Category Archives: exhibition

The Art of Disagreeing Badly: Religious Dispute in Early Modern Europe – Exhibition available on interactive website

The Art of Disagreeing Badly: Religious Dispute in Early Modern Europe

Exhibition available on interactive website

The exhibition The Art of Disagreeing Badly: Religious Dispute in Early Modern Europe is now available on an interactive website.

The physical exhibition curated by Dr Stefan Bauer and Bethany Hume (York) was on display at the Old Palace, York Minster 15 November – 15th December 2016 and showcased the collections of the York Minster library, examining the role of religious polemic in the early modern period.  

England and the French Wars of Religion- 16th century Pamphlets held at York Minster Now Online

England and the French Wars of Religion- 16th century Pamphlets held at York Minster

Now online: https://social.shorthand.com/PamphletsYork/nCr1vWjaJ3/england-and-the-french-wars-of-religion

Dr Eric Durot, Marie Curie Research Fellow, exploring “The Outbreak of the Wars of Religion: a Franco-British History (1547-ca.74)has curated an exhibition of some of the York Minster Library’s rich collection of sixteenth-century pamphlets concerning English responses to and dimensions of the French Wars of Religion. A digital version of this exhibition has now been launched. For more on this research project see, http://francobrit16.blogspot.co.uk/

The French Wars of Religion (1562-98) were a conflict that pitted Catholics against Protestants. But the civil war was more than a religious war. It entailed rebellions against the crown, inter-communal violence and a struggle between moderate Catholics and radicals. It was a period in which there were new ideas formulated about the monarchy, religious toleration and civil living together.
   The French events were also a European phenomenon. Foreign powers were sucked into the conflict. Events there directly impacted England: many French Protestants took refuge across the Channel and Elizabeth I intervened militarily to support the Protestant cause. England’s main enemy, Spain, intervened to support the Catholic cause. The French Wars of Religion were of fundamental importance to the course of British History in another way. Many English Catholics supported the claim of the French princess, Mary Stuart, Queen of Scots, to the throne of England. In the 1580s France became home to a community of English Catholic exiles, who plotted with French sympathisers to overthrow Elizabeth.
   These pamphlets are also a reminder of the explosion of print in the sixteenth century. They are relics of an emerging public sphere which laid the foundations for Britain’s own seventeenth-century civil wars and Revolution.

Illuminating the world with the Rothschild Prayer Book Exhibition

Illuminating the world with the Rothschild Prayer Book Exhibition

When from Wednesday 24 January 2018 09:00AM to Sunday 25 February 2018 05:00PM

Venue The Nook, State Library of Western Australia 

Details Discover the secrets of the Rothschild Prayer Book, one of the world’s most important medieval illuminated manuscripts.  The illuminations are presented page by page using the most detailed digital reproduction techniques. Accompanying the interactive digital display will be a showcase of handmade books and printed publications, with several very early printed bibles from the State Library’s collection.

Proudly presented in partnership with the Kerry Stokes Collection.

https://www.slwa.wa.gov.au/whats-on/events-exhibitions/illuminating-world-rothschild-prayer-book

Moving to the Left: The Art and Development of the Frontispiece – Exhibition, Otago

Moving to the Left: The Art and Development of the Frontispiece 

Special Collections, University of Otago

What is a frontispiece? When did they first appear in print? Where do they sit in relation to the rest of a book’s contents? These are just some of the questions that the exhibition, ‘Moving to the Left: The Art and Development of the Frontispiece’, hopes to answer, with the help of just a few examples from the printed books in Special Collections, University of Otago. This exhibition starts in Special Collections, the de Beer Gallery, on Friday 15 December 2017. It runs through to 9 March 2018.

Debate surrounds the frontispiece, a word coined into the English language about the 1600s (OED). In the early print period, it seems that the frontispiece and the title-page, usually an engraved one, were treated synonymously. The convention was to often find the frontispiece on the recto page, where the title-page would normally be. Some scholars claim that the first frontispieces appeared in print in the late 15th century. Judging from samples in Special Collections, the move to the left certainly occurred before the 1750s.

