Dallas Museum of Art | Dallas Museum of Art Uncrated

Archive Page 13

Monkeying Around

Published February 8, 2016 Collections Closed
Tags: Chinese New Year, Dallas Museum of Art, DMA, Monkey

We’re celebrating the Year of the Monkey by highlighting a few works featuring the animal of the hour. Some of the monkeys are out in the open, but for others it takes a little more detective work to spot them in the paint. Happy Chinese New Year!

: Stirrup-Spout Vessel: Monkey Head, Moche, Early Intermediate Period, Peru, A.D. 200-450, ceramic and slip paints, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison 1976.W.107

: Pendant: Monkey, Veraguas, Panama, A.D. 800-1200, gold, Dallas Museum of Art, the Nora and John Wise Collection, bequest of John Wise 1983.W.275

: Pendant: Monkey, Veraguas, Panama, A.D. 800-1200, gold, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison 1976.W.276

: Monkey, 900, Peru, silver, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, and Mr. and Mrs. John D. Murchison 1976.W.1136

: Cornelis Saftleven, College of Animals (detail), 1655, oil on canvas, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation 1987.32

: Ear ornament or pendant (mamuli), early 20th century, Sumba, Lesser Sunda Islands, East Sumba, Indonesia, gold, Dallas Museum of Art, gift of Sarah Dorsey Hudson 1991.370

: “Monkeys Three” pattern toothpick holder, Unknown, n.d., glass, Dallas Museum of Art, Dallas Glass Club Collection 1992.500

: Charger (detail), Japan, c. 1900, bronze, Dallas Museum of Art, Foundation for the Arts Collection, The John R. Young Collection, Mrs. John B. O’Hara Fund 1995.200.FA

: Architectural sculpture depicting a monkey (ba’e), Ono Niha people, Nias, Indonesia, late 19th–early 20th century, wood, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc. 1999.182.McD

: Bead: monkey profile, Olmec, Mexico or Guatemala, Middle to Late Formative period, 500–200 BC, jadeite, Dallas Museum of Art, given in memory of Jerry L. Abramson by his estate 2008.86

: François Auguste Biard, Seasickness on an English Corvette (Le mal de mer, au bal, abord d’une corvette Anglaise) (detail), 1857, oil on canvas, Dallas Museum of Art, gift of J.E.R. Chilton 2011.27

Kimberly Daniell is Senior Manager of Communications, Public Affairs, and Social Media Strategy at the DMA.

Puppy Love

Published February 5, 2016 Behind-the-Scenes , Collections , Guest Blog Post 2 Comments
Tags: animals, Dallas Museum of Art, DMA, visitor voices

We love hearing from our visitors about their experiences at the DMA. We especially enjoy learning about ways art touches lives. We recently received an e-mail from Mark and his granddaughter Fiona. Their story brought a smile to so many of the DMA staff that we asked if we could share their visit on Uncrated:

Earlier this month I took my seven-year-old granddaughter to the DMA. We visited the European galleries to look at paintings, more like glances as we raced by all the paintings. But we stopped at a large painting that depicts the myth of Zeus turning into a bull to woo his love. I asked Fi what she thought of this “crazy painting” when a woman paused near us. She shared the story the painting represented and then asked Fiona a question I should have asked at the beginning of our visit: “What kind of paintings do you like to see?”

Without hesitation my granddaughter said animals. She told us that she had the perfect painting for us, one that Fiona would love. The painting was not where she expected it to be and a gallery attendant, named Joyce, told us the painting was “taking a rest” but that she knew of more work depicting animals. While we were touring these animal paintings, Fiona and Joyce swapped pet stories and advice, both agreeing that you need to tell your pets that you love them every day.

After exploring the galleries we stopped at the hands-on area of the DMA (The Center for Creative Connections), where you can make your own work of art. Fiona drew and was able to make a rabbit sculpture with a piece of egg crate and pipe cleaners. She was very proud of her work and asked if she could keep it, and I told her yes. She then surprised me by saying she wanted to give it to the nice lady, Joyce.

