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X-WR-CALNAME:The Drawing Foundation
X-ORIGINAL-URL:https://thedrawingfoundation.org
X-WR-CALDESC:Events for The Drawing Foundation
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DTSTART;VALUE=DATE:20250907
DTEND;VALUE=DATE:20260112
DTSTAMP:20260405T091508
CREATED:20250929T152755Z
LAST-MODIFIED:20250929T152755Z
UID:10000123-1757203200-1768175999@thedrawingfoundation.org
SUMMARY:In Vino Veritas (In Wine\, Truth)
DESCRIPTION:For millennia\, wine has played a significant role not only in the human diet but also in cultural myths\, rituals\, and festivities. As a result\, wine—its ingredients\, making\, drinking\, and effects on the human body and mind—has been a constant muse for artistic creation. The exhibition In Vino Veritas (In Wine\, Truth)\, a phrase coined by the Roman polymath Pliny the Elder\, celebrates the presence and meaning of wine in prints\, drawings\, textiles\, and objects made in Europe between 1450 and 1800. Drawn from the museum’s collection\, more than 70 works by artists from throughout Europe explore wine’s myths\, symbols\, and stories. These images reveal how diverse cultures and religions ascribed meaning and transformational properties to the so-called nectar of the gods. \nThe ancient Greeks believed that the god Dionysus (in Rome\, Bacchus) lived within wine: to drink wine was to partake of the god’s power. Fascinated by ancient culture\, Italian Renaissance artists\, such as Andrea Mantegna and Raphael\, imagined scenes of boisterous festivals\, or bacchanalia\, along with the exploits of Bacchus and his coterie of satyrs\, nymphs\, and fauns. In Northern Europe\, Pieter Bruegel the Elder\, and later Jean-Honoré Fragonard\, transformed bacchanalia into raucous peasant festivals and sensuous garden parties fueled by wine\, at times tinged with moral judgment. Simultaneously\, wine played a critical allegorical role in images made within the Judeo-Christian tradition. The Old Testament and Hebrew Bible traced wine’s invention to Noah. Numerous stories from these texts\, portrayed by Lucas van Leyden and others\, leveraged wine as an important plot element\, with the ability to unify and enlighten\, or to incapacitate and deceive. Many artists\, such as Albrecht Dürer\, used wine\, grapes\, and the vine to symbolize the Catholic rite of the Eucharist and its origin in Christ’s Last Supper. Throughout the exhibition\, wine appears in scenes of devotion\, harvest\, celebration\, music making\, and transgression\, signaling community cohesion as well as the pleasures—and hazards—of surrendering to one’s senses. \n \nImage: The Wine Press\, c. 1517–20. Marcantonio Raimondi (Italian\, 1470/82–1527/34)\, Raphael (Italian\, 1483–1520).
URL:https://thedrawingfoundation.org/event/in-vino-veritas-in-wine-truth/
LOCATION:The Cleveland Museum of Art\, 11150 East Boulevard\, Cleveland\, OH\, 44106\, United States
CATEGORIES:Current,Exhibitions
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ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241208
DTEND;VALUE=DATE:20250324
DTSTAMP:20260405T091508
CREATED:20250117T154817Z
LAST-MODIFIED:20250620T034110Z
UID:10000082-1733616000-1742774399@thedrawingfoundation.org
SUMMARY:Picasso and Paper
DESCRIPTION:Pablo Picasso’s prolonged engagement with paper is the subject of the groundbreaking exhibition Picasso and Paper\, organized by the Cleveland Museum of Art and the Royal Academy of Arts\, London\, in partnership with the Musée national Picasso-Paris. \nShowcasing nearly 300 works spanning the artist’s career\, the exhibition highlights Picasso’s relentless exploration of paper. His appreciation of and experimentation with the material is revealed in the works ranging from collages of cut-and-pasted papers to sculptures from pieces of torn and burnt paper\, manipulated photographs\, drawings in virtually all available media\, and prints in an array of techniques. The exhibition’s highlights include Femmes à leur toilette (1937–38)\, an extraordinarily large collage (9 13/16 x 14 1/2 feet) of cut-and-pasted papers\, which will be exhibited for the first time in the United States; outstanding Cubist papiers collés; artist’s sketchbooks\, including studies for his best known paintings\, including Les Demoiselles d’Avignon; constructed paper guitars from the Cubist and Surrealist periods; and an array of works related to major paintings and sculptural projects. \nThe exhibition presents these works on paper chronologically alongside a limited number of closely related paintings and sculptures. For example\, the Cleveland Museum of Art’s La Vie (1903)\, from Picasso’s Blue Period\, will be featured with preparatory drawings and other works on paper exploring corresponding themes. In the Cubist section\, Picasso’s bronze Head of a Woman (Fernande) (1909) (Musée Picasso\, Paris) will be surrounded by a large group of associated drawings. Seen together\, these groupings highlight the connections that Picasso saw between media and the integral role that paper played throughout his artistic practice. \nPicasso and Paper is accompanied by a fully illustrated catalogue published by the Royal Academy of Arts. It features essays by distinguished Picasso scholars and leading authorities in various aspects of technical art history\, including William H. Robinson\, formerly of the Cleveland Museum of Art; Ann Dumas of the Royal Academy of Arts; Emilia Philippot of the Musée national Picasso-Paris; and Claustre Rafart Planas of the Museu Picasso\, Barcelona. Specific aspects of Picasso’s engagement with paper are addressed by Christopher Lloyd\, an expert on Picasso’s drawings; Stephen Coppel\, curator of prints and drawings at the British Museum; Violette Andres\, photography curator at the Musée national Picasso-Paris; Johan Popelard\, Head of the Conservation and Collections Department at the Musée national Picasso-Paris; and Emmanuelle Hincelin\, a paper conservator with scientific expertise in the types of paper Picasso used at key moments in his career. \n \nSPONSORS\nThis exhibition is organized by the Cleveland Museum of Art and the Royal Academy of Arts\, London\, in partnership with the Musée national Picasso-Paris. \n \nThis exhibition is presented by CIBC.