#全球艺术展览资讯#《毕加索-劳特累克画展》，突出了毕加索早期作品与法国艺术家土鲁斯·劳特累克之间的亲缘关系。参观者将有机会欣赏围绕主题的100幅作品，如肖像，咖啡厅的夜生活、夜总会等等。时间：2017.10.17-2018.01.21，西班牙蒂森-博纳米西亚博物馆，地址：Paseo del Prado, 8, 28014 Madrid, Spain.更多阅读：https://parkstone.international/2017/09/14/picasso-lautrec-exhibition/
#全球艺术展览资讯#《克里斯汀·迪奥：梦想设计师》展览是庆祝迪奥70周年纪念展。它展示了许多艺术作品，这些艺术作品展览“克里斯汀·迪奥:梦想设计师”被举行庆祝迪奥的70周年纪念。它展示影响克里斯汀•迪奥(Christian Dior)时装设计理念的艺术作品以及400余件精选服装。地址：巴黎装饰艺术美术馆Musée des Arts Décoratifs，时间：2017.7.5-2018.1.7，每周四-周日11:00-18:00,周四延长展出至21:00.
Time: Sep 30, 2017 – Feb 25, 2018
Venue: Museu Oscar Niemeyer
At 6PM on September 30, The Oscar Niemeyer Museum (MON) inaugurates the “Bienal de Curitiba 2017″. Since 2011, MON is one of the main exhibition venues of the show.
The Curitiba Biennial is recognized as the largest contemporary art events in South America and one of the main art shows in the world. In this year’s edition entitled” Antipodes – Miscellaneous and Reverse”, China will become the country of honour.
Time & Date: May 3, 2017 – September 17, 2017
Venue: Smithsonian American Art Museum (8th and F Streets, NW)
John F. Kennedy was the 35th President of the United States (1961-1963). During his administration, photographers and cameramen used his images and his family to convey the vision of new America: a world power making a better life for its citizen.
The exhibition American Visionary: John F. Kennedy’s Life and Times features the President John F. Kennedy’s life. It is based on the book FK: A Vision for America.
During the exhibition, visitors will have a chance to see 77 images chosen from the John F. Kennedy Presidential Library, Getty Images, private collections, and the Kennedy family archives.
The exhibition showcases images depicting Kennedy’s life events, from his first congressional attempt as a war hero in 1946, his marriage to Jacqueline Bouvier in 1953, his run for the White House in 1960 and role as commander in chief, to his tragic death in Dallas in 1963.
Edvard Munch , born in 1863, was Norway’s most popular artist. His brooding and anguished paintings, based on personal grief and obsessions, were instrumental in the development of Expressionism. During his childhood, the death of his parents, his brother and sister, and the mental illness of another sister, were of great influence on his convulsed and tortuous art. In his works, Munch turned again and again to the memory of illness, death and grief.
During his career, Munch changed his idiom many times. At first, influenced by Impressionism and Post-impressionism, he turned to a highly personal style and content, increasingly concerned with images of illness and death. In the 1892s, his style developed a ‘Synthetist’ idiom as seen in The Scream, which is regarded as an icon and the portrayal of modern humanity’s spiritual and existential anguish. He painted different versions of it.
During the 1890s Munch favoured a shallow pictorial space, and used it in his frequently frontal pictures. His work often included the symbolic portrayal of such themes as misery, sickness, and death. and the poses of his figures in many of his portraits were chosen in order to capture their state of mind and psychological condition. It also lends a monumental, static quality to the paintings.
In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings invoked bitter controversy at the show, and after one week the exhibition closed.
In the 1930s and 1940s, the Nazis labelled his work “degenerate art”, and removed his works from German museums. This deeply hurt the antifascist Munch, who had come to feel Germany was his second homeland. In 1908 Munch’s anxiety became acute and he was hospitalised. He returned to Norway in 1909 and died in Ekely, near Oslo in 1944.
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Time: From October 14th, 2017 to March 31st, 2018
Venue: ESPAC, Mexico
The exhibition Impressions of time is the first project of the ESPAC Audiovisual Overflow Program. The show contains a series of works by artists who are interested in the museographic and spatial dimensions of audiovisual praxis. It also unveils their relationship with media and content originating in other traditions.
The selection seeks to reach beyond the closed definition of any “specific medium” to approach, in contrast, the communicating vessels that exist between audiovisual praxis and contemporary art.