A museum can be a cold, intimidating experience, but we found such warmth from our two encounters with DMA staff.
– Mark

We caught up with Joyce in the galleries to talk about her encounter with Mark and Fiona. She told us one of her favorite things about the job is being able to interact with our visitors, especially the youngest visitors like Fiona, and share her love of art. She was extremely moved by Fiona’s gift, which she has fondly named Fiona in her honor, and can’t wait to run into them on their next visit.

Kimberly Daniell is the Senior Manager of Communications, Public Affairs, and Social Media Strategy at the DMA.

The Soundtrack to Vermeer Suite

Published February 4, 2016 Behind-the-Scenes , Exhibitions Closed
Tags: Dallas Museum of Art, DMA, Dutch, Music, The Leiden Collection, Vermeer Suite: Music in 17th-Century Dutch Painting

Viols, virginals, flutes, and lutes! The small, masterful paintings in Vermeer Suite: Music in 17th-Century Dutch Painting, each featuring an individual playing or holding an instrument, indicate the popularity and prevalence of music—both as artistic subject matter and as activity—in the Netherlands during the 17th century.

Interestingly, the associations with music at the time ran the gamut from divine gift to causing irreparable moral damage. On one side of the spectrum, music was spiritual medicine, played solely to glorify God. On the other side, music making was perceived as a worldly pleasure and at odds with Protestant values, diverting one’s attention away from spiritual salvation. Somewhere in the middle of the spectrum, music playing and listening functioned as a polite form of entertainment for the elite upper classes. It was played in the household in the same way we might gather around and play charades or watch a football game today. Playing music was also a means for solidifying social and professional relationships, and it was a socially acceptable way for unmarried people to interact—to essentially be on a date without a chaperone. Beyond the household, elites could find a quasi-public outlet for practice and performance in a collegium musicum—a small group of amateur musicians that convened in one of its members’ homes or a location approved by the city council. Members of the lower classes could visit muziekherbergen (music inns), which made instruments available for patrons. At a music inn, a capable player who refused to perform was required to purchase a round of drinks for the whole tavern as penalty!

With the artists’ careful attention to detail and intricate treatment of surfaces, the realistic paintings in Vermeer Suite: Music in 17th-Century Dutch Painting transport us to a lively Dutch street corner or an intimate living room gathering. While we can almost hear the music that likely accompanied these scenes, visitors to the exhibition do not have to imagine it. In the exhibition’s adjacent gallery, visitors can actually listen to the paintings’ soundtracks. Songs by Jan Pieterszoon Sweelinck (1562-1621), one of the most prolific Dutch songwriters to achieve international renown, will be played continuously. A professional organist who served the Oude Kerk (Old Church) in Amsterdam for forty-four years, Sweelinck was one of the first major composers of keyboard music in Europe.

Additionally, a sound bar in this interactive gallery offers visitors the opportunity to listen to the distinct sound of each of the instruments depicted in the paintings and learn about how they were played. Visit the DMA through August 21 to enjoy the visual and aural experience of Vermeer Suite: Music in 17th-Century Dutch Painting, which is included in the Museum’s daily free general admission.

Andrea Severin Goins is the Interpretation Manager at the DMA.

Images: Jacob Adriaensz Ochtervelt, A Singing Violinist, c. 1666–70, oil on panel, © The Leiden Collection, New York; Gerard ter Borch, A Musical Company, c. 1642–44, oil on panel, © The Leiden Collection, New York; Lutes, Michael Praetorius, Syntagma Musicum, 1619. Syntagma Musicum is a three-volume treatise written by the German musicologist Michael Praetorius between 1614 and 1620; Jan Steen, Self-Portrait with a Lute, n.d., oil on canvas, © The Leiden Collection, New York

From Behind the Shadow

Published February 2, 2016 Collections Closed
Tags: Dallas Museum of Art, DMA, Groundhog Day, spring

You know the old saying “January showers bring February flowers,” or at least that’s what the phrase should be this year according to Punxsutawney Phil. The famous groundhog did not see his shadow this morning, which means we should be in for an early spring. If the warm weather we’ve been experiencing in Dallas is any indication of Phil’s accuracy, we’ll see spring scenes like the ones below in no time.

