Enfilade

From the press release, via Art Daily:

The Wadsworth Atheneum Museum of Art in Hartford, Connecticut has named Dr. Philippe Halbert as Richard Koopman Associate Curator of American Decorative Arts. A graduate of the College of William and Mary and the Winterthur Program in American Material Culture, Halbert earned his PhD in the history of art from Yale University, where he studied the intersections of art, empire, race, and self-fashioning in the Atlantic world. His academic work centers American decorative arts and material culture broadly, from its Indigenous roots to interconnected phenomena of diaspora, creolization, and settler-colonialism. Halbert has served as Interim Curator of American Decorative Arts at the Wadsworth since November 2022.

“I am committed to telling dynamic, object-centered stories of people and place that transcend geographic, ethnic, linguistic, and temporal bounds,” Halbert said, explaining that his academic interdisciplinary research and professional endeavors are grounded in a desire to encourage appreciation of American decorative arts by specialists and general audiences of all ages.

Proficient in French and Spanish, Halbert has been involved in the development of numerous exhibitions and special installations at the Wadsworth. Oversight responsibilities include over 3,000 decorative arts objects (circa 1650–2020) at the Wadsworth, with duties ranging from daily care of the collection and related research to overseeing rotations in the permanent collection galleries, developing special exhibits, volunteer training, and building partnerships with other institutions and constituents in Hartford and beyond.

Special projects underway and upcoming include New Nation, Many Hands, a special exhibition of federal-era decorative arts and material culture drawn from the permanent collection (on view from June 2023 until September 2024); reinterpretation of the Wetmore parlor, a painted and paneled room from a circa 1746 Middletown, Connecticut, house; and reevaluation of the Wadsworth’s American decorative arts holdings in anticipation of their reinstallation in 2025.

“Philippe is an outstanding scholar and curator of the Atlantic world, especially the interaction between France and North America. His passion for the material culture of vast early America is infectious and his love of curatorial work, breadth of knowledge, and extensive scholarship are incredible assets for the Wadsworth,” said Matthew Hargraves, Director of the Wadsworth Atheneum Museum of Art. “We are delighted that he has assumed this new role and look forward to his continued stewardship of our remarkable American Decorative Arts collection.”

Previously in his career, Halbert served as a curatorial intern at various museums, including at the Yale University Art Gallery, the J. Paul Getty Museum in Los Angeles, Philadelphia Museum of Art, and Colonial Williamsburg. He has earned numerous awards and fellowships and been an adjunct lecturer and consultant for various institutions, including at the Embassy of the United States in Paris. He is a resident of West Hartford, CT.

From the museum press release (3 January 2024) . . .

The Frick Collection announced today that Ian Wardropper, the institution’s Anna-Maria and Stephen Kellen Director, will retire in 2025 following fourteen years of service to the Frick and a fifty-year museum career. During his tenure as the Frick’s director, Wardropper led the museum and library through a period of strategic and measured growth, which included the first comprehensive renovation and upgrade of the Frick’s historic buildings in nearly ninety years and a focused acquisitions program that has enhanced the institution’s art and library collections. He also prioritized accessibility and public outreach, spearheading innovative strategies and partnerships that enabled audiences to experience the museum and library in new ways. This has ranged from inventive online programs including Cocktails with a Curator to partnerships with the Ghetto Film School to the conceptualization and management of Frick Madison, which enabled the Frick’s collections and programs to be enjoyed throughout the institution’s renovation and enhancement project.

The Board of Trustees is working with an executive search firm to conduct an international search for the Frick’s next director. Wardropper will be honored for his innumerable contributions to the museum and the arts community at large at the institution’s fall 2024 gala, which precedes the public reopening of the museum and library in late 2024. . . .

The full press release is available here»

Robin Pogrebin covered the story yesterday for The New York Times.

From the press release (4 December 2023) . . .

A rare Netherlandish masterpiece, a recently rediscovered German still life, and a magnificent state portrait bolster the Getty’s collection.

The J. Paul Getty Museum announced today the acquisition of three important paintings, enhancing its collection of European art. The works include The Holy Family (ca. 1520) by Netherlandish artist Gerard David; Bouquet of Flowers in a Two-Handed Vase (early 1560s) by German artist Ludger tom Ring the Younger; and Portrait of Friedrich Christian, Prince of Saxony (1751), by German artist Anton Raphael Mengs. The three paintings were purchased individually on the European art market and will go on display at the Getty Center this week.

Gerard David, The Holy Family, ca. 1520, oil on panel, 16 × 13 inches (Los Angeles: Getty Museum, 2023.104).

