(1 and 5) by serge marshennikov (2) by roberto ferri (detail) (3) jeune femme nue se coiffant dans un interieur by jean andre rixens (detail) (4) portrait of three ladies by john singer sargent (detail)
Circle of the Master of the Female Half Lengths, The Magdalen, Half-Length, at a Table in a Black Dress and an Embroidered Collar, Reading a Book and Holding a Gilt Cup. Oil on oak panel, 68.4 x 54.5 cm. Private Collection
Opening next month, Monet to Morisot: The Real and Imagined in European Art is a new thematic reinstallation of the Museum’s renowned holdings of 19th and 20th century European art, featuring nearly 90 paintings, sculptures, and works on paper by artists including Claude Monet, Camille Pissarro, Berthe Morisot, Francisco Oller, Henri Matisse, Pablo Picasso, Gabriele Münter, Yves Tanguy, and Vasily Kandinsky. Casting fresh eyes on the collection, this presentation explores not only the profound and ongoing influence of modern European art, but also how the art historical canon itself is a site of tension.
Many of these works will be on view together in Brooklyn for the first time since 2016, when they began touring the United States and Asia in the acclaimed exhibition French Moderns: Monet to Matisse, 1850–1950. You can see them at the Brooklyn Museum, in new galleries on the fifth floor, beginning February 4.
Claude Monet (French, 1840–1926). The Doge’s Palace, 1908. Oil on canvas. Brooklyn Museum; Gift of A. Augustus Healy, 20.634. ⇨ Berthe Morisot (French, 1841–1895). Mme Boursier and Her Daughter), circa 1873. Oil on canvas. Brooklyn Museum; Museum Collection Fund, 29.30.
Torrs Pony-cap and Horns 300-200 BCE. National Museum of Scotland.
"When it was found, this object was thought to be a mask for people or horses. But there was a suspicion that the horns had been stuck to it after it was discovered, to increase its market value.
Did they come from something else originally – perhaps the ends of a chariot yoke? And were they fixed to the cap in the Iron Age, or in the 19th century?
The answer had been hiding in library archives. Researcher Stephen Briggs found a report of the discovery in a long-defunct newspaper, the Caledonian Mercury from 17 December 1812. This clearly shows that the horns were attached when it was found:
"There are two crooked horns, which project from between the circular openings…"
Count Karol Lanckoroński (1848-1933) was a Polish art historian, art collector, patron, archaeologist and traveler. He came from a Polish aristocratic family bearing the Zadora coat of arms whose roots go back to the 12th century. He was one of the wealthiest and most cultivated magnates in Austrian partition of Poland and in the whole of the Austro-Hungarian Empire.
Thanks to the strenuous efforts of Count Karol Lanckoroński and the Viceroy of Galicia Professor Count Leon Piniński, the Royal Castle of Wawel in Kraków was recovered from the Austrians. Together with Piniński he was actively involved in the renewal of both the Wawel Castle and the Wawel Cathedral, for which Lanckoroński founded the tombstone of Queen Jadwiga. In September 1884, Karol launched, organized and financed an archaeological expedition to Anatolia. The result was published in a two-volume book issued in three languages, Polish, German and French, entitled “The Cities of Pamphylia and Pisidia”. The archaeological research of 1882-1884 brought Lanckoroński international recognition – he became a member of the German and Austrian Archaeological Institute in 1891 and of the Polish Academy of Arts and Sciences in 1893.
His art collection, estimated at more than 3,000 objects included paintings of the Italian, German, Austrian, French and Dutch schools, was partly inherited from his ancestors (including works from the former collection of King Stanisław August Poniatowski) but much of it was acquired by him personally. His collections also included works of ancient art (Greek, Roman, but also ancient Egyptian) which amount to about 1,000 objects, art and craft from China, India and Japan, as well as porcelain, tapestries, coins and miniatures. In the years 1994 and 2000 his daughter Karolina Lanckorońska, donated her family’s art collection to various Polish cultural institutions.
While landscape generally suggests the world of nature, cityscapes have long been a part of the landscape tradition. See a few by the Impressionists in our New European Galleries.
"Avenue de l'Opéra: Morning Sunshine," 1898, by Camille Pissarro. "The Zuiderkerk, Amsterdam (Looking up the Groenburgwal),: around 1874, by Claude Monet. "Fair on a Sunny Afternoon, Dieppe," 1901, by Camille Pissarro. "The Grands Boulevards," 1875, by Pierre-Auguste Renoir.