: Vincent van Gogh, River Bank in Springtime, 1887, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Eugene McDermott in memory of Arthur Berger 1961.99

: Edward G. Eisenlohr, Spring Fields at Grand Prairie, n.d., oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Wilson McClure 1960.77

: Edward G. Eisenlohr, Spring Thaw, c. 1943, oil on canvas, Dallas Museum of Art, Lida Hooe Memorial Fund 1945.17

: Julian Onderdonk, Springtime, 1901, oil on canvas, Dallas Museum of Art, gift of Edwin J. Kiest 1904.1

: Julian Onderdonk, Untitled (Field of Bluebonnets), 1918-1920, oil on canvas, Dallas Museum of Art, bequest of Margaret M. Ferris 1990.153

Kimberly Daniell is the Senior Manager of Communications, Public Affairs, and Social Media Strategy at the DMA.

Women in the Arts

Published January 25, 2016 Collections Closed
Tags: Berthe Morisot, Bettina Speckner, Dallas Museum of Art, Denise Bellon, DMA, Dorothy C. Thorpe, Helen Frankenthaler, Kara Walker, Margaret Lee, Sandy Skoglund, State of the Arts, Velma Davis Dozier, Women in arts, Yuki Kimura

On Thursday, January 28, the DMA is pleased to host State of the Arts: Women in the Arts, highlighting Dallas-area women who are shaping the cultural landscape of our city and the surrounding area through leadership positions in their respective fields. The conversation will be led by Anne Bothwell, Director of KERA’s Art&Seek, and will include Amy Lewis Hofland, Director of the Crow Collection of Asian Art; Margie Reese, Executive Director of Wichita Falls Alliance for Arts and Culture; and Tina Parker, Co-Artistic Director of Kitchen Dog Theater.

As we look forward to hosting these great leaders in one space, let’s take a moment to highlight works of art in our permanent collection by women. From Berthe Morisot’s 1880 painting of a woman in winter to Margaret Lee’s 2013 photograph Dots on Top, these women have made their mark in the timeline of art history.

: Sandy Skoglund, Revenge of the Goldfish, 1980, Color photograph, Dallas Museum of Art, General Acquisitions Fund 1981.32

: Berthe Morisot, Winter (Woman with a Muff), 1880, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation, Incorporated 1981.129

: Velma Davis Dozier, Terlingua, n.d., pastel on sandpaper, Dallas Museum of Art, gift of Denni Davis Washburn and Marie Scott Miegel 1990.21 ©Denni Davis Washburn, William Robert Miegel Jr, and Elizabeth Marie Miegel

: Helen Frankenthaler, Possibilities, 1966, acrylic on paper, Dallas Museum of Art, gift of Tucker Willis 1998.105 © Helen Frankenthaler / Artists Rights Society (ARS), New York

: Denise Bellon, Untitled (Mannequin by Hans Arp), 1938, gelatin silver print, Dallas Museum of Art, gift of the Junior Associates and an anonymous donor 2001.53

: Dorothy C. Thorpe, Crown Lynn Potteries, Dorothy C. Thorpe Inc., “Monterrey” pattern creamer, c. 1965, ceramic, Dallas Museum of Art, gift of Carole Stupell, Ltd. 2002.1.26.2

: Kara Walker, savant, 2010, etching with aquatint, sugar-lift, spit-bite, and drypoint Dallas Museum of Art, Mary Margaret Munson Wilcox Fund 2010.39.3 © Kara Walker

