Archive for the 'Collections' Category



Birds of a Feather

There is something in human nature that makes people want to show off. Whether it is a new pair of shoes, a nice watch, or a brand new car, we all enjoy the “oohs” and “ahhs” that stylish objects can provoke–and it has been that way for thousands of years. Ancient Peruvian cultures, for example, loved many exotic things, especially the flashy feathers of tropical birds. The collection of the Dallas Museum of Art contains fine examples of the ancient Peruvians’ fascination with birds and their plumage. Hundreds of tropical bird species live in the Amazon rainforest, miles away from the Peruvian coast. It took quite a bit of effort (and riches) to obtain these birds from so far away; therefore, they were considered extremely valuable. Feathers were used as decoration in the form of headdresses, designed collages, and pictorial mosaics.

Panel with rectangles of blue and yellow featherwork, Peru, far south coast, Ocoña Valley, Huari culture, c. A.D. 650-850, feathers (Blue and Gold Macaw), cotton cloth, and camelid fiber cloth, Dallas Museum of Art, Textile Purchase Fund, 2001.262

In this Huari piece, currently on view in Face to Face: International Art at the DMA, blue and yellow feathers are used to create a brilliant geometric composition. The Blue and Yellow Macaw, typically found in Panama and the northern part of South America, was probably the source of the materials, which were used over a thousand years ago. The feathers were individually wrapped in a cotton cord and then attached to a cloth panel, making this a very labor intensive composition. This piece was likely found along Peru’s south coast, in a site with many other textiles and feather pieces stored inside large, decorated ceramic jars. A featherwork like this was probably some kind of religious offering.

A demonstration of feather weaving from "Textiles of Ancient Peru and Their Techniques," Raoul d’Harcourt, 1962.

Featherwork neckpiece, Peru, north coast, Chimú culture, c. A.D. 1470-1528, cotton, feathers, and shell beads, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1972.23.1.McD

This brilliantly colored feather neckpiece comes from the Chimú culture, on Peru’s north coast. The meaning of the design is unclear, but there is a human figure with a large headdress, along with fish and sea birds known as cormorants. At the bottom are rows of beads made from spondylus shell, which comes from Ecuador. The bright turquoise feathers in this work probably came from the Spangled Cotinga or the Paradise Tanager, both of which are relatively small birds with vibrant plumage. The darker blue-purple details do not seem to be woven like the other feathers; it is possible that they are from a bird called the Purple Honeycreeper, which is found in several South American locations, but not on the Peruvian coast. This piece showcases materials collected hundreds of miles away from the Chimú area, which is an indication of the power and prestige of the owner of this piece, as well as the intricate trading system that was likely in place.

Spouted vessel with tubular handle: macaw effigy, Peru, north coast, Viru, 300-100 B.C., ceramic and slip, 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, and Mr. and Mrs. John D. Murchison, 1976.W.91

The DMA’s very own mascot, Arturo, provides yet another great example (although slightly less colorful) of just how much ancient American cultures treasured non-native birds. This macaw or parrot vessel was made by the Salinar, a very early culture from Peru’s north coast. Real macaws and parrots are of course brilliantly colored, but ceramics from the north coast were traditionally painted using only red and white, no matter what their subject. Macaws weren’t the only animals that were depicted in vessel form. Ceramics showing monkeys, jaguars, and even killer whales have been found at sites throughout Peru.

Boogie-Woogie April – Jazz Appreciation Month

April celebrates one of the most joyous and “most American” music styles—jazz. In fact, jazz is such an important part of American culture that a whole decade in American history, the 1920s, has come to be known as the Jazz Age. In the DMA spaces, you can find connections between the visual arts and jazz every week on Thursday evenings from 6:00 to 8:00 p.m. during Jazz in the Atrium.

In our newest exhibition, Youth and Beauty: Art of the American Twenties, you can see the work of jazz admirer and Harlem Renaissance leader Aaron Douglas. In Charleston (which references Paul Morand’s novel Black Magic), Douglas depicts the jazz scene set within the African community, in which the genre has part of its roots. Commenting on a later work, Douglas equated the figures in the painting with different types of music, describing the saxophone player as a representation of jazz and “Songs of Joy and the Dance.”

