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Art is for Families

Published June 12, 2012 Creativity , Museum Insight , People , works of art Closed
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Do you remember family visits to museums as a kid?  Picking favorite artworks together, seeing something completely perplexing/absolutely beautiful, or learning (maybe the hard way) that you can’t touch the art?

My colleague, C3 Gallery Specialist Jessica Nelson, is dedicating her master’s thesis research capturing such experiences.  Last week, Jessica forwarded me a link to her more-than-excellent blog Art is for Families.  The blog documents her Art Education master’s thesis project, for which Jessica is embarking on a series of wonder-full museum adventures with her six-year-old daughter, Julia.  Jessica’s research focuses on family learning in museums: specifically, how museum-produced self-guided materials help families have meaningful experiences with artworks.  She is also interested in inter-generational collaborative research and art-making as a vehicle for storytelling.

Together, Jessica and Julia will visit six museums in the metroplex, making use of available self-guided materials, and documenting their journeys in a variety of media. The two are equal collaborators: Julia and Jessica make art together, collect stories, take separate photos of their experiences, and throughout, have a dialogue about their process.

So far, Julia and Jessica have visited the Modern Art Museum of Fort Worth and the Amon Carter Museum of American Art—taking advantage of the Modern’s self-guided sketchbook, Ten Pages and the Carter’s Postcard Tour.  Below are just a few of many pictures of their visits and resulting projects:

Julia twirled through my office last week, just in time for me to take the adorable mother-daughter photo above for this post.  Julia, we cannot wait to see more of your art and read (and read and read) more of your stories about museums.  Jessica, what an amazing project!  We look forward to learning from your research.

To have a self-guided family adventure at the DMA, ask for one of our four bite-sized Self-Guided tours at the Visitor Services desk, or print them at home.  And for more family-focused art-making and art-exploring ideas, visit We Art Family! The DMA Family Blog.

Amy Copeland
Coordinator of Go van Gogh Outreach

Flower of the Prairie: George Grosz in Dallas

Published May 29, 2012 works of art Closed
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Even if you have never heard of the German Expressionist George Grosz, many of his paintings may be very familiar to you. The Flower of the Prairie: George Grosz in Dallas exhibition highlights a range of Grosz’s work over a lifetime, with graphic works, paintings, and contextual photographs. Recently opened at the DMA, this special exhibition features twenty paintings Grosz created of our very own home: Dallas, Texas.

Born and raised in Germany, Grosz gained fame and notoriety in the 1920s with his satirical drawings of life in Berlin. His open and ever-increasing dissatisfaction with German government ultimately led to his move to America in 1933. As a child, he fantasized about America as a perfect place where everyone’s dreams could come true. He loved reading books about American life, especially the Wild West, and he dreamed of one day going to Texas to see it for himself. His childhood dream came true when he was commissioned to paint a series about Dallas. In 1952, Leon Harris, Jr., the young vice president of the department store A. Harris & Company, commissioned the series as a part of the celebrations for the store’s 65th anniversary.

At fifty-nine years old, Grosz arrived in Dallas to discover that it wasn’t quite as wild as he imagined. Dallas of the 1950s was a bustling, prosperous metropolis undergoing continuous change and growth. Primarily execeuted in watercolor, Grosz’s series illustrates the modernity of the new city, but also seems to capture the dreamlike quality of his imagination.

In celebration of Flower of the Prairie: George Grosz in Dallas, the museum has created a variety of fun programs throughout the summer for all ages.

Hope to see you all there,

Hannah Burney
McDermott Intern for Teaching Programs and Partnerships

Artworks shown:

Self Portrait, George Grosz, 1936, oil on canvas, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

A Dallas Night, George Grosz, 1952, watercolor on paper, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift in memory of Leon A. Harris

Cowboy in Town, George Grosz, 1952, watercolor, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

Cattle, George Grosz, 1952-1953, oil on canvas, Dallas Museum of Art, gift of A. Harris and Company in memory of Leon A. Harris, Sr.

Flower of the Prairie, George Grosz, 1952, watercolor on paper, University Art Collection, Southern Methodist University, Dallas, Texas Gift of Leon A. Harris, Jr.  UAC.1961.10

The Google Art Project: Art Accessible to All

Published May 15, 2012 Resources , works of art 2 Comments
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Most of us usually experience artworks from books, magazines, and by visiting our local museums and art galleries. There are countless artworks all over the world that most of us will not get an opportunity to see in person. Wouldn’t it be amazing if students in Dallas could take a field trip to the Museum of Modern Art in New York City? How about a trip to Florence, Italy to view The Birth of Venus in the Uffizi Gallery, or a trip to Hong Kong, China to visit the Hong Kong Heritage Museum?

