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Archive for the 'European Art' Category

Red, White, and Blue

Some visitors to the DMA may have taken our self-guided tour Seeing Red, and loyal readers of our blog may remember a post we did back in December about works in our collection that are white. So while we have not focused on the color blue yet, we thought this would be a good day to share with you a few works in our collection that feature red, white, and blue.

Striped chevron bead, Drawn glass, Dallas Museum of Art, gift of The Dozier Foundation

Childe Hassam, Flags, Fifth Avenue, 1918, Watercolor, Dallas Museum of Art, Munger Fund, in memory of Mrs. George Aldredge

Anne Vallayer-Coster, Bouquet of Flowers in a Blue Porcelain Vase, 1776, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund and gift of Michael L. Rosenberg

Rufino Tamayo, El Hombre (Man), 1953, Vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds [credit line published in 1997 DMA Guide to the Collections: Dallas Museum of Art, commissioned by the Dallas Art Association through Neiman-Marcus Exposition Funds]

Piet Mondrian, Composition with Large Blue Plane, Red, Black, Yellow, and Gray, 1921, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. James H. Clark

Yves Tanguy, Apparitions, 1927, Oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Nancy O’Boyle

Jean Antoine Theodore Giroust, Oedipus at Colonus, 1788, Oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund

James Brooks, Quand, 1969, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation Incorporated

Wassily Kandinsky, Boating (from Sounds), 1907-1911, 1913, Volume with thirty-eight prose poems and twelve color and forty-four black-and-white woodcuts, Dallas Museum of Art, Centennial gift of Natalie H. (Schatzie) and George T. Lee

Stacey Lizotte is the Head of Adult Programming and Multimedia Services.

Picture This – Part Deux

Published May 25, 2012 Behind-the-Scenes , Collections , Curatorial , European Art 3 Comments
Tags: conservation, Cornelis Saftleven, Dallas Museum of Art, frames, Seventeenth-century Dutch art

Over a year ago, the Dallas Museum of Art sent College of Animals by Cornelis Saftleven (1607-1681) to a conservator for cleaning and minor repair. With the grime removed from the Dutch artist’s enigmatic composition, it was the perfect time to do a bit more. So we replaced the thin, unadorned gilt frame that formerly surrounded the canvas with one more in keeping with the sort preferred by Dutch artists working during Saftleven’s time. Seventeenth-century Netherlandish artists typically favored a waffle or ripple style molding frame. These darkly painted wooden frames that simulated ebony are decorated with several rows carved in a zigzag design, and often have a reverse ogee profile. A few months ago, the DMA purchased a period Dutch frame that has all of these design elements from a Parisian dealer. Now that Saftleven’s College of Animals is back from the conservator and has an appropriate frame, it is once again on view in the European galleries for everyone to enjoy!

The simple gilt frame that formerly surrounded Cornelis Saftleven’s “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

Cornelis Saftleven, College of Animals with its period seventeenth-century waffle-style Dutch frame.

Detail of College of Animals’ new frame

Martha MacLeod is the Curatorial Administrative Assistant to the European and American Art departments.

Traveling with The Mourners

Published February 16, 2012 Behind-the-Scenes , Curatorial , European Art , Exhibitions 2 Comments
Tags: Dallas Museum of Art, DFW Museums, Dijon France, Musee des Beaux –Arts Dijon, The Mourners, The Mourners: Medieval Tomb Sculptures from the Court of Burgundy

It usually takes a few years to pull together a complicated, large and/or high value exhibition with loans from all over the world. The Mourners is an exhibition with only forty objects, and most from one source. So why did this project take about three years to open at its first venue, and why was it so complex? Well, the little sculptures are fragile, medieval and made out of stone—alabaster. In addition, they are the most treasured objects at the Musee des Beaux—Arts Dijon. The Director of the Museum, Sophie Jugie, had to promise the Mayor that absolutely nothing would happen to the little guys while they toured the United States for 2 ½ years!

After a year of conversation about the project with various parties, the DMA was asked by FRAME (French Regional American Museum Exchange) to organize and manage the exhibition tour.

In 2008 I visited Dijon to meet the staff, begin coordinating the logistics of our agreement, and of course to see the sculptures first hand to have a better idea of requirements for handling, packing, shipping, etc.

Tomb of John the Fearless. Musee des beaux-arts Dijon prior to removal of the sculptures.

