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After Midnight: When the artwork is an early riser

Published February 2, 2015 Behind-the-Scenes , Exhibitions 2 Comments
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Eight months ago, I joined the Dallas Museum of Art as the Director of Collections Management, helping to oversee the care of our art collection—both on and off the walls in our galleries and for our special exhibitions.  As part of that responsibility, I supervise the Museum’s team of preparators and registrars. Preparators are the staff who actually handle the art and are responsible for installing the artwork you see hanging in the galleries. Registrars, among other duties, are in charge of all logistics and coordination of loans coming to the DMA. Members of our excellent team have written about their adventures on Uncrated before (relive some of those stories here, here, here, here, and here!).

Last month we were all focused on the arrival of paintings from around the globe for our newest special exhibition, Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga.

Art travels in specially built crates, and there are particular companies that coordinate the shipping and customs procedures for works of art. The DMA Registrar staff works in close contact with these companies to make sure the works are safe and sound at all times. They know what size crate can fit in the cargo hold of different aircrafts and all possible flight options. We are kind of the travel agent for the artwork! We know that if a crate is higher than 63 inches it means that it will need to fly in a cargo plane.

That was the case for some of the most amazing artwork you will see in Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, which opens at the DMA on February 8. We had 30 crates of 52 works of art travel from Japan to Dallas accompanied by the staff from the Japan Foundation and couriers from two of the lending institutions, the Mie Prefectural Art Museum, and the Hyogo Prefectural Museum of Art.
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As there is no need to cater to passengers, cargo flights tend to leave and arrive at not the most convenient times. They are likely to arrive in the middle of the night—or in the middle of the morning, depending on how you look at it!

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The Shiraga and Motonaga works arrived at the DMA on a cold January night. Registrar and Preparator staff, armed with lots of coffee, good attitudes, and heavy coats, were at the DMA to receive the shipment. Our galleries were dark, and so was the night outside. Under the watchful eyes of our Security staff, we worked just as we would during the day, moving quickly and carefully. Preparators unloaded the big truck and moved the crates into our galleries. There they would acclimatize—a museum term for adjust to the current conditions (sort of like getting over jet lag)—for a 24-hour period. Afterward, these beautiful works were uncrated and installed in the presence of their couriers.

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I hope you will visit the DMA soon and enjoy this stunning exhibition!

Isabel Stauffer is the Director of Collections Management at the DMA.

ThisClose: A Rare Look at Reves Treasures

Published January 28, 2015 Collections , Exhibitions 1 Comment
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This year, the Dallas Museum of Art celebrates the 30th anniversary of the opening of the Wendy and Emery Reves Galleries, which house a varied and celebrated collection of paintings, sculptures, furnishings, and decorative arts. The Reves Galleries were designed as a replica, on a slightly reduced scale, of the principle rooms in the couple’s villa on the French Riviera. The unusual domestic character of these galleries has made them both loved and loathed over the years. They offer an opportunity to step into the past and discover the history of art collecting and display in the mid-20th century. But, the barriers that separate visitors from the displays have been a perennial frustration. As curators, we are often as frustrated as our audiences with the limitations of the display in the Reves Galleries. Yes, we feel your pain.

The Grand Salon in The Wendy and Emery Reves Collection at the Dallas Museum of Art

The Grand Salon in the Wendy and Emery Reves Collection at the Dallas Museum of Art

This spring, we are making some modest refurbishments to two of the rooms in the Reves Galleries that will require them to be closed for some months (the rest of the Reves wing will remain open). We’ll take advantage of the partial closure to photograph the works of art on view in those galleries as part of the DMA’s multi-year digital cataloging project. In coming months, visitors to our online collection will discover the fruits of that labor in hundreds of new and improved images of works of art in the Reves Collection. But, there will be also be an even more immediate opportunity for visitors to take a closer look at some of the Reves treasures.

