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  • Peter Blake Comes To Brighton

    We are thrilled to announce that the Godfather of Pop Art Sir Peter Blake will be releasing his Brighton inspired box set, exclusive to artrepublic, in our gallery. The evening will offer the unique opportunity to meet the artist in person with a champagne reception, followed by a special dinner....
    We are thrilled to announce that the Godfather of Pop Art Sir Peter Blake will be releasing his Brighton inspired box set, exclusive to artrepublic, in our gallery. The evening will offer the unique opportunity to meet the artist in person with a champagne reception, followed by a special dinner. The gallery event will be free for visitors but you'll need to get tickets if you want to attend the dinner with the much celebrated artist. The evening will take place on Sunday 30th October. To register your interest and get your name on the guest list, please call the gallery or email us - events@artrepublic.com.  $test =
  • Snow Dogs By The Sea

    artrepublic is proud to announce its sponsorship of Snowdogs by the Sea, the city’s biggest ever public art event, organised by local charity Martlet’s Hospice and brought to Brighton by Wild in Art. Inspired by Raymond Briggs’ much-loved The Snowman and The Snowdog, the event will see the arr....
    artrepublic is proud to announce its sponsorship of Snowdogs by the Sea, the city’s biggest ever public art event, organised by local charity Martlet’s Hospice and brought to Brighton by Wild in Art. Inspired by Raymond Briggs’ much-loved The Snowman and The Snowdog, the event will see the arrival of 44, 1.5 metre high, Snowdogs on the 24th of September, placed around the streets and parks of the city in an interactive sculptural trail. A range of prominent Brighton-based artists will be designing their own, unique Snowdogs for different sponsors, while local school children have been working hard on a fleet of snow puppies, that will join the bigger dogs around the city. We’re extremely lucky to have the illustrious Pure Evil - contemporary street artist extraordinaire and man behind the iconic ‘Nightmare’ prints - designing artrepublic’s canine carving. Just this year, Pure Evil has designed a range of limited edition prints that have sold out in record breaking times, including the fantastically pertinent ‘QE2EU - Brexit Nightmare’. What will he do with his snowy statue? Head to Jubilee Square on the 24th of September to find out… As if that wasn’t enough, a handful of our favourite, best-selling artist’s will be displaying Snowdogs around the city, each one individually selected from the hundreds of applicants to the event. The hugely acclaimed RYCA - responsible for the sell-out print ‘Reservoir Troopers’ - will be producing a figure for sponsor Norman Cook (aka Fatboy Slim); graphic duo Kai and Sunny for the i360; urban artist Pinky has not only created two dogs, but has also helped the children of Middle Street School with their painted puppy; pioneering typographic artist Mike Edwards, too, has not just designed his own dog but has worked on Brighton and Hove High School’s contribution; breath-taking illustrator Gemma Compton will be creating a canine for the Marina; and the wonderful Louise Dear will also be brightening Brighton with a stunning Snowdog design. The event will be brought to Brighton by Wild in Art, the country’s leading producer of mass participation public art events. Since 2008, the group have been commissioning work from esteemed artists and staging a range of events around the country - including, notably, The Great North Snowdogs trail in the North East, the counterpart to Brighton’s installation, which will also be commencing in September. Snowdogs by the Sea will reflect Brighton’s colourful history, heritage, culture, and creativity, drawing on the fashion, art, architecture and communities that make the city the vivid and vibrant place that we love it for. Brighton residents and visitors will be able to follow the trail for ten weeks, from September 24th until November 27th, taking in the tremendous talent of some of our city’s best-loved and highly acclaimed contemporary artists. And when it’s all over? The Snowdogs will be briefly reunited in December for a Christmassy event, before going under the hammer, to raise funds for Martlet’s Hospice. A truly special event, we can’t wait to see the city’s Snowdogs and follow the art adventure while it lasts. Be sure to find out more by heading to the website www.snowdogsbythesea.co.uk for news and information or follow @SnowdogsBTS on Twitter. And watch this space for more, exciting updates…! $test =
  • Felt For Thought - Lucy Sparrow's 'Kickstarter'

    Felt Queen Lucy Sparrow has been a busy bee this year and we are excited to announce Sparrow has just launched her Kick Starter Campaign to raise funds for her 2017 Project based in New York which follows on from her successful 2014 'Cornershop'. The Stateside project is set to be five times the s....
