Currently on view in Pastures Green and Dark Satanic Mills: The British Passion for Landscape are scenes of the agricultural, pastoral, and wild regions of the British Isles together with views of the industrial and mining operations that launched the Industrial Revolution and then made Britain its dominant power. There are also scenes of another sort—cityscapes that record the appearance of urban areas where the British population was increasingly concentrated, especially London, the archetypical modern metropolis.
The Museum recently added to its collections of British art a captivating portrait of the mixed-race model Fanny Eaton that captures a quintessential feature of Pre-Raphaelitism: iconic representations of female beauty.
Taking inspiration from Blake’s poem for its title, the exhibition Pastures Green and Dark Satanic Mills: The British Passion for Landscape examines the tensions between nature and culture, country and city, that would play a decisive role in British art and literature in the following two centuries.
According to the French Impressionist painter Pierre-Auguste Renoir, during Paul Cézanne’s later years it was not uncommon to discover watercolors he had discarded in the fields near Aix-en-Provence—scattered testimonials to the fine disregard the artist apparently displayed toward these sheets. Of the more than six hundred watercolors by his hand that survive today, the sixteen in the Pearlman Collection constitute one of the finest groups of Cézanne’s work in this exacting medium.
At the center of the exhibition Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection, this extraordinary assembly of probing and intimate watercolors demonstrates how Cézanne realized his transformative vision of nature. It is one of Henry Pearlman’s remarkable achievements as a collector that within the space of a little over two decades (1950–1972), he gathered together this panoramic cluster.
This fall, visitors to the Princeton University Art Museum have the opportunity to view remarkable works from the Pearlman Collection by Vincent van Gogh, Henri de Toulouse-Lautrec, Édouard Manet, Amedeo Modigliani, Chaïm Soutine, and—especially—Paul Cézanne. The works return to Princeton, where they have been on loan since 1976, fresh from an international tour with record-breaking attendance. Without question, the twenty-four drawings, watercolors, and oil paintings by Cézanne form the centerpiece of the Pearlman Collection—particularly the sixteen watercolors that are among the finest and best-preserved compilations of the artist’s work in that medium. In the exhibition at Princeton, the oil paintings and watercolors are interspersed, which follows the artist’s working practice.
The story of Henry Pearlman’s collection is a distinctly American one: a rags-to-riches tale of a self-made businessman who pursued his passion for modern art alongside other lifelong passions, including baseball and chess.
Guercino’s drawings, rendered with spare expressive lines, reveal the artist’s extraordinary ability to observe and capture on paper both the physical deformities and the psychological states of mind of many of his contemporaries.
The Museum recently acquired a Crucifixion by the fourteenth-century Florentine painter Jacopo del Casentino and a Virgin and Child, dated around 1500, by the Northern painter known as the Master of the Magdalen Legend. The paintings once belonged to Allan Marquand, the Museum’s founding director, and came to us through the generosity of two of his descendants.
Although most recognized for his celebrated paintings—including The Scream (1893)—Edvard Munch was among the most innovative printmakers of the modern era. His mastery of a broad variety of print media paralleled his rapid development as a painter in the last decade of the nineteenth century.