In 2009 Preparator—and head mount maker—Russell Sublette visited Dijon to trace the bottoms of the sculptures in preparation for mount design. Over a few months he completed a couple of different designs for the mounts, here is one example.

After the mount decisions were made with Dijon, we had to purchase everything we would need: paint, felt, screwdrivers, drills, lots and lots of brass plate, and different width brass rods. Meanwhile a French packing company was busy building crates.

In January of 2010 we landed in Dijon. It was VERY cold. We immediately drove to the local “home depot” to purchase two heaters since the the Musee des beaux-arts is in the basement—of a stone medieval building. To make very detailed mounts, you need dexterity, your fingers cannot be frozen due to the cold.

I worked with the Dijon staff and Benoit Lafay (France Institute of Conservation of Works of Art) to remove the sculptures from the tomb.

The next three days we spent on high resolution photography of each sculpture, which you can appreciate in detail by going to mourners.org. Leonard Steinbach and Jared Bendis devised and organized the impressive photography equipment to complete the amazing photography. We set up shop in the gallery next to where the tombs are located. They took approximately 350 photographs of each sculpture!

Meanwhile, Russell and DMA colleague John Lendvay worked on making each mount. The first three days they worked in the gallery. And when we left the museum on Friday evening, we walked out and into a raging blizzard—the worst Dijon had seen in something like 80 years! The city looked beautiful, but it was oh so cold.

The mounts are crucial to the safety of the sculptures and travel in their own crate with all the supplies needed to make adjustments, touch up paint, replace padding, etc. They were made to fit each individual sculpture, painted to match the color of the alabaster, and padded with conservation felt.

The first stop in the exhibition tour was The Metropolitan Museum of Art. Here we had to complete more of the refinements on the mounts, as the time in Dijon had not been sufficient.

Extensive notes and diagrams are needed to make certain that each sculpture is fitted into the mount correctly.

Russell and John discussed each mount until comfortable with the design. As you can see, some of the sculptures have had repairs over the centuries, some have very small bases, and most have intricate drapery at the bottom. Many details to take into account when deciding where the clips should be placed.

At the end of the installation, a bit of very careful touch up paint might be necessary on the mounts. And they looked spectacular!

After experiencing the blizzard in Dijon, it was fitting that after we finished the installation in New York we barely made it out due to a snow storm in the east. The day the three of us left to return to Dallas, ours was the last flight out before they closed the airport. I think it is the Mourners—they like the cold! And they are wearing those fancy fur lined robes . . .

At each venue, we must complete a very detailed condition examination with the Objects Conservator of the host museum, and a Registrar from Dijon. We keep binders with dozens and dozens of photographs and notes to compare and annotate.

The sculptures travel in individual “inner” boxes and two per crate. Each inner box is configured to fit the sculpture and provide space for hands to lift the sculpture safely. With such a long exhibition tour, we had to build very good travel crates. As you can see, plenty of labels, photos, and numbers to keep things clear.

When the exhibition was in Dallas, Russell and John had the time to complete what we call “seismic mounts.” The exhibition traveled to Los Angeles and San Francisco after Dallas and we had to prepare supplemental mounts which were installed in earthquake zone venues.

Now the little Mourners have been to seven museums in the United States. Each time they are carefully packed and transported to the next museum. Once there, they are carefully unpacked and condition examinations are completed on each sculpture again.

Then, they are slowly and carefully installed once again. Mount placement is marked once the curator makes a decision as to where he wants the sculpture, we use templates to then mark the position of the seismic mounts, holes are drilled, and mounts are screwed in place. Then ever so carefully, the sculpture is “dialed” into place. Each sculpture has a unique way of fitting into the mount. Some are a little trickier to install than others. Below John is using a mirror to see behind the sculpture because the space is narrow. Very creative!

If you missed the exhibition here in Dallas, you still have an opportunity to see it at the Virginia Museum of Fine Arts in Richmond through April 15th.

As a Registrar, I have been doing exhibitions for over 28 years and this is one of my top five favorite projects of my career. Each time we de-install them and each time we unpack them, I marvel at the beauty of each piece and find yet another detail in the carving that amazes me. Even after 14 times—that has to be the hallmark of a real treasure.

The Mourners: Medieval Tomb Sculptures from the Court of Burgundy at the Dallas Museum of Art, October, 2010.