Aaron Douglas, "Charleston," c. 1928, gouache and pencil on paper board, North Carolina Museum of Art

Douglas’s contemporary and fellow jazz enthusiast Stuart Davis is featured in the American galleries with a work that, although subtly, also reveals the rhythms of the Jazz Age. Not only do the bold colors and forms of Electric Blub reflect the energy of the time, but the subject speaks to the modernism and industrialization of 1920s America.

Stuart Davis, "Electric Bulb," 1924, oil on board, Dallas Museum of Art, Fine Arts Collectible Fund, 1988.59, © Estate of Stuart Davis / Licensed by VAGA, New York, NY

Nearby, a stunning portrait sculpture of the jazz musician Huddy “Leadbelly” Ledbetter serves as an appropriate transition in our jazz-inspired tour between Davis’s painting and William Waldo Dodge’s Skyscraper cocktail shaker with cups. Developing rapidly in the 1920s, the skyscraper became, together with jazz, a symbol of a free, modern America, inspiring designers across the country.

Michael G. Owen, Jr., "Leadbelly," 1943, black serpentine, Dallas Museum of Art, Mr. and Mrs. Tom Gooch Fund Purchase Prize, Twelfth Annual Texas Painting and Sculpture, 1950-1951, 1950.91

William Waldo Dodge, Jr., “Skyscraper” cocktail shaker with cups, c. 1928-1931, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

But if the connections we’ve made so far are too obvious or the works too representational for your taste, don’t worry; make your way toLevel 3, where you will find works by abstract artists and jazz lovers Jackson Pollock and Piet Mondrian.

With improvisation being a key feature of jazz music, some argue that the process in this genre is at least as important as (perhaps more than) the end result. The same can be said of Pollock’s and Mondrian’s work. Pollock moving around his canvas as he pours the paint can be compared to a jazz musician improvising during a performance; both represent similar artistic expressions and ultimate celebrations of their respective arts.

Jackson Pollock, Cathedral, 1947, enamel and aluminum paint on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Bernard J. Reis, 1950.87 © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Piet Mondrian, "Place de la Concorde," 1938-1943, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.22.FA © 2012 Mondrian/Holtzman Trust c/o HCR International Washington DC

A big fan of boogie-woogie and a seeker of balance and equilibrium, Mondrian used his intuition to place and arrange the lines in works such as Place de la Concorde—much like a jazz musician would intuitively improvise on his instrument. In fact, Mondrian identified with jazz and boogie-woogie so much that he once said:

“True boogie woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means—dynamic rhythm.”

As you can see, jazz can be a treat not only for your ears but also for your eyes! So come celebrate Jazz Appreciation Month any (or every) Thursday night in April at the DMA!

Vivian Barclay is the McDermott Graduate Curatorial Intern for Decorative Arts and Design at the Dallas Museum of Art.

Mary Jordan is the McDermott Education Intern for Family Experiences and Access Programs at the Dallas Museum of Art.

Act Now: Spring Break at the DMA!

***We interrupt your regular programming with this special public service announcement.***

Wondering how to entertain the kids for spring break? Need to get out of the house? Well, have we got a deal for you! During the week of March 13–16, the DMA will throw open its doors for HALF-PRICE ADMISSION. Each day we’ll have loads of activities for the entire family, from story time and art-making to robotics workshops and family tours. In fact, our staff couldn’t wait for spring break, so they got an early start trying out what is in store for you.

Enjoy story time in Arturo’s Nest with our favorite feathered friend, Arturo!

See amazing works of art created by local high school students in Advanced Placement art classes.

Make a masterpiece in the Art Studio.

Fuel your imagination and creativity in a hands-on interactive robotics workshop led by faculty from the American Robotics Academy.

Explore the galleries and make new discoveries during a family tour.

Wow your family with a one-of-a-kind sketch made during a lively session of Sketching in the Galleries.

Finish the day off with a family film in the C3 Theater.

Don’t delay! Take advantage of this amazing deal available for a limited time only. For details and a full schedule of events, visit our website.

