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“Shadows – From the Renaissance to Present Day” illuminates the walls of the Hermitage until 27 October

Joaquín Sorolla y Bastida, Shadow of the boat, 1903, oil on canvas, Museo Sorolla, Madrid. Photo: Museo Sorolla, Madrid.

I have to say I’m very impressed with how the Hermitage Foundation in Lausanne always manages in its exhibitions to include a favourite painting of mine, discovered during my five-year stay as an expat in Hampstead, London.

It’s as if they’re reading my mind and I’ll have to tell them how much I appreciate it on my next visit, which is never very long after my last one because their exhibitions consistently distinguish themselves by their quality and diversity.

Its recently concluded exhibition “British Painting from Turner to Whistler” gave me the chance to admire once again “The Bayswater Omnibus” by George William Joy, and I’m no less spoiled in its present exhibition “Shadows – From the Renaissance to Present Day” that runs until 27 October.

This exhibition explores yet another theme of western iconography – shadows – and features an entirely new selection of nearly 140 artworks that takes in 500 years of art history from the Renaissance to present day and includes paintings, installations, sculpture, prints, drawings, cut-outs, photography and video.

Artistic fascination with shadow

Pablo Picasso, Shadow, 29 December 1953, oil and charcoal on canvas, Musée National Picasso-Paris, Fondation Pablo Picasso, 1979.

The featured artworks highlight the ongoing fascination that artists have had with shadow, from self-portraits by Rembrandt and Delacroix to explorations of perspective by Bandinelli and de Hooch, from studies of chiaroscuro (the contrast of light and shadow) by Cambiaso and Wright of Derby to dramatic landscapes of the Romantic painters Friedrich and Bendz.

Every genre is given its moment: Impressionists (Monet) and post-Impressionists (Cross, Sorolla), the Symbolists (Degouve de Nuncques, Spilliaert), Expressionists (Munch), Surrealists (Dalí, Magritte, Ernst) and the New Objectivity (Schad, Stoecklin).

From Renaissance to Contemporary art forms

Lee Friedlander, New York City, 1966, print of siilver gelatine-bromide (2004), Collection Fotomuseum Winterthur.  ©Lee Friedlander, courtesy Fraenkel Gallery, San Francisco.

And where would any self-respecting exhibition be without a contemporary work by Picasso, who shows up here, as does Warhol, while the video artists Acconci and Otth reinterpret the myths that link shadow to art and knowledge.

Finally, a large photographic section with pieces by Steichen, Ray, and Friedlander exemplifies how masters of photography use the contrast between light and shadow to create indelible images filled with mood and meaning.

 

Joseph Wright of Derby, Two girls disguising a kitten by the light of a candle, 1768-1770, oil on canvas. Kenwood House, Hampstead, London, UK,  ©Historic England Photo Library.

And to my favourite piece, a happy reminder of Kenwood House in Hampstead where I spent many priveleged hours. As an animal lover (and cat owner) I suppose I should be upset by the scene depicted, but I’ve always found this playful image — a stunning example of the interplay of light and shadow — totally captivating and seeing it again at the Hermitage hasn’t changed my mind on that, nor will it anytime soon.

 


Shadows-From the Renaissance to Today
28 June to 27 October 2019
Hermitage Foundation
2, rte du Signal,
CH-1000 Lausanne 8
T. +41 (0)21 320 50 01
Visits and activities
Practical Info: hours, fees, transport
L’Esquisse café-restaurant

 

 

 

 

 

2 Comments

  1. Virginia says

    Shadows is such an interesting perspective to focus on. Wish I could see this exhibit to take in all the examples of how shadows are used in the various works. Thanks for posting this!

    Like

    • It’s fascinating to see how one theme can inspire so many different interpretations. Glad you found the post interesting!

      Like

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