Gabriela Truly is the Director of Collections Management at the DMA

Seldom Scene: Two Hundred Years Later, Together Again

Published October 21, 2011 Behind-the-Scenes , Curatorial , European Art 1 Comment
Tags: Claude-Joseph Vernet, Dallas Museum of Art, DFW Museums, Lord Lansdowne

After a two-hundred-year separation, two Claude-Joseph Vernet landscapes are reunited at the Dallas Museum of Art. Commissioned in 1774 at the height of Vernet’s career by famous English collector Lord Lansdowne, the two large-scale paintings depict the complementary scenes of unruly rustic landscape and tranquil seaport. The duo, A Mountain Landscape with an Approaching Storm and A Grand View of the Sea Shore, hung together in the collector’s home, Lansdowne House, Berkeley Square, London, until his death, when the paintings were sold to separate private collections in 1806. See the works in person in the Museum’s European Art Galleries on Level 2 through December 11, 2011. To read more about the reunion, click here.

Join Dr. Heather MacDonald, The Lillian and James H. Clark Associate Curator of European Art, DMA, for a gallery talk on Vernet’s Lansdowne Landscapes on Wednesday, November 2, at 12:15 p.m.

Picture This

Published August 26, 2011 Collections , Curatorial , European Art 2 Comments
Tags: Dallas Museum of Art, Edgar Degas, European Art, frames, George Romney, Paul Signac

For many artists a picture was not finished when the paint had dried and the varnish was applied. The culminating step was framing the artwork. Only then was the project complete. Traditionally the artist had many options. He could choose a stock frame from a local cabinetmaker, or make a thoughtful selection from a skilled framer. Artists often possessed such a keen interest to frame a painting in a manner that perfectly complemented it that they designed their own.

The 18th-century British portrait painter George Romney (1734-1802) routinely joined forces with his preferred London framer William Saunders to produce frames of the artist’s design. Frame historians have studied Saunders’ detailed ledgers that record many of these collaborations. Romney’s decorative concepts coupled with Saunders carving expertise resulted in several exquisite frames. Regrettably, as a painting changed hands the new owner would often reframe it to suit prevailing tastes or to match the room where the artwork hung.

This may have been the fate of the original frame that once surrounded Romney’s Young Man with a Flute, which is now on view in the DMA’s European Galleries. Until recently, a simple wooden frame adorned with a gilt sight edge (the part of the frame closest to the canvas) surrounded the painting. That frame was more in keeping with the sparse ones typically used by artists working in colonial America.

George Romney, Young Man with a Flute, late 1760s in its simple wooden frame

Wishing to restore the painting to Romney’s well-documented vision for his completed works, the Museum recently purchased a frame from a London dealer with an expertise in the artist’s designs. Now a “Romney Style” frame surrounds the painting. It is a faithful reproduction of the artist’s 18th-century original. The archetype became synonymous with the painter thus earning its eponymous name.

Young Man with a Flute surrounded by its “Romney Style” frame

The approximately four-inch-wide burnished gilt neoclassical frame draws the viewer’s eye into the portrait. Its decorative elements include a rope-twist back molding, superbly carved gadrooning that traverses the circumference on the outside rim, a plain frieze, a small bead course, and a delicately reeded sight edge. The reproduction “Romney Style” frame harmonizes with the painting in a manner unrivaled by its wooden unornamented predecessor.

Compared to Romney, there are scant extant records of the frame choices made by the 19th-century artist Paul Signac (1863-1935). Last year, when the DMA acquired the French artist’s Comblat-le-Château, Le pré, it had a Régence Style frame that was popular very early in the 18th century.

Second from the right, Paul Signac’s Comblat-le-Château, Le Pré in its Régence style frame.

Its decorative components included a course of cross-hatching and punch work covering the entire frame. A fussy pattern of shells, fans, palmettes, C-scrolls, and foliage ornamented the center rails and corners, while a linen liner at the sight edge completed the overall design scheme. Although a lovely frame, it is not the prototypical choice made by a post-impressionist artist who worked in the wake of the pioneering painter Edgar Degas (1834-1917). Not only was Degas enormously influential to art history but he also revolutionized frame design. In fact, he believed that it was an artist’s duty to see his pictures properly framed. Earlier this year, the DMA heeded Degas’s mandate and purchased a new frame for its Signac.

Comblat-le-Château, Le Pré with its Degas style frame.