Claude Monet, The Pont Neuf, 1871, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.38

Claude Monet, The Pont Neuf (detail), 1871, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.38

On January 31, we will open an intimate exhibition, included in free general admission, in Focus Gallery II on Level 1, featuring the great impressionist paintings from the Reves Collection, including works by Pierre-Auguste Renoir, Claude Monet, Camille Pissarro, and Paul Cézanne. These works, usually on display in the Library and Grand Salon of the Reves Galleries, are among the greatest treasures of the Reves Collection . . . and among the most difficult to appreciate in their current setting, hanging on distant walls some twenty or even thirty feet from the barriers. In the exhibition Impressionist Paintings from the Reves Collection, thirteen of the greatest paintings from the Reves Collection will be brought together for a period of close study and exploration. Anyone who has longed for a closer view of these paintings will revel in this opportunity, curators included! But, this opportunity will be a limited one. Impressionist Paintings from the Reves Collection will be on view only until March 22, so be sure to plan a visit soon for an up-close and personal visit with these old friends.

Pierre-Auguste Renoir, Lise in a White Shawl (detail), c. 1872, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.58

Pierre-Auguste Renoir, Lise in a White Shawl (detail), c. 1872, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.58

Heather MacDonald is The Lillian and James H. Clark Associate Curator of European Art at the DMA.

Forward Facing

Published January 5, 2015 Collections , DMA Friends , Exhibitions Closed
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With the onset of a new year, it’s useful to take stock of what is up next at the Museum. At the end of January, we will mark the second anniversary of DMA Friends, our much-heralded free membership program. With more information gleaned from our visitors than ever before, we are excited to share insights among four major art museums exploring the opportunities presented by this program, thanks to a six-figure grant from the Institute of Museum and Library Services. The Los Angeles County Museum of Art, Denver Art Museum, Minneapolis Institute of Arts, and DMA are partnering in a roll-out of the museum Friends program, and will have much to learn in the months ahead.

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Maxwell L. Anderson discussing the Wittgenstein Vitrine with AT&T Performing Arts Center’s Chris Heinbaugh

 

Following the evocative exhibition of 19th-century oils titled Bouquets: French Still-Life Painting from Chardin to Matisse, which local critics hailed as one of the best  exhibitions of 2014, we look forward to presenting three remarkable exhibitions of art of the last half-century. Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga opens on February 8 in the Hoffman Galleries, for the first time revealing some of the breadth of the Museum’s newly formed collection of postwar Japanese painting and sculpture, which augments an already major collection of European and American art of the 20th and 21st centuries.

The newly acquired Marcia H Travels (1970), the first work in the DMA’s collection by the Guyanese-born British painter Frank Bowling, will be displayed along with four other paintings by Bowling from private collections. Frank Bowling: Map Paintings, opening February 20, will mark the first time in nearly forty-five years that these “Map Paintings” will be brought together since their debut at the Whitney Museum of American Art in 1971.

Rounding out the spring, the US premiere of the internationally traveling exhibition, Michaël Borremans: As sweet as it gets, on the work of contemporary Belgian artist Michaël Borremans opens at the DMA in March 2015. Co-organized by the DMA and Center for Fine Arts, Brussels (BOZAR), this retrospective will draw our visitors into the fascinating realism of one of today’s most heralded painters.

A feast for the eye, all are made possible by the generous supporters of the DMA, to whom the Board and staff extend our sincere appreciation. I look forward to welcoming you to the Museum this winter and spring, and hope you will encourage others to join as DMA Partners to undergird free general admission—a year-round gift to our community.

Maxwell L. Anderson is The Eugene McDermott Director at the DMA

Artful Blooming

Published December 8, 2014 Exhibitions Closed
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Visitors to Bouquets: French Still-Life Painting from Chardin to Matisse have the opportunity to walk in the shoes of the exhibition’s artists. In the central gallery, they can draw their own still life from a real bouquet inspired by paintings in the exhibition and arranged by the DMA League’s Floral Committee. Check out some examples of these visitor-created masterpieces!