    Felt Queen Lucy Sparrow has been a busy bee this year and we are excited to announce Sparrow has just launched her Kick Starter Campaign to raise funds for her 2017 Project based in New York which follows on from her successful 2014 'Cornershop'. The Stateside project is set to be five times the size of her original 2014 ‘Cornershop’ featuring over 8,000 individually hand crafted items from classic American food, from crisps and cereal to ready meals and soft drinks. Sparrow wants to excite the customers about filling their baskets to the brim, which is partly done through the use of the quirky, bright fun colours. The fun and bright colours are also a way to remind people about the importance of the humble corner shop and the significance they have in a person’s life; including the memories that come with them.  You can expect the stores to look like your everyday convenience store from the daily essentials to the home comforts. Everything made to the last exact detail, including felt hot dogs with the complimentary glitter glue sauce. Each product purchased will be wrapped uniquely to the store, in your own branded brown paper bag, just to make the whole experience a bit more exclusive and intriguing. All you have to do is pick up your felt basket, browse and fill it. Want to find out more about Lucy Sparrow's Kickstarter Campaign? Click here! Here at artrepublic.com we are delighted to now be stocking Sparrow's fabulous 'His 'N' Hers' Cabinets which is from a Limited Edition of 50 and contains an array of hand-crafted felt items. $test =
  • How to display art in your home

    We here at ArtRepublic constantly keep up to date with the latest in the art world and on our travels, have come across an info graphic created by Made.com on how to properly display art in your home. ....
    We here at ArtRepublic constantly keep up to date with the latest in the art world and on our travels, have come across an info graphic created by Made.com on how to properly display art in your home. $test =
  • Coming soon... new Marc Quinn limited editions

    artrepublic are very excited to be stocking a new range of Marc Quinn limited editions, due to hit the site in a matter of weeks. In preparation, we take a look at the artist and the blossoming of his exceptional career over the last twenty-five years. Marc Quinn is a veritable polymath of artistic....
    artrepublic are very excited to be stocking a new range of Marc Quinn limited editions, due to hit the site in a matter of weeks. In preparation, we take a look at the artist and the blossoming of his exceptional career over the last twenty-five years. Marc Quinn is a veritable polymath of artistic form: give him bread and he can sculpt it into a hand; ten pints of blood and he’ll whip up a bust of himself; solid gold becomes the world’s best-loved super model; animal flesh into abstract images; DNA creates portraiture - the list goes on. As he has expressed, “art is an engagement with the material world and its continuous transformative energy, as well as the immaterial world of emotions and ideas” and nothing could be a more consummate manifestation of this claim than Quinn’s long-spanning and impressive oeuvre. Marc Quinn projected himself onto the art scene in the early 1990s, as a member of the now well-established group known as the YBA, or Young British Artists. Having earned a degree in history and history of art from the University of Cambridge, Quinn became an assistant to sculptor Barry Flanagan and quickly went on to make a name for himself, exhibiting his first solo show in 1988 at the Jay Jopling/Otis Gallery. A stream of significant exhibitions followed, from the Sydney Biennale in 1992, to a representation in Young British Artists II at the Saatchi Gallery in 1993, and another solo show at London’s Tate Gallery in 1995, to name a few. What sets Quinn’s work apart from his contemporaries is his boundless fascination with the material, in any possible guise it might take. Indeed, every artist works with substance, but Quinn turns material into the very subject of his work, probing the scientific, philosophic and political with the