To complete my recent tour of Stockholm museums, here are two humble shots from one of the most beautiful and dream-inducing house museums in the world: Prins Eugens Waldermarsudde. From the wallpapers to the elegant candlesticks to the paintings to the VIEW, it’s an art historian’s dream come true.
Three of the pieces by Niki de Saint Phalle that resonated with me the most.
If you’re able to see the exhibition, definitely do. It’s small but creatively curated, as well as being both somber and uplifting at the same time. If you can somehow take a closer look at “The Devouring Mother” storybook (whether in person or not), do. I think it’s fairly fantastic!
Niki de Saint Phalle: The Girl, The Monster, The Goddess, on view now until 1 December 2013 at Moderna Museet, Stockholm.
As a fan of both Parmigianino and Joshua Reynolds, today’s discovery of this long-lost red-chalk drawing is especially exciting.
It’s a sketch for his famous The Madonna of the Long Neck (1535-40, currently at the Uffizi in Florence), i.e. the painting that everyone gets in their survey class to illustrate the tenets of Mannerism. The drawing itself is a series of studies, not really a full sketch of the entire work, but double sided and extremely telling of the artist’s creative process.
(Image taken from the Art Newspaper article cited above.)
What’s cool about this is that while it was missing for 30 years, it was found right where it was supposed to be. It was in the earlier edition of Popham’s landmark catalogue raisonné of Parm’s drawings that the exact location was listed, not, as could be expected, in the more frequently consulted and accessed 1971 edition that only named the institution. Thanks to someone doing research on works of art found in Joshua Reynolds’s personal collection (at the Met, no less), was he able to track down this important drawing’s location as it was at one time the property of Reynolds. It was listed in the 1953 edition as being “bound in a ‘1792 grangerised Bible’ from Augustin Daly,” which upon further investigation, was found exactly where it should have been: on the shelves at the library of the Huntington.
I think it’s always cool when two worlds collide, in this case with one of the greatest Mannerist painters and a seemingly unrelated, yet prolific in his own right (and many others) painter from the eighteenth century. It’s a small world, even when you take into account all the hundreds of years of art that has been produced.
Make sure and read the whole article from The Art Newspaper above (or here if you don’t want to scroll up again).