Private View held by Richard Andrews
David Teniers And The Theatre Of Painting tells the story of one of the most remarkable artistic enterprises of the 17th century: David Teniers' publication of the Theatrum Pictorium or 'Theatre of Painting', the first illustrated printed catalogue of a major paintings collection. David Teniers was court artist to the Governor of the Southern Netherlands, whose collection comprised some 1,300 works, including paintings by Holbein, Pieter Bruegel the Elder, Van Eyck, Raphael, Giorgione, Veronese and Titian. This exhibition includes Teniers's first detailed visual compendium of the collection in 'Archduke Leopold Wilhelm in his Picture Gallery', and later, further acquisitions in 'Archduke Leopold Wilhelm in his Gallery in Brussels'. Teniers then embarked on an illustrated catalogue of 243 of the Archduke's most admired Italian paintings, which became the Theatrum Pictorium. He employed a team of 12 engravers to reproduce the paintings, and in order to ensure the accuracy of their work, made small copies in oil of each of the chosen works, issuing them as models. 25 of these copies are featured in the exhibition, displayed alongside the prints from the Theatrum for which they were made, and Teniers's little known painted design for the frontispiece, showing a portrait of the Archduke and two of his favourite paintings. There also are several examples of the Theatrum, including a rare 1660 edition with the Archduke's coat of arms, a copy owned by Joshua Reynolds, and one lavishly introduced in four languages. The Courtauld Institute, London until 21st January.
The International Flipbook Festival is a celebration of 'hand-powered cinema', designed and decorated by Rama Hoffpauir. The exhibition presents over 100 flipbooks, made by contemporary artists throughout Europe and North America. It celebrates the ways in which artists rise imaginatively to the challenge of basic media in our hi-tech age - the original hand held moving picture entertainment centre. The event was devised 4 years ago by artist Andrew Jeffrey Wright as a film festival without the film, and each of the flipbooks has been submitted into one of four categories: Live Action, Animation, Experimental, and Documentary. As in traditional film festivals The International Flipbook Festival awards prizes in each category. Among the 90 artists whose work is on show are Sebastian Bodirsky, Jill Blagsvedt, Kelly Coats, Samantha Gerlach, Libby Hartle, Katja Von Helldorff, Robert Hengeveld and Jen Hutton Jason Hsu, Mikhail Iliatov, Lana Kim and Saelee Oh, Selena Kimball, Stan Krzyzanowski, Sara MacKillop, Peter Pezzimenti, Topsy Qur'et, Annette Rnol, Ruth Scott and Celeste Toogood. The ultimate hands on exhibition experience. Reg Vardy Gallery, University of Sunderland, Ashburne House, Ryhope Road, Sunderland until 8th December.
Beyond The Maker's Mark: Paul de Lamerie Silver celebrates the work of Paul de Lamerie, London's leading 18th century silversmith. In addition to items from the permanent collection, the display includes around 50 pieces of de Lamerie silver from the American Cahn Collection, which includes some of the most important pieces of de Lamerie silver in private hands, such as the Maynard Dish and the Turtle Tureen, and many works that have never before been on public view. In the first half of the 18th century, London was a centre for the production of luxury goods, and de Lamerie's pieces set the standard for luxury and fine craftsmanship. The popularity of coffee and tea, and introduction of new foods, gave rise to a range of specialized wares and serving vessels. De Lamerie's mark appears on numerous objects of silver, ranging from candelabra to complete dinner services. The exhibition explores de Lamerie's career, including his patrons, the evolution of his style, and the organisation of his highly successful business. Among the most splendid pieces are: the Chesterfield Wine Cooler, with cast dolphin handles and four panels chased with the Elements (Earth, Air, Fire and Water); the Newdigate Centrepiece, richly decorated with bold scrollwork, flowers, shells and helmetted putti; the Walpole Salver, which has engraving attributed to William Hogarth, with seal roundels supported by a figure of Hercules, flanked by allegorical figures representing Calumny and Envy, with a view of the City of London; and the Ilchester Ewer And Basin, with the handle of the ewer in the form of a mermaid with long flowing hair supporting its body with her arm Victoria & Albert Museum until 21st January.
