Exhibition Schedule

NOW ON VIEW

Jim Dine and Claes Oldenburg: Transformations of the Ordinary
Through April 27, 2014
Freidenrich Family GalleryPunching_bag
Jim Dine and Claes Oldenburg have been linked since the early 1960s, when they both participated in "Happenings" on New York's Lower East Side. Dine and Oldenburg (now 78 and 85, respectively) are known internationally for their transformations of household items into lifelike objects with monumental qualities. This selection features approximately 20 prints in which the artists, with characteristic wit and introspection, give life to the inanimate. IMAGE: Claes Oldenburg (U.S.A., b. Sweden, 1929), Double Nose/Purse/Punching Bag/Ashtray, 1970. Lithograph. Lent by the Marmor Foundation. © Claes Oldenburg.

The Royal Image: Portraits, Satires, and Life at Court
Through May 4, 2014
Early European Gallery Mad_Queen
The 16 prints and drawings featured in this installation demonstrate how artists depicted European royalty and courtly culture between the 15th and 18th centuries. Works on view include etchings by Romeyn de Hooghe, who created pointed political satires as well as celebratory allegorical pictures brimming with aristocratic pomp and historic references. The exhibition also highlights diverse royal portraits by influential artists such as Jonas Suyderhoef, Stefano della Bella, and Jacques Callot. Views of prominent estates and castles, depicted during times of war and peace, are also on display. IMAGE: Jonas Suyderhoef (Netherlands, c. 1613–1686), Portrait of Johanna the Mad, Queen of Castille, c. 1643–1644. Etching and engraving. Gift of Andrea Rothe and Jeanne McKee-Rothe, 2010.88.

The Honest Landscape: Photographs by Peter Henry Emerson
Through May 4, 2014
Robert Mondavi Family Gallery
Englishman Peter Henry Emerson began taking photographs in 1882 and soon became an outspoken and highly influential Potaotesadvocate for fine art photography. He promoted photographs made without darkroom manipulation, and also wanted the medium to be recognized on its own terms—not as a mechanical imitation of painting. This installation presents a selection of Emerson's lushly beautiful platinum prints and photogravures featuring the English and Irish countryside. Images of villages, rivers, farmers and fishermen capture the picturesque and harmonious coexistence of man with nature. Approximately 25 works on display. IMAGE: Peter Henry Emerson (England, b. Cuba, 1856–1936), Young Woman Peeling Potatoes, 1887. Photogravure. Gift of William Rubel, 1982.334.1.

Conversation Pieces
Through May 11, 2014
Through four pairings of works on paper-human figures, Con_pairs_200wbotanical still lifes, nature studies, and artists' portraits-the exhibition generates pictorial dialogues revealing formal and conceptual similarities, as well as differences in technique, mood, and context. IMAGES: Left-John Constable (England, 1776–1837), Cloud Study, c. 1821–23. Pencil and watercolor. Museum Purchase Fund, 1971.33. Right-Barbara Hepworth (England, 1903–1975), Curved Forms with Blue, 1946. Pencil, gouache and oil. Bequest of Dr. and Mrs. Harold C. Torbert, 1984.521. © Bowness, Hepworth Estate.

American Photographs: A Cultural History
Through July 6, 2104
Lynn Krywick Gibbons Gallery Cannon_company
Professor Alexander Nemerov designed this exhibition to illuminate his concurrent course on American photographs. The 14 works on display range from a Civil War era photograph by Timothy O’Sulllivan, to street photography by Robert Frank and Garry Winogrand, to work by Diane Arbus from the 1960s and Helen Levitt from the 1970s. Other artists include Lewis Wickes Hine, Alvin Langdon Coburn, Marion Post Wolcott, and W. Eugene Smith. IMAGE: Timothy O’Sullivan (b. Ireland, 1840–1882), Cannon Company on the Firing Line, Civil War, c. 1863. Albumen print. Gift of Ann Rosener, 1975.42

 

Inside Rodin’s Hands: Art, Technology, and Surgery
Through August 3, 2014
Ruth Levison Halperin Gallery
Dr. James Chang, an internationally renowned hand Rodin_handreconstruction surgeon at Stanford, has long been fascinated by Rodin’s sculptures of hands, many of which evince medical conditions such as Dupuytrens syndrome and Apert syndrome. Chang has incorporated these sculptures into his hand surgery educational program, using new technologies that scan the sculptures, create interior anatomy, and allow for virtual surgery to correct the condition. This groundbreaking, multi-disciplinary exhibition demonstrates these technologies and provides an exciting interactive experience for visitors. It also offers antecedent depictions of the hand from 16th- to 19th-century anatomical texts. Learn more IMAGE: Auguste Rodin (France, 1840–1917), Large Clenched Left Hand, c. 1888. Bronze. Posthumous cast, 1971, 7/12. Gift of the Iris and B. Gerald Cantor Foundation, 1974.49.