 

Andrea Vargas Severin is the Interpretation Manager at the DMA.

InstaBouquets

Published November 17, 2014 Exhibitions , Staff Closed
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The DMA is positively blooming with floral still-life paintings this winter, thanks to the amazing works on view in Bouquets: French Still-Life Painting from Chardin to Matisse. Visitors can enjoy these paintings and even find a bit of creative inspiration in a sketching gallery, outfitted with a fresh floral arrangement, drawing supplies, and a place to display their drawings.
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Inspired by the exhibition, DMA staff took a turn curating their own still-life creations. From traditional to offbeat, we hope you enjoy these interpretations of this classic genre that has inspired artists for centuries. If you’re feeling inspired, create your own still life and post it to Twitter or Instagram with the hashtag #BouquetsDMA—you may just see yourself retweeted!

Anthea Halsey is the Senior Marketing & Social Media Manager at the DMA.

Lost in Space

Published October 20, 2014 Exhibitions Closed
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 Isa Genzken: Retrospective, currently on view in the DMA’s Barrel Vault, arrived in Dallas after presentations in New York and Chicago, and came together after weeks of installation. Each work of art required a different approach and took varying amounts of time to place on display. Below, watch the installation process of Genzken’s 2007 work Oil XI, which invites you into the exhibition. Visit it now for free through January 4, 2015.

[youtube https://www.youtube.com/watch?v=UHrotldHrj8]

Why Flowers?

Published October 15, 2014 Collections , Conservation , DMA Partners , Exhibitions Closed
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The Dallas Museum of Art is currently at T-minus 11 days until the opening of our new exhibition, Bouquets: French Still-Life Painting from Chardin to Matisse. Floral still-life paintings are arriving from across North America and Europe, and Bouquets will open to the public on Sunday, October 26, 2014 (DMA Partners will have a chance to see the exhibition a few days earlier during the DMA Partner Preview days on October 23-25).

As a curator of this exhibition, I’ve already had several people ask me how I became interested in this rather specialized subject. I will confess straightaway that it is not because I have any particular skill in growing flowers (sadly, the contrary), identifying flowers (I have a shockingly bad memory for names, of both plants and people), or arranging flowers (even the most elegant bouquet from the florist becomes an awkward muddle when I’m entrusted with the task of transferring it to a vase). So, I did not enter into this exhibition with the belief that I had any special insights into the world of flowers to share.

Rather, I was brought to the exhibition by the DMA’s art collection. In some cases, we decide to pursue an exhibition because it allows us as curators to share with our audiences art that is not represented in depth in our own collection. This was the case with J.M.W. Turner in 2008 or Chagall: Beyond Color in 2013; however, there are also moments when we create exhibition projects as a way to showcase particular strengths of our collection and build a major research project around our own masterpieces. This was the case with Bouquets.

Several years ago, I was approached by my co-curator, Dr. Mitchell Merling of the Virginia Museum of Fine Arts, with an idea for an exhibition of French floral still-life painting. He wanted the exhibition to focus on the table-top still life and the bouquet, and was starting to build a list of possible works to include. Did the DMA have many paintings that fit that description, he asked? By the time I finished rounding up all the works that fit the bill, I went back to Mitchell and told him that I hoped to partner with him in curating the exhibition. Not only did the DMA have more than a dozen works of art that met the criteria, but quite a number of them were also masterpieces of our European art collections. These included important (and incredibly beautiful) paintings by Anne Vallayer-Coster, Henri Fantin-Latour, Edouard Manet, Gustave Caillebotte, Paul Bonnard, and Henri Matisse. I knew that this exhibition would be an invaluable opportunity to give these paintings the kind of visual and scholarly context they so richly deserved. Luckily, Mitchell agreed with me, and we set to work on crafting the exhibition together.