The picture’s new frame is a reproduction based on one of Degas’s most inventive designs. It features a lightly rounded profile embellished with rows of thin parallel grooves. The frame’s roundedness and fine fluting echo Degas’s “cockscomb” pattern, which he softly gilded but rarely burnished. Because of its shape, some call this format a “cushion” molding. The frame’s innovative streamlined repetitive forms do not compete with Signac’s lovely painting; rather their simplicity harmonizes with the picture to enhance it. While these before-and-after photographs illustrate the difference a frame can make, they pale when compared to seeing firsthand each striking painting now with its stylistically appropriate frame. On your next visit to the DMA, come view these superb frames and the paintings they surround.

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

Two for the Road

Published July 8, 2011 Behind-the-Scenes , Collections , Curatorial , DFW , European Art , Guest Blog Post 4 Comments
Tags: Cubism, cubist experiment, Dallas Museum of Art, Georges Braque, Kimbell Art Museum, Pablo Picasso, Picasso and Braque: The Cubist Experiment

Uncrated recently took a “field trip” to Fort Worth to visit the Kimbell Art Museum’s presentation of Picasso and Braque: The Cubist Experiment, 1910–1912, for which the DMA loaned its 1912 Braque painting Still Life with Bottles and Glasses. Before the exhibition opened, the Kimbell’s director of conservation, Claire Barry, took a look at our “gem of a painting” and offered us this guest post on the experience.

Georges Braque, "Still Life with Bottles and Glasses", 1912, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., given in honor of Deedie Rose and J. E. R. Chilton

X-ray of George Braque's "Still Life with Bottles and Glasses"

I was delighted to have the opportunity to examine Braque’s Still Life with Bottles and Glasses from the DMA in the Kimbell conservation studio. Fortunately, this gem of a painting is unlined, which is rare for a cubist painting from this period. As a result, the impastoed (thickly textured) surface has never been flattened through lining. As one of my teachers wisely advised, think about a painting as a sculpture in low relief. If you look at the Braque in this way, you quickly begin to appreciate the rich variety in the artist’s application of paint—from thin areas where the paint is more fluid to thicker areas of impasto where he applied paint with a heavily loaded brush. Then, in the upper left, you might notice that the paint has a crusty texture that seems totally unrelated to the composition. With the permission of the DMA curators, I x-rayed the painting, which quickly revealed that Braque completely reworked the composition of Still Life with Bottles and Glasses during the course of painting. The texture of the underlying paint layers, later covered over, can still be seen on the surface. I was fascinated to discover this, because between Picasso and Braque, I always believed that Picasso had a greater tendency to radically rework his paintings (as he did with the Kimbell’s Man with a Pipe). Braque painted the Kimbell’s Girl with a Cross without making a single revision.

I was fortunate to be able to examine the two Braques, the DMA’s and the Kimbell’s, side by side in the conservation studio. Like the DMA painting, the Kimbell’s Girl with a Cross is unlined and preserved in pristine condition. In fact, it has never been varnished and retains the matte surface that the cubists intended. Both Picasso and Braque were adamant that their paintings should never be varnished. The DMA’s Braque, however, had been varnished at some point, and the varnish layer imparted a glossier surface than Braque had in mind. The unifying effect of the varnish also masked the subtle differences in surface gloss and texture that Braque created. In preparation for the exhibition, the DMA gave me permission to remove the varnish layer from Still Life with Bottles and Glasses. The fact that visitors to the exhibition can now see two unlined, unvarnished cubist paintings by Braque is really something exceptional. When you see the surfaces of these paintings, you can feel confident that this is very close to how they appeared when they left Braque’s easel some one hundred years ago.

Braque’s Still Life with Bottles and Glasses (1912) was sent to the Kimbell for spectral-image photography during the early stages of planning the exhibition Picasso and Braque: The Cubist Experiment, 1910–1912. These photographs are among the many incredible high-resolution digital images that can be explored with the iPad application iCubist in the Kimbell exhibition. If you want to experience the details in cubist paintings, brushstroke for brushstroke (the way I examine paintings in my job as a paintings conservator), I really recommend that you check out the iPads at the Kimbell. To my knowledge, this is the first time such images have been made available to the public in such an interactive way in a museum exhibition. The goal is to enrich the experience of seeing the real paintings, for which there is absolutely no substitute. My hope is that the iPad application may encourage visitors to spend even more time in the exhibition. Unlike the Acoustiguide, you cannot look at a painting and the iPad app simultaneously. So perhaps this will encourage visitors to look at the paintings first, then explore the iPad, and then return to the paintings for a second look, with greater understanding and appreciation.