“We rarely are able to acquire three such significant works of art at the same time,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum. “These paintings will considerably enhance our presentation of northern European paintings, adding depth and variety across the genres of religious imagery, independent still life, and grand portraiture. I have no doubt that all three pictures, representing very different aspects and periods of European art, will engage and delight our visitors.”

An extremely rare work by Gerard David, Holy Family highlights the artist’s use of rich oil colors and delicate brushwork that distinguish his extraordinarily meticulous painting technique. David placed the three figures—Mary, Jesus, and Joseph—close to the viewer, underscoring their warm, familial bond. The Virgin and Child tenderly embrace as Jesus presses his cheek against Mary’s while she holds her son tightly. Joseph holds a spoon and lidded bowl, keeping the porridge-like milk soup warm for the child. Jesus holds an unblemished apple, a symbol of his role as the ‘new Adam’; two decaying apples sitting atop the lidded bowl offer a stark allusion to the future passion of Christ.

Typical for painters of the period, David portrayed the figures in a contemporary environment: the buildings and hilly landscape visible outside the window are characteristic of 16th-century Netherlands. The superb condition of the painting preserves David’s subtle modeling of flesh and many exquisite details, such as the fine gold highlights of the Virgin’s tresses and the tiny swan floating on the pond in the background.

“With its powerful sense of immediacy, this moving and intimate depiction of the Holy Family is a major addition to our collection of Netherlandish paintings,” says Davide Gasparotto, senior curator of paintings at the Getty Museum. “Its exceptional state of preservation allows us to appreciate David’s commanding use of color and delicate brushwork.”

Ludger tom Ring the Younger, Bouquet of Flowers in a Two-Handed Vase, early 1560s, oil on oak panel, 15 × 11 inches (Los Angeles: Getty Museum, 2023.101).

Bouquet of Flowers in a Two-Handed Vase by German artist Ludger tom Ring the Younger becomes the earliest independent still life painting in Getty’s collection. It marks a pivotal moment in Renaissance art, when close artistic observation of European plants, initially expressed through drawn and watercolor studies by German masters Martin Schongauer and Albrecht Dürer around 1500, became worthy subjects of panel painting.

The painting imparts a monumentality despite its relatively modest scale. On a simple shelf or table set against a dark background, the artist depicted a luxurious two-handled vase made of milky Venetian glass decorated with gold and blue enamel. The vibrant bouquet features over 15 species of plants native to northern Europe, including roses, gillyflowers, pot marigolds, pink daisies, violets, and rosemary.

“A pioneer in the history of European still life, Ludger tom Ring was the author of only a handful of panels with bouquet of flowers: this is the first bouquet painting by Ring acquired by a museum in the United States,” says Gasparotto. “With its brilliant palette, exuberant textures, and characterful vase, this work greatly expands our collection of German Renaissance art.”

A magnificent state portrait, created by Anton Raphael Mengs when he was on the cusp of international fame, captures the energy and optimism of a youthful prince. Prince Friedrich Christian commissioned the portrait in 1751, soon after the artist was appointed principal painter to the Saxon court in Dresden, Germany. The painting portrays Christian in three-quarter length, clad in tournament armor under billowing layers of richly colored drapery, sashes, and medals. The prince adopts a self-assured attitude, with one knee bent, his right hand gripping a baton, and his left arm resting upon his helmet. His soft, good-natured features are sharpened by the quick intelligence apparent in his bright, delicate eyes.

Anton Raphael Mengs, Portrait of Friedrich Christian, Prince of Saxony, 1751, oil on canvas, 61 × 43 inches (Getty Museum, 2023.100).

Mengs created a splendidly engaging portrait that asserts the prince’s dynastic legitimacy while concealing the sitter’s disability—likely cerebral palsy—which would have prevented him from assuming the easy, confident stance shown in his portrait. After the prince’s untimely death in 1763, the painting remained with the royal family in an almost unbroken chain of inheritance until its sale in 2022.

“With its burst of color and over-the-top grandeur, this painting is a magnificent addition to our extraordinary collection of early modern portraiture,” says Gasparotto. “The portrait will offer visitors a chance to consider the purpose and potential of the state portrait, the highest form of political image-making in early modern Europe.”

This new painting joins three other works by Mengs in the Getty collection: Portrait of William Burton Conyngham (a pastel); Asclepius (recto) and Study of a Male Youth Bearing Some Leaves (verso) (a drawing); and Portrait of José Nicolás de Azara, Marquis of Nibbiano (a painting).

From the press release (20 November 2023) . . . .

Francisco José de Goya y Lucientes, Portrait of José Antonio Caballero, Second Marqués de Caballero, Secretary of Grace and Justice, 1807, oil on canvas, frame: 135 × 114 × 9 cm (The Huntington Library, Art Museum, and Botanical Gardens, Gift of The Ahmanson Foundation).