\nMajor support is provided by the Malcolm E. Kenney Curatorial Research Fund and Anne H. Weil. Generous support is provided by Martin Kline and the Carol Yellig Family Fund. Additional support is provided by Carl M. Jenks\, Frank and Fran Porter\, and Robert G. Simon. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. \nImage:\nWomen at Their Toilette\, winter 1937–38. Pablo Picasso (Spanish\, 1881–1973). Cut wallpapers with gouache on paper pasted onto canvas; 299 x 448 cm (117 11/16 x 176 3/8 in.). Musée national Picasso-Paris\, Pablo Picasso Gift in Lieu\, 1979. Photo © RMN-Grand Palais (Musée national Picasso-Paris) / Adrien Didierjean. © 2024 Estate of Pablo Picasso / Artists Rights Society (ARS)\, New York
URL:https://thedrawingfoundation.org/event/picasso-and-paper/
LOCATION:The Cleveland Museum of Art\, 11150 East Boulevard\, Cleveland\, OH\, 44106\, United States
CATEGORIES:Exhibitions,Past
ATTACH;FMTTYPE=image/jpeg:https://thedrawingfoundation.org/wp-content/uploads/2025/01/373853.jpg
ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240928
DTEND;VALUE=DATE:20250303
DTSTAMP:20260405T091508
CREATED:20250116T042330Z
LAST-MODIFIED:20250320T161529Z
UID:10000080-1727481600-1740959999@thedrawingfoundation.org
SUMMARY:Imagination in the Age of Reason
DESCRIPTION:Although the Enlightenment period in Europe (about 1685–1815) has long been celebrated as “the age of reason\,” it was also a time of imagination when artists across Europe incorporated elements of fantasy and folly into their work in creative new ways. Imagination in the Age of Reason\, pulled from the CMA’s rich holdings of 18th-century European prints and drawings\, explores the complex relationship between imagination and the Enlightenment’s ideals of truth and knowledge. During this unprecedented time\, artists used their imaginations in multifaceted ways to depict\, understand\, and critique the world around them. \nThe Enlightenment adopted a revolutionary emphasis on individual liberty\, direct observation\, and rational thought. Enlightenment society valued learning and innovation\, encouraging an unprecedented flowering of knowledge with major advances in fields as diverse as art\, philosophy\, politics\, and science. Important thinkers of the time questioned long-held beliefs\, instead using scientific reasoning to uncover new\, objective principles on which to base a modern society\, free from superstition\, passion\, and prejudice. \nDuring this same period\, a number of artists reveled in the power of the imagination to expose hidden truths\, conjure strange worlds\, or concoct illusions. François Boucher and Francisco de Goya\, among others\, drew on their imaginations to devise novel compositions\, envision far-off places and people\, attract new buyers for their art\, and comment on society and its values. They also blurred the boundaries of fact and fantasy\, incorporating real and invented elements into their compositions\, often without distinguishing between the two. Imagination was a dynamic tool through which Enlightenment-era artists marketed their work\, revealed or obscured truth\, entertained or educated viewers\, and supported or criticized systems of power. \nThe exhibition presents an exceptional opportunity to see exciting recent acquisitions on view for the first time as well as rarely shown collection highlights\, including prints and drawings by Canaletto and Goya and a pastel portrait by Swiss artist Jean-Étienne Liotard. \n \nSPONSORS\nThis exhibition is made possible with support from the Baker-Nord Center for the Humanities\, Case Western Reserve University. \nImage:\nSuite of the Most Notable Things Seen by John Wilkins Erudite English Bishop during His Famous Voyage from the Earth to the Moon … dedicated to Sir William Hamilton ambassador to the Court of Naples: Pumpkins Used as Dwellings to Be Secure against Wild Beasts\, about 1769. Filippo Morghen (Italian\, 1730–after 1807)\, possibly after Jean-Pierre-Louis-Laurent Hoüel (French\, 1735–1813). Etching; image and plate: 28 x 38.7 cm (11 x 15 1/4 in.); sheet: 42 x 53.3 cm (16 9/16 x 21 in.). The Cleveland Museum of Art\, Purchased with funds from the Estate of Muriel Butkin 2023.19.8
URL:https://thedrawingfoundation.org/event/imagination-in-the-age-of-reason/
LOCATION:The Cleveland Museum of Art\, 11150 East Boulevard\, Cleveland\, OH\, 44106\, United States
CATEGORIES:Exhibitions,Past
ATTACH;FMTTYPE=image/png:https://thedrawingfoundation.org/wp-content/uploads/2025/01/Screenshot-2025-01-14-at-15-11-43-Pumpkins-Used-as-Dwellings-to-Be-Secure-against-Wild-Beasts-Cleveland-Museum-of-Art.png
ORGANIZER;CN="Cleveland Museum of Art":MAILTO:info@clevelandart.org
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