A whole host of individuals can have a hand in the creation of a frontispiece: authors, publishers, artists, engravers, etchers, and photographers. Sometimes the name of the artist and/or engraver is included. In this exhibition, there is the work of past artists and engravers such as Charles Turner, Samuel Wale, William Hogarth, Joshua Reynolds, William Rogers, Michael vanderGucht, and Wencelaus Hollar. Modern samples include work by Lyn Ward, Agnes Miller Parker, Wayne Seyb, and Marta Chudolinska. The binding process is also an important factor in placement of frontispieces; binders often disregarded instructions.

The exhibition is grouped into various subject headings such as Christian Symbolism, Emblematics, Classical Studies, Portraits, and Moderns. Notable works on display include James Howell’s Londinopolis; An Historicall Discourse (1657); John Evelyn’s Sculptura (1662); Robert Nelson’s A Companion for the Festivals and Fasts of the Church of England (1732); Robert Burton’s The Anatomy of Melancholy (1682); Edward Chamberlayne’s Angliae Notitia: or the Present State of England.(1684); and John Milton’s Paradise Lost (1688). Moderns include Lewis Carroll’s The Hunting of the Snark (1903); Selma Lagerlöf’s The Wonderful Adventures of Nils (1950); and Mickey Spillane’s I’ll Die Tomorrow (2009).
According to the Dutch painter and art theorist, Gerard de Lairesse (1641-1711), in his The Art of Painting, all frontispiece compositions should have three distinctive qualities: one, they must be pleasing to the eye; two, they must reflect well on the author and artist; and three, they must help the book-seller actually sell the book. Please do visit the exhibition, and as you make your way through it, please consider some of these aspects in the art of the frontispiece.

‘Moving to the Left: The Art and Development of the Frontispiece’
15 December 2017 to 9 March 2018.
De Beer Gallery, 1st floor, Central Library

Eventually this exhibition will go online, so watch this space.
In addition, if anyone would like a copy of the poster and handlist (physical or e-versions), please just ask.

For further information, please contact  Donald.kerr@otago.ac.nz or Romilly Smith at Romilly.smith@otago.ac.nz
Phone: (03) 479-8330

The lady and the unicorn exhibition

A rare opportunity to experience the beauty, scale and intricacy of a masterpiece of medieval French art that has captivated viewers across the centuries

10 Feb – 24 Jun 2018

Revered as a national treasure in France, and known as the 15th-century ‘Mona Lisa of the Middle Ages’ The lady and the unicorn tapestry cycle will be making its exclusive appearance in Australia at the Art Gallery of NSW through a generous and exceptional loan from the collection of the Musée de Cluny – Musée national du Moyen Âge in Paris.

The six large tapestries each depict a richly costumed lady flanked by that most mysterious animal, the unicorn, with jewel-like millefleur (‘thousand flowers’) backgrounds. The tapestries present a vivid meditation on earthly pleasures and courtly love. They can also be viewed as an allegory of the five senses – sight, hearing, taste, touch and smell – plus a sixth ‘internal’ sense – heart, desire or will – which was widely known at the time.

With an engaging program of events and activities for all ages, and a specially designed digital experience, a visit to The lady and the unicorn will allow a close encounter with one of the world’s greatest treasures.

This exhibition is made possible with the support of the NSW Government through its tourism and major events agency, Destination NSW.

Buy tickets now from Qtix. Tickets can be used once, anytime the exhibition is open. You don’t specify a date or time when booking.