***We now return you to your regularly scheduled program.***

Amanda Blake is the Manager of Family Experiences and Access Programs.
Leah Hanson is the Manager of Early Learning Programs.

Remaking the Arts of Africa Gallery

My name is Edleeca Thompson and I am the curatorial research assistant for the Arts of Africa Reinstallation Project, sponsored by the Texas Fund for Curatorial Research. The research for the reinstallation project involves photographing gallery spaces and observing the use of technology and interactive media, as well as visitor responses, in order to ascertain the “best practices” in exhibition design for African art. I am also collecting information on educational programs, activities, and events that support a more innovative approach to the representation and interpretation of African art. This information will be used for the upcoming reinstallation of the DMA’s Arts of Africa gallery in the fall of 2013.

Since June 2011, Roslyn Walker, Senior Curator and The Margaret McDermott Curator of African Art, and I have visited twenty museums (together or separately) in the United States and Europe for this project. For me, the most impressive displays are at the Louvre (Paris), the Musée Rietberg (Zürich), the Rautenstrauch-Joest Museum (Cologne), and the Museum Aan de Stroom (Antwerp).

Musée du Louvre, Porte des Lions, Paris, France

In Paris we toured the Pavillon des Sessions, where African art has been presented at the Louvre since 2000. The first picture shows the cool and serenely elegant African gallery at the Louvre. Although the Louvre is most known for its vast collection of masterpieces of Western art, the arts of Africa and Oceania have become increasingly popular with the general public. In response to public demand for more information on the objects, the museum added more labels and portable laminated information cards that visitors can take with them as they tour the galleries.

Museum Rietberg, Zurich, Switzerland

The Rietberg Museum also follows the tendency toward cool elegance, but with more color contrast in their restrained, yet intimately formal, spaces.

Rautenstrauch-Joest Museum, Cologne, Germany

The Rautenstrauch-Joest Museum carries spatial intimacy even further in an exhibit that explores the theme of death and the afterlife. The serene, contemplative environment, with its white walls, cushy flooring, featherlike ceiling, and soft, ambient music, evokes otherworldly experiences of the afterlife. The visitor approaches the gallery in stages before entering a large, veiled space. In order to view some of the objects, it is necessary to part the veil in front of the display case.

Museum aan de Stroom, Antwerp, Belgium

The Museum Aan de Stroom, which houses the ethnographic, maritime, folklife, and Antwerp history collections, by far exceeded all expectations regarding the use of technology. Here, the visitor is surrounded by multimedia devices.

Chicago Art Institute, Chicago, Illinois

The Art Institute of Chicago’s newly reinstalled gallery features a number of sculptures displayed in the round. The gallery also incorporates videos of ritual performances and still photographs of artists at work, as well as a historical timeline that parallels the cultural developments of both Europe and Africa.

Cantor Arts Center, Stanford University, Palo Alto, California

The African collection at the Cantor Arts Center, Stanford University, was reinstalled in 2012 and includes objects ranging from pre-dynastic Egypt to the mid-20th century. Themes of body adornment, economics, and the afterlife are addressed through time and space.

All in all, being given this opportunity to travel and work with Dr. Walker has been a total blast! I’m excited for the DMA in anticipation of making the Arts of Africa exhibit more appealing and engaging for visitors for years to come.

Edleeca Thompson is Curatorial Research Assistant at the DMA.

Happy Birthday, Mr. President!

Today we celebrate the 280th birthday of our first president, George Washington. A pivotal and iconic figure in our nation’s history, Washington is easily recognizable on the dollar bill and quarter. Here on view at the DMA are a couple more examples of representations of our founding father.

"George Washington", c. 1786, Jean-Antoine Houdon, Painted plaster, Dallas Museum of Art, gift of Ronald E. Fritz

The artist Rembrandt Peale saw how the nation was being shaped through art. Using the popular neoclassical style of the time, Peale depicted the president as an idealized, authoritative figure in military garb. In this famed “porthole portrait,” Peale monumentalizes Washington by depicting him gazing pensively out of the painted stone frame.  Peale created over seventy iterations of this portrait in hopes of creating an image as iconic as Gilbert Stuarts’s (which can be found on the quarter and the dollar . . . as well as at the Museum of Fine Arts, Boston). Peale’s painting is also used in the George Washington Portrait Program. You can learn more about this program on Mount Vernon’s website.