fundamental question of what materiality is, at its heart. That which is produced from this nexus is invariably compelling, both aesthetically and intellectually. Quinn’s work never ceases to stun, shock, and inspire, through its visual vagaries and exceptional (and often grotesque) use of substance. His various self portraits - cast in bodily fluids from blood to faeces - are inimitably captivating but they also ask questions that lie at the root of what it means to be human: questions that much modern art has begun to lose touch with. Yet while this material-meets-existential preoccupation underlies Quinn’s work, it is hard to imagine a contemporary artist more diverse or multifarious. There is certainly continuity across Quinn’s oeuvre, but his vigorous drive to explore form keeps his output constantly fresh and evolving. Most often associated with the art of sculpture, Quinn began his career with a series of bread sculptures, creating classical-style busts, Giacometti-esque figures, and a series of distorted hands (his own, traced onto the dough) which would set the tone for his thought provoking aesthetic. The resultant pieces are not only visually compelling, but rich with thematic profundities: basic need and human survival, consumption, ritual, and chance are all explored and contemplated through these organic sculptures. Within a few years of the bread sculptures Quinn had begun work on what must surely be his most well known and captivating piece: ‘Self’. This three-dimensional self portrait, cast from ten pints of Quinn’s own, frozen blood, is an intensely powerful expression of the self in modern art, using the literal self as the material with which to produce the symbolic self. In so doing, Quinn has created something unequivocally profound, an extraordinary expression of existentialist reflection that comments on themes of life and death, dependency, ephemerality and the passing of time, while holding its viewer enthralled with its inimitable aesthetic. In a surprising shift of tone (though not entirely of theme), Quinn had turned his attention to horticulture by the end of the decade, producing the first of the flower sculptures - a series that (like ‘Self’) would become a continuous project over the following years and up to today. This time, Quinn favoured the readymade, but cleverly subverted the manmade Duchampian model, turning, instead, to nature, for what he has described as “the purest and most magical transformation of reality into art.” Returning to the frozen silicone technology used in ‘Self’, Quinn has captured the peak of efflorescence, holding each flower in an eternal image of itself, as it dies within its state of icy preservation. This really is art at its fullest: aesthetically bewitching, materially innovative and intellectually stimulating, with its essential question of the delicate relationship between humanity, technology and nature at its core. Quinn’s next series of projects saw a return to classical style, using history’s most conventional of sculptural materials: marble. Yet Quinn is an artist who - time and again - powerfully resists any label of conventionality and the choice of substance for his next project was no exception. Ironically named, ’The Complete Marbles’ consists of a series of pure white marble figures, in the style of neoclassical antiquity. Yet Quinn has chosen, for his subjects, not the Gods and Goddesses, heads of state, or Venus’ and Adonis’ of times gone by but, rather, real, everyday people with one thing in common: physical disability. The series - and its title - makes reference to the incomplete Elgin marbles which, over the years, have lost limbs, heads and other peripheral parts. By contrast, Quinn’s marbles do not portray loss or incompleteness but - in a beautiful celebration of difference and disability - the fullness of bodies which diverge from narrow conventions of normality and perfection. The series culminated with Quinn’s exceptional sculpture of artist Alison Lapper, which sat proudly atop Trafalgar Square’s fourth plinth from 2005-2007. Self, the body, and materially have remained consistent themes in Quinn’s work. If