Guest blogger Claire Barry is the director of conservation at the Kimbell Art Museum.

Seldom Scene’s Seldom Seen

Published June 8, 2011 Behind-the-Scenes , Collections , European Art , Installation 1 Comment
Tags: Collage, Dallas Museum of Art, Henri Matisse, Ivy in Flower

Rarely on view, Henri Matisse’s Ivy in Flower—a full-scale maquette for a stained glass window made late in the artist’s career—will be installed for six months in the Concourse. Here are some photos from the large cutout’s installation.

Henri Matisse, Ivy in Flower, 1953, colored paper, watercolor, pencil, and brown paper tape on paper mounted on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Albert and Mary Lasker Foundation

Papered Walls

Published May 18, 2011 Behind-the-Scenes , Collections , Curatorial , European Art , Exhibitions , Installation Closed
Tags: Dallas Museum of Art, etching, Europe art, Landscape, lithography, Printmaking, woodcuts, Works on Paper

Sara Woodbury, McDermott Curatorial Intern for American and European Art, recently organized an installation of prints for the Works on Paper gallery on the Museum’s second floor. Cross Cultural Dialogues in European and American Landscapes features landscapes from the 19th and 20th centuries that demonstrate artistic influences occurring between Europe and America. The show also highlights different printmaking techniques. We’d like to explore a few of these methods here, and also share a behind-the-scenes look at how works on paper are stored and cared for at the Museum. All of the prints you’ll see here are included in the installation, so be sure to check them out in person next time you visit the DMA.

Printmaking Techniques

Artists use a variety of printing techniques, but we’ll highlight just three methods here: woodcuts, etching, and lithography.

Lyonel Feininger, Mansion on the Beach (Villa am Strand), 1921, woodcut

Woodcuts are recognized by their linear quality, reflecting the laborious process required to make them. An artist draws onto a block of wood, and then all of the wood surrounding the drawing is carved away, turning the design into a three-dimensional relief. These raised lines are coated with ink, and the block is pressed to a piece of paper, printing the image. The oldest known printing method, the woodcut developed in Europe around 1400. It became less popular as easier printing techniques emerged, but many 20th-century artists embraced the medium’s bold, linear character.

Charles Emile Jacque, A Corner of the Forest of Fontainbleau, n.d. (mid to late 19th-century), etching

Another interesting technique is etching, which is similar to drawing. To make an etching, an artist draws with a tool called an etching needle onto a metal plate that has been coated in wax. Next, the plate is submerged in an acid bath, which corrodes, or “bites” into the exposed metal lines, leaving the wax-covered areas unaffected. The plate is then rinsed, covered with ink, and wiped down. The ink remains in the grooves of the etched lines, and the plate is ready for printing. Etching first appeared in the 16th century and became especially popular during the 17th century. It also experienced a resurgence in popularity during the late 19th century, a period that has become known as the Etching Revival.

John Rogers Cox, Wheat Shocks, 1951, Lithograph

One of the most important printing techniques in 20th-century art is lithography. An artist draws onto a stone or metal plate with a special greasy crayon. The stone is treated with acid, and then covered with ink and rinsed with water. The ink sticks to the greasy crayon, but washes off everywhere else. A piece of paper is pressed to the stone to print the image.

Lithography was invented in 1798 by Alois Senefelder and was initially used for commercial images. By the late 19th century, however, artists had begun exploring lithography’s creative possibilities. Lithography accommodates a wide range of styles, making it an ideal medium for the stylistic variety that characterizes 20th-century art.

Behind-the-Scenes with Registrar Anne Lenhart

Did you know that works on paper–including prints, drawings, photographs, and other types of work–are stored and cared for differently than paintings and sculptures? Works on paper are sensitive to various conditions and must be handled with special care and attention. We asked Anne Lenhart, Assistant Registrar, to share insight into how the Museum stores and handles its large collection of works on paper.

What DMA department is responsible for handling prints?

Anne: The care and handling of prints is a shared responsibility between the curators, registrars, conservators, and preparators. The curators are responsible for choosing the works on paper for installations and exhibitions. Once the works on paper are chosen, the registrars, conservators, and preparators are responsible for making sure the prints are in good condition and ready for installation.

Where are the prints stored in the Museum? How are they stored?