David Hockney Portraits is the most comprehensive survey of the artist's portraits ever staged, comprising almost 200 works - paintings, drawings, prints, sketchbooks and photocollages - made over the past five decades. Offering the opportunity to see many works together for the first time, it provides a visual diary of the life, loves and friendships of one of the most admired British artists of his generation. The portraits provide insights into the Hockney's intense observations of the people he has charted over many years, including his parents, designer Celia Birtwell, art dealer John Kasmin and some of the leading cultural figures of the 20th century, such as Andy Warhol, Man Ray, Christopher Isherwood, Lucien Freud and W H Auden. Some of Hockney's most personal and powerful works are included in the exhibition, starting with very early self portraits and studies of his father created during his years at Bradford School of Art. Also brought together are the almost life size double portraits 'Henry Geldzahler and Christopher Scott', 'American Collectors (Mr and Mrs Weisman)', 'My Parents' and 'Mr and Mrs Clark and Percy'. While showcasing major examples of Hockney's work from his time in Britain and California, including 'Peter Getting out of Nick's Pool' and 'Divine', the exhibition concludes with new work, marking his return to large scale painted portraits. It also celebrates Hockney's many innovations in the art of portraiture, from his Cubist influenced photographic collages of the 1980s to his recent camera lucida drawings. National Portrait Gallery until 21st January.
Vive la Parisienne examines the portrayal of women in Parisian life in the late 19th century, at a time when the Impressionist movement was capturing the emerging modern world with spontaneity and life. The exhibition focuses on how the leading exponents of Impressionism were concerned with life in the city centre and the portrayal of the 'Parisienne'. It explores how women and their activities formed a large part of the artists' subject matter, and reveals the wide spectrum of approaches, comparing the settings for these paintings and their sitters, and examining the role of the modern woman in Paris - from chorus girls and artists' models, to the domestic realm and polite society of the middle and upper classes. Works on display include Degas' 'Chanteuse de Cafe-Concert', Pissarro's 'Mme Pissarro Sewing Beside a Window', Helleu's 'Portrait', Toulouse-Lautrec's 'La Passagere du 54', Renoir's 'Misia Sert' and Cassatt's 'Portrait of a Woman'.
Liz Rideal: Fall, River, Snow is the premiere of a unique film installation, shot at Niagara, Burleigh Falls and Big Cedar in Canada this year. It is in three parts entitled 'Water Drape', 'Ice Steam', and 'Deer Portrait', is projected outdoors onto the natural landscape of a lake and trees, and focuses attention on the mesmeric power of scenery. Shot on Super 8, these silent films are a meditation on the beauty of the natural world, tracking the movement of water, snow packed firm on land, a lake, wheeling gulls, camouflaged deer moving through woodland, a double rainbow, and the snow laden branches of trees.
Compton Verney Art Gallery, both exhibitions until 10th December.
Britannia & Muscovy: English Silver At The Court Of The Tsars offers a unique opportunity to see some of the most important surviving 16th and 17th century English silver, together with Russian gold and silver of the same period, preserved in the Kremlin's Armoury Museum. The relationship between English monarchs from Elizabeth I to Charles II and Russian Tsars from Ivan the Terrible to Alexey Mikhaylovich was a close one, and silver pieces and richly adorned weapons were prominent amongst diplomatic gifts. The silver in the Kremlin avoided being melted down, the fate of much English silver during the English Civil War, and so remains to give an insight into the opulence of Elizabethan and Jacobean court life. Among the English highlights are a gilded silver heraldic leopard vessel over three feet high; a unique silver-gilt perfuming pot and stand; a silver-gilt ewer over two feet high, its handle in the form of a serpent, its spout a winged dragon and the lower half of the body finely engraved with Tudor roses and thistles; and a pair of presentation belt pistols with barrels elaborately decorated in steel, mother-of-pearl and damascened gold. Russian treasures include a gold 'kovsh', a traditional vessel set with rubies, sapphires and pearls; a gold cup adorned with large precious stones and enamel; an elaborately chased, carved and gilded 'bratina' or loving cup; and an icon of the Virgin of Vladimir, with a silver cover profusely decorated with sapphires, emeralds, turquoise and pearls. Shown alongside these historical treasures are some examples of contemporary Russian gold and silver ware. Gilbert Collection, Somerset House until 28th January.
