Sunday, 11 May 2025

Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.

 
Henri de Toulouse Lautrec (1864-1901) - The Clown Cha-U-Kao, 1895


"Even if such works may legally be owned by an individual, in a higher sense they belong to everyone, their owner is their only custodian." - Oskar Reinhart.


In the autumn of last year I was fortunate enough to see a significant part of the Heinz Berggruen Collection in Paris (here) whilst its usual home in Berlin was being renovated. Similarly the home of the Oskar Reinhart collection found in Switzerland is undergoing refurbishment work and part of their collection has travelled to London for a short while. Despite sold out tickets I was again fortunate enough to get to see highlights from this smaller private collection of art closer to home at the Courtauld Gallery. Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, is a small but significant holding of paintings from a certain period in art history. The collection is based at the museum and villa of Am Römerholz in Winterthur near Zurich, and it is the first time that a major group of works from that museum has been shown outside of Switzerland. The choice of the Courtauld to display these works is fitting as they seamlessly complement the Courtauld's own collection of Impressionist works and there are certain parallels between the lives of both Oskar Reinhart (1885-1965) and Samuel Courtauld (1876-1947). Both men had a mutual admiration for the works of Cézanne, Manet and Van Gogh and both held paintings by artist Honoré Daumier depicting the fictional character Don Quixote and Sancho Panza, both of which can be seen with a visit to this temporary exhibition and the permanent collection. Courtauld and Reinhart actually met in 1932 and shared the view that ultimately the purpose of their collections was that they be shared with the public. The exhibition opens with a very realistic painted trio of salmon steaks by Goya which can be read as a bloody allegory of the cost in lives of the Peninsuar War. Next we have a turbulent Courbet painting of crashing waves created with a palette knife, and an erotic, languorous portrait of a woman in a hammock also by Courbet which was regarded as too controversial and subsequently rejected by the French Academy of the day. The second room of the exhibition contained my favourite works. There were the two paintings by Van Gogh from the time of his stay in the asylum at Arles one of which was seen in London only recently at the National Gallery's amazing Van Gogh Poets and Lovers exhibition (here), both of which are beautifully complemented by his Self-Portrait with Bandaged Ear, 1889, from the same period seen in the next room in the Courtauld's permanent collection. Manet's Au Cafe, 1878, was another painting I particularly liked which was cut in two by Manet shortly after its completion as he was unhappy with the composition of the painting. The other half of the work - Corner of a Café-Concert, 1878-80, is now in the National Gallery just along the Strand. What a shame they couldn't have reunited the two canvases specifically for this exhibition. Apart from this Monet's The Break-Up of Ice on the Seine, 1880-81, is worthy of a mention and an important predecessor to his later waterlily series. There are a couple of lovely Cézanne landscapes, and an early Picasso Blue Period portrait which also stand out. My favourite piece from the Oskar Reinhart collection though, was Toulouse Lautrec's The Clown Cha-U-Kao, 1895, depicting a larger than life cabaret performer at the Moulin Rouge, full of colour and character adopting an easy, self-confident pose. Although not as extensive or comprehensive as the Berggruen or Shchukin collections, there were nevertheless several fairly important paintings in the Oskar Reinhart collection that I was more than happy to have to have made the acquaintance of on their brief stay here in the capital. 



Francisco de Goya - (1746-1828), Still Life with Three Salmon Steaks, 1808-12

Gustave Courbet (1819-1877) - The Wave, 1870 

Gustave Courbet (1819-1877) - The Hammock, 1844 


Édouard Manet (1832-1883) - Portrait of Marguerite De Conflans Wearing a Mantilla, 1873