Anne: All of our objects are stored in secured art storage spaces. These areas, which have limited staff access and are monitored twenty-four hours a day, have a consistent temperature of 70° Fahrenheit (+/- 2°) and 50% (+/- 5%) relative humidity. Because paper is susceptible to even small changes in humidity (think about what happens to a sheet of paper when it contacts a drop of water), we try to be especially vigilant in terms of how we store our paper collection.

These numbers are considered guidelines for very stable pieces, such as those created with carbon-based ink applied to a good quality rag paper. Objects that are less stable—where the pigment and the materials are of lower or unknown quality or in the case of color photographs (especially Polaroids)—are exhibited for shorter periods of time.

A display table in the Print and Textiles Study Room, where the Museum’s works on paper are kept.

Many of the Museum’s unframed prints are stored in Solander boxes, such as this one.

How long can prints stay mounted in the galleries?

Anne: The general rule for exposure of works on paper is one to three months, and we try to keep the maximum period of time any work on paper is on view to less than six months. After a work comes down, we usually do not reinstall it for eighteen months so that it can “rest.”

Cross Cultural Dialogues in European and American Landscapes is on view now, and we hope to see you soon at the Museum.

Sara Woodbury is the McDermott Curatorial Intern for American and European Art, and Karen A. Colbert is the McDermott Education Intern for Teaching Programs.

Are you ready for some Art?

Published January 28, 2011 Arts & Letters Live , Center for Creative Connections , Collections , European Art , Exhibitions 1 Comment
Tags: activities in Dallas Texas, art critic, Arts & Letters Live, attractions around Dallas, best things to do in Dallas, Big New Field, Center for Creative Connections, Contemporary Art, Contemporary art and architecture, Cowboys Stadium, Cowboys Stadium Art Program, Dallas activities, Dallas Museum of Art, Dallas Texas tourist attractions, Dallas/Fort Worth Metroplex, DMA, European Art, fine art, groundbreaking exhibition, local artists, office downtown, Packers, Smocks & Jocks, special exhibition, sporting event of the year, sports nut, Steelers, Super Bowl, Thursday Night Live, Tony Dungy, You Can Be a Friend

It’s no secret that Super Bowl hysteria is sweeping the Dallas/Fort Worth Metroplex. On February 6, people from around the nation will be gathering in Arlington to watch the Steelers take on the Packers. But what are some of the best things to do in Dallas leading up to the Super Bowl? Below is a Dallas Museum of Art checklist for a super week for the sports fan and art critic in you. How many will you do?

Big New Field: Artist in the Cowboys Stadium Art Program

Big New Field: Artists in the Cowboys Stadium Art Program is an exhibition of work by the artists featured in the Cowboys Stadium Art Program. While exploring the exhibition, try to figure out which artist’s work from the Cowboys Stadium belongs to the work at the DMA. Pick up Cowboys Stadium: Architecture, Art, Entertainment in the Twenty-First Century from the Museum Store if you need some help.
See the former head coach of the 2006 World Champion Indianapolis Colts Tony Dungy and his wife, Lauren, on Saturday, February 5, at 3:00 p.m., part of Arts & Letters Live BooksmART. They will discuss their new children’s book You Can Be a Friend and you can stick around to meet the Dungys after this free event. Be sure to reserve your seats at https://www.tickets.DallasMuseumofArt.org/public/ or call 214-922-1818.
Have you ever wanted to meet a room full of former NFL players? On Saturday, February 5, the NFL Players Association will hold the annual Jazz Brunch and Art Auction Smocks & Jocks in the Dallas Museum of Art’s Atrium at 10:30 a.m. Mingle with former and current NFL players while discovering their artistic talents. For more information on the event, click here.
Explore the Center for Creative Connections and soak up some inspiration before you stop by the Art Studio to create your own work of art, maybe even a special football-inspired trophy sculpture.
If you are looking for a break from football, travel to Europe without leaving the Museum through a bite-sized tour of four recent acquisitions in our new European galleries.

Discovering a Romney

Published January 6, 2011 Behind-the-Scenes , Collections , European Art , Installation Closed
Tags: 18th-century British art, Art discovery, Dallas Museum of Art, European Art, George Romeny, painting

You might have heard about the recent discovery of a George Romney painting in the Museum’s collections. Olivier Meslay, Senior Curator of European and American Art and The Barbara Thomas Lemmon Curator of European Art at the DMA, shared the story about the discovery with us last month. You can visit the painting in person in the European Galleries on Level 2. To read more about George Romney and Young Man with a Flute, click here.

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