Google has created a way to virtually visit these museums. Thanks to the Google Art Project, anyone with internet access can have a virtual tour of artworks, and gallery spaces in major art centers all over the world. Students in any part of the world can get online and experience artworks that they may otherwise not have access to.

Right now you may be thinking, “This sounds good, but what exactly is the Google Art Project, and how does it work?”  Here is a preview.

My first encounter with the Google Art Project took place about a year ago while taking a museum education class at the University of North Texas. My instructor Dr. Laura Evans approached a few of the students about the possibility of presenting on the Google Art Project at the 2011 Texas Art Education Association Conference in Galveston, TX. After doing some research on this project, Jessica Nelson, Nicole Newland, David Preusse, and I decided to work as a team under the leadership of Dr. Evans. Our presentation, Virtual Museum Field Trips: The Google Art Project was aimed at providing ways in which high school art teachers could incorporate the Google Art Project into their classrooms. Afterward, we received positive feedbacks from the teachers in attendance.

Currently, the Google Art Project features artworks and gallery spaces from selected collections worldwide. This project is relatively new and still developing.  Similar to the street view and navigation features in Google Maps, the Google Art Project provides an interior view and navigation of art galleries and museums. It is structured to emulate a viewer’s perspective within the space. You can easily navigate from one gallery space into the next, zoom in and out of artworks, and get more information on each artwork. Moreover, you can log in and create your own personal gallery collection of your favorite artworks.

The Google Art Project is easy to use, and its structure encourages countless possibilities for art education activities in K-12 art classrooms. Some suggestions for activities include:

  • Comparisons – compare and contrast artworks in the same space or in different galleries.
  • Art critique activities – describe, interpret, and critique works of art.
  • Personal collections  – curate customized art collections for classroom projects.
  • Imaginative narratives – write stories inspired by artworks in the same gallery space.
  • Original artworks – create artworks inspired by a gallery space or by selected artworks in different museums.

Below is a summary of one of the art activities I created and presented during the TAEA conference.

Activity: Compare and Contrast: ARTexting
Grade: High school

Objective: Using the notion of texting, students create an informed conversation between two artworks in a gallery space. This ARTexting activity encourages students to make decisions and insightful observations as well as develop personal connections and individual creativity.

Outline:

  • Choose two artworks in the same gallery space that are displayed facing each other.
  • Imagine what these artworks would say if they could send text messages to each other.
  • Which artwork will send the first text?  How will the second artwork respond?
  • What interesting facts will they learn about each other?
  • Students should research basic facts about their selected artworks and write a possible conversation that the artworks could have via texting.
  • The dialogue should be fun and also informative.

Example
Museum: Uffizi Gallery, Florence Italy

Artworks:

Sample text dialogue:

Portinari: Hello Goddess of Love, what’s up?
Venus: Nothing much, I am just emerging from the sea. It’s so cold out here. You look warm over there with all those bright outfits!
Portinari: Lol. We have baby Jesus here. Some shepherds stopped by to check him out.
Venus: Ohh how fun! But why is he on the floor?
Portinari: He is really humble – he was born in a manger
Venus: Oh I see. That must be his mom next to him. How cool!
Portinari: …
Venus: …

This activity was inspired by considering how the Google Art Project  could relate to high school students. The education link on the Google Art Project provides more ideas and examples of activities, suggestions, and videos from a variety of experts. Such resources can be useful to classroom teachers, students, museum educators, or anyone interested.

The zoom in feature is remarkable. Unlike being in a museum that has restrictions on how close you can get to artworks, the Google Art Project allows you to zoom in and experience every texture, form, or brushstroke of an artwork.

The Google Art Project is truly an innovative approach to making art available to the masses. It provides new ways to interact with artworks and exciting tools for art education. Moreover, it is free and available to anyone with internet access.  This means that a student in my home country of Cameroon can have access to artworks in the Metropolitan Museum of Art in New York City as well as artworks in the Frida Kahlo Museum in Mexico City. This Google initiative is certainly at the core of arts advocacy, as it creates cross-cultural connections by making the arts more accessible across the globe.

The Google Art Project makes art accessible to everyone. So, do not wait any longer – visit www.googleartproject.com and let your exploration begin!