Pierre-Auguste Renoir (1841-1919) - Lily and Greenhouse Plants, 1864

Paul Cézanne (1839-1906) - Portrait of Dominique Aubert, c.1866

Honoré Daumier (1808-1879) - Don Quixote and Sancho Panza, c.1865-70

Jean-Baptiste-Camille Corot (1796-1875) - Girl Reading, c.1850-55

Henri de Toulouse Lautrec (1864-1901) - The Clown Cha-U-Kao, 1895


Édouard Manet (1832-1883) - Au Café, 1878

Pablo Picasso (1881-1973) - Portrait of Mateu Fernández de Soto, 1901

Paul Cézanne (1839-1906) - Mont Sainte-Victoire, c.1902-06


Paul Cézanne (1839-1906) - Bathers, c.1900-06


Vincent van Gogh (1853-1890) - The Ward in the Hospital at Arles, 1889


Vincent van Gogh (1853-1890) - The Courtyard of the Hospital at Arles, 1889


Paul Cézanne (1839-1906) - Still Life with Faience Jug and Fruit, c.1900



Paul Cézanne (1839-1906) - The Château Noir, c.1885


Paul Cézanne (1839-1906) - The Pilon Du Roi, 1887-88



Paul Gauguin (1848-1903) - Blue Roofs (Rouen), c.1884


Claude Monet (1840-1926) - The Break-Up of Ice on the Seine, 1880-81



Alfred Sisley (1839-1899) - Barges on the Saint-Martin Canal, 1870

Pierre-Auguste Renoir (1841-1919) - The Milliner, c.1875

Pierre-Auguste Renoir (1841-1919) - Portrait of Victor Choquet, c.1876

Pierre-Auguste Renoir (1841-1919) - Confidences, c.1876-78


Samuel Courtauld Collection


Édouard Manet (1832-1883) - A Bar at the Folies-Bergère, 1882


Henri de Toulouse Lautrec (1864-1901) - Jane Avril in the Entrance to the Moulin Rouge, c.1892


Henri de Toulouse Lautrec (1864-1901) - In a Private Dining Room (At the Rat Mort), c.1899

Vincent van Gogh (1853-1890) - Self-Portrait with Bandaged Ear, 1889







Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.
until 26th May
Courtauld Gallery
Somerset House,
Strand
London
WC2R

Sunday, 4 May 2025

Anna Von Freyburg: Filthy Cute

Anna Von Freyburg - Wild Child (After Elizabeth Vigee Le Brun), 2023



"With being unapologetic in my use of rich fabrics I am pushing against the accepted norms of fine art, being mindful and critical about fast fashion at the same time." - Anna Von Freyburg.



I happened across this exhibition by pure chance. I had returned to the Saatchi Gallery for another look at their Flowers exhibition of my last post (here), and just as I was about to leave I spied more of these wonderful textile works by Anna Von Freyburg in a gallery on the ground floor. Her piece, Floral Arrangement 1 (after Jan van Huysum Still Life), was one of the highlights for me in the Flowers - Flora in Contemporary Art & Culture show on the upper floors, and it was great to see a whole separate show solely devoted to Von Freyburg running concurrently at Saatchi. The works are all large complex textile compositions with a range of appliqué, quilting, tie-dye, sequin and embroidery techniques edged with sumptuous fringing which in some cases resembles rich impasto paint tumbling across the surface of the works, cascading down the gallery walls. These textile paintings make references to 17th century Dutch masters of the still life painting genre as well as Rococo period painters/paintings such as François Boucher (1703-1770) and Jean-Honoré Fragonard (1732-1806). Von Freyburg's textiles certainly have a swagger and stylisation about them worthy of the Rococo era. As well as alluding to the past the artist also makes contemporary pop culture references within the titles of the works relating to songs by Iggy Pop and bands such as The Killers. From a distance a couple of the pieces resemble Guiseppe Arcimboldo (1527-1593) portraits, an artist famous for his surreal paintings of portrait heads made up from objects such as books, fruit or flowers etc. Indeed the surfaces of Von Freyburg's pieces are worthy of closer scrutiny as viewers can see in works such as Filthy Cute, that the portrait faces are made up of appliquéd cavorting figures in period costumes cut from contemporary jacquard fabrics. These are wonderfully sumptuous textile paintings which in their own way are just as rich as those executed in oils or acrylics.



Wild Child (After Elizabeth Vigee Le Brun), 2023

Fantasia (After Boucher, Venus with Cupid), 2022




Trickster (After Fragonard, the Toilet of Venus, 2022




Kabloom (after Jan Van Huysum, Flower Still Life), 2024




Electric Feel, (After Fragonard, The Pursuit), 2025






TuttiFrutti (After Jan Van Huysum, Flower Still-Life), 2024 




Sunny Side Up (After Fragonard, The Lover Crowned), 2025






Smile Like You Mean It, (After Boucher), 2023 


Filthy Cute, (After Fragonard, Young Women), 2022












Anna Von Freyburg: Filthy Cute
until 11th May

Saatchi Gallery
Duke of York’s HQ,
King’s Road,
London,
SW3 4RY