"George Washington", Rembrandt Peale, c. 1850, Oil on canvas, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation

Encouraged by the then French ambassador Thomas Jefferson, the well-known French neoclassical sculptor Jean-Antoine Houdon journeyed across the Atlantic from France to Mount Vernon with the goal of creating a life-size sculpture of the president.  Houdon created a life mask of Washington, which later served as a model for the DMA portrait bust and the life-size sculpture now in the State Capitol at Richmond. Again, Houdon idealizes the president and portrays him as an enlightened leader. (Some artists took this “idealized” representation a little too far. See Horatio Greenough’s massive sculpture, dubbed the “Enthroned Washington.”)

Don’t miss these works in the galleries as you celebrate President’s Day weekend!

Fun Facts:
• George Washington was 6 feet, 2 inches.
• Washington owned at least eight sets of dentures, none of them made of wood.
.• At his inauguration in 1789 he had only one tooth left.
• Washington’s presidential inauguration was held in the Federal Hall in New York City, as opposed to Washington, D.C.

Melissa Barry is the McDermott Curatorial Intern for Contemporary Art at the DMA. Lexie Ettinger is the Adult Programing Intern at the DMA.

The Twelve DMA Days of Christmas

As Christmas approaches we wanted to share with you some works from our collection inspired by the song The Twelve Days of Christmas.

On the first day of Christmas my true love gave to me….Yucca and the Prickly Pear

William Lester, "Yucca and the Prickly Pear", 1941, Dallas Museum of Art, gift of A. H. Belo Corporation and The Dallas Morning News

On the second day of Christmas my true love gave to me…Love Birds

Ruth L. Guinzburg, "Love Birds", n.d., Dallas Museum of Art, gift of Mrs. Robert A. Beyers

On the third day of Christmas my true love gave to me a….Hen

Elwyn Lamar Watson, "Hen", c. 1930, Dallas Museum of Art, gift of Emma Downs Green

On the fourth day of Christmas my true love gave to me a…Bird-form finial

Zenu culture, "Bird-form finial", c. A.D. 500-1500, 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, and Mr. and Mrs. John D. Murchison

On the fifth day of Christmas my true love gave to me…”The Golden Fleece” ring

Giovanni Corvaja, "'The Golden Fleece' ring", 2008, Dallas Museum of Art, gift of Deedie Rose

On the sixth day of Christmas my true love gave to me…Geese

Reveau Bassett, "Geese", 1915-1933, Dallas Museum of Art, gift of Olin H. Travis

On the seventh day of Christmas my true love gave to me a…Bridge at Pont-Aven, 1891

Emile Bernard, "Bridge at Pont-Aven, 1891", 1891, Dallas Museum of Art, gift of the Estate of Ina MacNaughton

On the eighth day of Christmas my true love gave to me…The Maids

Paula Rego, "The Maids", 1987, Dallas Museum of Art, gift of Mr. and Mrs. I. C. Deal

On the ninth day of Christmas my true love gave to me…Ballet Dancers on the Stage

Edgar Degas, "Ballet Dancers on the Stage", 1883, Dallas Museum of Art, gift of Mr. and Mrs. Franklin B. Bartholow

On the tenth day of Christmas my true love gave to me a…Portrait of Lord Lovat

William Hogarth, "Portrait of Lord Lovat", 1746, Dallas Museum of Art, Junior League Print Fund

On the eleventh day of Christmas my true love gave to me a…Young Man with a Flute

George Romney, "Young Man with a Flute", late 1760s, Dallas Museum of Art, bequest of Mrs. Sheridan Thompson

On the twelfth day of Christmas my true love gave to me…Drum Solos

Brad Tucker, Drum Solos, 2001, Dallas Museum of Art, Texas Artists Fund

Stacey Lizotte is the Head of Adult Programming and Multimedia Services at the Dallas Museum of Art.