ten pints of his own blood was an impressive choice of material substance, Quinn’s collaboration with the National Portrait Gallery in 2000 took self-as-self-portrait to new heights: this time, Quinn used the DNA of his subjects - amongst whom was Nobel prize winner Sir John Sulston, responsible for sequencing the human genome - to represent them. From there, Quinn returned somewhat to his formal roots, using meat and animal carcasses cast in bronze, to create a series of abstract sculptures in what was surely an homage to existentialist painter Francis Bacon and his memorable oil painting ‘Figure with Meat’. Quinn’s career exploded in the early 2000s with project after project, each unlike the next but all bound together by their provocative themes and compelling aesthetics: ‘Evolution’ depicted nine stages of the human embryo, each hewn from pink marble and huge in stature, like the towering Moai heads of Easter Island; ‘Big Bang Pop’ blew up pieces of popcorn to an impressive scale and cast them in bronze to represent the “co-existence of the banal and the sublime, and everyday miracles” at the forefront of so much of his work; for ‘History Painting’, Quinn shifted unexpectedly to oil painting and Jacquard tapestry to present snapshots of global catastrophe in the media, from the iconic mushroom cloud, to the riots of 2011. Recent works have seen a gravitation towards canvas painting and a maturing of style: Quinn has departed somewhat from his Bacon-esque, existentialist roots, towards something a little more hopeful and celebratory, still probing the fundamental questions of life, death and humanity, but in a way which is optimistic, moving, and full of the sublime. Meat, for example, remains a key theme but, in his 2011 series of ‘Flesh Paintings’, Quinn has used ribbons of red and white flesh to create strikingly beautiful, almost abstract oil paintings, full of the vibrancy of life, rather than the overtones of death exposed in ‘The Meat Sculptures’. Similarly, botany and horticulture has remained a strong trope in Quinn’s work, but the flowers on canvas have shed the underlying despondency of the dying, frozen casts, retaining the tremendous beauty of perfect bloom. Enormous bronze casts of shells, aluminium sculptures of Bonsai trees, and stainless steel ocean waves, frozen in dynamic movement, have comprised Quinn’s recent work, all tributes to the beauty of the natural world and its profoundly important relationship to art. Most recently, Quinn has turned his hand to fashion, creating a series of bags for Dior, all splashed with his exuberant, hyper-real flower displays. Quinn has also included, for the Dior range, his iris images, from the 2009 series ‘Irises’. These are not, as you might expect, images of the flower, but of the “window to the world” - the human eye - in all of its exquisite detail. Quinn is enthralled by “all of the mystery and uncertainty of life” contained within the eye, and describes it as “a very profound expression of the ambiguity which is at the heart of our existence.” Quinn’s irises are breathtakingly beautiful: glassy round shots of intense pigment, coalescing in a way that reminds us of the spectacular power of nature and humanity, each one a “microscopic map of the individual’s identity.” In a poignant way, these too are readymades: Quinn has done nothing more than transplant the existing object onto canvas creating, through a process of enlargement, awe-inspiring pieces of near-abstract art. The new editions to arrive at artrepublic will feature a selection of the iris images, as well as a stunning series of orchid prints and a handful of woodcuts and etchings. Expect high impact, bold aesthetics and intensely thought-provoking pieces from this master of contemporary art. Watch this space… View all Marc Quinn editions $test =
  • Happy Birthday Damien Hirst

    Today is Damien Hirst’s birthday so with that in mind we thought we would highlight some of the amazing works produced by the Birthday boy. ‘The Physical Impossibility of Death in the Mind of Someone Living’ This tiger shark preserved in formaldehyde was exhibited in the first of a series ....