: Yuki Kimura, post-disembodiment (grain) alter ego (door) shadow (door), 2006, lambda prints mounted on wood, wood, and Plexiglas, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund 2012.52.7.A-D © Yuki Kimura

: Bettina Speckner, Brooch, 2009, photograph, enamel, and silver, Dallas Museum of Art, gift of Deedie Rose 2014.1.1 © Bettina Speckner

: Margaret Lee, Dots On Top, 2013, archival pigment print, Dallas Museum of Art through the Mary Margaret Munson Wilcox Fund; Jackson, Walker, Winstead, Cantwell, and Miller Photography Fund; and Campbell Contemporary Fund 2013.26.2 © Margaret Lee Courtesy of the artist and Jack Hanley Gallery 2013.26.2 © Margaret Lee

Jessica Fuentes is The Center for Creative Connections Gallery Manager at the DMA.

Let’s get Zen-ical

Published January 22, 2016 Collections Closed
Tags: Dallas Museum of Art, DMA, Hakuin Ekaku, Japanese art, Japanese Zen Buddhist, Nagasawa Rosetsu

The DMA’s Asian Collection features many works of art that express the Japanese Zen Buddhist tradition. Essentially, Zen art seeks to express the True or Formless Self, a form of being that is prior to and free from any physical form. In order to channel one’s True Self, the creative act must be conducted in a state beyond thinking. In other words, the pinnacle of artistic achievement results from an act of creation made with no inhibitions or restraint in a flow of consciousness.

Hakuin Ekaku, Daruma, Edo, n.d., ink on paper, Dallas Museum of Art, General Acquisitions Fund 1972.1

A few works that demonstrate this most purely include the Daruma Scroll (c. 1603-1868) by the Zen priest Hakuin Ekaku and the Tiger Scroll (c. 1603-1868) by Nagasawa Rosetsu.

Nagasawa Rosetsu, Tiger, Edo, after 1792, ink and color on paper, Dallas Museum of Art, General Acquisitions Fund 1972.13

Daruma is the Buddhist monk that transmitted Chan Buddhism to China from where it was then transferred to Japan and became its own distinct phenomenon known as Zen. The inscription on the Tiger scroll indicates that the artist was able to express the essential nature, the pure essence of “tiger.” Notice that in both works, the outlines of the images are loosely defined, suggesting that the boundaries of the forms are permeable and in a state of flux. Indeed, both works appear as if done in a rush, which reflects the Zen ideal that the creative act must be a reflection of the Formless Self, something only attainable in a state of non-thinking.

Another concern at play in these scrolls is the display of rugged masculinity and strength. For instance, the tiger, an animal not indigenous to Japan, was appropriated from Chinese mythology due to its association with power and military might. Daruma appears ruggedly knowledgeable with his unkempt beard and wrinkled forehead. These characteristics contrast with more traditional forms of Buddhism, in which holy figures were generally depicted with pristine, youthful appearances and perfectly symmetrical faces. The emphasis on masculine characteristics and the association of age with holiness reinforced the patriarchal structures responsible for maintaining the feudal system in Japan.

Meditate on these works and more that capture Zen Buddhism in the DMA’s free collection galleries.

Devon Hersch is the McDermott Intern for Asian Art at the DMA

A New Lady in Town

Published January 19, 2016 Behind-the-Scenes , Exhibitions Closed
Tags: Dallas Museum of Art, DMA, Johannes Vermeer, Vermeer Suite: Music in 17th-Century Dutch Painting

This past weekend, the DMA introduced a very special guest to visitors: Johannes Vermeer’s painting Young Woman Seated at a Virginal from The Leiden Collection in New York. Everyone was excited to see her arrive in Dallas, and we captured the moment she was placed in the DMA gallery.

This 17th-century Dutch painting is one of only 36 Vermeer paintings in existence and one of only a few in private collections. This small but powerful piece is the inspiration for Vermeer Suite: Music in 17th-Century Dutch Painting, a DMA-organized exhibition of 17th-century Dutch paintings on view through August 21, 2016, and included in our daily free general admission.