Bouquets includes six important paintings from our collection, making the DMA the largest single lender to the exhibition. In addition to these works that will travel with the exhibition to the Virginia Museum of Fine Arts in Richmond and the Denver Art Museum in 2015, we have also included two additional still lifes from our collection just for the show’s presentation in Dallas—the more the merrier! Although there wasn’t room to include all of our French floral still-life paintings in the exhibition, you can see several others elsewhere in the Museum.

For instance, in Mind’s Eye: Masterworks on Paper from David to Cézanne (on view until October 26, 2014, the same day that Bouquets opens), you can see a major pastel, Flowers in a Black Vase, by the inventive symbolist artist Odilon Redon. Redon is featured in Bouquets with three paintings, but because of the length of the exhibition tour we were not able to include any of his ethereal and fragile pastels. In Flowers in a Black Vase, Redon crafts one of his most sumptuous and darkly beautiful bouquets, a perfect floral tribute for the Halloween season:

Odilon Redon, Flowers in a Black Vase, c. 1909-1910, pastel, Dallas Museum of Art, The Wendy and Emery Reves Collection

Odilon Redon, Flowers in a Black Vase, c. 1909-10, pastel, Dallas Museum of Art, The Wendy and Emery Reves Collection

When you visit our galleries of European art, you’ll see that in the place of Fantin-Latour’s Still Life with Vase of Hawthorne, Bowl of Cherries, Japanese Bowl, and Cup and Saucer, featured in Bouquets, we’ve brought out another painting, Flowers and Grapes, by the same artist. This meticulously composed autumn still life was one of the first paintings in the collection selected for treatment by Mark Leonard, the DMA’s new Chief Conservator, even before his Conservation Studio was opened last fall. The jewel-like tones of the chrysanthemums, zinnias, and grapes in the newly cleaned painting now positively glow on our gallery walls.

Henri Théodore Fantin-Latour, Flowers and Grapes, 1875, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation, Incorporated

Henri Théodore Fantin-Latour, Flowers and Grapes, 1875, oil on canvas, Dallas Museum of Art, gift of the Meadows Foundation, Incorporated

And, finally, in the Wendy and Emery Reves Galleries on Level 3, be sure not to miss a special display of one of our smallest and most unpretentious bouquets, Henri de Toulouse-Lautrec’s Bouquet of Violets in a Vase. Painted when the artist was just 18 years old, this still-life reveals the potent influence of Manet on the young artist, as well as Lautrec’s own precocious talent. This small panel painting, usually displayed in the Library Gallery of the Reves wing, where it is difficult for visitors to appreciate, is currently on view in an adjacent space where it can be enjoyed up-close, alongside another early painting by Lautrec.

Henri de Toulouse-Lautrec, Bouquet of Violets in a Vase, 1882, oil on panel, Dallas Museum of Art, The Wendy and Emery Reves Collection

Henri de Toulouse-Lautrec, Bouquet of Violets in a Vase, 1882, oil on panel, Dallas Museum of Art, The Wendy and Emery Reves Collection

Flowers are in bloom throughout the Museum this October, and there is no better time to fully appreciate the depth, importance, and sheer beauty of the DMA’s collection of European still-life painting.

Heather MacDonald is The Lillian and James H. Clark Associate Curator of European Art at the DMA.

Mind’s Eye from a Different Frame of Reference

Published October 8, 2014 Behind-the-Scenes , Collections , Exhibitions Closed
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You still have time to come to the Dallas Museum of Art to visit the exhibition Mind’s Eye: Masterworks on Paper from David to Cézanne before it closes on October 26. The show is a rare opportunity to see exceptional drawings, pastels, and watercolors by many of the most acclaimed European artists in the Museum’s collection, as well as some from many local private collections.  Linger in a gallery and closely study exquisite works by Renoir, Gérôme, Pissarro, Bonnard, and Mondrian. Then, before moving into the next room, step back a bit to view the broad array of frames that surround these fabulous artworks. The various shapes, designs, and colors add a pleasant texture to the walls and bring an unmatched intimacy to the overall experience.