    Today is Damien Hirst’s birthday so with that in mind we thought we would highlight some of the amazing works produced by the Birthday boy. ‘The Physical Impossibility of Death in the Mind of Someone Living’ This tiger shark preserved in formaldehyde was exhibited in the first of a series of Young British Artists shows at the Saatchi Gallery (and purchased by Charles Saatchi) which established Damien Hirst and other YBA’s. He won the Turner prize in 1995 and his piece Mother and Child Divided being the focal point of the exhibition again featuring animals preserved in formaldehyde. If you love this shark you can have it on your wall at home with this amazing lenticular. The 3D properties of the lenticular are used to enhance the life like appearance of the shark. Spot paintings The spot paintings are amongst Hirst’s most widely recognised works and first appeared at his 1988 Freeze show painted directly onto the warehouse walls. The largest series of these paintings take their titles from the chemical company Sigma-Aldrich’s catalogue ‘Biochemicals for Research and Diagnostic Reagents’, a book Hirst stumbled across in the early 1990’s. We have a great selection of spot paintings in a variety of sizes, styles and colours as well as a variety of printing methods. Image Credit: Courtesy Other Criteria. © Damien Hirst & Science Ltd. Pharmacy Following on from the Pharmaceutical names of his spot paintings Damien Hirst has used a variety of Pharmaceutical l objects in his work including the recreation of an entire pharmacy in his 1992 installation. He has since created oversize pill sculptures, images and even wallpaper. He also has had two restaurant interiors designed around his pharmacy works. We have a great selection of oversize pill sculptures from his Schizophrenogenesis exhibition as well as the series of pill Silkscreens. Butterflies Butterflies are another big theme in Damien Hirst’s works, both live butterflies in his installations as well as ones stuck on canvases. Hirst has had a career-long fascination with the beauty, fragility and symbolism of butterflies. We have some great examples of Hirsts Butterflies including the Sanctum series of butterflies arranged in the style of stained glass windows, individual butterfly etchings and the book of his amazing foil block Souls butterflies. For The Love of God The 2007 piece ‘For the Love of God’ is one of Hirst’s best known works a diamond encrusted platinum cast of a human skull. Costing £14 million to produce, the work was first shown at the White Cube gallery in London. The base for the work is a human skull bought in a shop in Islington. It is thought to be that of a 35-year-old European who lived between 1720 and 1810. The teeth in the work come from this original skull. We have a beautiful frame lenticular of this work capturing the 3D nature of the original and set on a dramatic black background. Still haven’t seen the Damien Hirst work you are looking for? View more here     $test =
  • Spotlight on lenticular printing

    Lenticular images give the illusion of depth (3D), movement or merge two different images. They do this by taking images and splicing them into strips these are then interlaced with other images. Over the top of the image is a magnifying lens this is broken up into lenticules which show the view....
    Lenticular images give the illusion of depth (3D), movement or merge two different images. They do this by taking images and splicing them into strips these are then interlaced with other images. Over the top of the image is a magnifying lens this is broken up into lenticules which show the viewer a different image as the image is viewed from different angles. It is a highly specialised process and requires the highest quality precision printing to create a perfect image. Artists such as Peter Blake and Damien Hirst have bought their works to life using the Lenticular printing method. Other artists like Martin Richardson and Julian Opie specialise in producing art that moves or appears 3D David Bowie - Experimental Portrait by Martin Richardson This type of printing has a fascinating history, from seventeenth century Royal portraits, to early corporate advertising, and kitsch memorabilia. In 1692, French painter Bois-Clair discovered he could achieve a multi-dimensional effect on canvas by interposing a grid of vertical lathes between the viewer and the painting. He has been held to be the inventor of two-way paintings but there is evidence that he had been following even older traditions. ‘Turning Pictures’ were known of in the seventeenth century and are referred to by Shakespeare. You can make one of these simple lenticulars using folded paper. The first images to be described as ‘lenticular’ were produced in the 1930s by Victor Anderson. By the late 1940s, Mr Anderson’s company, ‘Vari-Vue’, was producing millions of simple lenticular images a year for everything from postcards of women winking to Cracker Jack prizes, political campaign buttons, and magazine inserts. The technology for lenticular printing gained popularity in the 1960’s and 1970’s featuring on postcards, book covers, rulers and all sorts of printed products. Notable lenticular prints from this time include the limited-edition cover of the Rolling Stone’s album and Roy Lichtenstein’s art work ‘Fish and Sky. In 2004 Chris Levine to created a lenticular portrait of Her Majesty The Queen. Chris’s 21st century work, 'Lightness of Being', was the first ever 3D portrait of The Queen. To create his lenticular print Chris Levine and a technical team took over 10,000 images and 3D data-sets during two sittings at Buckingham Palace, but the portrait is made up of just nine them. Now we have amazing new lenticular from Magnus Gjoen and Eelus with more to come so watch this space for some fantastic moving works of art. View all Lenticular prints $test =
  • Live with the art you love a guide to own art

    At artrepublic we are passionate about making art accessible to all and own art is an amazing way of doing just that. Created by Arts Council England the Own Art scheme enables you to spread the cost of hundreds of limited editions and original works of art. What is Own Art? Own Art is a fantastic....
