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GALLERY STROLL ? ASHMOLEAN MUSEUM, Oxford ******************** Bridging East and West: Japanese ceramicsfrom the Kozan studio •3 May -2 July 1995· Miyagawa (Makuzu) Kozan (1842-1916) and his nephew and heir Hanzan (Makuzu Kozan ?) (1859-1940) produced some of the most innovative and beautiful ceramics of the Meiji (1868-1912) and Taisho (1912-1926) eras. This exhibition of a selection from the Perry Foundation collection covers most of the wide range of their products, demonstrating their inventive shapes and the brilliant decoration in the new colors now possible, that are so radically different from that of the work of previous generations of potters. MUSEUM OF LONDON *************** The George Peabody Bicentenary Exhibition • 14 Febroary - 9 July 1995 · An exhibition commemorating the life and work of the American philanthropist in Victorian London. NATIONAL PORTRAIT GALLERY, London *************************** Richard and Maria Cosway: Regency Artists of Taste and Fashion • 17 November, 1995 - 18 February 1996 · Wotfson Gallery To be shown at the SNPG in Edinburgh: 1 1 August - 22 October 1995. Richard Cosway RA (1742-1821), portrait painter, miniaturist and collector, was one of the most talented and fascinating artistic personalities of the Regency period. His highly glamorous portrait miniatures and drawings of the Prince Regent and his circle can be seen as the mirror in which fashionable Regency society saw itself. His vivacious and talented wife, Maria (1759-1838), an artist in her own right, played an essential role in the brilliant artistic and social success of the Cosways. Gallery Stroll105 ROYAL ACADEMY OF ARTS, London ************************ Frederic, Lord Leighton 1830 · 1896, A Centennial Exhibition • 16 February - 21 April 1996 · Frederic Leighton was bom in Scarborough in 1830. His parents travelled extensively in Germany, France and Italy and much of his childhood was spent abroad, where he gained a wide knowledge of European ait. In 1855 he made a sensational début in London when he exhibited his large historical painting Cimabue's Madonna at the Royal Academy. The painting was much admired and was purchased by Queen Victoria; it is now in the Royal Collection. At first, Leighton was excluded from the English art establishment, but with the success of such works as Dante in Exile and Golden Hours, his election as a member of the Royal Academy in 1864 was inevitable. He became President in 1878, serving until his death in 1896. A series of large-scale processional paintings, with subjects based on ancient history or literature, such as The Syracusan Bride and Captive Andromache, were recognized as among the finest examples of Victorian classicism. Towards the end of his career, Leighton turned to thematic and symbolic subjects, the most famous of these being Flaming June. Leighton's paintings are meticulously constructed. He made countless drawings of nude and draped models, whose figurative elements were then combined into precise compositional designs. On his travels, particularly in the Mediterranean, he also painted brilliant outdoor oil sketches which became the studies for his later landscape paintings. His drawings and sketches meanwhile reveal his draughtsmanship and a powerful feeling for line and color. The exhibition will consist of about sixty paintings, accompanied by groups of sketches and drawings, and forty landscape oil sketches. Leighton's principal sculptures will also be shown, with a selection of the working compositional figure models which he left to the Royal Academy. The exhibition celebrates the centenary of Leighton's death, an event which will also be marked by programmes of events at, among others, Leighton House and the Victoria and Albert Museum. Gustave Caillebotte 1848 - 1894 - The Unknown Impressionist •28 March -23 June 1996· Sadder Galleries The exhibition, arranged thematically, will demonstrate the full range of Caillebotte's artistic achievement and includes urban landscapes, portraits, still-lifes and interiors, as well as paintings of the countryside which capture people at leisure. Caillebotte's enthusiasm for the new quarters of Paris behind the Opera, which had been recently laid out by Baron Haussmann, led him to forge a distinct new vision of modem life, contained within the dramatic new spaces created by the plunging boulevards and complex intersections. Figures stride across iron bridges as in On the Pont de l'Europe (1868/7) or observe life from windows set high 106Victorian Review above...


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