 

Mapping Edo: The Social and Political Geography of Early Modern Japan
Through September 7, 2014
Madeleine H. Russell Gallery
Experience Edo-period Japan (1615–1868) through archival Edo_gifmaps, prints, and paintings of the capital and surrounding provinces. This exhibition explores the shift that came with Japan's unification at the start of the period in how the ruling shogunate and commercial enterprises visualized and presented early modern Japan. Included on view are selections from Utagawa Hiroshige's One Hundred Famous Views of Edo series, maps of provincial castles, and images of famously beautiful places and venerable historical sites. Approximately 20 works on display.
IMAGE: Utagawa Hiroshige, Ryogoku Bridge and the Great Riverbank, 1857. From One Hundred Famous Views of Edo series. Woodblock print. Gift of Martin S. Mitau, 1967.70.6

Within and Without: Transformations in Chinese Landscapes
Through January 12, 2015
The landscape, the most prominent painting traditiXiaodongon in China, brings with it more than one thousand years’ worth of precedent and often has evolved in tandem with the social changes facing practicing Chinese artists. The genre continues to be mined by contemporary artists as a means to explore cultural heritage and to represent current transformations—to China’s landscapes, cityscapes, society, and culture. This exhibition of 15 works showcases Chinese artists who look both to their immediate environment and to the landscapes of China’s past in their interpretations and provocations. A variety of media—ink on paper, oil painting, and photography—are on display. IMAGE: Liu Xiaodong, A Highway Near the Yangzi, 2006. Oil on canvas. Lent by Mr. and Mrs. L.S. Kwee.

FUTURE EXHIBITIONS

Carleton Watkins: The Stanford Albums
April 23–August 17, 2014
Pigott Family Gallery
YosemiteCarleton Watkins, one of the greatest landscape photographers of the 19th century, is perhaps best known for mammoth-plate photographs of California’s legendary Yosemite Valley. The photographs were unprecedented in their size and detail, and helped convince the 38th U.S. Congress and President Lincoln to pass the Yosemite Act of 1864, the first official step toward preserving the Sierra Nevada valley for public use. To commemorate the 150th Anniversary of this Act, the Cantor will mount a major exhibition of Watkins’s Pacific Coast photographs, all drawn from three unbound albums in Stanford Library’s Special Collections and Archives. The exhibition will feature iconic and rarely-seen images of Yosemite, the area around San Francisco, and of the Columbia River and Oregon. Learn more IMAGE: Carleton Watkins (U.S.A., 1829–1916), Washington Column, 2082 ft., Yosemite, 1865–1866, from the album Photographs of the Yosemite Valley. Albumen print. Lent by Department of Special Collections, Stanford University Libraries.

Night, Smoke, and Shadows: The Presence of Atmosphere in the 19th Century
May 14–October 6, 2014
Robert Mondavi Family Gallery
Many artists active in the 19th century manipulated the appearance of atmosphere in order to create the illusionSt_Pauls of space and texture, imply a mood, and even shape the narrative content of an image. They were inspired by industrialization and new ideas about optics and abstraction, and they exploited unprecedented opportunities to experiment with processes and materials. This exhibition includes prints, drawings, and photographs by artists such as James McNeill Whistler (U.S.A., 1834–1903), Max Klinger (Germany, 1857–1920), Félicien Rops (Belgium, 1833–1898), and Alvin Langdon Coburn (U.S.A., 1882–1966).
IMAGE: Alvin Langdon Coburn (Wales, b. U.S.A., 1882–1966), St. Paul's from Ludgate Circus, c. 1905. Photogravure. Museum Purchase Fund, 1973.91.

Artists Observe Nature
May 14–October 6, 2014
Early European Gallery
After 1600, it became increasingly common for draftsmenSandby and
printmakers to study nature closely and directly, rather than copy natural motifs from books and other artworks. This exhibition features approximately 18 prints and drawings that reveal the empiricist’s impulse to capture nature, with its fine detail and fleeting light effects, and record it on paper. IMAGE: Edward Fisher (England, 1722–1785), Portrait of Paul Sandby, 1763. Mezzotint. Mortimer C. Leventritt Fund, 1976.213.