    At artrepublic we are passionate about making art accessible to all and own art is an amazing way of doing just that. Created by Arts Council England the Own Art scheme enables you to spread the cost of hundreds of limited editions and original works of art. What is Own Art? Own Art is a fantastic scheme enabling you to spread the cost of a wide variety of phenomenal signed limited edition prints and original artworks both framed or unframed. Own Art has been running for over 10 years and has helped many people start collecting contemporary art or simply get an amazing piece of art they love hanging in their home. What can I buy? Own Art loans are available for the purchase of contemporary art and craft of any kind in any media. The works must be by a contemporary artist; meaning the scheme can support today’s living artists through sales of their work. The art must be an original, not a reproduction, and from a limited edition of 150 or less. The idea is to encourage people to invest in the highest quality art where the artist has had a definite creative involvement. Own Art loans allow you to borrow from as little as £100 up to a maximum of £2,000 for the purchase of selected limited edition prints or original art works. There is no limit to the number of times you can use Own Art to build your own art collection. There are also no charges if you decide to pay off the loan early, and you change the date of your monthly direct debit if needed. Artists such as Magnus Gjoen, Peter Blake and Pure Evil are amongst hundreds of sensational artists who have selected prints eligible for purchase with Own Art. Get some great art for as little as £10 a month on Own Art for eligible limited edition prints in the opening price bracket of £100, from amazing artists such as Static , Donk and Joe Webb. If you are buying something more valuable than £2,000 you will be pleased to know that you can use an Own Art loan as a part payment (as long as it is eligible). Please do note that you cannot apply for multiple Own Art loans to cover the costs of a single purchase. You can view hundreds of eligible works of art in the own art section of the website. Who is eligible? Own Art is remarkably easy to use. The only criteria are that you must be – Over the age of 18 A permanent UK resident Working at least 16 hours a week (employed or self-employed) If you’re not working but married to or living with a partner who does have a full time job, you can still apply as long as your partner is happy to have their employment details included on your application. How do I apply? You can apply and even sign you agreement all on line simply select pay by finance from the own art tab on the product page or when you are in the checkout. You can choose exactly how much you want to borrow from Own Art, adjusting the price with the sliding bar. If you are using the scheme as a part payment you then need to pay the remaining balance and follow the prompts to complete the loan application. It is surprisingly easy, but if you do need a hand you can always call us on 0345 646 1234 or email us at support@artrepublic.com.  It can all be done online in a matter of minutes and once we have received your application and it has been approved we will expertly pack your art and send it off to you. We are adding new work to our site all of the time so channel your inner Charles Saatchi or Peggy Guggenheim and have a browse of our current favourites...   $test =
  • Performing for the Camera at Tate Modern

    Performing for the Camera examines the relationship between photography and performance, from the invention of photography in the 19th century to the selfie culture of today. Bringing together over 500 images spanning 150 years, the exhibition engages with the serious business of art and performan....