$18 adult
$16 concession
$14 member
$44 family (2 adults + up to 3 children)
$8 child (5-17 years)
Free for children under 5
A $2 transaction fee applies for online purchases

Multi-entry ticket
$29 adult
$26 concession
$23 member
Only available at the Gallery

Location:
Upper Asian gallery

https://www.artgallery.nsw.gov.au/exhibitions/the-lady-and-the-unicorn/

A CITY. A FAMILY. A COLLECTION OF MAGNIFICENCE. – The Art Gallery of Western Australia

A CITY. A FAMILY. A COLLECTION OF MAGNIFICENCE.

Introducing the private collection of one of Florence’s most eminent families, the Corsini family.

Featuring Renaissance and Baroque paintings by artists such as Botticelli, Tintoretto, Caravaggio and Pontormo – these extraordinary works of art have been preserved over centuries, surviving the devastation of World War II and the great flood of Florence.

This personal collection includes portraits, landscapes, mythological and religious paintings, plus fascinating decorative objects and furniture from the Palazzo Corsini.

Leaving the city it’s called home for 600 years, this is the first time this collection has toured outside of Italy and will be the only showing in Australia.

Experience for yourself this uniquely visual history of passion, fortune, and survival.

MEMBERS SEE IT FOR FREE
Become an AGWA Member and receive one adult ticket as part of your membership.
You will also have access to special members events and exclusive offers.

TICKETS
$15 Adult | $12 AGWA Member /Concession/Senior

Members see it once for free

$55 Two adult tickets and a catalogue
$37 Adult Season Pass | $30 Concession Season Pass
$37 Family Pass (2 Adults plus 3 Children) | $7 Children (5-17)
Children 4 and under, free

Tickets are dated, but can be changed ahead of time without penalty.

BOOK YOUR TICKET NOW

http://www.artgallery.wa.gov.au/exhibitions/window-on-italy-corsini-collection.asp

Hokusai Exhibition @ National Gallery of Victoria

Hokusai
National Gallery of Victoria, Melbourne
21 July– 15 October, 2017

More info and tickets: http://www.ngv.vic.gov.au/exhibition/hokusai

Katsushika Hokusai is regarded as one of the most influential and creative minds in the history of Japanese art. His unique social observations, innovative approach to design and mastery of the brush, made him the most famous and popular artist of Edo period Japan as well as an internationally recognised artist. A self-professed ‘drawing maniac’, Hokusai was known by at least thirty names during his lifetime and was renowned for his unconventional behaviour. Although gaining fame during his lifetime he never attained financial success. His years of greatest artistic production were conducted in poverty, living in a hut by the Sumida River or spent travelling, drawing and painting. These uncertainties in life and constant contact with the working people contributed to his eccentric style, raw genius and everlasting popularity.

Hokusai features 129 prints, four paintings and ten rare books on loan from the Japan Ukiyo-e Museum, Matsumoto, with special features including a selection of Hokusai’s early works and complete sets of his most famous series’ including Thirty six views of Mount Fuji, Tour of famous waterfalls, Unusual views of celebrated bridges, Eight views of the Ryukyu Islands, Birds and flowers and Ghost tales.

A selection of NGV Collection works including The great wave will be exhibited as exhibition focus points beside corresponding works from the Japan Ukiyo-e Museum, giving visitors the opportunity to view different impressions of the same image side-by-side and allowing the NGV’s Hokusai prints to be put in a scholarly context for the first time.

Further highlights of the exhibition will include a section of Hokusai’s books featuring his iconic manga (comical drawings) in special multimedia projections. A further selection of original Hokusai paintings on loan from Japan Ukiyo-e Museum, will mark the first time Hokusai’s works in this medium will be exhibited in Australia.

Ecstasy Baroque Exhibition @ UQ Art Museum

Ecstasy Baroque
16 September 2017 – 4 February 2018

UQ Art Museum

More info: https://www.artmuseum.uq.edu.au/coming-soon.