Mary Nangah
Community Teaching Assistant

How It's Used: Sacred Bronzes of India

Published May 10, 2012 works of art 4 Comments
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Earlier this week, Loryn told us all about how sacred Indian bronze sculptures were made. Using the lost-wax process, each beautiful bronze sculpture was created as a one-of-a-kind work of art. Now that we know how they were made, I would like to explore how they were used.
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Shiva Nataraja, sculpture, bronze, Chola dynasty, 11th century, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund, 2000.377

Shiva Nataraja, Chola dynasty, 11th century, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund, 2000.377

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As Loryn mentioned, many bronze sculptures were originally housed in Hindu temples. Each temple is dedicated to one particular god, and its primary function is to serve as the temporary home of that god. According to the Hindu belief system, an image of a god can be inhabited by the actual physical deity. This can only happen if the sculptor and priest have diligently followed the instructions of the sacred scriptures throughout the creation of the icon. This ability to invoke the actual presence of the god gives devotees the chance to interact with the deity directly. It is this interaction that lies at the heart of all Hindu worship, known as darshan, which means to see and be seen in return. This visual encounter, experienced by both devotee and deity, is the primary reason for temple visits.

The god usually resides within a stone icon installed in the inner sanctuary of the temple. But in order to make himself accessible to everyone, he is brought outside the temple walls for processions. Special sculptures are created solely for use in processions, usually made of bronze. The god leaves the inner sanctuary and inhabits the bronze sculpture after intensive ritual purification.
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Photograph by John Guy, Shiva on his silver mount Nandi, 1993. Guy, John. Indian Temple Sculpture. V&A Publications: London, 2007.

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The DMA’s bronze Hindu sculpture Shiva Nataraja was one of these sacred sculptures made for processions. It’s easy to identify because of the holes at the bottom of the platform. During a procession, poles were inserted into these holes so that temple attendants could easily carry it through town. Shiva Nataraja would have been so richly adorned with clothes, jewelry, flowers, auspicious unguents and liquids, that oftentimes the eyes were the only visible feature. However the eyes were also the most important feature. As long as the eyes could be seen through the heap of endless offerings, darshan could still be experienced by all present. To this day, Hindu processions are still very lively public events that involve the entire community and attract pilgrims from far and wide. Engaging all five of the senses with incense, flowers, music, dancing, hymns, and mantras, everyone actively participates in the religious festivities.

I hope this helps spark your imagination during your next visual encounter with a Hindu deity!

Hannah Burney
McDermott Intern for Teaching Programs and Partnerships

How It's Made: Sacred Bronzes of India

Published May 8, 2012 Art & Teaching , How It's Made , works of art 2 Comments
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When you enter the Southeastern Asian galleries located on the third floor of the Museum, an instant calm envelops you.  The gallery is full of stone and bronze figures choreographed in slow and quiet poses.  It’s almost like stumbling upon a yoga class, where each figure is in a tranquil pose and reaching for spiritual awareness. 

Image of the Southeastern Asian Galleries at the Dallas Museum of Art

I am most drawn to the bronze sculptures of the collection, and I’d like to share how they were made.  As with most metal sculptures throughout history, the sacred bronzes of India were made with the ancient technique of the lost-wax process.  The lost-wax process served as an integral part of the Hindu religion during the Chola dynasty, which reigned between the ninth and thirteenth centuries, due to the desire for portable images of deities.

These bronze figures were created for worship and were housed in stone temples.  Oftentimes, they were removed from the temples for use in ceremonies, acting as processional gods to the people of India.  Our very own Shiva Nataraja is a perfect example of a processional bronze.   For more information on how these bronze objects were used in ceremonies, read Hannah’s blog post on Thursday.

Shiva Nataraja, Dallas Museum of Art

Shiva Nataraja, India, c. 1100, Dallas Museum of Art, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund

Lost-wax Process

The lost-wax process is a technique that seems to be as old as time.  It’s estimated that the earliest work created in this technique dates back to around 3500 B.C. in modern day Pakistan, and it is a common application for sculptors today.  One of the oldest works we have in the Museum dates back to 2000 B.C. and can be found in Silk Road installation on the third floor. 

The process begins with “prepared wax,” a mixture of hard beeswax and resin.  The sculptor gently heats the wax to create a malleable material for molding.  After an area of the object is finished, it is dipped into a cold basin of water to harden the wax.  This alternation of heating and cooling continues until the entire figure is assembled.   The sculptor will then go back and add details with wooden tools to finalize the figure. 

