Art

Gates of the Lord: The Tradition of Krishna Paintings

“Gates of the Lord:

The Tradition of Krishna Paintings”

Who:

Art Institute of Chicago

When: Sept. 13, 2015 – January 3, 2016 (Hours Vary)

Where:

Art Institute of Chicago
111 South Michigan Ave.
Chicago, IL

More Information: Here.

“This fall, the Art Institute of Chicago offers a glimpse into one of the world’s most intimate religious traditions. Bringing together over 100 artworks from private and public collections in India and the United States, Gates of the Lord: The Tradition of Krishna Paintings is the first major U.S. exhibition to explore the unique visual culture of the Pushtimarg, a Hindu denomination from Western India.

Founded in the 16th century by the saint and philosopher Shri Vallabhacharya (1479–1531), the Pushtimarg is a religious community dedicated to the devotion of Shrinathji, a divine image of the Hindu god Krishna as a seven-year-old child. The religious and artistic center of the sect is based in the temple town of Nathdwara (literally, “The Gates of the Lord”), near Udaipur in the state of Rajasthan, India. Scholars and artists have long been fascinated by the distinctive and highly aestheticized manner in which members of this group venerate Shrinathji, as well as by the legacy of miniature paintings created as a record of such worship. This exhibition showcases centuries ofpichvais (textile hangings) and miniature paintings that have been created by and for the Pushtimarg in devotion of Shrinathji.

The exhibition takes visitors through a year in Nathdwara, where the daily worship of Shrinathji is characterized by the changing seasons and a bustling festival calendar. Gallery by gallery, visitors are introduced to the pichvais used as backdrops for Shrinathji in his shrine, each uniquely suited to a particular season or festival. The accompanying miniature paintings offer further insight into the Pushtimarg sect: its mode of veneration, history, and important priests and patron families. Enhancing the experience of the sect’s rich culture are festival and devotional music, a shrine reconstruction, and touchscreen kiosks that allow visitors to page through religious manuscripts, an artist’s sketchbook, and a historic photo album. The exhibition concludes with an exploration of the works, sketches, and observations of prominent 20th- and 21st-century Nathdwara artists who have kept the painting tradition flourishing through the present day.

Gates of the Lord comprises drawings, pichvais, paintings, and historic photographs borrowed chiefly from two major private collections in India, the Amit Ambalal Collection (Ahmedabad, India) and the TAPI Collection (Surat, India). These rare loans are augmented by important objects from a number of public and private collections within the United States, including the Art Institute’s own permanent collection, in order to present the richest possible story of Pushtimarg art and tradition.

Sponsors
Lead Sponsorship for Gates of the Lord: The Tradition of Krishna Paintings has been provided by Nita and Mukesh Ambani and the Reliance Foundation.”

Coming Exhibition: The Wrath of the Gods

“The Wrath of the Gods:
Masterpieces by Rubens, Michelangelo, and Titian“

Who:

Philadelphia Museum of Art

When: Sept. 12, 2015 – Dec. 6, 2015 (Hours Vary)

Where:

Philadelphia Museum of Art
2600 Benjamin Franklin Parkway
Philadelphia, PA 19130

More Information: Here.

The Wrath of the Gods focuses on Peter Paul Rubens’s masterpiece, Prometheus Bound, a singular vision of pain, torment, and creative struggle. This unprecedented exhibition places the work—one of the most important and beloved in the Museum’s collection—in conversation with paintings, drawings, and prints that inspired it. Highlights include Michelangelo’s Tityus, perhaps the artist’s most famous drawing, and Titian’s Tityus, the largest nonreligious painting on canvas of the Renaissance. The Wrath of the Gods brings together these and other pivotal works, offering a fresh opportunity to delve into the creative process of one of art history’s most important figures.Rubens’s painting depicts a scene from the Greek myth of Prometheus, a mighty Titan who steals fire from the gods on Mount Olympus to give to humanity. As punishment, Zeus, king of the Olympians, orders Prometheus to be forever chained to a rock, where each day an eagle devours his perpetually regenerating liver. Collaborating closely with famed animal and still-life painter Frans Snyders, Rubens rendered the brutal encounter in violent detail: the enormous bird viciously attacks the face and muscular body of Prometheus, who locks eyes with his assailant as he tumbles downward in agony. The monumental canvas, which Rubens considered one of his most important works, represents the virtuoso artist at his absolute height.Despite the significance of Rubens’s masterpiece, no exhibition has ever been devoted to it. The Wrath of the Gods shows how the artist’s talent for creating images bursting with physicality, movement, and color was profoundly shaped by the work of Italian Renaissance greats Michelangelo and Titian as well as antique sculpture, especially the Vatican’s famedLaocoön. During his extensive travels, Rubens studied these compelling examples firsthand, analyzing their figures, subject matter, and compositions and merging them with own Baroque sensibilities.To further explore Rubens’s sources of inspiration, the exhibition also presents an 1805 full-scale cast of The Laocoön, on loan from the Pennsylvania Academy of the Fine Arts, and works by northern European artists Hendrik Goltzius and Michiel Coxcie, whose painting Cain and Abel debuts in Philadelphia as a newly rediscovered treasure after a recent cleaning by the Museo del Prado in Madrid. Other key works include Snyders’s sketch for Prometheus Bound’s menacing eagle and Jacob Jordaens’s Prometheus, one of the greatest artistic responses to Rubens’s masterpiece.

The World Bodypainting Festival in Austria, in pictures

“The World Bodypainting Festival in Austria, in pictures”

via “The Telegraph“

The World Bodypainting Festival 2015 in Poertschach am Woerthersee, Austria

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“This post is dedicated to the idea that creativity can flow out of any of us. Everywhere you look these days, you see people turning something quite ordinary into something unbelievably extraordinary. Like Yuken Teruya who delicately carves commercial paper bags and transforms them into magnificent miniature trees or Maurizio Savini who turns Hubba Bubba into high art, these artists are the ones who remind us that the best kind of art isn’t the most complicated, it’s the kind that leaves us with an experience.

Eden Project [Via WebUrbanist] Medium: Colored Pencils

iri5 [Link] Medium: Post-it Notes

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UNESCO’s newest World Heritage Sites

“UNESCO’s newest World Heritage Sites”

by Katia Hetter via “CNN News“

There’s the site where Jesus was believed to have been baptized by John the Baptist. And then there are the spots where French Champagne and Burgundy were born. And you remember the Alamo, part of the San Antonio Missions of Texas?

They are among the 27 newest members of the exclusive UNESCO World Heritage List.

Since Friday, the United Nations’ cultural body has named natural, cultural and combination sites around the world to its prestigious preservation list. The World Heritage List now includes 1,031 natural and cultural wonders that are considered to be places of “outstanding universal value.”

The UNESCO World Heritage Committee had been considering new sites at a meeting in Bonn, Germany, that started June 28.

San Antonio Missions site gets World Heritage status

The inscribed sites of “outstanding universal value” must also meet one or more of 10 criteriasuch as “representing a masterpiece of human creative genius,” containing “exceptional natural beauty” or being an outstanding example of a traditional human settlement.

UNESCO has been adding sites to the World Heritage List since 1978. Nations often spend years developing pitches for inclusion on the list because of its significant cultural cachet and the fame and resources it can attract to sites in need of restoration and protection. They must convince the UNESCO committee that they will protect their sites and support them financially. . . .