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Kandinsky Retrospective Brings Modern Masterworks from the Centre Pompidou–Paris to the Frist Center The Frist Center for the Visual Arts presents Kandinsky: A Retrospective , an exhibition celebrating a lifetime of work by Wassily Kandinsky (1866–1944) in the Center’s Ingram Gallery from September 26, 2014–January 4, 2015. Chronicling four decades of artistic evolution—from early figurative works to exuberant experiments in abstraction and color—this exhibition invites visitors on an extraordinary stylistic journey of one of the most innovative modern art masters of the twentieth century. Kandinsky: A Retrospective is drawn largely from the collection of the Centre Pompidou–Paris, and features more than 100 paintings, drawings and other works. A majority of these stunning works were part of the artist’s personal collection and were given by the artist’s widow, Nina. Additional paintings from the Milwaukee Art Museum, including works by Gabriele Münter, and the Sol

Thomas Hart Benton (American, 1889-1975) City Activities with Dancehall from America Today, 1930–31. Mural cycle consisting of ten panels. Egg tempera with oil glazing over Permalba on a gesso ground on linen mounted to wood panels with a honeycomb interior. The Metropolitan Museum of Art, Gift of AXA Equitable, 2012   Exhibition Dates: September 30, 2014–April 19, 2015 The exhibition Thomas Hart Benton’s America Today Mural Rediscovered celebrates the gift of Thomas Hart Benton’s epic mural America Today from AXA Equitable Life Insurance Company to The Metropolitan Museum of Art in December 2012. Missouri native Thomas Hart Benton (1889–1975) painted the 10-panel mural cycle in 1930–31 for New York’s New School for Social Research to adorn the boardroom of its International Style modernist building on West 12th Street. It was commissioned by the New School’s director, Alvin Johnson, who had fashioned the school as a center for progressive thought and education in Greenwic

August 5 through October 26, 2014    El Greco (1541–1614) Vincenzo Anastagi, c. 1575 Oil on canvas 74 x 49 ⅞ inches The Frick Collection, New York Photo: Michael Bodycomb  El Greco’s Vincenzo Anastagi , acquired a century ago by Henry Clay Frick, is one of The Frick Collection’s most celebrated paintings and one of only two full-length portraits by the master. It was executed during the artist’s six-year stay in Rome, before he moved to Spain, where he spent the rest of his career. Much of the force of this work emanates from the resplendent half-armor worn by Anastagi. Rich highlights applied with broad brushstrokes accentuate the steel, its metallic sheen contrasting with the velvety texture of Anastagi’s green breeches and the dark crimson curtain.    Scipione Pulzone (c. 1540/42–98) Jacopo Boncompagni, 1574 Oil on canvas 48 x 39 ⅛ inches Private collection, courtesy of Jean-Luc Baroni Ltd. Photo: Michael Bodycomb  To mark the 400th anniversary of El Greco’s death, the Frick w

30 April – 21 September 2014 This spring, the National Gallery presents the first exhibition in Britain to explore the role of architecture in Italian Renaissance painting of the 14th, 15th and 16th centuries. Domenico Veneziano, ‘Saint Zenobius Bishop of Florence restores to life a widow's son in Borgo degli Albizzi, Florence', about 1442-1448 © The Fitzwilliam Museum, Cambridge ' Building the Picture: Architecture in Italian Renaissance Painting ' aims to increase visitors' appreciation and understanding of some of the most beautiful and architectonic paintings by Italian masters such as Duccio , Botticelli , Crivelli and their contemporaries. Visitors will be encouraged to look in new ways at buildings depicted in paintings, and to investigate how artists invented imagined spaces that transcended the reality of bricks, mortar and marble.   With a record-breaking six million visits during 2013 , the National Gallery remains committed to researching and

An American in London: Whistler and the Thames,” opening May 3 at the Smithsonian’s Arthur M. Sackler Gallery, is the first major exhibition devoted to American artist James McNeill Whistler’s early period in London, and it is the largest U.S. display of his work in almost 20 years. The exhibition showcases changing views of the capital city’s iconic riverbanks and waterways, revealing how Whistler emerged as one of the most innovative and original artists of the 19th century while London evolved into a modern city. “Whistler was one of the most influential painters of his time, and now in a single show we’re able to look at the transformation of his work and the transformation of a city,” explained Julian Raby, The Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and Freer Gallery of Art. “This is a huge opportunity for the U.S. public to celebrate one of their greatest artistic figures.” On view through Aug. 17, the exhibition features more than 80 works from major muse

Coast Guard Boat I’ s detail and emphasis on light, embodies Edward Hopper's aesthetic from the summer of 1929, as the majority of his work from the period was in watercolor ( estimate: $1,000,000-1,500,000).  Hopper preferred to use watercolor for his New England works as this medium was conducive to working  en plein air  and provided him a freedom not afforded by oil paint.  As is the case with Coast Guard Boat I,  Hopper often used water in his work as a means of introducing an element of motion into a scene that is otherwise dominated by stillness.  The beauty of  Coast Guard Boat I  lies in the contradiction between weightlessness and heft, motion and stillness. This tension is echoed by the ropes, which tether the boat to the shore. At once wanting to be of the sea yet firmly harnessed creates a sense of restlessness and even agitation to the otherwise serene, idyllic image. Milton Avery’s The Mandolin Player ( estimate: $800,000-1,200,000) is just one of the six

Christie’s spring sale of American Art on May 22 will offer total of 172 lots, with outstanding works of from a range of styles and genres, including Illustration, Modernism, Western Art, Nineteenth Century and American Impressionism.  This fantastic array of masterworks is led by Norman Rockwell’s The Rookie (Red Sox Locker Room) and Thomas Moran’s The Grand Canyon of the Colorado.   The Rookie illustration ©SEPS. Used with permission from Curtis Licensing, Indianapolis, Indiana. All Rights Reserved The Rookie (Red Sox Locker Room) by Norman Rockwell, which has never been offered at auction, was painted in 1957 for the March 2 nd cover of The Saturday Evening Post and has remained in the same private collection for nearly thirty years.   It has been publicly exhibited at the Museum of Fine Arts, Boston twice–once in 2005 and again in 2008–following World Series victories by the Red Sox. The work was painted in 1957 for the March 2nd cover of The Saturday Evening Post and has