The Huntington Library, Art Museum, and Botanical Gardens announced today that it has acquired a historic portrait by Spanish master Francisco José de Goya y Lucientes (1746–1828). Portrait of José Antonio Caballero, Second Marqués de Caballero, Secretary of Grace and Justice was painted in 1807, a time when Goya was renowned for his portraits of the Spanish nobility and just before the Napoleonic invasion of Spain profoundly altered the nature of his later work. While The Huntington holds a number of Goya’s etchings and aquatints, Portrait of José Antonio Caballero is the first Spanish oil painting to join The Huntington’s art collection and will complement its extensive holdings of Library materials on Spanish imperial history. The painting—which will go on view in the Huntington Art Gallery on 29 November 2023—is The Huntington’s third masterpiece acquired through a gift from The Ahmanson Foundation.

“Once again, The Ahmanson Foundation has proven to be an invaluable strategic partner, helping us reach our goals of broadening our collections with significant works and inviting new, interdisciplinary connections,” Huntington President Karen Lawrence said. “We couldn’t be more grateful to them for making possible the acquisition of such a superb and historically significant masterpiece.”

Considered one of the last Old Masters and one of the first and most influential great modern painters, Goya was celebrated during his lifetime for his ability to capture his subjects’ innermost personalities as well as their grandeur and political power—albeit with what has been perceived as an occasional layer of satire. He is also acclaimed for his virtuosic painterly style; flickering, impressionistic brushwork; and, in his later years, revolutionary subject matter.

Trained in Madrid and inspired by travels in Rome, Goya became a Spanish court painter in 1786, and he soon became known for such royal and aristocratic portraits as Portrait of José Antonio Caballero. But after the 1808 French invasion of Spain that began the Napoleonic Wars, Goya turned his artistic attention to portraying the horrors of war in paintings and prints.

“Portrait of José Antonio Caballero is historically fascinating and a prime example of Goya’s genius as a portraitist,” said Christina Nielsen, the Hannah and Russel Kully Director of the Art Museum at The Huntington. “Along with the exquisite French portrait by Élisabeth Louise Vigée Le Brun acquired with The Ahmanson Foundation last year, it will add an important international perspective to our outstanding collection of 17th- and early 18th-century British portraits.”

The Ahmanson Foundation funded The Huntington’s acquisition of Portrait of Joseph Hyacinthe François-de-Paule de Rigaud, comte de Vaudreuil (ca. 1784) by Vigée Le Brun (1755–1842), the most important female artist of 18th-century France, in 2022, and the monumental Portage Falls on the Genesee (ca. 1839) by Anglo American painter Thomas Cole (1801–1848) in 2021.

The sitter in the Goya painting, José Antonio Caballero (1754–1821), was from the minor nobility in Spain. He studied law and went on to a successful career in the royal court, holding four secretary positions. His accomplishments included convincing King Charles IV of Spain to conduct a vaccination campaign against smallpox that extended to the Spanish territories in North and South America and Asia. Goya painted the portrait when Caballero was the secretary of state and had just inherited the title of Marquis de Caballero from his uncle.

In the portrait, Caballero is depicted in a highly decorated ministerial uniform and seated in a red armchair. His black coat and bright red waistcoat are extensively embroidered with gold decoration. He looks directly at the viewer, conveying a sense of stature and power, with his right hand at his waist and his left hand holding papers. A powder-blue-and-white sash is draped across his chest, pinned with the Order of the Grand Cross of Charles III. The bright white insignia of a knight of the Order of Santiago is pinned to his coat.

The portrait will be installed in the Huntington Art Gallery, the former residence of founders Henry E. and Arabella Huntington, in a paneled room that was once Henry Huntington’s private office.

As noted at Art History News, from Spain’s Ministerio de Cultura:

Spain’s Ministry of Culture [has announced] that they have acquired an early Pieta by Francisco Goya. . . The painting is believed to have been inspired by the artist’s travels in Italy. The work was acquired for €1.5m and will head to the National Museum of Romanticism in Madrid.

◊    ◊    ◊    ◊    ◊

Francisco de Goya y Lucientes, Pietà, 1772–74, 84 × 58 cm (Madrid: Museo Nacional del Romanticismo).

El Ministerio de Cultura ha adquirido La Piedad, una obra fechada en la etapa temprana del pintor aragonés Francisco de Goya (1746–1828), por valor de 1,5 millones de euros. La obra se destinará a la colección permanente del Museo Nacional del Romanticismo, museo de titularidad estatal y gestión del Ministerio.

