Cleveland: Heather Lemonedes

October 2009 Datebook

In Retrospect: Ed Ruscha

In Museums

Narrative Threads

East London Looks East

Lean and Mean

Neville Wakefield

From Good Stock

Family of Mann

Design Digest

Own the Dream

Sliced and Diced

Back to Art

Highly Polished

Movers & Shakers

Treasure Hunting

Digging In

A Match Made in Midtown

Star Ambitions

Also This Month

Paul Gauguin Georges Seurat Barnes to Unveil Design for New Philadelphia Home Prairie Girl D’Orsay Comes to De Young The Weight of Paper Tribal Art to Stay Put at De Young A Piano Sonata

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The year 1889 was pivotal for the painter. Eager to distinguish himself from his rival Georges Seurat and the Neo-Impressionists and to present his work to a wider audience, he organized a show of his art and that of such friends as Louis Anquetin and Émile Bernard and Émile Schuffenecker to coincide with the Exposition Universelle in Paris. Gauguin persuaded Monsieur Volpini to let them use his Café des Arts, which was on the grounds of the fair. They didn’t sell many of the works, but we know the artists got some critical attention. Part of our show is a re-creation of that original effort, and we’ve brought together works that haven’t been seen side by side since. One of Gauguin’s contributions was a series of 11 zincographs on sheets of wonderful canary-yellow paper that were printed in an edition of about 30. The museum owns a complete set of these, now called the "Volpini Suite," which will be on view along with a very rare hand-colored set. In fact it was because I traveled to the Van Gogh Museum to look at one of the colored prints in its holdings that this blossomed into a collaborative project.

"Cleveland: Heather Lemonedes" originally appeared in the October 2009 issue of Art+Auction. For a complete list of articles from this issue available on ARTINFO, see Art+Auction's 2009 Table of Contents.