have the opportunity to engage with them.

 

Half a Century of Immortalizing Artistic Excellence

Q: How is the Van Gogh Museum celebrating its 50th anniversary?

To celebrate its 50th anniversary, the museum is organizing special exhibitions, events and educational programs to reflect on past achievements and anticipate future contributions to the art world. We encourage everyone to join the celebrations by attending our collaborations and exhibitions — such as the one with Pokémon which runs until January 2024. Earlier this year, we held the Sunflower Art Festival to celebrate the anniversary.

▲ “Sunflowers” (1889)

 

Q: What are some of the most memorable or significant moments in the Van Gogh Museum’s 50-year history?

For our first anniversary, the museum held an exhibition for visitors to explore the history of the institute. Without the unconditional support from the Van Gogh family, the museum simply would not exist.

 

Q: Of the pieces selected for Samsung Art Store, which ones would you recommend users display on The Frame?

The first would be “Wheatfield Under Thunderclouds,” a striking painting illustrating a dark, brooding sky and a golden wheatfield. When displayed on The Frame, the dramatic contrast captures the emotional intensity and turbulence that Van Gogh originally felt.

▲ “Wheatfield Under Thunderclouds” (1890)

Next, I’d recommend “Fishing Boats on the Beach at Les Saintes-Maries-de-la-Mer.” The vibrant blue shades of the sea and sky juxtaposed against the colorful boats makes this painting ideal for The Frame. The screen’s ability to render vibrant colors brings the scene to life, enhancing the painting’s lively and dynamic nature.

▲ “Fishing Boats on the Beach at Les Saintes-Maries-de-la-Mer” (1888)

My third pick would be “Landscape at Twilight,” a painting depicting a twilight sky and rural landscape. The Frame’s display accurately captures these subtle nuances in colors — making the idyllic piece a calming addition to any room.

▲ “Landscape at Twilight” (1890)

Preserving Legacy With Technology

Q: How has technology impacted the Van Gogh Museum since its opening in 1973?

Our mission is to inspire diverse audiences with the art and life of Vincent van Gogh, and we are always searching for new ways to do so. As such, we’ve incorporated new technologies both inside the museum and online to further preserve Van Gogh’s legacy for future generations.

Q: How does The Frame elevate the viewing experience of art?

The focus of the museum has always been to showcase our expansive Van Gogh collection. Offering this collection of masterpieces on The Frame gives users an opportunity to enjoy Vincent van Gogh’s world-famous paintings from home. Of course, we hope people will also be inspired to come and enjoy the art in person at the Van Gogh Museum in Amsterdam as well.

 

Q: In December, Samsung Art Store will feature a curated Van Gogh collection called “Van Gogh in Winter.” What can viewers expect to see in this collection?

We are thrilled to bring a carefully crafted selection of artwork to Samsung Art Store. Each masterpiece — from the vivid “The Bedroom” to the serene “Snow-Covered Field with a Harrow (after Millet)” — encapsulates Van Gogh’s revolutionary use of color and emotive landscapes.

 

The “Van Gogh in Winter” collection offers a unique window into Van Gogh’s world, showcasing his evolution as an artist and his enduring impact on art history. We invite viewers to immerse themselves in these classic works and experience Van Gogh’s art in a new vibrant, digital format.

 

▲ “The Bedroom” (1888)

▲ “Snow-Covered Field with a Harrow (after Millet)” (1890)

 

Q: Are there any upcoming events at the museum?

Visitors can enjoy the special “Pokémon x Van Gogh Museum” activities in the museum until January 7, 2024. “Matthew Wong l Vincent van Gogh: Painting as a Last Resort” will then open in early March — a temporary exhibition inviting attendees to discover the colorful and expressive art of Matthew Wong and his artistic connection with Vincent van Gogh.

Visit Samsung Art Store in The Frame to see more of the Van Gogh collection.

Velázquez’s Spanish queen on sale for $35mn at Sotheby’s

By in Art World News

Velázquez’s Spanish queen on sale for $35mn at Sotheby’s

Sotheby’s will offer a Diego Velázquez full-length portrait of Isabel de Borbón, queen of Spain and the first wife of Philip IV, for a princely $35mn in New York on February 1 2024. Its price tag — which would mark an auction record by far for the 17th-century painter — reflects the rarity of his court paintings on the public market as most remain in royal or museum collections.

The Sotheby’s work “disappeared” from Spain’s royal collection during Napoleon’s 1808 invasion and reappeared in France, says George Wachter, Sotheby’s co-chair of Old Master paintings. His colleague, Christopher Apostle, says of this work in particular, “Velázquez took inspiration from Rubens and created the Baroque language of Spain.”

The painting has been dated to the late 1620s, while Sotheby’s specialists note that its composition has similarities with a portrait of the king painted in 1631-32, in London’s National Gallery. 