The New Landscape: Experiments in Light by Gyorgy Kepes
July 23 – November 17
This exhibition explores the question of art’s relevance in a scientific age through the work of Hungarian-born American artist, designer, and visual theorist Gyorgy Kepes (1906–2001). Forty-five panels depict what Kepes, associated with KepesGermany’s Bauhaus and Chicago’s New Bauhaus, called the “new landscape” of scientific imagery—microscopic minerals, cellular patterns, and tissue fibers—as well as Kepes’s own experiments with camera-less photographic techniques. The exhibition is one of the first projects resulting from a $500,000 grant awarded to the Cantor and the Department of Art & Art History from the Andrew W. Mellon Foundation to facilitate research conducted by Stanford Ph.D. candidates on the Cantor’s collection. IMAGE: Gyorgy Kepes, Light Graphic, 1946. Photogenic, reproduced on photographic panel. Courtesy of Department of Special Collections, Stanford University Libraries.Oldenberg_heart

 

Pop Art from the Anderson Collection
August 13, 2014–October 26, 2015
IMAGE: Claes Oldenburg, Funeral Heart, 1961. Enamel paint, plaster, and muslin. Gift of Harry W. and Mary Margaret Anderson.

 

Sympathy for the Devil: Satan, Sin, and the Underworld
August 20–December 1, 2014
Ruth Levison Halperin Gallery
As Jackson Pollock’s important painting Lucifer comDevil_as_tailores to Stanford’s Anderson Collection, this exhibition explores the visual history of the Devil and his realm from the 16th to the 20th century. Paintings, sculptures, prints, and drawings by artists including Albrecht Dürer, Hendrick Goltzius, Jacques Callot, Gustav Doré, and Max Beckmann reveal how the Devil evolved from the bestial adversary of Christ to a rebellious, romantic hero or shrewd villain. The exhibition also reveals the artists’ inspiration: religious sources and accounts by Homer, Dante, Virgil, and Milton. IMAGE: Jerome Witkin, The Devil as a Tailor, 1978-1979, oil on canvas, 72 x 65 inches; collection of James and Barbara Palmer, State College, Pennsylvania.

Robert Frank in America
September 10, 2014–January 5, 2015
Pigott Family Gallery
This exhibition of 125 photographs sheds new light on the making of influential photographer Robert Frank’s prFrank_Hollywoodovocative book, The Americans. Frank traveled the nation between 1955 and 1956 for this project. His images document subjects such as Hollywood (seen both from within the studio and from the fans’ perspective) and the Ford Motor Company plant in Detroit, while probing social issues such as politics, race, religion, and postwar consumer culture. The exhibition, which includes photographs from the book as well as many unknown and unfamiliar pictures, explores a rich body of work that remains largely hidden more than half a century after it was made. IMAGE: Robert Frank (U.S.A., b. Switzerland, 1924), Hollywood, 1958. Gelatin silver print. Gift of Bowen H. McCoy, 1984.493.70.

Daumier on Art and the Theatre
October 15, 2014–March 16, 2015
Robert Mondavi Family Gallery
After 1840, Honoré Daumier (France, 1808–1879) made numerous prints for the popular press that deal with art theory, Sad_sculpturethe public reception of painting, and the performing arts. With sharp wit and a keen understanding of the complexities of modern life, Daumier turned his critical eye on the artists, musicians, dancers, and singers in the spotlight as well as their audience in these insightful and charming images. This installation contains roughly 16 prints and one drawing, all by Daumier.
IMAGE: Honoré Daumier (France, 1808–1879), The Sad Expression of Sculpture Being Surrounded by Painting (Triste Contenance de la Sculpture ...), 1857. Lithograph. Mortimer C. Leventritt Fund, 1969.60.

Shop, Gallery, Studio: The Art World in the 17th and 18th Centuries
October, 15 2014–March 16, 2015
Early European Gallery
During the 17th and 18th centuries, European artists increasingly rendered in prints and drawings the new aDilettanti_Societynd traditional spaces in which people could view, buy, and converse about art. The images in this installation depict different sites in the rapidly evolving art world—some real and some more imaginary—where art was created, displayed for the public, sold, or discussed. This installation also examines the ways in which the social identities of the professional artist and the serious connoisseur manifest within these images.
IMAGE: William Say (England, 1768–1834) after Sir Joshua Reynolds (England, 1723–1792), Dilettanti Society, 1812–1816. Mezzotint. Committee for Art Acquisitions Fund, 1979.54.



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