Once the object is ready for the mold, sprues (which are tubular forms of wax that allows liquid metal to flow from one end to another) are applied to the figure to ensure that the molten metal will reach all parts of the figure.  The sculptor then meticulously applies several layers of clay to build up a mold, leaving a small hole to allow for the burn-out process.  When the clay is bone-dry, the mold is fired to harden the clay and to burn-out the wax.  This method allows the wax to flow out, leaving a hollowed clay mold. 

Next, metalworkers melt a mixture of copper, lead, and tin (and in some cases, gold and silver too) in a crucible and then carefully pour the molten metal into the same hole the wax was released from.  Metal cools relatively fast, so if you have a large object, you have to make sure you have enough melted metal!  Once the metal is cooled, the clay shell is broken and the sculpture is revealed.  Every bronze sculpture is unique, as the clay molds cannot be reused.  To complete the work, the sculptor must cut off the sprues and sand the surface smooth, readying the object for the final application of polishing and wax.

Diagram of molds, courtesy of www.lost-waxprocess.com

I encourage you to stop by the Museum and observe these sacred bronzes of India.  You might find yourself appreciating the tranquil rhythm and balance of these forms, as well as how they were made!

Best regards,

Loryn Leonard
Coordinator of Museum Visits

Friday Photos: Art about Earth

Published April 20, 2012 Friday Photos , works of art Closed
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Happy (almost) Earth Day! To celebrate the upcoming Earth Day on April 22nd, I’m highlighting some works in the DMA’s collection that give a special nod to our home planet.

  • Rufino Tamayo’s El Hombre (Man) was commissioned by the Dallas Art Association to celebrate the universality of the human condition. With legs resembling tree trunks rooted strongly in the ground, the figure suggests the inextricable tie between humans and Earth.

Rufino Tamayo, El Hombre (Man), 1953

  • The Yup’ik peoples of Alaska’s western coast and adjacent islands created this mask. They understand their relationship with their maritime environment, particularly its sea creatures, as collaborative and reciprocal. Masked dances at seasonal festivals honor the animals hunted during the previous year.

Mask with seal or sea otter spirit, late 19th century

  • Flower consists of hanging, geometric shapes that move and oscillate with the wind. Alexander Calder explicitly stated that this work not only represents the earth, but also “the miles of gas above it, volcanoes upon it, and the moon making circles around it.”

Alexander Calder, Flower, 1949

  • This figure’s arms are outstretched in the shape of a boat, which peoples of the western islands of Southeast Moluccas related to creation, the founding of family and society, women, and a cosmic womb. She represents the founder-mother, or a kind of “Mother Earth.”

Altar depicting the first female ancestor (luli), 19th century

  • Often using the Earth as his medium, Robert Smithson transports earth into the gallery with a long pile of sand separated by mirrors, contrasting the organic and the man-made.

Robert Smithson, Mirrors and Shelly Sand, 1969-1970

Check out the educator resources of the Earth Day Network for some inspiration for incorporating environmental issues into your teaching, or celebrate Earth at the two-day Earth Day Dallas festival.

How do you increase awareness about and appreciate the Earth in your classroom? (We would love to hear about it!)

Andrea V. Severin
Coordinator of Teaching Programs

Artworks shown:

  • Rufino Tamayo, El Hombre (Man), 1953, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds
  • Mask with seal or sea otter spirit, late 19th century, Dallas Museum of Art, gift of Elizabeth H. Penn
  • Alexander Calder, Flower, 1949, Dallas Museum of Art, gift of the Dallas Garden Club in honor of Mrs. Alex Camp
  • Altar depicting the first female ancestor (luli), 19th century, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.
  • Robert Smithson, Mirrors and Shelly Sand, 1969-1970, Dallas Museum of Art, gift of an anonymous donor; the Vin and Caren Prothro Foundation; an anonymous donor in memory of Vin Prothro and in honor of his cherished grandchildren, Lillian Lee Clark and Annabel Caren Clark; The Eugene McDermott Foundation; Dr. and Mrs. Mark L. Lemmon; American Consolidated Media; Bear/Hunter; and donors to the C. Vincent Prothro Memorial Fund

"Ghost" Post: A Farewell to the DMA

Published April 13, 2012 Friday Photos , People , works of art 3 Comments
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If this post feels a little spooky, it’s because I am submitting this from beyond the walls of the Dallas Museum of Art (OOOooooOOO)! My last day as the McDermott Intern for Gallery Teaching was two days ago, but I will miss the DMA so much that I couldn’t leave without a proper farewell! Thinking back on these last seven months, I realized just how many wonderful art-filled experiences I’ve had, but since I am limited to this one post, I’ve decided to share my top five:

  • Mark Bradford’s exhibition was the first non-collection show that I learned about at the DMA. His huge works of art are overwhelming, innovative, and have wonderful background stories. It is for all of these reasons (and more!) that I loved looking at this exhibition with my fourth-grade tour groups.