Kimberly Daniell is the Senior Manager of Communications, Public Affairs, and Social Media Strategy at the DMA.

Pet-a-Palooza: A Tail-Wagging Line-Up of Fabulous Felines and Furry Fidos

Published January 13, 2016 Collections , Staff 4 Comments
Tags: Alfredo Ramos Martinez, Camille Pissarro, Dallas Museum of Art, DMA, dress up your pet day, Eugène Delacroix, Frank Duveneck, Jackson Pollock, Jesús Guerrero Galván, John Singer Sargent, Léon Frédéric, Marcel Dzama, Thomas Sully

You have got to be kitten me right meow—is it national Dress Up Your Pet Day already? Indeed it is! If you were having a ruff day, not to worry! Every January 14 the dog-gone crazy DMA staff transform their cuddly critters into a favorite work from our collection (check out the catwalk from 2014 and 2015). It is im-paw-sible not to smile after viewing these purr-fect copycats. Who will be your favorite cat-tenders?

DMA Staffer: Stacey Lizotte, Head of Adult Programming and Multimedia Services
DMA Pet: Parker, English Springer Spaniel, age 2 (he belongs to my parents but I borrowed him when I was home for Christmas)
Portrait Inspiration: Camille Pissarro, Self Portrait, c. 1898
I sent my mom several portraits from our collection to pick from and she liked Camille Pissarro’s Self-Portrait best because Parker has the same soulful look. We had a lot of moving parts with this portrait—from props, background, and getting the right angle so that Parker’s chest hair looked like a beard—therefore it took about 120 shots to get one good one of Parker as Pissarro. And a shout out to George Costanza for letting Parker borrow his beret and painter’s palette.

DMA Staffer: Jessica Fuentes, C3 Gallery Manager
DMA Pet: Fidel (age 4), Nene (age 6), and Cappuccino (age 2 months), Chihuahuas
Portrait Inspiration: Jesús Guerrero Galván, Images of Mexico (Imágenes de México), 1950
New year, new pup! Just a few weeks ago we added a new Chihuahua puppy to our Chihuahua family, so when thinking about this year’s Dress Up Your Pet Day, I had to find a work of art with three figures. I planned to roam the galleries searching for the perfect painting, starting on Level 4 and working my way down. But I didn’t have to go very far. On the Level 4 Landing, overlooking the DMA Cafe, I came across Images of Mexico (Imágenes de México) by Jesús Guerrero Galván. Not only did it contain three figures, but each figure seemed to capture each of my dogs’ traits. The figure in the middle with the piercing eyes had the unmistakable stare of my moody dog, Nene. The figure on the left seemed younger and sweeter, asleep and cuddling up to the older sibling, spot on for my loveable, cuddly Fidel. And the figure at right, lying slightly adrift, illustrated the slight rift between the dogs who’ve grown up together and the newbie, Cappuccino.

DMA Staffer: Amanda Blake, Head of Family, Access, and School Experiences and Interim Director of Education, and Kimberly Daniell, Senior Manager of Communications, Public Affairs, and Social Media Strategy
DMA Pet: George Costanza (age 9) and Chloe (age 10), West Highland White Terriers
Portrait Inspiration: Alfredo Ramos Martinez, Mexican Adam & Eve (Adam y Eve Mexicanos), 1933
George and Chloe enjoyed teaming up so much for last year’s blog that they just had to do it again in 2016. Chloe desperately wants to be best friends with George, but becomes a bit shy when he is around because he is such an Insta celebrity. In order to get her out of her bubble and bring these two westies closer together, we decided making them the original couple would help them take their friendship to the next level—could it be puppy love? Both pups enjoyed re-creating this beautiful, large painting by Alfredo Ramos Martinez, and they can’t wait for next year’s art date.

