ByNancy Pardue Photography By
Courtesy of North Carolina Museum of Art
Odds are you’ve seen prints of his work, majestic American landscapes from Yosemite to Death Valley, all photographed in black and white.
Here’s your chance to see the real thing, as “Ansel Adams: Masterworks,” opens at the North Carolina Museum of Art on Feb. 4.
“We feel extremely fortunate to be able to present this set of photographs, hand-selected and personally printed by the artist himself, to our visitors,” said Linda Dougherty, NCMA curator of contemporary art.
“The featured photographs — breathtaking views and impressive depictions of America’s landscapes — reveal the importance Adams placed on the overwhelming power and beauty of the natural world.”
The late Adams, whose career spanned five decades, is one of America’s most renowned photographers. This exhibition focuses on his Museum Set, a collection of 48 photographs he selected as a representation his best.
They included his iconic images of El Capitan and Half Dome in Yosemite National Park; the Golden Gate in San Francisco; Monument Valley in Arizona; and the Snake River in Grand Teton National Park, Wyoming.
“Ansel Adams: Masterworks” runs through May 7.
James Alinder, Ansel Adams, 1984, 20 1/2 x 19 3/8 in., Turtle Bay Exploration Park, Redding, Calif.
Ticketed with the Adams exhibit, and opening on March 4, is “Glory of Venice: Renaissance Paintings 1470–1520,” featuring 50 paintings by such masters as Giorgione, Giovanni Bellini, and Vittore Carpaccio, many of which have never been seen outside of Venice.
“This is the first exhibition solely devoted to Italian art ever presented at the Museum, and it’s a stunner,” said David Steel, NCMA curator of European art and co-curator of the exhibition.
“For the first time in its history, the Accademia museum in Venice, which owns the foremost collection of Venetian art in the world, has agreed to lend a substantial group of its treasures to America, and we are delighted to be one of two venues for this important exhibition.”
In addition to the paintings will be a display of early Venetian printed books lent from the rare book collections at the University of North Carolina and Duke University, and the spectacular woodcut by Jacopo de’ Barbari, the bird’s-eye “View of Venice.”
“Glory of Venice” runs through June 18.
Tickets can be purchased at ncartmuseum.org, by calling (919) 715-5923, or at the NCMA box office at 2110 Blue Ridge Road, Raleigh.
Titian, Madonna and Child, circa 1508, oil on wood, 18 x 22 in., The Metropolitan Museum of Art, New York, The Jules Bache Collection, 1949
Top: Titian and workshop, Eternal Father and Angels, 1519–20, oil on panel, 22 x 45 1/4 in., Scuola Grande Arciconfraternita di San Rocco, Venice, Italy
Bottom: Giorgione, Christ Carrying the Cross, 1506–7, oil on canvas, 27 7/8 x 35 3/4 in., Scuola Grande Arciconfraternita di San Rocco, Venice, Italy
Bartolomeo Veneto, Portrait of a Gentleman, circa 1520, oil on panel transferred to canvas, 30 1/4 x 23 in., National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, Courtesy National Gallery of Art, Washington
Giovanni Bellini, Allegories of Fortune/Melancholy and Perseverance, late 1400s or early 1500s, oil on panel, 13 3/8 x 8 5/8 in. and 13 1/2 x 8 5/8 in., Gallerie dell’Accademia, Venice, Italy
Giovanni Bellini, The Annunciation, early 1500s, oil on canvas, 88 x 42 in. each, Gallerie dell’Accademia, Venice, Italy
Giovanni Bellini, Christ Blessing, circa 1500, tempera, oil, and gold on panel, 23 1/4 x 18 1/2 in., Kimbell Art Museum, Fort Worth, Texas, Bridgeman Images
Vittore Carpaccio, Apparition of the Crucified of Mount Ararat in the Church of Sant’Antonio in Castello, 1512–13, oil on canvas, 48 3/8 x 69 7/8 in., Gallerie dell’Accademia, Venice, Italy
Vittore Carpaccio, The Flight into Egypt, circa 1515, oil on panel, 28 3/8 x 43 3/4 in., National Gallery of Art, Washington, D.C., Andrew W. Mellon Collection, Courtesy of the National Gallery of Art, Washington
Giovanni Battista Cima da Conegliano, The Archangel Raphael and Tobias between Saints James the Greater and Nicholas of Bari, circa 1514–15, oil on canvas, transferred to canvas, 63 3/4 x 70 in., Gallerie dell’Accademia, Venice, Italy
Giovanni Battista Cima da Conegliano, Madonna and Child in a Landscape, circa 1496–99, oil on panel, transferred to canvas, 28 x 24 3/4 in., North Carolina Museum of Art, Purchased with funds from the State of North Carolina
Carlo Crivelli, Virgin and Child with Saints and Donor, circa 1490, tempera with gold leaf on panel, 38 1/2 x 32 1/2 in., The Walters Art Museum, Baltimore, Maryland, 1902
Jacopo de’ Barbari, View of Venice, circa 1500, woodcut from six blocks on six sheets of paper, 52 1/4 x 109 1/4 in., Minneapolis Institute of Art, The John R. Van Derlip Fund, 2010.88, Photo: Minneapolis Institute of Art
[All 6 pages are available as details]
Attributed to Giorgione, Madonna and Child with Saints Catherine and John the Baptist, circa 1505–8, oil on panel, 20 1/8 x 31 7/8 in., Gallerie dell’Accademia, Venice, Italy
Giovanni Antonio de’ Sacchis called Il Pordenone, St. Prosdocimus and St. Peter, circa 1515–17, oil on poplar panel, mounted on plywood panel, 34 1/2 x 24 1/8 in., North Carolina Museum of Art, Gift of the Samuel H. Kress Foundation