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Consider the fantastic tabernacle frame surrounding Pascal Dagnan-Bouveret’s little gem Portrait of Gustave Courtois. With its liner plinth (or base), columns topped with Corinthian capitals, and crowning entablature, it’s easy to see that this sort of frame employs a structure and ornamentation inspired by ancient Greek and Roman architecture. The intricate gold ornamental foliage patterns coursing over the narrow, flat groves of dark green couple with rich gilding to elevate the mystery of the distinguished sitter, who was a fellow artist.

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Nearby is Théodule Ribot’s Head of an Old Man with Beard and Cap. This little drawing from the DMA’s collection was in storage unframed, but we did not need to go any further than our own Reves Collection to find something perfect. Based on 17th-century Dutch frames with waffle or ripple style moldings that were darkly painted to simulate ebony, this frame is enhanced throughout by long passages of inlaid tortoise shell. Then, to bring perfect harmony to drawing and frame, we added a custom-designed mat embellished with strands of pale blue, silver, and brown marbling that echoes the frame’s tortoiseshell.
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Like museums, artists were often quite particular about their frames. For example, Edgar Degas most likely designed the frame on his drawing After the Bath, Woman Drying Herself. This frame has the hallmarks of his most inventive design, which includes a soft overall gilding over a lightly rounded profile, enhanced with rows of thin parallel grooves. Degas called this frame a “cockscomb” or “cushion” pattern. The frames’ characteristic gentle curves subtly reinforce the arc in the nude’s back, as well as the fleshiness of her torso, buttocks, and arms.

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Even simpler than Degas’s frame is the one that Swiss artist Ernest Biéler designed for his L’épine-vinette. He polished the wood (oak) to bring out its subtle grain, allowing it to serve as a backdrop to the small strips of wood that step down at the sight edge, drawing our eyes toward the lovely portrait. Biéler followed a similar design scheme when made the frame for his Self-Portrait, which hangs to the left. Thus we see both of these works just as he intended.
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In the last room of the exhibition, you will find a fantastic frame on Pablo Picasso’s Still Life with Glass and Bowl. Although probably not designed by Picasso, its strong linear features and curvilinear gold leaf embellishments mirror those same aspects in the master’s drawing.

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If you are not ready to explore the rest of the Museum, return to the first Mind’s Eye gallery for a look at the one-of-a-kind mat surrounding Hubert Robert’s View of the Gardens at the Villa Mattei. The cartouche bearing the artist’s name is a work of art itself.

Martha MacLeod is the Curatorial Administrative Assistant for the European and American Art Department at the DMA.

Showcasing 40 Years: Installing Isa Genzken

Published September 8, 2014 Behind-the-Scenes , Exhibitions 4 Comments
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Isa Genzken: Retrospective, the DMA co-organized exhibition with the Museum of Modern Art, New York, and the Museum of Contemporary Art Chicago, will open this weekend at the DMA as part of a successful national tour that has been described as “dazzling.” The DMA is the final stop for this first major U.S. exhibition of Genzken’s remarkable career. Her work contains many elements and the DMA crew has been installing the exhibition for weeks. Get a sneak peek below and then visit the exhibition, which is included in the DMA’s free general admission and is on view beginning this Sunday, September 14, through January 4.

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Conservation Timeline

Published September 5, 2014 Behind-the-Scenes , Conservation , Exhibitions 2 Comments
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Silver Vitrine (for the 1908 Kunstschau), 1908, Wiener Werkstätte (Vienna Workshops), Vienna, Austria, 1903-1932, maker; Carl Otto Czeschka, Austrian, 1878-1960, designer; Josef Berger, Austrian, 1874/75-?, goldsmith; Josef Hoszfeld, Austrian, 1869-1918, Adolf Erbrich, Austrian, 1874-?, Alfred Mayer, Austrian, 1873-?, silversmiths; Josef Weber, dates unknown, cabinetmaker; Wabak, Albrech, Plasinsky, Cerhan (unidentified craftsmen), silver, moonstone, opal, lapis, lazuli, mother-of-pearl, baroque pearls, onyx, marble, ivory, enamel, glass, and Macassar ebony veneers (replaced), image courtesy of Richard Nagy Ltd, London, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

