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El Paso Museum of Art
Upcoming Exhibitions

 Aleksander Titovets' Past and Present 
 September 5, 2014 - December 7, 2014 
Dede Rogers Special Events Gallery

Aleksander Titovets (Russian, b. 1960)
Charleston. Evening, 2012-2014
Oil on board, 30” x 30”
Courtesy of the artist
Consisting of past and recent work the upcoming exhibition of paintings by Aleksander Titovets will include landscapes and cityscapes as well as portraits. The exhibition will also investigate Titovet’s artistic practice and its relationship to Impressionism and Realism as seen through a Russian and American Southwest lens.
Born and raised in Siberia Titovets received his Masters in Fine Arts from St. Petersburg University College of Fine Arts. In the early 1990s he and his wife Lyuba relocated to El Paso, Texas, where they have lived and worked with much success since.  Titovets’ work while mostly representational is noted for its unique blend of thick impasto belying the artist’s zest for his medium as well as a recurrent hint of melancholy attributable to a longing for his homeland.
Aleksander Titovets has been in many group and solo exhibitions, won numerous competitions, and his work is included in public and private collections. In 2007, he was chosen by First Lady Laura Bush to paint her portrait for the Smithsonian Institution’s National Portrait Gallery.

 Renoir to Remington: Impressionism to the American West
September 21, 2014 – February 1, 2015
Woody and Gayle Hunt Family Gallery
 Organized by the El Paso Museum of Art in partnership with
Tacoma Art Museum, Tacoma, Washington

Pierre-Auguste Renoir (French,1841-1919)
Heads of Two Young Girls
[Têtes de deux jeunes filles]
, 1890
Oil on canvas
12 3/4 x 16 1/4 inches
Tacoma Art Museum,
Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.35

Frederic Remington (1861-1909)
The Mystery [A Sign of Friendship] (1909)
oil on canvas, 27 1/8 x 40 1/8"
El Paso Museum of Art,
Gift of El Paso Art
Museum Association Members` Guild

Camille Jacob Pissarro (French, 1830-1903)
Darse de peche, Dieppe, matin, temps gris
[The Fishing Port, Dieppe, Morning, Overcast Sky]
, 1902
Oil on canvas, 25 5/8 x 32 inches.
Tacoma Art Museum,
Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.29
Juxtaposing loans from the Tacoma Art Museum in Washington with works from the El Paso Museum of Art and local collections, Renoir to Remington: Impressionism to the American West explores the variety of ways in which artists of the American Southwest adopted, adapted, and extended the Impressionist vision, including earlier practitioners such as Frederic Remington and later figures such as Fremont Ellis. The exhibition will compare examples of French and international Impressionism from Tacoma (almost twenty-five works by Boudin, Pissarro, Renoir, etc.) with numerous works of the American Southwest borrowed from local collections and selected from the holdings of the EPMA. For instance, the EPMA’s Bluffs on the Guadalupe River by Julian Onderdonk makes interesting comparison with the Tacoma work by Pissarro, Fishing Dock, Dieppe, Gray Morning, painted almost twenty years earlier. While Onderdonk chooses a high horizon line to depict his rugged interior landscape and Pissarro opts for a higher horizon in his airier coastal scene, both artists utilize broad brushwork and a range of violet and other hues. In the realm of figure painting, Renoir’s Heads of Two Young Girls could be compared with Taos Indian Girl by Joseph Henry Sharp, one of the founders of the Taos Society of Artists. While Sharp paints his figure more tightly than Renoir, he matches his French elder in his use of warm glowing colors to describe complexion and surroundings.
As the works in the exhibition reveal, some Southwest painters embraced both the high-keyed palette and broad sketchy brushwork of classic Impressionism, while others combined a more finished style with the brighter colors initiated by Impressionism. The exhibition includes post-Impressionistic examples that utilize simplified form and lightened palette in a more decorative manner, as well as sculptural comparisons between the dancers of Degas and the cowboys and horses of sculptors like Harry Jackson. Inspired by the light, atmosphere, and action of the Southwest, the Americans discovered in Impressionism diverse elements of color, handling, and naturalism that aided them in their desire to represent the Southwest region and its unique atmosphere, light, landscape, and figures.

