Masterworks from Cézanne to Thiebaud

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Open: By Appointment

18 East 79th Street, NY 10075, New York Upper East Side, USA
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Masterworks from Cézanne to Thiebaud

New York

Masterworks from Cézanne to Thiebaud
to Thu 15 Oct 2020
By Appointment

Acquavella Galleries presents Masterworks from Cézanne to Thiebaud, a group exhibition on display at the gallery.

Acquavella Masterworks 1

Acquavella Masterworks 2

Acquavella Masterworks 3

Acquavella Masterworks 4

Acquavella Masterworks 5

Acquavella Masterworks 6

Acquavella Masterworks 7

Acquavella Masterworks 8

Acquavella Masterworks 9

Acquavella Masterworks 10

Installation View 1: Left to Right, Ellsworth Kelly, Untitled (Red and Yellow), 1989, © Ellsworth Kelly Foundation, Courtesy Matthew Marks Gallery; Tom Wesselmann, Great Amerian Nude #27, 1962, © Estate of Tom Wesselmann / Licensed by VAGA at ARS, New York; James Rosenquist, The Bird of Paradise Approaches the Hot Water Planet (Grisaille), 1989, © Estate of James Rosenquist / Licensed by VAGA at ARS, New York; Joan Miró, Homme et femme dans la nuit, 1969, © 2020 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris. Installation View 2: Tom Wesselmann, Great Amerian Nude #27, 1962, © Estate of Tom Wesselmann / Licensed by VAGA at ARS, New York; James Rosenquist, The Bird of Paradise Approaches the Hot Water Planet (Grisaille), 1989, © Estate of James Rosenquist / Licensed by VAGA at ARS, New York; Joan Miró, Homme et femme dans la nuit, 1969, © 2020 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris. Installation View 3: James Rosenquist, The Bird of Paradise Approaches the Hot Water Planet (Grisaille), 1989, © Estate of James Rosenquist / Licensed by VAGA at ARS, New York; Joan Miró, Homme et femme dans la nuit, 1969, © 2020 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris; Wayne Thiebaud, Dark Beach, 2003/2020, Cappuccino, n.d., City Views, 2013, © Wayne Thiebaud / Licensed by VAGA at ARS, New York; George Condo, Interconnection, 1994, © 2020 George Condo / Artists Rights Society (ARS), New York. Installation View 4: Bradley Walker Tomlin, Number 3, 1953; Ellsworth Kelly, Untitled (Red and Yellow), 1989, © Ellsworth Kelly Foundation, Courtesy Matthew Marks Gallery; Joan Miró, Homme et femme dans la nuit, 1969, © 2020 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris; Tom Wesselmann, Great American Nude #27, 1962, © Estate of Tom Wesselmann / Licensed by VAGA at ARS, New York. Installation View 5: Damian Loeb, Cathedral Butte, 2016; Damian Loeb, Sooner Than You Think, 2012 © Damian Loeb, Courtesy Acquavella Galleries. Installation View 6: Ben Nicholson, November 1956 (Pistoia), 1956, © 2020 Artists Rights Society (ARS), New York / DACS, London; David Smith, Parrot’s Circle, 1958, © 2020 The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY; Joaquín Torres-García, Monumento constructivo, 1943, © Alejandra, Aurelio and Claudio Torres, Sucesion J.Torres-García, Montevideo 2020. Installation View 7: Jean Dubuffet, Le monde elegant, 1950 © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris; Ben Nicholson, November 1956 (Pistoia), 1956 © 2020 Artists Rights Society (ARS), New York / DACS, London. Installation View 8: Joaquín Torres-García, Monumento constructivo, 1943, © Alejandra, Aurelio and Claudio Torres, Sucesion J.Torres-García, Montevideo 2020; Pablo Picasso, Le peintre et son modèle dans un paysage, 1963, © 2020 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Installation View 9: Gustave Caillebotte, La Seine à Argenteuil, 1882; Henri Matisse, Nature morte aux mimosas sur fond noir, 1944, © 2020 Succession H. Matisse / Artists Rights Society (ARS), New York; Paul Cézanne, Jeune fille à la poupée, 1894-96; Camille Pissarro, Le relais de poste sur la route de Versailles, Louveciennes, 1871; Henri de Toulouse-Lautrec, Portrait de Henri Nocq, 1897. Installation View 10: Gustave Caillebotte, La Seine à Argenteuil, 1882; Henri Matisse, Nature morte aux mimosas sur fond noir, 1944, © 2020 Succession H. Matisse / Artists Rights Society (ARS), New York; Paul Cézanne, Jeune fille à la poupée, 1894-96.

On view are works by Gustave Caillebotte, Paul Cézanne, George Condo, Jean Dubuffet, Jacob El Hanani, Ellsworth Kelly, Damian Loeb, Henri Matisse, Joan Miró, Ben Nicholson, Pablo Picasso, Camille Pissarro, James Rosenquist, Ed Ruscha, David Smith, Wayne Thiebaud, Bradley Walker Tomlin, Henri de Toulouse-Lautrec and Tom Wesselmann in a variety of mediums. Though the exhibition spans multiple generations and movements, the artists included share a mastery of both space and color.

A highlight from Masterworks from Cézanne to Thiebaud is Henri Matisse’s 1944 work Nature morte aux mimosas sure fond noir. Matisse’s use of the color black was integral to his mastery of color. It was after his early Fauve works, which were characterized by an overall use of riotous color, that Matisse began “to use pure black as a color of light and not a color of darkness,” as he later recalled. He embraced black as a means to accent and highlight passages color and add a sense of boldness and intensity to his work. Instead of creating a void or sense of darkness, Matisse’s skillful use of black enabled his colors to shine.

Nature morte aux mimosas sur fond noir’s two-dimensionality provides a tension between the bright colors and the darker ones, which imbues the still life with intensity and emotional impact. This impact is felt throughout the exhibition, including the 1882 Gustave Caillebotte seascape La Seine à Argenteuil. Though more subtle than Matisse’s use of black, Caillebotte’s oeuvre across a relatively brief 22-year-long career would employ color and truncated perspective – an approach learned from his study of Japanese Edo-period woodblock prints – to create works that strike a balance between realism and the Impressionism he is commonly associated with.

An avid yachtsman himself, Caillebotte’s La Seine à Argenteuil depicts two sailboats bobbing in the Seine along Argenteuil, a favored setting among many of the key Impressionist painters. Yet the true subject of the painting is not the boats themselves, but the play of light on water contrasted against a sudden foreshortening where the two boats meet. The effect draws the viewer into a portal of dazzling yellows and reds within its quietly rendered sky and riverbank.

Tom Wesselmann’s Great American Nude No. 27 (1962) an important early example of his Great American Nude series, heralds the Pop movement of the early ‘60s while also being seeped in art historical references. Featuring a contemporary approach to the “nude,” a flowing ribbon of pink whose only identifying feature is a coy smile, the figure also recalls the art of Matisse, a key influence on Wesselmann throughout his career. The Pop imagery in the foreground—collaged ice cream sundaes taken from commercial advertising—is framed within a composition that recalls both the patterned interiors of Vuillard and Matisse and the flatness of a poster. An effect that was not lost on Wesselmann, who described his approach in a 1993 interview: “When I made the decision in 1959 that I was not going to be an abstract painter; that I was going to be a representational painter…I only got started by doing the opposite of everything I loved. And in choosing representational painting, I decided to do, as my subject matter, the history of art: I would do nudes, still-lifes, landscapes, interiors, portraits, etc…”

Masterworks from Cézanne to Thiebaud will initially be open on a by-appointment basis.

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