Friday at 6:30 p.m., join magician Ryan Oakes and educator Megan Kuensting to explore “The Fortune Teller” by painter Georges de La Tour and the art of sleight of hand during this #MetFridays gallery conversation. http://bit.ly/1RGfTTM
Friday at 6:30 p.m., explore three European paintings and contemplate how the gesture and touch of a hand reveals meaning and emotion during this gallery talk: http://met.org/1MCupvc#MetFridays
Georges de La Tour (French, 1593–1653) | The Fortune Teller | probably 1630s
Happy Easter! In Jan van Huysum’s 'Flowers in a Terracotta Vase', tiny speckled chaffinch eggs feature in a nest at the base of a vase of flowers. The painting represents the cycle of life. The eggs and open walnut, both at the base of the painting, represent the beginning of life, and the different stages of the flowers – from bud to full bloom and eventual wilting – take the viewer through its cycle:http://bit.ly/1SY7YXb
As in other paintings by Jan van Huysum, the composition of 'Hollyhocks and Other Flowers in a Vase' consists of flowers from different seasons, which suggests that the picture does not represent a single bouquet: http://bit.ly/1O6ajck
Outside an elegant Italian house created in the medieval style, a lush garden reflects the spring season of the Annunciation. In the central area of the panel, we see the most important part of this narrative: the Archangel Gabriel announces the impending birth of the Christ Child to Virgin Mary. This fertile landscape also provides a setting for the secondary representation at the left. In this scene, we see Adam and Eve's dramatic expulsion from the Garden of Eden. The artist used the figure of God the Father, who occupies the celestial realm in the upper left corner, to link the Expulsion to the Annunciation. While God points to the exiled couple's disgrace, he also looks toward the Annunciation, humanity's opportunity for divine redemption. Finally, at the right, Joseph warms his hands at a fireplace, symbolic of Jesus' future birth in the winter.
In celebration of Easter, find more works of art on view at the Gallery that are inspired by this significant story: http://1.usa.gov/22y44dD.
Giovanni di Paolo, "The Annunciation and Expulsion from Paradise," c. 1435, tempera on panel, National Gallery of Art, Washington, Samuel H. Kress Collection
所以本棟的用途，至少還是文化性的，只是在如此大的雄心與投資下，其建築設計的成果卻只差強人意，遠不如新加坡國家博物館的整修和增建得體，如濱海灣花園Gardens by the Bay，太多的人為設施，設計得也難於維護，還遠不如原有的植物園，來得恰如其份，與本案一樣，有狗尾續貂的現象，或許公共建設，尤其是文化設計，是很難拿捏的。
新加坡國家美術館 東南亞藝術向全世界發聲！ Not just a Financial Center！ 從宏大的群展到個展，再到明年與巴黎龐畢中心與英國泰德美術館的合作展覽，新加坡國家美術館，已經展現無以倫比的企圖心，要在藝術世界裡取得自己的位置。他山之石，可以攻玉，新加坡彈丸島國，卻走在東協十國之前，站穩東南亞經濟金融中心，更要往下紮根藝術文化。新加坡總理李顯龍說的「Guess where I’ll be?」答案不言而喻。
在星展新加坡展廳，推出「Siapa Nama Kamu？Art in Singapore since the 19th Century」大展。「Siapa Nama Kamu？」就是馬來語的「貴姓大名」。從展覽名稱裡，就可以見到新加坡國家美術館的企圖：為東南亞這一百年來的藝術發展，完整梳理、介紹給世界，甚至重新研究、推翻既有成見，透過藝術史的研究，為文化社會的變遷再樹新觀點。這，就是新加坡國家美術館的野望，從新加坡橋接東南亞地理位置中心的角色，已站穩地區經濟金融中心的地位，立志在文化藝術領域，同樣在多元文化的東南亞地區裡，成為東協十國裡的最重要發聲之處。
數量龐大的精采之作，流連忘返是必然。觀眾流連忘返之時，就是新加坡國家美術館向世人彰顯影響力之際。當前全球藝術世界，這座美術館是最大，亦是最具備實力的東南亞現當代藝術的研究、展覽中心，推出的藝術家展覽，必將引發學術到市場的討論。例如，開幕大展的另外兩位藝術家個展，一位是人們耳熟能詳的吳冠中，另一位是新加坡本地藝術家蔡逸溪（Chua Ek Kay），就是除了新加坡外，人們不了解的藝術家。但蔡逸溪之名，必將聲名大噪。國家美術館策展與典藏總監劉思偉，十分推崇蔡逸溪透過中國筆墨描繪新加坡海港街景，引領東南亞之先的創作。
新加坡國家美術館擁有逾百幅張荔英作品館藏。左方牆面，即為此次展出的精品。
從宏大的群展到個展，再到明年與巴黎龐畢中心與英國泰德美術館的合作展覽，新加坡國家美術館，已經展現無以倫比的企圖心，要在藝術世界裡取得自己的位置。他山之石，可以攻玉，新加坡彈丸島國，卻走在東協十國之前，站穩東南亞經濟金融中心，更要往下紮根藝術文化。新加坡總理李顯龍說的「Guess where I’ll be?」答案不言而喻。
It's nearly impossible to sum up William Morris' contributions to British design, arts, and aesthetics. A true prodigy, Morris dove deeply into each of his many interests, leaving us a rich legacy in multiple fields.
Starting with graphic art, Morris' detailed drawings paved the way for modern surface design. His intricate patterns flow across pages, walls, and fabric with a seamless effect. But Morris didn't stop there — he believed that quality production was the essence of great craftsmanship: from patterning to type design to furniture to bookbinding.
A relentless creative, Morris played with patterns in words as well. In 1856, he founded the Oxford and Cambridge Magazine, writing and publishing many of his early poems there. He lectured publicly on socialism, art, architecture, and founded or held titles in multiple artists groups, such as the Hammersmith Socialist Society and the Art Workers Guild.
Morris, along with other figures in the Arts and Crafts Movement, believed the success of a society was based on providing useful and meaningful work. By focusing on the end-to-end production of goods by passionate artisans instead of machines, he built a powerful political case for worker's rights. His advocacy left an indelible mark on British culture in the face of rapid industrialization.
In many ways, Morris' life's work is reflected in his prints: a lush journey through interrelated pursuits. To highlight his iconic style, Doodler Lydia Nichols recreated five different Morris designs. Each appears randomly as the page is refreshed. May these designs honour the distinct and varied ways in which Morris' point of view shaped our world. For more, check out the William Morris Gallery.
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