Archive for December, 2014

Toasting the New Year

As New Year’s Eve is upon us, we thought it only appropriate to pop, fizz, and clink our way through the collection with some objects created for cocktails. We hope they inspire you to raise a glass and ring in an artful 2015. To get you off to the right start, we’ve got plenty of lively libations in store during our first Late Night of 2015 on January 16. Enjoy the winning cocktail from our Creative Cocktail Contest and then take a tour of more objects perfect for cocktail hour. Cheers and Happy New Year!

 

Sarah Coffey is the Education Coordinator at the DMA.

Toasting the New Year

Wishing everyone a safe and happy new year!

Sarah Coffey
Education Coordinator

Dallas Museum of Art Uncrated

As New Year’s Eve is upon us, we thought it only appropriate to pop, fizz, and clink our way through the collection with some objects created for cocktails. We hope they inspire you to raise a glass and ring in an artful 2015. To get you off to the right start, we’ve got plenty of lively libations in store during our first Late Night of 2015 on January 16. Enjoy the winning cocktail from our Creative Cocktail Contest and then take a tour of more objects perfect for cocktail hour. Cheers and Happy New Year!

 

Sarah Coffey is the Education Coordinator at the DMA.

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Lucky Strike

Last month, the DMA acquired an impressive work by the Guyanese-born British painter Frank Bowling. The painting, Marcia H Travels, is from Bowling’s influential Map Painting series, which he created in the 1970s. This February, the DMA’s painting, along with four additional Map Painting works from private collections, will be reunited for the first time since their debut in 1971 at the Whitney Museum of American Art in the DMA-organized exhibition Frank Bowling: Map Paintings.

Frank Bowling, Marcia H Travels, 1970, acrylic on canvas, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund  [courtesy of Frank Bowling and Hales Gallery, copyright of Frank Bowling, photograph by Charles Robinson],

Frank Bowling, Marcia H Travels, 1970, acrylic on canvas, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, courtesy of Frank Bowling and Hales Gallery, © Frank Bowling

Kimberly Daniell is the Manager of Communications and Public Affairs at the DMA.

Christmas Tidings

It is a throwback Thursday Christmas edition on Uncrated. Re-celebrate The Twelve DMA Days of Christmas from the Uncrated 2011 archives.

first day

We hope everyone has a safe and happy holiday season, we can’t wait to celebrate the New Year at the DMA with an amazing lineup of exhibitions, programs, and more!

DMA Night Before Christmas

"Regimental Oak" shape dinner plate with "Christmas Tree" pattern, Designer: Harold Holdway, 1938, Dallas Museum of Art, gift of Stephen Harrison in honor of George Roland

“Regimental Oak” shape dinner plate with “Christmas Tree” pattern, Designer: Harold Holdway, 1938, Dallas Museum of Art, gift of Stephen Harrison in honor of George Roland

Twas the night before Christmas and all through the DMA
Not a painting was stirring–not the Matisse, nor Monet;
The Copley portraits were hung by the chimney with care,
In hopes that St. Nicholas soon would be there.

The staff were busy working away at their desks
On visions of Late Night and art class they obsessed.
When out on the Concourse there arose such a clatter,
I sprang from my desk to see what was the matter.

Away to the entrance I flew like a flash,
Past paintings and drawings and statues I dashed.
When, what to my wondering eyes should appear,
But a miniature sleigh, and eight tiny reindeer.

With a little old driver, so lively and quick,
I knew in a moment it must be St. Nick.
He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot.

Diego Rivera, Peasant Woman, 1946, Dallas Museum of Art, Bequest of Mr. and Mrs. Benjamin Lewis

Diego Rivera, Peasant Woman, 1946, Dallas Museum of Art, Bequest of Mr. and Mrs. Benjamin Lewis

A bundle of gifts he had flung on his back,
And he looked like a peddler just opening his pack.