DMA Staffer: Jessie Frazier, Manager of Adult Programming
DMA Pet: Jenny, Basset Hound, age 5 1/2
Portrait Inspiration: Frank Duveneck, Lady with a Red Hat (Portrait of Maggie Wilson), c. 1904
This is one of my favorite paintings in the collection, and I thought it was only fitting for one graceful lady to emulate another. Jenny agreed that, like Ms. Maggie Wilson, her delicate features are best captured in profile.

DMA Staffer: Rebekah Boyer, Assistant Manager, DMA Member Groups
DMA Pet: Stokely Carmichael, Domestic Housecat, suspected Panther, age 4
Portrait Inspiration: Eugène Delacroix, Portrait of a Woman in a Blue Turban, c. 1827
This painting by Eugène Delacroix always catches my eye when I browse our European collection. The model is dressed with studio props intended to persuade the viewer that she is a mysterious and “exotic” foreigner; her “otherization” is further solidified by the use of familiar conventions of Renaissance portraiture. Not only does this send me down memory lane to my undergraduate infatuation with Edward Said but the contemplation of this “Orientalism” piques my interest in the model herself. Was she complicit in this “imperialist oppression,” or was she merely seeking gainful employment to alter her material conditions? I think Stokely’s faraway gaze mirrors and reveals the original work’s secrets: He is ready to help, as long as there is a tuna-laden reward awaiting him.

DMA Staffer: Chelsea Pierce, Curatorial Administrative Assistant, Contemporary Art
DMA Pet: Helios, Great Pyrenees mix, age 6
Portrait Inspiration: Jackson Pollock, Portrait and a Dream, 1953
Helios is a sensitive dog with many artistic qualities. Most days, he lounges in his armchair as he waits for his mom to return home. Above this chair is a work on paper—made by a DMA colleague—that resembles the black entangled mass in Jackson Pollock’s Portrait and a Dream. After catching Helios curiously examining this work, the idea presented itself to use his precious face as the portrait side of Pollock’s work. Having worked on the current Jackson Pollock: Blind Spots exhibition for over a year, I can say that Pollock has now become ingrained in every aspect of my life.

DMA Staffer: Andrea Severin Goins, Interpretation Manager
DMA Pet: Artemisia Gentileschi (“Artie”), Malshi (Maltese-Shihtzu), age 6
Portrait Inspiration: Marcel Dzama, The Minotaur, 2008
While Artie is named after a 17th-century painter, her favorite kind of art is contemporary. She is particularly drawn to this Dzama sculpture because, like the Minotaur—a hybrid of man and goat—Artie is herself a hybrid (of Maltese and Shihtzu).

DMA Staffer: Lindsay O’Connor, Manager of Docent and Teacher Programs
DMA Pet: Hattie, Dachshund-Terrier mix, age 1
Portrait Inspiration: John Singer Sargent, Dorothy, 1900
Little Miss Dorothy was the natural choice for feisty one-year-old Hattie’s first Dress Up Your Pet Day. While this energetic pup enjoys getting cuddles or tearing around the dog park, Hattie patiently sat for her turn-of-the-century portrait and met the camera with poise beyond her years. She enjoyed chewing on the bonnet when we wrapped up.

DMA Staffer: Dr. Anne R. Bromberg, The Cecil and Ida Green Curator of Ancient and Asian Art
DMA Pet: Miss Suzl, Maine Coon, age 5
Portrait Inspiration: Thomas Sully, Cinderella at the Kitchen Fire, 1843
Miss Suzl loves posing in her library home and we have a white Snow Leopard toy for her to pose next to as Cinderella and her cat. I named this piece Companion Animals: Miss Suzl and the White Pussy.

DMA Staffer: Queta Moore Watson, Senior Editor
DMA Pet: Floyd, Tan and White Tabby, age 9 months
Portrait Inspiration: Léon Frédéric, Nature or Abundance (La Nature or Fécondité), 1897
This allegorical depiction of the unity and harmony of nature was painted by Belgian symbolist artist Léon Frédéric. The dual title, Nature or Abundance, is apt here as flora and fauna unite while surrounded by the abundance of the holidays. Perhaps even more apt, however, is the abundance of ornaments Floyd broke as he harmonized with nature.

