The Art Inquirer is your source of news for the artist and the Art appreciator
Established in 2008

Saturday, September 21, 2013

NYU Abu Dhabi seeks a Professor for its Visual Arts Program

NYU Abu Dhabi is seeking for its Visual Arts Program, an innovative and accomplished artist-teacher, with a strong professional profile and a demonstrated commitment to undergratuate teaching. This is an open-rank search for a renewable arts contract position.

  Candidates should hold an MFA and/or have extensive professional experience as an artist (painting and/or sculpture) as well as significant experience teaching in internationally recognized visual arts programs and/or liberal arts universities.
The successful candidate will be deeply interested in interdisciplinary work and committed to working
collaboratively on creating curriculum and mentoring student projects from technical, theoretical,
and aesthetic perspectives.

 Faculty position encompasses three undergraduate courses per year (semester system), including at least one in the core curriculum. Engaging in both teaching and research opportunities at NYU New York and other sites of its global network will be possible.
Please visit the page of the Visual Arts Program for a description of its innovative curriculum

 The terms of employment are competitive and include housing and educational subsidies for
children. Members of NYU Abu Dhabi standing faculty receive generous support for research and

 The appointment will begin as soon as September 1, 2014, with a later start date possible, pending candidate availability.

 Applications are due by October 15th and will be reviewed until the position is filled.
To be considered, applicants should submit a cover letter describing their training, experience, teaching
philosophy, and approach to making art; a Curriculum Vitae; and three letters of reference, all in
PDF format.

 Instructions and other information on how to aplly, as well as other open faculty positions, can be retrieved on this page. Any questions can be sent by email.

Tuesday, September 10, 2013

"Sunset at Montmajour" attributed to Vincent van Gogh

 It was inventoried among Theo van Gogh's collection of his brother's works in 1890 and then sold by Theo's widow, Johanna van Gogh-Bonger to a Paris art dealer in 1901.
 During the year of 1970, re-emerges as part of the estate of the recently deceased Norwegian industrialist Christian Nicolai Mustad.
However, Mustad was advised by the French ambassador to Sweden that it was not a Van Gogh. As a consequence, "Sunset at Montmajour" was stashed away in the attic, where it stayed until the current owners purchased it from him.

 In 1991, the unsigned painting was taken to the Van Gogh Museum, but at the time the museum experts didn't conclude as authentic.

 About twenty years later, its owners brought back to the museum to seek authentication, and its researchers have been examining it ever since.
Under the supervision of Louis van Tilborgh, the Van Gogh Museum’s senior researcher, it was recently concluded that the work was a genuine van Gogh painting because the pigments correspond with those of van Gogh’s palette from Arles. “This time, we have topographical information plus a number of other factors that have helped us to establish authenticity,” said the museum director,  Mr. Axel Rüger. “Research is so much more advanced now, so we could come to a very different conclusion.”

 Mr. van Tilborgh states that "Sunset at Monmajour" was was painted on the same type of canvas and with the same type of underpainting van Gogh used for at least one other painting of the same area, “The Rocks.” The work was also listed as part of Theo van Gogh’s collection in 1890. It has “180” painted on the back, which corresponds to the number in the collection inventory. “That was the clincher,” he said

 The date of completion of the painting  has been identified as July 4, 1888. This conclusion was based upon a letter that Vincent van Gogh wrote to his brother on the next day, where he discribes the scene:

 “Yesterday, at sunset, I was on a stony heath, where very small, twisted oaks grow, in the background a ruin on the hill, and wheat fields in the valley. It was romantic, it couldn’t be more so, à la Monticelli, the sun was pouring its very yellow rays over the bushes and the ground, absolutely a shower of gold. And all the lines were beautiful; the whole scene had charming nobility.”

 The painter moved to Arles in February 1888, where he spent time exploring the landscapes in Provence and doing plein air painting. Van Gogh was particularly fascinated by the flat landscape around the hill of Montmajour, with its rocky outcroppings and hay-colored fields.
In a letter dated July 1888, he said that he had been to Montmajour at least 50 times “to see the view over the plain.”

 Art historian Mr. Leeman, said that “in hindsight, many pointers in his letters and entries in catalogs of the 1900s have been linked to other paintings or misidentified,” adding, “Here, we see a painting that fits those descriptions exactly.”

 Depicting dusk in the hilly, forested landscape of Montmajour, in Provence, with wheat fields and the ruins of a Benedictine abbey in the distance, the 73.3 cm × 93.3 cm (28.9 in × 36.7 in) oil painting was completed during the most important period of van Gogh's life, when he created his significant masterpieces, such as 'Sunflowers,' 'The Bedroom' and 'The Yellow House.'

 "Sunset at Montmajour" will be on display at the van Gogh Museum during one year, starting on September 24, as part of the current exhibition, "Van Gogh at Work," which focuses on other new discoveries about the painter’s artistic development.
According to Mr. Rüger, the current owners have not indicated what they intend to do with it after that.

 This is the first full-size painting by Van Gogh to be discovered since 1928.