Velazquez traces the career of the 17th century Spanish painter through around forty paintings - almost half his surviving works. Throughout his life Diego Velazquez demonstrated an increasing ability to observe and record reality, achieving ever greater physical and psychological naturalism. The exhibition reveals this development through examples of his portraits, religious and mythological paintings. It begins with a selection of the 'bodegone' scenes (ordinary people in settings where food and drink figure prominently) such as 'The Waterseller of Seville' and 'An Old Woman Cooking Eggs', together with religious works 'Adoration of the Magi', 'Kitchen Scene with Christ in the House of Mary and Matha', and 'Temptation of St Thomas Aquinas', portraits 'Sor Jeronima de la Fuente' and 'Pedro de Barberana y Aparregui', and mythological works such as 'Apollo at the Forge of Vulcan'. Portrayals of the court life include paintings that show their popular pursuits, such as hunting 'Philip IV as a Hunter', several examples of equestrian portraits, including 'Infante Baltasar Carlos in the Riding School', and portraits of court figures including the court dwarf, Francisco Lezcano. Finally there are Velazquez's later mythological paintings and portraits, including, 'Mars' and 'The Toilet of Venus' (The Rokeby Venus), 'Pope Innocent X' and the royal children 'Infanta Maria Teresa in Pink', 'Infanta Margarita in Blue' and 'Infante Felipe Prospero'. National Gallery until 21st January.
Bronte Abstracts are a series of works made over the past year by the contemporary British artist Cornelia Parker, in response to artefacts in the parsonage in which the Bronte family lived, and the sisters wrote their novels. The house is now displayed as a 'period home', with the Brontes' furniture, domestic objects, artworks and personal belongings, set out to give an impression of the house in their own time. Cornelia Parker's works are displayed throughout the parsonage alongside these original contents to encourage new ways of looking at the collection and at contemporary art, to celebrate the connections between creativity, past and present, and reflect the way in which the Brontes' lives and works have continued to inspire writers and artists across three centuries. The works include scanned and electron microscope images of items from the collection, including a split end of Anne's hair, pinholes made by Charlotte, the tines of a comb burnt by Emily, and a quill, together with images of amendments to Charlotte's manuscript of Jane Eyre, held in the British Library. In addition, there are sound installations in certain rooms that document a visit made by two psychics to the parsonage, and a video recording of Phyllis Cheney, who claims descent from Branwell. Bronte Parsonage Museum, Haworth until 31st December.
Game On surveys the forty year history, contemporary culture, and future of video games. This very interactive exhibition explains the game design process from the conceptual drawing through to the finished game, and identifies the key creative people who make them. It charts the development of games and hardware from PDP-1‚ the computer that ran the world's first video game‚ Space War in 1962‚ and the world's first manufactured arcade game‚ Computer Space from 1971, through to the recent consoles like the Nintendo DS and Xbox 360, and illustrates how content and technologies are interrelated in advancing new ideas. There is also a specially commissioned large scale street art influenced work by UK artist and illustrator Jon Burgerman‚ which takes the form of an immense timeline of games and gaming history‚ incorporating classic games as well as cultural and political events, and technical advances that resonate with the history of computer games. The exhibition assesses the influence games have had on culture in Europe, North America and Japan, particularly in relation to cinema, pop videos and other visual media. A series of special events will examine many of the issues linked to games and gaming, and their positive and negative effects on society. The entire history of the games industry is laid out‚ explained, and ready to play, with over 120 games, from classics such as Space Invaders‚ Asteroids and Ms Pac-Man, to the latest cutting edge creations, available for visitors to try their skills. The Science Museum until 25th February.