Subsequent private owners include the banker and book collector Henry Huth, who bought the work in 1853 and in whose family it remained until 1950. The portrait is now being sold by a private family trust which has owned the work since 1978, Sotheby’s says. The auction house has guaranteed a price for the painting, more of a rarity in the Old Masters arena.

Vanessa Carlos, the founder and organiser of Condo © Rafael Martinez

After a three-year break, the space-sharing gallery collaboration Condo London comes back in the new year for its sixth iteration (January 20-February 17). The event, which involves London galleries hosting overseas counterparts, “involves so much moving around, I wanted things to be as back to normal as possible after Covid,” says Vanessa Carlos, who runs Carlos/Ishikawa gallery and is Condo’s founder-organiser.

Since Carlos launched the project in 2016, it has inspired similar free-to-visit events in the UK capital, notably London Gallery Weekend, which began in 2021 and had 130-plus participants this year. Carlos describes Condo as a “completely different” initiative. “It’s about the cross-pollination of galleries, it’s not for profit and should be kept small so that visitors can spend more time discovering another [gallery’s] programme,” she says.

This year 49 galleries take part in 23 spaces, up from 36 in 17 back in 2020. Spread across London, the latest pairings including Beirut’s Marfa’ Projects in The Approach and Mexico City’s Pamela Weissenberg at mother’s tankstation limited. Carlos/Ishikawa’s gallery hosts Chapter NY and Vienna’s Galerie Kandlhofer.

A small quaint house built in 1735 situated on a modern-day London street between a neoclassical church and a modern infill
The Clerk’s House, a 1735 building whose address is 118½ Shoreditch High Street © Stephen James

Joining Condo next year is Emalin, which has doubled down in east London with a second gallery. Opening on January 13, co-founders Leopold Thun and Angelina Volk have secured the Clerk’s House, a 1735 building so quaint that its address is 118½ Shoreditch High Street, next to St Leonard’s church. “It will provide more of an intimate, experiential encounter than our other space, which is one large room [in a former factory]. In the Clerk’s House, people can meander from room to room,” Thun says.

Their opening exhibition, a group show of about a dozen artists including Alvaro Barrington and Sung Tieu, has work inspired by the history and nature of the building. During the 18th and 19th centuries, Volk says, guards used the house as a lookout for graveyard body-snatchers. “It’s on the precipice of a church ground and the secular world, its number has an in-betweenness about it and the works on show build on that,” she says. 

The gallery, which opened in 2016, has succeeded in bringing innovative and often complicated artists on to the scene. Its location, gentrifying fast, remains core: “We want to be part of the cultural fabric of the place we are in,” Volk says.

People queue at an airport hangar for an art event with a large jagged pink board in front
Frieze Los Angeles at Santa Monica airport, February 2023 © Casey Kelbaugh

The Frieze art fair returns to its Santa Monica airport venue in Los Angeles for the second time next year, but organisers have decided against the experimental Barker Hangar section that housed 40 of its 124 exhibitors last time. “Having two locations, when you’re not crossing a beautiful park [as for the London fairs], can be a bit of a challenge,” says Christine Messineo, Frieze director of Americas.

A bit more room has been made on the main site, so the fair will have close to 100 exhibitors under one roof this time around, while the grounds outside the tent will house more installations, performances and “just more places for people to gather”, including restaurants, Messineo says. First-time participants in the fair next year include the galleries Bank and MadeIn from Shanghai.

A painting of a 1926 football game attended by hundreds of people
Charles Cundall’s painting of a 1926 FA Cup match between The Corinthians and Manchester City at Crystal Palace © Bonhams

A collection of 114 items of football-based art will be on sale through Bonhams online (December 4-13). The collection, assembled by the dealer Chris Beetles for a former chair of a Premier League team who wants to remain anonymous, was on view at his gallery last year, for sale as a whole and reportedly valued at £1.5mn. Now it comes as separate lots with a £260,000-£380,000 total estimate, priced to encourage pre-Christmas bidding. Beetles says that “the response from hundreds of enthusiasts was enormous, so we decided that the pictures should be offered to fans in this passionate market.”

The majority date from the 1920s-80s, with Arsenal the most represented team in the collection. Estimates range from £100-£150 for cartoons drawn by Roy Ullyett for the Daily Express in 1974 to £100,000-£150,000 for Charles Cundall’s painting of a 1926 FA Cup match between amateur team The Corinthians and Manchester City.

In his catalogue introduction, Beetles — a long-suffering Spurs fan — writes: “It is a rare event to find an original work of art featuring football . . . And so to Bonhams for the final away game; the players’ contracts are up and by December 13 the window closes and they will all have new owners.”

The collection can be seen at Bonhams, London between December 10-13.

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