A & L WIre




Art in Renaissance Venice, 1400–1515

Paintings and Drawings from the Museum's Collections

November 8, 2011 – February 5, 2012

Left: Giovanni Bellini (Italian, Venetian, active by 1459–died 1516). Madonna and Child, ca. 1470. Tempera, oil, and gold on wood; Framed: 31 x 26 in. The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975 (1975.1.81)

This exhibition of Renaissance Venetian art in the Metropolitan Museum's collections features approximately fifty paintings and drawings by preeminent artists active in Venice from the late fourteenth to the early sixteenth century. The selection, drawn from the Robert Lehman Collection, the Department of European Paintings, and the Department of Drawings and Prints, unites works by masters such as Giovanni Bellini, the Vivarini, Marco Zoppo, and Vittore Carpaccio.

Paintings and drawings, mostly sacred in subject, illustrate the transition from the Venetian Gothic style of the early fifteenth century to mid-century, when artists began to respond to the Renaissance vocabulary of Florence and Padua. The exhibition presents a comparison of the two primary artistic dynasties, the Bellini and the Vivarini, and explores their workshop practices and specializations in the context of the Venetian art market. The selection also highlights Venetian artists' increasing use of compositional formulas and formats, which enhance the physical proximity and spiritual communion among the figures portrayed, as well as that between subject and viewer.





Infinite Jest

Caricature and Satire from Leonardo to Levine

September 13, 2011 – March 4, 2012

Accompanied by a catalogue

In its purest form, caricature—from the Italian carico and caricare, "to load" and "to exaggerate"—distorts human physical characteristics and can be combined with various kinds of satire to convey personal, social, or political meaning. Although caricature has probably existed since artists began to draw (ancient examples are known), the form took shape in Europe when Leonardo da Vinci's drawings of grotesque heads were copied by followers and distributed as prints.

The exhibition's title derives from Hamlet, which is quoted in a Civil War print that uses the famous line: "I knew him, Horatio; a fellow of infinite jest" to mock Lincoln. exhibition explores caricature and satire in its many forms from the Italian Renaissance to the present, drawn primarily from the rich collection of this material in the Museum's Department of Drawings and Prints. The show includes drawings and prints by Leonardo da Vinci, Eugène Delacroix, Francisco de Goya, Henri de Toulouse-Lautrec, and Enrique Chagoya alongside works by artists more often associated with humor, such as James Gillray, Thomas Rowlandson, Honoré Daumier, Al Hirschfeld, and David Levine. Many of these engaging caricatures and satires have never been exhibited and are little known except to specialists.

n its purest form, caricature—from the Italian carico and caricare, "to load" and "to exaggerate"—distorts human physical characteristics and can be combined with various kinds of satire to convey personal, social, or political meaning. Although caricature has probably existed since artists began to draw (ancient examples are known), the form took shape in Europe when Leonardo da Vinci's drawings of grotesque heads were copied by followers and distributed as prints.

The exhibition's title derives from Hamlet, which is quoted in a Civil War print that uses the famous line: "I knew him, Horatio; a fellow of infinite jest" to mock Lincoln.

 
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