Designing Modern Britain examines how innovative design has shaped the modern world over the last 90 years, by reconstructing some of the landmarks with original artefacts. These include a 1931 tube station, featuring Harry Beck's revolutionary diagrammatic map of the London underground system, together with other signage and iconic posters; a room in Berthold Lubetkin's Modernist luxury 1935 Highpoint apartment complex in Highgate; part of the 1951 Festival of Britain on the South Bank, with Ralph Tubbs's Dome Of Discovery and Michael Powell and Hidalgo Moya's Skylon; and Ben Kelly's 1982 transformation of a disused yacht showroom into the Hacienda nightclub in Manchester, the blueprint for warehouse parties and superclubs. Industrial design projects include the first production models of the Alec Issigonis's Morris Minor and Mini, and early examples of Herbert Austin and Stanley Edge's Austin Seven, and Malcolm Sayer and William Heynes's E Type Jaguar - not to mention Clive Sinclair's infamous C5; and the winner of the Great British Design Quest: Concorde, sadly not the real thing, but represented by memorabilia and photographs. The exhibition even tells the story of the humble chair, from Modernist Marcel Breuer in the 1920s, to the latest in moulded plastic by Jasper Morrison. Looking to the future, there are designs and models of proposals for the 2012 Olympics in the Lower Lea Valley, and the regeneration of the Thames Gateway area, with homes, schools and sports stadia. Design Museum, London until 26th November.
Painting The Cosmos: Landscapes By G F Watts is the first exhibition devoted to the landscape painting of the Victorian artist George Frederic Watts. The show includes both finished pictures, intended for exhibition and sale, as well as more private sketches and studies. A particularly noteworthy feature is a group of Watts's virtually unknown landscape studies in watercolour, which have never been exhibited before. Although Watts is best known for his portraits and allegorical subjects, he painted landscapes throughout his career. The exhibition begins with work from his first visit to Tuscany in 1845, where he took 'a violent fancy for landscape'. Later works demonstrate the extent and variety of his interests, with lovingly observed parts of the Surrey countryside at one extreme, and visionary subjects fraught with meaning, painted with an expressionist force that anticipates 20th century abstraction, at the other. Highlights include vividly painted views of sites in Italy, the Greek islands, Egypt, the French Alps, and the Scottish Highlands. Imaginative scenes include 'After the Deluge', with a fiery sun filling the composition. Views such as 'The Alps near Monnetier' and 'Invernesshire', painted on elongated canvases to encompass the vast spaces to which he was drawn, exemplify the grandeur of Watts's vision. The 100 year old Arts and Crafts building, created by Watts and his wife, which houses his extensive studio collection, was the first purpose built art gallery in Britain dedicated to the work of a single artist. Watts Gallery, Compton, nr Guildford, Surrey until 20th November.
Poetic Prints: An Insight Into The Art Of Illustration brings together a selection of prints, books and photographs to explore the relationship between word and image, reflecting how over the centuries, artists have been inspired by both poetry and prose. The concept is of course unfashionable nowadays, but exhibition includes a diverse range of works, from William Blake's 'Illustrations to the Book of Job' to Marc Chagall's etchings of the 'Fables of La Fontaine'. In addition, a number of books are also on display, including Eclogues of Virgil by Samuel Palmer and The Well at the World's End by William Morris. The show highlights the range of different ways in which artists respond to poetry and prose, bringing new interpretations to the text. Patrick Caulfield's images are not typical illustrations but are inspired by the desire to gain greater understanding of Jules Laforgue's melancholic poems. This approach contrasts with the wood engravings of Gertrude Hermes and Blair Hughes-Stanton, which are symbolic but faithful illustrations to the text of John Bunyon's book Pilgrim's Progress. Many of the works included here have not previously been on show and have been specially conserved for this exhibition. Graves Art Gallery, Sheffield, until 18th November.