(Images: Camille Pissarro, Self-Portrait, c. 1898, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.44; Jesús Guerrero Galván, Images of Mexico (Imágenes de México), 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.102; Alfredo Ramos Martinez, Mexican Adam & Eve (Adam y Eve Mexicanos), 1933, oil on canvas, Lent by Private Collection, Dallas, TX; Frank Duveneck, Lady with a Red Hat (Portrait of Maggie Wilson), c. 1904, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1987.368; Eugène Delacroix, Portrait of a Woman in a Blue Turban, c. 1827, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Patricia McBride, 2005.34.McD; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, Gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1967.8, © 2015 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; Marcel Dzama, The Minotaur, 2008, plaster, gauze, rope, fabric, chair, bucket, and paintbrushes, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund, 2008.43.2.a-e, © Marcel Dzama; John Singer Sargent, Dorothy, 1900, oil on canvas, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc., 1982.35; Thomas Sully, Cinderella at the Kitchen Fire, 1843, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 2005.1; Léon Frédéric, Nature or Abundance (La Nature or Fécondité), 1897, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2007.18.FA

Kimberly Daniell is the Senior Manager of Communications, Public Affairs, and Social Media Strategy, and Julie Henley is the Communications and Marketing Coordinator at the DMA.

A Tip of the Hat

Published January 11, 2016 Collections 1 Comment
Tags: Charles Willson Peale, Dallas Museum of Art, DMA, Isaac Soyer, John Singer Sargent, National Hat Day

In honor of National Hat Day this Friday, I wanted to tip my hat to a few fascinating finds in our collection.

Charles Willson Peale, Rachel Leeds Kerr, 1790, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation, 1989.23

During the late 18th century, hats were the most important element of your outfit. Formal (read: ridiculously over-dressed) hairstyles had reached such heights that they required proper containment during daytime hours—Mrs. Kerr’s cap does just the trick.

John Singer Sargent, Dorothy, 1900, oil on canvas, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc., 1982.35

At the turn of the 20th century, children were outfitted like mini-adults. Miss Dorothy’s oversized hat is decked out with such extensive feathers and ribbons that it’s almost too much for her little head to hold!

Isaac Soyer, Art Beauty Shoppe, 1934, oil on canvas, Dallas Museum of Art, gift of the Public Works of Art Project, 1935.7

A jaunt to the beauty shop wouldn’t have been complete without a favorite piece of millinery. But can you spot all the toppers in this keen scene? Don’t be fooled—the headpiece in back is actually a permanent wave machine!

Visit the DMA’s collection galleries, included in free general admission, and pick out your perfect chapeau.

Sarah Coffey is the Education Coordinator at the DMA.

Uncrating 2015

Published December 28, 2015 Arts & Letters Live , Behind-the-Scenes , Collections , Education , Exhibitions Closed
Tags: art conservation, Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, Dallas Museum of Art, DMA, Jackson Pollock: Blind Spots, Michaël Borremans: As sweet as it gets, Spirit and Matter

At the DMA, 2015 was a great year full of art, fun, and visitors enjoying an array of exhibitions, programs, and events. Highlights include the fifth anniversary of two of our access programs (Autism Awareness Family Celebrations and Meaningful Moments), the presentation of four DMA-organized exhibitions (Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, Michaël Borremans: As sweet as it gets, Spirit and Matter: Masterpieces from the Keir Collection of Islamic Art, and Jackson Pollock: Blind Spots), eleven Late Nights, an active year of paintings and object conservation, dozens of classes and art camps for kids, the hosting of our third naturalization ceremony, the topping out of the Museum’s new Eagle Family Plaza and north entrance, and more than 700,000 visitors in 2015. We can’t wait to see what 2016 brings!