Melbourne Winter Masterpieces
The National Gallery of Victoria has held several large exhibitions known as Melbourne Winter Masterpieces exhibitions, starting with Impressionists: Masterpieces from the Musee d'Orsay in 2004, and an exhibition of Dutch masters in winter 2005 with Vermeer's painting The Love Letter from the Rijksmuseum in Amsterdam exhibited among many others. It was the first time a Vermeer painting had been exhibited in Australia. There was also an exhibition of Caravaggio paintings in 2004.
The 2006 Melbourne Winter Masterpieces exhibition was titled Picasso: Love and War 1935-1945 and ran from 30 June 2006 and 8 October 2006. The exhibition of over 300 Picasso drawings and paintings from the years 1935-1945 was curated by Anne Baldassari, Director of the Musée Picasso, Paris.
The 2007 Melbourne Winter Masterpieces exhibition was titled "Guggenheim Collection 1940s to now" (30 June to 7 October 2007) and showed more than 85 works by 68 artists, mainly from the Solomon R. Guggenheim Museum, New York City, but also from other Guggenheim Museums in Venice, Bilbao, and Berlin. The exhibition did not travel to any other city; it was seen by more than 180,000 visitors.
The 2008 Melbourne Winter Masterpieces exhibition was titled "Art Deco 1910—1939" and ran from 28 June to 5 October 2008. The exhibition was organized by the Victoria and Albert Museum, London.
The 2009 Melbourne Winter Masterpieces exhibition was titled "Salvador Dalí Liquid Desire" and ran from 13 June to 4 October 2009.
The 2010 Melbourne Winter Masterpieces exhibition was "European Masters: Städel Museum, 19th-20th Century".
The 2011 Melbourne Winter Masterpieces exhibition was titled "Vienna Art and Design" and ran from 13 June to 4 October 2011.
The 2012 Melbourne Winter Masterpieces exhibition was "Napoleon: Revolution to Empire".
Read more about this topic: National Gallery Of Victoria
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“A Carpaccio in Venice, la Berma in Phèdre, masterpieces of visual or theatrical art that the prestige surrounding them made so alive, that is so invisible, that, if I were to see a Carpaccio in a gallery of the Louvre or la Berma in some play of which I had never heard, I would not have felt the same delicious surprise at finally setting eyes on the unique and inconceivable object of so many thousands of my dreams.”
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