El cuadro, inédito hasta época reciente, permite conocer mejor la pintura religiosa del artífice. Mide 83,5 × 58 centímetros y conserva su tela y bastidor originales. La obra se ha fechado entre 1772 y 1774, por lo que es un testimonio relevante sobre las fuentes de inspiración que el aragonés recogió de su viaje a Italia, donde pudo conocer La Piedad de Miguel Ángel y otros modelos de Carracci, Maratti y Giaquinto. Tras su regreso a Zaragoza en 1771, Goya pudo expresar su evolución en sus trabajos en la Basílica del Pilar y en la Cartuja Aula Dei, con un estilo comparable con el de La Piedad adquirida por el Ministerio.

En la última década, el lienzo ha sido objeto de distintas solicitudes para su exportación, si bien estas han sido denegadas al tratarse de una obra de gran rareza, representativa del periodo temprano de la producción de su autor y por constituir uno de los pocos ejemplos de su obra religiosa, ayudando así a definir la figura del artista en su contexto.

Con La Piedad, el Museo Nacional del Romanticismo refuerza la presencia del “romántico quizá más glorioso y original,” en palabras del historiador del arte Manuel Bartolomé Cossío (1857–1935). Hasta ahora, la institución sólo contaba con una pieza de Goya, San Gregorio Magno, Papa, una obra monumental que pertenece al museo desde su fundación y que da buena prueba de la importancia que la producción del aragonés tuvo en el periodo romántico. Actualmente, el San Gregorio Magno, Papa preside el Oratorio, un espacio propio de las viviendas acomodadas que se empleaba para la devoción privada y donde se oficiaban los actos religiosos de carácter íntimo, como bodas, bautizos o velatorios. Precisamente, la temática y el tamaño de La Piedad sugieren que fue un encargo de algún eclesiástico o comitente de la burguesía zaragozana para cumplir una función devocional privada o doméstica.

Press release (17 November 2023) from the National Gallery of Art in Washington, DC:

Anne Vallayer-Coster, Still Life with Flowers in an Alabaster Vase and Fruit, 1783, oil on canvas (unlined), overall: 109 × 90 cm (Washington, DC: National Gallery of Art, Chester Dale Fund 2023.40.1).

The National Gallery of Art has acquired an important painting by Anne Vallayer-Coster (1744–1818), Still Life with Flowers in an Alabaster Vase and Fruit (1783). One of the greatest still life painters of 18th-century France, Vallayer-Coster achieved remarkable success in the male-dominated art world of her time. She not only attracted the patronage of some of the most powerful collectors of the time, including Marie Antoinette, but she also became one of the few women to be admitted to the prestigious Royal Academy of Painting and Sculpture and to show her work at its official public exhibition, the Salon.

Still Life with Flowers in an Alabaster Vase and Fruit is the first painting by Vallayer-Coster to enter the National Gallery’s collection. Despite the limited access to training and patronage, women artists achieved unprecedented professional opportunities and success in the latter half of the 18th century. Vallayer-Coster, alongside Élisabeth Louise Vigée Le Brun, is now the second woman artist represented in the National Gallery’s collection of 18th-century French paintings. This masterpiece not only fills out a more complete story of this pivotal period in European art history, but also highlights the accomplishments of one of its most significant artists.

One of Vallayer-Coster’s most ambitious works, this painting showcases her unrivaled ability to capture the soft, delicate textures of flowers and to coordinate their dazzling colors and irregular shapes into a harmonious whole. When it was exhibited at the Salon of 1783, critics hailed Still Life with Flowers in an Alabaster Vase and Fruit as a masterpiece. Vallayer-Coster herself considered it her finest painting, and she kept it until her death. Lost for nearly 200 years, this extraordinary work was recently rediscovered in an almost pristine state of preservation: unlined, on its original stretcher, and in the Louis XVI frame in which it was likely exhibited.

Depicting an opulent bouquet brimming with meticulously studied and exquisitely rendered flowers, this work includes roses, irises, lilacs, carnations, hollyhocks, dahlias, bluebells, and hydrangeas, among others, that create a dazzling display of color against the rich, chocolate brown scumbling of the background. The flowers sit in an alabaster vase adorned with French gilt-bronze mounts, featuring a child satyr supporting a cornucopia of fruits and flowers. Resting on an elaborately carved and gilded mahogany table with a pale gray marble top, the vase and flowers are completed by a bunch of white grapes, a pineapple, and three peaches. Evoking the cool polish of marble and alabaster, the glistening surface of cast-bronze, the translucency of grapes, the spiky form of a pineapple, the velvety skin of peaches, and the delicate freshness of flower petals, the painting epitomizes Vallayer-Coster’s extraordinary skill in portraying colors and textures.