The Wittgenstein Vitrine (from the 1908 Vienna Kunstschau), 1908, Wiener Werkstätte (Vienna Workshops), Vienna, Austria, 1903-1932, maker; Carl Otto Czeschka, Austrian, 1878-1960, designer; Josef Berger, Austrian, 1874/75-?, goldsmith; Josef Hoszfeld, Austrian, 1869-1918, Adolf Erbrich, Austrian, 1874-?, Alfred Mayer, Austrian, 1873-?, silversmiths; Josef Weber, dates unknown, cabinetmaker; Wabak, Albrech, Plasinsky, Cerhan (unidentified craftsmen), silver, moonstone, opal, lapis lazuli, mother-of-pearl, baroque pearls, onyx, ivory, enamel, glass, and Macassar ebony veneers (replaced), Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

With fall just around the corner, here’s a brief sneak peek into the conservation treatment, made possible through the Art Conservation Project grant from Bank of America, of the DMA’s recent acquisition, a masterpiece of Viennese design known as the Wittgenstein Vitrine.

An exhibition dedicated to this spectacular addition to the DMA’s collection, Modern Opulence in Vienna: The Wittgenstein Vitrine, opens November 15 in the Conservation Gallery. The display will examine the historical significance of the Wiener Werkstätte vitrine and include other examples of Viennese art and design from the period. It will also highlight the conservation treatment and technical analyses carried out during the past year.

Collaboration between curator and conservators – a discussion on original wooden base height, veneer, and finish

Collaboration between curator and conservators – a discussion on original wooden base height, veneer, and finish

Fitting the new curved glass side panel – the replacement of a missing element

Fitting the new curved glass side panel, replacing a missing element

The elaborate silver vitrine (or display case) stands roughly five feet tall and is encrusted with pearls, lapis lazuli, opals, onyx, and other gemstones. Each of these materials requires different conservation approaches and solutions. The overarching goal of the treatment has been to bring the piece closer to its original 1908 appearance, as well as to stabilize a number of fragile elements. The most stunning transformation has resulted from the reduction of blackened tarnish and the removal of layers of old silver polish residue trapped within the intricate metalwork.

Detail of old polish residue trapped between glass and metalwork

Detail of old polish residue trapped between glass and metalwork

Detail of old polish residue caught between the glass panes and silver decorative elements

Detail of old polish residue caught between the glass panes and silver decorative elements

Many painstaking hours of old polish removal and reduction of silver tarnish.

Engaging in many painstaking hours of old polish removal and reduction of silver tarnish

Conservation treatments do not take place within a vacuum, and an exciting part of the project has been the interdepartmental collaboration between the curatorial, conservation (including myself), and collections staff at the DMA. Kevin W. Tucker, The Margot B. Perot Senior Curator of Decorative Arts and Design at the Dallas Museum of Art, and I have also been working with outside consultative experts, including silversmiths, specialty glassmakers, gemologists, research scientists, and even an ornithologist (to help identify the various birds depicted on the vitrine).

Detail of a pearl cluster with two birds. Notice the old polish residue in the interstices surrounding the cluster.

Detail of a pearl cluster with two birds. Notice the old polish residue in the interstices surrounding the cluster.

During removal of silver tarnish, as seen in this image from left to right.

During removal of silver tarnish, as seen in this image from left to right.

Working almost daily on an intimate and intense level with an object has resulted in many discoveries, which we look forward to sharing with the public in both the exhibition and the opening symposium on November 15, 2014.

Fran Baas is the Associate Conservator of Objects at the DMA.

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