    Performing for the Camera examines the relationship between photography and performance, from the invention of photography in the 19th century to the selfie culture of today. Bringing together over 500 images spanning 150 years, the exhibition engages with the serious business of art and performance, as well as the humour and improvisation of posing for the camera. Amalia Ulman Excellences & Perfections (Instagram Update, 8th July 2014),(#itsjustdifferent) 2015 Courtesy the Artist & Arcadia Missa The exhibition begins by considering the documentation of important performance works such as Yves Klein’s Anthropometrie de l’epoque blue 1960, a live painting event using the bodies of naked women, as well as key 60s performances by Yayoi Kusama, Marta Minujín and Niki de Saint Phalle. Drawing on an extensive collection of images by Harry Shunk and János Kender, two of the most important photographers to have worked with performance, the exhibition features iconic images and many rarely seen studies, including those revealing how the photomontage of Yves Klein’s famous Leap into the Void 1960 was made. By charting how performers and photographers have also worked collaboratively, the exhibition examines live events that happened solely for the camera. Beginning with some of the earliest works in the exhibition, photographs from Nadar’s studio in 19th century Paris show the famous mime artist Charles Deburau acting out poses as the character ‘Pierrot’. Later works drawing on this same idea include Eikoh Hosoe’s Kamataichi, a collaboration with the choreographer and founder of the Butoh movement Tatsumi Hijikata. This seminal 1969 work is one of the first to have given equal authorial credit to the performing subject and the photographer. Masahisa Fukase From Window 1974 © Masahisa Fukase Archives. Courtesy Michael Hoppen Gallery. The photographic image went on to become an arena within which to act, distinct from the live stage of theatrical or artistic performance, in works by artists like Charles Ray, Carolee Schneemann and Erwin Wurm. These artists often perform for their own cameras, either physically as in Paul McCarthy’s Face Painting – Floor, White Line 1972 or more conceptually through ideas of self-image and fantasy as in the work of Boris Mikhailov. The construction of self-identity and posing is explored through iconic works by Claude Cahun, Man Ray and Cindy Sherman, as well as more recent projects like Samuel Fosso’s African Spirits 2008, in which the artist photographs himself in the guise of iconic figures like Martin Luther King Jr and Miles Davis. The exhibition looks at the innovative and performative approaches taken to self-portraiture by Lee Friedlander, Masahisa Fukase and Hannah Wilke. Identity and self-image were also important for artists like Jeff Koons and Andy Warhol in their own marketing and promotional photographs, and in more playful works like Mike Mandel’s Baseball Photographer Trading Cards 1974 in which photographers pose as ‘collectable’ baseball players. The world of social media is addressed in a key recent work staged on Instagram by Amalia Ulman. The exhibition shows not only that photography has always been performative, but that much performance art is inherently photographic. Performing for the Camera 18 February – 12 June 2016 Tate Modern Opening Hours: Daily 10.00 – 18.00 Fri & Sat: 10.00 - 22.00 $test =
  • Botticelli Reimagined at the V&A museum London

    500 years after death of Sandro Botticelli this major exhibition at the V&A will explore the variety of ways artists and designers from the Pre-Raphaelites to the present have responded to his artistic legacy. Venus, 1490s by Sandro Botticelli, Gemäldegalerie Staatliche Museen zu Berlin Preu....
    500 years after death of Sandro Botticelli this major exhibition at the V&A will explore the variety of ways artists and designers from the Pre-Raphaelites to the present have responded to his artistic legacy. Venus, 1490s by Sandro Botticelli, Gemäldegalerie Staatliche Museen zu Berlin Preußischer Kulturbesitz, Photo: Volker-H. Schneider Botticelli is now recognised as one of the greatest artists of all time. His celebrated images are firmly embedded in public consciousness and his influence permeates art, design, fashion and film. However, although lauded in his lifetime, Botticelli was largely forgotten for more than 300 years until his work was progressively rediscovered in the 19th century. Telling a story 500 years in the making, Botticelli Reimagined will be the largest Botticelli exhibition in Britain since 1930. Including painting, fashion, film, drawing, photography, tapestry, sculpture and print, the exhibition will explore the myriad of ways that artists and designers have reinterpreted Botticelli. It will include