Modern Masters Series: Highlights from the
Solomon R. Guggenheim Museum
 October 3, 2014  – October 2, 2016
Peter and Margaret de Wetter Gallery
 Organized by The Solomon R. Guggenheim Foundation

Paul Cézanne 
Still Life: Plate of Peaches(Assiette de pêches), 1879–80
Oil on canvas, 23 1/2 × 28 7/8 inches (59.7 × 73.3 cm)
Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser
1978, 78.2514.4

Robert Delaunay
Circular Forms (Formes circulaires), 1930
Oil on canvas, 50 ¾ x 76 ¾ inches (128.9 x 194.9 cm)
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection

Franz Marc
White Bull (Der Stier), 1911
Oil on canvas, 39 3/8 x 53 ¼ inches (100 x 135.2 cm)
Solomon R. Guggenheim Museum, New York
The El Paso Museum of Art is pleased to announce the Modern Masters Series: Highlights from the Solomon R. Guggenheim Museum organized by The Solomon R. Guggenheim at the El Paso Museum of Art opening October 5, 2014 and closing on October 2, 2016 in the Peter and Margaret de Wetter Gallery.  Ten masterpieces by seven artists will be shown in a consecutive series of six presentations organized by the Solomon R. Guggenheim Museum and Foundation.  The series includes: Birth of Cubism featuring two stunning icons by Pablo Picasso and Paul Cézanne; Expressionism and Der Blau Reiter featuring two masterpieces by Vasily Kandinsky and Franz Marc; Orphism and the School of Paris features the genius of Robert Delaunay and Albert Gleizes; the fourth installment is a monumental work by Marc Chagall, The Green Violinist; Kandinsky and the Bauhaus features two masterworks by Vasily Kandinsky; and closing out the series is Pablo Picasso’s epic still life Pitcher and Bowl of Fruit.  All works on exhibit are canvases painted between 1879 and 1931 and are universally recognized as classic works by these world-renowned artists.
Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, said, “The Solomon R. Guggenheim Foundation is very pleased to embark on this collaboration with the El Paso Museum of Art. While the Guggenheim welcomes over a million visitors a year to the museum in New York and reaches an increasingly diverse audience of over 6 million visitors through its website, it is particularly gratifying to bring some of the most iconic works in the Guggenheim’s collection to El Paso and the Southwest.” 
Mr. Armstrong continued, “I’d like to thank the El Paso Museum of Art Director Michael A. Tomor for this promising collaboration and for the opportunity to share some of the Guggenheim’s most beloved treasures with the people of El Paso and the region.”
The collaboration between the El Paso Museum of Art and the Solomon R. Guggenheim Museum and Foundation addresses the particular interests of the communities served in El Paso.  It is of special significance to the El Paso community to be introduced to some of the most noteworthy artworks by European Modernists found in the world's most admired permanent collections.  To that end, and in the spirit of educating the public with masterpieces held in great esteem by scholars across the globe, the El Paso Museum of Art has been given this exceptional opportunity to work with the Guggenheim Museum.  In turn, the Guggenheim Museum has an opportunity to reach directly beyond its audiences in New York City, Venice, and Bilbao by building a program for a community clearly dedicated to extremely high quality-of-life programs.
Michael Tomor, Director of the El Paso Museum of Art, shared, “The El Paso Museum of Art is honored to collaborate with the Solomon R. Guggenheim Museum and Foundation to launch its first masterpiece program.  Richard Armstrong is to be seen as a shining example of reaching across the profession and the United States to better serve a mission of excellence in art and arts programming in communities more geographically isolated from major metropolitan regions of the eastern seaboard.  The citizens of El Paso and Juárez have never had an opportunity to experience in their own community original canvases by Picasso, Kandinsky, Delaunay, Gleizes, or Marc, or to see iconic paintings by Chagall or Cézanne.  The Guggenheim has afforded this opportunity to El Paso and we are forever grateful to their staff and board.”
The individual masterpiece installation or exhibition is gaining momentum across the United States and Europe.  As exhibition leasing, shipping, and insurance fees continue to increase and the public and the museum profession tire of the sensationalism of the “blockbuster” exhibition, directors and curators are revisiting the mission of education and excellence in programming; the unique or multiple masterpiece exhibition provides an alternative.  The El Paso Museum of Art is projecting 24 months of consecutive exhibition programs and 54 unique education programs, not including the creation of new art classes dedicated to the featured artists’ style, iconography, and choice of subject.   The Museum is in the midst of discussions with nine performing arts and academic community partners to offer additional programs related to the cultural context out of which these artists emerged. 
Other recent examples of the Masterpiece Series include the December 6, 2013 opening of the three-month installation of the New York Frick Collection portrait by Francisco de Goya y Lucientes at the Norton Simon Museum in Pasadena.  The Prado at the Meadows was the result of a three-year collaboration between the Prado Museum of Madrid and the Meadows Museum of Southern Methodist University in Dallas to bring El Greco, Ribera, and Velázquez to the Dallas-Fort Worth communities.  That series ran from 2011 through 2013.   And in May of 2011, the Speed Art Museum in Louisville, Kentucky, exhibited Caravaggio’s The Fortune Teller on loan from the Capitoline Museums in Rome.


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