While never taking pictures himself, Henri de Toulouse-Lautrec (1864 – 1901) often had himself and his models photographed. Indeed, his photographic eye hardly found an equal among contemporary artists. This is evidenced by his unrelenting portrayals of the Parisian nightclub district as well as the wide-angle perspective he liked to use for his scenes—and not least by his daring compositions. The exhibition juxtaposes the paintings, drawings, lithographs and posters executed by this world-famous artist with contemporary photographs, many of which he used as models for his work.
At latest since romanticism, crystal is a leading source of inspiration for artistic work—either its formal structure serves as a model for design in art or its symbolical value comes into play. Crystal rock is something rare; it is valuable and difficult to mine. Although a material thing of hard, cold stone, crystal radiates a light that is seemly not of this world. The exhibition «Stone of Light: Crystal Visions in Art» looks at how the different art epochs viewed crystal.
Denis Savary arbeitet mit unterschiedlichen Medien wie Skulptur, Zeichnung, Film aber auch Performances und Installation. Seine Werke sind häufig eingebunden in komplexe Bezugsysteme unterschiedlicher Referenzen aus der Kunst- und Literaturgeschichte. Denis Savary bedient sich bei Fakten und Fiktionen, webt zugleich Verweise auf eigene, frühere Werke mit ein und konstruiert so aus alten Geschichten neue Realitäten.
Toulouse-Lautrec and Photography, 28.08. – 13.12.2015
This exhibition is pioneer in confronting the work of the internationally famous artist Henri de Toulouse-Lautrec (1864-1901) with fin de siècle photography. It is presenting the artist’s paintings, drawings, lithographs, and posters against a background of historical photographs, which reveal the same or similar motifs, often serving as models for the artist. Ironically, none of the photographs were taken by the artist himself—Toulouse-Lautrec never owned a camera nor used one himself. Rather, if he needed photographs for his art he commissioned friends to do the camera work for him. He very often let these friends take pictures of him, frequently in the strangest attitudes and costumes.
The Board of Trustees and the management of the Kunstmuseum Bern (KMB) have been informed that a branch of the Gurlitt family has decided to appeal the decision made in the first instance by the Probate Court in Munich ruling Cornelius Gurlitt’s will valid. Consequently, KMB still cannot take possession of the inheritance bequeathed to it by the testator.