over 50 original works by Botticelli, alongside works by artists such as Dante Gabriel Rossetti, Edward Burne-Jones, William Morris, René Magritte, Elsa Schiaparelli, Andy Warhol and Cindy Sherman. Botticelli Reimagined will be divided into three major sections, entitled: Global, Modern, Contemporary; Rediscovery and Botticelli in his own Time. Rebirth of Venus, 2009 by David LaChapelle, Creative Exchange Agency, New York, Steven Pranica / Studio LaChapelle, (c) David LaChapelle Global, Modern, Contemporary will show how Botticelli’s imagery attained its present level of acclaim. This section is dominated by The Birth of Venus, depicting the naked Venus emerging from a shell on the seashore, which cannot leave its permanent display in the Uffizi Gallery, Florence. Andy Warhol’s Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482) (1984) accommodates the face and flowing hair of Botticelli’s icon in his signature flat style and bold palette, while Yin Xin’s Venus After Botticelli (2008) reinterprets Venus with an Asian appearance. The familiar pose of Botticelli’s figure can be seen in David LaChapelle’s saturated and artificial Rebirth of Venus (2009), and Reineke Dikjstra’s Beach Portraits (1992) show adolescents as monumental figures against the water’s edge. A dress and trouser suit of patchwork panels from The Birth of Venus from Dolce & Gabbana’s S/S 1993 collection will be shown with two Elsa Schiaparelli evening dresses (1938) ornamented with embroidered foliage, inspired by Pallas and the Centaur. Botticelli’s influence on film includes the sequence of Ursula Andress emerging from the sea clasping a conch shell from Dr No (1962) and an excerpt from The Adventures of Baron Munchausen (1988) in which Uma Thurman re-enacts The Birth of Venus. Functioning like the large-scale frescoes he studied in Italy, Bill Viola’s Going forth by Day is a digital image cycle inspired by Botticelli’s inventions. In 5th surgery performance - Operation opera (1994) ORLAN has plastic surgery to mimic Botticelli’s Venus as part of a performance series rewriting Western art through her own body. This section will also include Tamara de Lempicka’s trompe-l’oeil Painting with a Botticelli (1946) which presents Botticelli as the key to art, as well as key works by Robert Rauschenberg, René Magritte and Maurice Denis. La Ghirlandata, 1873 by Dante Gabriel Rossetti, © Guildhall Art Gallery 2015, Photo: Scala, Florence/Heritage Images Rediscovery will trace the impact of Botticelli’s art on the Pre-Raphaelite circle during the mid-19th century. Dante Gabriel Rossetti, John Ruskin and Edward Burne-Jones all collected Botticelli’s work, and his aesthetic was reinterpreted in Rossetti’s La Ghirlandata (1873) and Burne-Jones’ The Mill: Girls Dancing to Music by a River (1870-82). The Florentine master’s celebrated Primavera haunts this section, as is shown by William Morris’ The Orchard (1890), a tapestry depicting medieval ladies in a bountiful scene, Evelyn De Morgan’s Flora (1894) illustrating the nymph of flowers, and the only surviving film of Isadora Duncan dancing (c.1900). Copies of The Birth of Venus by Edgar Degas and Gustave Moreau (1859) as well as Etienne Azambre’s Two Women copying Botticelli’s fresco of Venus and the Graces (1894) demonstrate the vogue for copying his work. Botticelli’s European influence is manifest in major paintings by Jean-Auguste-Dominique Ingres, Arnold Böcklin and Giulio Aristide Sartorio. Pallas and the Centaur, c.1482 by Sandro Botticelli, © Galleria degli Uffizi, Florence, 2015, Photo: Scala, Florence - courtesy of the Ministero Beni e Att. Cultura The final section of the exhibition arrives at Botticelli in his Own Time. This will show that Botticelli was both a supremely skilled artist and a designer of genius who ran a highly successful workshop. Exhibits will include his only signed and dated painting The Mystic Nativity (1500), three portraits supposedly of the legendary beauty Simonetta Vespucci, and the exquisitely detailed Pallas and the Centaur (1482), travelling to London for the first time. A number of variations on the Virgin and Child thematic in different formats will illustrate Botticelli’s creativity as a designer, while a spectacular group of his rare graphic corpus including five of his drawings of Dante’s Divine Comedy reflect his skill as a draughtsman. The show will close with two monumental fulllength paintings of Venus, reprising the heroine of The Birth of Venus, and will also feature the V&A’s Portrait of a Lady known as Smeralda Bandinelli (c. 1470-5), formerly owned by Rossetti and restored especially for this exhibition. Victoria and Albert Museum London Opening Hours: Daily: 10.00 – 17.45 Fri: 10.00 – 22.00 $test =

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