ONE-HIT WON­DERS

FOR­GET WHOLE EX­HI­BI­TIONS. THIS SPRING, SIN­GLE OLD-WORLD MAS­TER­PIECES STEAL THE ARTS SPOT­LIGHT.

Los Angeles Confidential - - Contents - BY MU­RAT OZTASKIN

For­get whole ex­hi­bi­tions. This spring, sin­gle old-world mas­ter­pieces steal the arts spot­light.

While LA’s revered arts in­sti­tu­tions con­stantly call in pieces on loan to launch their mega-cal­iber ex­hi­bi­tions and group shows, three in­di­vid­ual mas­ter­works on view this spring have the city’s art elite think­ing in sin­gles.

Through March 6, Vincent van Gogh’s The Bed­room (1889) takes pride of place at Nor­ton Si­mon Mu­seum (411 W. Colorado Blvd., Pasadena, 626449-6840; nor­ton­si­mon .org), on loan from The Art In­sti­tute of Chicago. A kind of fig­ure­less self­por­trait, painted while the artist was in asy­lum in south­ern France, the mas­ter­piece com­mu­ni­cates the Dutch­man’s har­row­ing de­spair and “al­lows for a re­mark­able con­ver­sa­tion with” other van Goghs in the mu­seum’s col­lec­tion, says chief cu­ra­tor Carol Togneri. This is the first time The Bed­room has been on view on the West Coast.

Across town, a first gives way to a “sec­ond,” as Edgar Degas’s Rus­sian Dancers (c. 1899) re­turns to The Getty (1200 Getty Cen­ter Dr., LA, 310-44007330; getty.edu) through May 7, on loan from a pri­vate col­lec­tion. The cen­ter­piece of a pop­u­lar re­peat ex­hi­bi­tion ex­plor­ing Degas’s use of pas­tels (the first, in 2015, fea­tured dif­fer­ent ac­com­pa­ny­ing im­ages), Rus­sian Dancers al­lows An­ge­lenos to cel­e­brate the rich colors and ex­u­ber­ant aban­don of the artist’s work in this medium.

As The Getty en­joys its loan, it re­turns an­other: Rem­brandt’s Juno

(c. 1662–1665), which went on loan from the Ham­mer Mu­seum (10899 Wil­shire Blvd., LA, 310-443-7000; ham­mer.ucla.edu) last fall dur­ing the ren­o­va­tion of its per­ma­nent col­lec­tion gal­leries. Now the late­ca­reer mas­ter­piece, which dis­plays the éclat of Rem­brandt’s fi­nal-years tech­nique, has re­turned to its home, fea­tured promi­nently amidst 100plus other works in the new Ar­mand Ham­mer Col­lec­tion gallery. At the al­ways-avant-garde Ham­mer, old school is new again.

ONE OF REM­BRANDT’S MOST FA­MOUS WORKS RE­TURNS TO—GASP!— THE HAM­MER.

The sin­gle life!

Amidst their spring pro­grams, three of LA’s pre­mier arts in­sti­tu­tions are draw­ing in the crowds with one work each (from top): Degas’s Rus­sian Dancers at The Getty, van Gogh’s The Bed­room at Nor­ton Si­mon, and Rem­brandt’s Juno at the Ham­mer.

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