He spoke not a word, but went straight to his duties.
Fancy new hats for the Soyer shoppe beauties,
A new shell for Vishnu, a rug for the Reves,
And for Ivy in Flower, three sparkling new leaves.

A scythe and some seeds for the Vincent van Gogh,
A nice plate of dinner for Fox in the Snow.
Two cozy pillows for the old Gothic bed,
For mantle with condors some lovely new thread.

From the top floor to the bottom, he silently worked,
And filled all the stockings; then turned with a jerk.
“No touching the art!” he wisely exclaimed,
“Just use your eyes to explore frame by frame.”*

He checked off each artwork on his large museum chart,
Gave a sigh and a nod, “It’s time to depart.”

Berenice Abbot, Untitled (Reindeer), print 1983, Dallas Museum of Art, Foundation for the Arts Collection, gift of Morton and Marlene Meyerson

Berenice Abbot, Untitled (Reindeer), print 1983, Dallas Museum of Art, Foundation for the Arts Collection, gift of Morton and Marlene Meyerson

He sprang to his sleigh, to his team gave a whistle,
And away they all flew like the down of a thistle.
But I heard him exclaim, ere he drove out of sight.
“Happy Christmas to all, and to all a good-night.”

*That Santa–even when he is hard at work, he remembers the Museum rules!

Wishing you and your loved ones a very merry holiday!

Leah Hanson
Manager of Early Learning Programs

Merry Macarons

Our annual staff holiday party brought some French flair to the Museum with this year’s Winter in Paris theme. The Holiday Party Committee started planning in September and pulled together a sophisticated soiree fit for any Francophile, complete with a cardboard-roll Eiffel Tower-building contest, a French-themed photo booth, and an abundance of delicious French cuisine, courtesy of our amazing Chef Craig. Olivier Meslay, Associate Director of Curatorial Affairs and resident DMA Frenchman, served as the party’s emcee, much to everyone’s delight. The Museum’s gracious trustees, along with local businesses, donated a plethora of gifts for the staff raffle, a seasonal highlight for our much-deserving employees. It was the perfect kickoff to a merry holiday season!

Sarah Coffey is the Education Coordinator at the DMA.

A Dallas December

Edward G. Eisenlohr, December, Dallas, 1938, pencil on paper, Dallas Museum of Art, gift of Gertrude Helmle, the estate of E. G. Eisenlohr

Edward G. Eisenlohr, December, Dallas, 1938, pencil on paper, Dallas Museum of Art, gift of Gertrude Helmle, the estate of E. G. Eisenlohr

This drawing of a Texas meadow in December by Edward Gustav Eisenlohr from the DMA’s collection of early Texas art seems simple in its portrayal, yet subtle details add texture and depth to the page. Notice the hatching on the rock formation in the foreground or the care given to the hundreds of individual leaves and petals throughout—a departure from the idea of a Texas landscape as an endless desert or barren prairie.

The temperature in Dallas in December 1938 averaged 48 degrees, but interestingly a record high of  84˚ was set on December 10 of that year. Therefore, despite being a winter month, the white patches to the left are  likely not snow. Eisenlohr often represented bare spots in the ground, a common occurrence on the prairie, with colorless patches.

Eisenlohr was a Dallas painter, printmaker, and teacher. Born in Cincinnati, Ohio, in 1872 of German descent, he died in Dallas in 1961 and is buried in Oak Cliff. Eisenlohr initially moved to Dallas as a child with his family, and later the area would become his inspiration and artistic base. He studied in the early 1900s with Texas art legends Robert J. Onderdonk and Frank Reaugh, which included lessons during outdoor trips. Eisenlohr would continue to make sketching trips to sites all over Dallas, so the above work was most likely done en plein air, or created outside from life. He was involved in establishing the Dallas Art Association, forerunner of the Dallas Museum of Arts, in 1903, which, as you know, became the DMA.

Rae Pleasant is the Research Associate for Early Texas Art at the DMA.


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