Sail On: A New Interpretation of an Ancient Peruvian Object

This wooden object, which has been at the DMA since 1975, was misinterpreted as a “ceremonial digging board.” Walking through the galleries of Peruvian art, I was struck by the large size and stark, seemingly utilitarian design of this object and was encouraged to research it.

Ceremonial digging board, Peru, Ica Valley, Ica, 1476–1532, wood and paint, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 1975.24.McD

The figures are beautifully painted and remarkably well preserved. At the very top stand nine small, enigmatic figures. Underneath those are four rows of geometric designs, while six small water birds line the side. But other than the carvings at the top, it is a plain board. Because most “art objects” of the Americas are often practical as well, I wondered what functions this could have had. Investigations into similar objects of this type yielded an interesting new interpretation. We now know that it is a steering centerboard, and represents a fascinating and extremely useful sailing tradition.

From Lothrop, Aboriginal Navigation off the West Coast of South America. Journal of Royal Anthropological Institute Volume LXII, 1932.

Boards with the exact same shape and similar carving have been found in graves of the very rich on the south coast of Peru. The associated grave goods and the fine quality of these carvings (some were even found covered with gold foil!), indicate that these were high status objects.

The Ica
These boards were associated with the Ica culture of Peru, who preceded the Inca Empire and were located in the very dry desert on the south coast. The Ica culture flourished from about 1100-1300, before being taken over by the Inca Empire.

From Benzoni, History of the New World, 1546.

How Was It Used?
When archaeologists started finding these wooden boards in the early 1900s, they classified them as ceremonial agricultural implements or ceremonial digging sticks. Through the research of anthropologists, we now know that this type of object had a very different function.

This object is a centerboard used for navigating large balsa wood rafts on the Pacific Ocean. Though not exactly a rudder, it functions in a similar way, steering the craft. Through the interplay of sails and the movements of several of these centerboards, balsa wood rafts carrying up to twenty tons of cargo and as many as fifty people could travel all along the coast of Peru and Ecuador. We have some evidence that they traveled as far as the Pacific Islands, a distance of over four thousand miles!

From Juan and Ulloa, A Voyage to South America, 1748.

How Do We Know?
Anthropologists in the 1940s were interested in the maritime techniques and capabilities of the ancient Peruvians. Most objects associated with sailing did not survive, since they were made of perishable materials like wood and cotton. The wooden paddles and centerboards (like ours) do survive, because they were purposefully buried in the graves of high-status people. The dry desert conditions on the south coast of Peru allowed them to remain intact, and archaeologists started finding them in the early 20th century.

One important scholar, Thor Heyerdahl, spent years researching Peruvian navigation and sailing. He actually built a balsa log raft modeled on ancient vessels, and named it Kon-Tiki. Heyerdahl and five companions tested the sea-worthiness of their vessel and several of their other theories on trans-Pacific contact between native peoples. They sailed for 101 days over 4,300 miles across the Pacific Ocean, ending August 7, 1947. A documentary called Kon-Tiki detailing their voyage—with all its challenges and successes—was made in 1950. It went on to win the Academy Award for Best Documentary in 1951 and is being remade in Norway to be released in 2012.

You can watch the movie online here: http://www.youtube.com/watch?v=gGooopCTmpg

Many Uses
Some of the rafts seen by the earliest Europeans off the Andean coast carried merchants and tons of cargo on board. Others were used for army transportation and the conquest and control of warlike islanders off the empire coast. Still others were used by fishermen who went on extensive expeditions. The Spaniards even recorded Inca memories of individual merchant rafts and large, organized raft flotillas that set out on exploring expeditions to remote islands.

Diagram of a large Balsa-Log Raft. From Lothrop, Aboriginal Navigation off the West Coast of South America. Journal of Royal Anthropological Institute Volume LXII, 1932.

Raftsmen in north Peru were great mariners who played fatal tricks on Spaniards who voyaged as passengers on their balsa rafts. The natives simply detached the ropes holding the log raft together, and the Spaniards fell through and drowned while the sailors survived because they were outstanding swimmers. Other early chroniclers state that even before the arrival of the Spaniards the coastal Peruvians, who “swam as well as fishes,” lured the highland Incas into the open ocean on balsa rafts, only to undo the lashings of the logs and drown their less sea-minded passengers.