Almost four centuries after its creation, Gian Lorenzo Bernini’s St. Teresa in Ecstasy 1652 remains the emblem for religious visionary experience and baroque sensibilities in art. Going
beyond the sensuous suffering depicted by Bernini, Baroque Ecstasy brings historical depictions of ecstatic experiences together with modern and contemporary works that feature transcendence of normal consciousness, trance or trancelike states, expanded spiritual awareness, and visionary experiences. From saints and mystics, to bacchanalian fetes and dreamscapes, the exhibition also explores how Baroque stylistics such as theatricality, exaggeration, high drama, extravagance, frenzy and excess continue to permeate the work of contemporary artists.

Supported by the UQ Node, Australian Research Council Centre of Excellence for the History of Emotions (Europe 1100–1800)

500 Years On: Martin Luther and the Protestant Reformation Exhibition @ de Beer Gallery, Special Collections, University of Otago

500 Years On: Martin Luther and the Protestant Reformation
de Beer Gallery, Special Collections, University of Otago, Dunedin, NZ
Opens 24 March, 2017 and runs to 9 June, 2017

Our exhibition offers an overview of what was a massive revolution that occurred in Europe. The books on display are from Special Collections, University of Otago, the Hewitson Library, Knox College, Dunedin, and a private collection. Some of the items that will be on show include our Nuremberg Chronicle, printed in 1493; a late 15th century medieval Book of Hours; a sheet of Koberger’s German Bible, printed in 1483, an early guidebook to Rome (1515), and most notably, a rare Latin Bible (1481) that contains fragments of indulgences printed by William Caxton. Luther’s own work features, including his Deuteronomy (1525), his Works (1550), and a facsimile of his Bible, Die Propheten Alle Deutsch [1534; 1935]. Works by Johannes Cochlaeus, Erasmus, and Philip Melanchthon also feature. Also on display are colourful facsimile leaflets (flugblatt) from the period. They include Weiditz’s ‘Käsebauer und Käsefrau’ [Cheesemaker and his wife] (1521) and Erhard Schön’s ‘Der Teufel mit der Sackpfeife’ [The Devil playing the Bagpipe], 1535.

For a handlist of books/manuscripts, click here.

Love: Art of Emotion 1400-1800 Exhibition @ NGV and Master Classes @ The University of Melbourne

Love: Art of Emotion 1400-1800
Opens 31 March, Runs until 18 June
NGV International, Melbourne

More info: http://www.ngv.vic.gov.au/exhibition/love

Love: Art of Emotion 1400–1800
draws upon the NGV’s diverse permanent collection to explore the theme of love in art, and the changing representations of this complex emotion throughout the early modern period in Europe.

While popular conceptions of love tend frequently to focus upon romantic love, Love: Art of Emotion explores love’s varied manifestations across the realms of human experience, including familial relationships, religious devotion, friendship, altruism, patriotism, narcissism, materialism and nostalgia. The exhibition presents depictions of love’s many variations in painting, sculpture, prints and drawings, as well as non-representational and functional objects such as costume, furniture and religious artefacts.

Featuring more than 200 works from the NGV’s International Collection, some of which have never been displayed before, the exhibition demonstrates the balance between modest and grandiose, civic and domestic, micro and macro, from Vivarini’s grand-scale, much-celebrated painting The Garden of Love to tiny pieces of jewellery, worn against the body as love tokens or in memoriam. Through these diverse objects and images, the exhibition explores notions of public display and private emotion, ostentation and intimacy, of performance and of feeling.

The exhibition also considers love in relation to its associated emotions such as desire, wonder, ecstasy, affection, compassion, envy, melancholy, longing and hope, as well as the ways in which these combine and intersect. Bringing together a diverse array of works from the Medieval to the Romantic period, Love: Art of Emotion examines the shifting, multifaceted expressions of this rich and perennially relevant subject.

There will be a series of masterclasses associated with this exhibition. Information about these events can be found here: http://alumni.online.unimelb.edu.au/love2017

This exhibition is produced in collaboration with the ARC Centre of Excellence for the History of Emotions, The National Gallery of Victoria and The University of Melbourne.