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José Chávez Morado, 'Carnaval en Huejotzingo (Carnival in Huejotzingo)' (detail), 1939. Oil on canvas, 71.1 x 96.5 cm. Collection of Phoenix Art Museum, Gift of Dr. & Mrs. Loyal Davis © DACS 2013.
Richard Rogers Partnership, Lloyd’s of London, 1978-86. © Richard Bryant / arcaidimages.com & Piano + Rogers, Centre Pompidou, Paris, 1971-77. © Francois Le Diascorn / Gamma-Rapho via Getty Images
Sidney Nolan, 'Ned Kelly' (detail), 1946. Enamel paint on composition board. 90.8 x 121.5 cm. National Gallery of Australia, Canberra. Gift of Sunday Reed, 1977.
© TRACEY EMIN. All rights reserved, DACS 2013. Photo: KERRY RYAN.
20 May 2011
In the Reynolds Room, a John Madejski Fine Room
Jean-Antoine Watteau, 'Two Studies of Women, the One on the Left with Arms Raised; the One on the Right Seated, Pulling up Her Stocking', c. 1716–1717, Black, red and white chalks and graphite on cream paper, 260 x 205 mm. Nationalmuseum, Stockholm. Photo © The Nationalmuseum, Stockholm Professor Georgia Cowart, Case Western Reserve University, illustrates how the ideal of the theatrical utopia, emerging on the Parisian stage c. 1700, helps to explain certain examples of Watteau's paintings embodying theatrical visions of music, dance, commedia dell'arte and love.
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