HOURS: Monday-Friday, 12-4 p.m.; weekends, 1-5 p.m.
Closed during academic breaks.
SUMMER HOURS (STARTING MAY 1): Tuesday-Friday, 12-4 p.m.;
Saturday, 1-5 p.m.; closed Sunday and Monday
ADMISSION: Free
DIRECTIONS: FROM THE NORTH, take I-65 to I-40 west and then look for
I-40 east to exit 209B. Turn right on Broadway.
FROM THE EAST OR SOUTH, take I-40 west to exit 209A. Turn left on Broadway.
FROM THE WEST, take I-40 east to exit 209B. Turn right on Broadway
(US 70S). Follow Broadway and veer right to West End Avenue.
Vanderbilt is located a mile and a half southwest of downtown Nashville and is approximately 4 hours from Atlanta, 3 hours from Birmingham, 2 1/2 hours from Knoxville, 3 hours from Louisville, and 3 hours from Memphis.
The Vanderbilt University Fine Arts Gallery features six exhibitions each year that represent the history of Eastern and Western art. In addition to exhibitions from the permanent collection, the gallery also features traveling exhibitions. Part of the gallery is frequently used to exhibit works from the permanent collection.
Up Coming Shows:
Views from the Collection III
(April 3-June 30, 2008)
VANDERBILT PRESENTS THE THIRD IN ITS TRILOGY OF
PERMANENT COLLECTION EXHIBITIONS
NASHVILLE – The Vanderbilt University Fine Arts Gallery is pleased to announce its upcoming exhibition, Views from the Collection III, drawn from the Vanderbilt University Fine Arts Collection. Views from the Collection III opens Thursday, April 3, and will be on view through June 30. There will be an opening reception on Thursday, April 3, from 5:00 to 7:00 p.m. at the Fine Arts Gallery. The Fine Arts Gallery is located in the Old Gym, at the corner of 23rd and West End Avenues. All events are free and open to the public. Beginning May 1, the Gallery will assume summer hours: 12-4 p.m. Tuesday through Friday, 1-5 p.m. Saturday, closed Sunday and Monday.
This is the final installment in a three-part series of exhibitions of art from the permanent collection. The current show will feature a cross-section of work from Europe, the United States, India, Papau New Guinea, Japan, China, and Africa.
Highlights of this exhibition will include examples from the Samuel H. Kress Collection of Renaissance paintings that showcase the period’s incredible devotion to Biblical narrative and symbolism. St. Louis of Toulouse, a tempura painting on panel by Venetian artist Vittore Crivelli, is a prime example, illustrating a full-length figure of a holy bishop in resplendent detail. Originally executed for a chapel or church, it is thought to have once belonged to a Francescan altarpiece, containing a companion painting of St. Francis of Assisi, which was completed by the artist concurrently.
Also included in the exhibition are two later works which have recently received conservation treatment. The first, by nineteenth-century French painter Jules Adolphe Goupil, is a flawlessly executed depiction of a Victorian lady. Seated in profile at a table of books—romantic and passive—she provides an excellent counterpoint to Portrait of a Gentleman, an oil on canvas by seventeenth-century Dutch painter Michiel van Müsscher, which seems to concern itself with a brutal, but no less elegant, world of regality and patriarchal power.
Picasso’s Le Vieux Roi (The Old King), a 1959 lithograph from one of the preeminent icons of western art, is included as well, picking up on Müsscher‘s theme of royalty but taking it to a much more playful place. Completed when the artist was in his eighties, it is drawn in a loose, smudgy, almost erotic style. It also exhibits one of Picasso’s primary themes from his later years – nubile young women being observed by aging and powerful men – in this case, a bearded king admiring his conspicuously nude maiden.
Other highlights of the exhibition include a selection of contemporary Japanese ceramics by masters of the medium such as Toshiko Takaezu and Hamada Shoji, a selection of etchings by the American master printmaker John Taylor Arms, and an unusual multiple by the American composer, philosopher, writer, and printmaker John Cage.