Wendy Earle is the McDermott Graduate Curatorial Intern for Arts of the Americas and the Pacific.

Happy Thanksgiving

Wishing everyone a happy Thanksgiving!

Doris Lee, Thanksgiving, 1942, Lithograph, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg

Guiding Us Along

The existing Dallas Museum of Art collections handbook was published in 1997. Considering all of the stellar acquisitions that have taken place in the last fifteen years, we felt the time was right to publish a new one. The process took months of preparation and many meetings to create the new guide, which will be available in the Museum Store early next year.

In a series of conversations, DMA curators and former DMA Director Bonnie Pitman came up with a timeline, and  agonized over the book’s structure (for example, does Romare Bearden’s Soul Three belong in the Contemporary or the Modern section? Should European and American art be combined?). The group also came up with an “A” and a “B” list of objects to be considered for inclusion in each of the sections.

The process for paring these lists down was grueling for all concerned. Sacrifices and compromises were made. As a biased participant, I had my own favorite objects, and anxiously awaited the outcome of each meeting. My beloved College of Animals by Cornelis Saftleven was out of the running early on, owing to urgent conservation needs, but I had the pleasure of seeing this work restored to the European and American section late in the process.

Cornelius Saftleven, "College of Animals," n.d., oil on canvas, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.32

I worked on the entries with the curators, interns, and freelance contributors. This catalogue has given me a newfound appreciation for the many works of art I had always admired in passing but never really focused on. Immersing myself in object files or staring at the objects in the galleries, I added many new discoveries to my list of personal favorites.

Perhaps the most fascinating part of the process was the ordering and grouping of objects within their sections. We plastered the walls of our “Classroom B” conference room with color printouts of all four hundred-plus objects, taped or pinned in constantly migrating clusters. It was ultimately quite satisfying to see the groupings crystallize; every invidious or inept grouping eventually led us to the final fortuitous solution. This was a creative process, appealing to the artist in me.

Eric Zeidler is the Publications Manager at the Dallas Museum of Art.

There’s a New Girl in Town

Earlier this year, the DMA was very fortunate to receive a lovely gift from SMU’s distinguished Art History professor emerita Dr. Alessandra Comini. She gave us a beautiful sculpture of Lady Godiva by one of 19th-century America’s premier female sculptors, Anne Whitney. Whitney’s work frequently reflects her commitment to social activism. In fact, before Whitney became an artist she often wrote essays and poems that were published in a contemporary periodical dedicated to women’s rights called Una. Soon she became notable for expressing her abolitionist and feminist views through both the written word and sculpture. Whitney’s sensibilities made Lady Godiva’s story particularly appealing.

Anne Whitney, Lady Godiva, c. 1861–64, marble, Dallas Museum of Art, gift of Dr. Alessandra Comini in memory of Dr. Eleanor Tufts, who discovered the Massachusetts-backyard whereabouts of this long-forgotten statue and brought it to Dallas.

Generally, we think of Lady Godiva on her legendary ride, but Whitney chose to depict a moment much earlier in the story. Godiva lived in Coventry England during the 11th century. As the story goes, she complained to her husband that the tax he levied against his subjects was excessively high. He agreed to lower them if in return she would ride naked on a horse through the streets of Coventry. Whitney depicts the moment when Godiva accepted her spouse’s challenge. Gazing heavenward, fully clothed and just starting to remove her girdle, she is about to begin protesting on behalf of Coventry’s vulnerable and oppressed.

It is especially unusual to own an artwork depicting the earlier, more poignant moment in the account of Lady Godiva’s famous ride. Moreover, owning a full-sized marble sculpture of a woman by a woman artist is quite rare. We are grateful to Dr. Comini for her generosity, and we encourage you to come see this exquisite sculpture in the DMA’s American Galleries on Level 4.

Join Dr. Alessandra Comini on Thursday, October 27 for a special lecture on women sculptors from America who descended upon the seven hills of Rome during the 1860s and beyond.  Click here for additional details.

Martha MacLeod is the Curatorial Administrative Assistant in the European and American Art Department at the Dallas Museum of Art.


Archives

Flickr Photo Stream

Categories