  • My next favorite work of art is the ancient Egyptian coffin of Horankh. I really enjoyed speaking about ancient Egypt during our Intern Share Sessions for the Docents. I am also fond of talking to fourth-graders about the process of mummification and the Egyptian gods and goddesses.

  • One of my favorite spaces in the Museum is the American silver gallery, because the pieces have such wonderful decorations and designs. Having worked in a Victorian-era historic house full of objects from the Gilded Age, I enjoy sharing these with school groups because they really encourage close looking.

  • Hannah and I noticed this little lady as soon as we started at the DMA, and she has been one of our “favorites” ever since. I think she is funny. Hannah thinks she is scary. Either way, she will be gracing the cover of the Me & My World docent guide that I revised as my internship project.

  • Last, but certainly not least, I must include the lovely ladies that I worked with during my time at the DMA. This is one of the most friendly, creative, and fun-loving group of people I have ever had the privilege to work with.  I knew that I could always count on them to provide me with words of  encouragement, whether we were discussing an upcoming project or belting out songs during a karaoke outing. I will miss them immensely. (Unfortunately, Nicole isn’t in this group photo, but I’m talking about her too!)

Thank you for making my time here so wonderful!

Jessica Kennedy
McDermott Intern for Gallery Teaching

Friday Photos: Young Masters

Published March 30, 2012 Friday Photos , People , works of art 1 Comment
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Every year, I am impressed and amazed by our annual Young Masters exhibition, organized in partnership with the O’Donnell Foundation Advanced Placement Arts Incentive Program.  Since 1994, the O’Donnell Foundation has encouraged interest and success in AP Studio Art and AP Art History, adding AP Music Theory in 1998.  One of the clearly defined program goals is the recognition and celebration of students’ and teachers’ achievements.  This year, fifty-three original works of art were selected for inclusion in Young Masters out of a total of 651 submissions.  You can also listen to AP Art History essays and original music compositions on the DMA Mobi web site.

First Place: Michelle Yi, June Infestation, digital, Coppell High School

Second Place: Silvia Zapata-Schleicher, The Dimensions of Cards, playing cards, Creekview High School

Third Place: Trang Tran, Escape, oil paint, Creekview High School

Judges from a variety of arts, cultural, and educational institutions such as the DMA, Meyerson Symphony Center, and SMU selected this year’s winners. View the exhibition through April 8, and share which piece is your favorite.

Melissa Nelson
Manager of Teaching in the Community

Friday Photos: I am Woman, Hear Me Roar!

Published March 23, 2012 Friday Photos , People , works of art 2 Comments
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March happens to be Women’s History Month and to celebrate this month-long feminine fiesta, I have posted images of some of the Museum’s leading ladies.

The artistic superwoman, Georgia O’Keeffe is represented in the DMA’s collection and  in our current exhibition Youth and Beauty: Art of the American Twenties, which features six of her paintings.

Grey Blue & Black-Pink Circle, Georgia O'Keeffe, 1929, Dallas Museum of Art, gift of The Georgia O'Keeffe Foundation

The legendary activist; the one, the only Lady Godiva:

Lady Godiva, Anne Whitney, c.1861-1864, Dallas Museum of Art, gift of Dr. Alessandra Comini, in memory of Eleanor Tufts

Anne Vallayer-Coster was one of four women who was trained at the Royal Academy of Arts in 1770.  You go girl…

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

The fearless femme-fatale, Durga:

Durga, Inda, 11th century, Dallas Museum of Art, gift of the Junior Associates

The cultural trend-setter, Mrs. Sarah Sherburne Langdon:

Sarah Sherburne Langdon, John Singleton Copley, c. 1767, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc

The eternal mother figure, the Virgin Mary:

Virgin of the Rosary, Melchor Perez Holguin, late 17th-18th centuries, Dallas Museum of Art, The Cleofas and Celia de la Garza Collection, gift of Mary de la Garza-Hanna and Virginia de la Garza and an anonymous donor

All of these heroic ladies can be found in the galleries at the Dallas Museum of Art.  Come explore the Museum this weekend and see if you can find any additional wonder-women.

Best,

Loryn Leonard
Coordinator of Museum Visits

First Day of Spring

Published March 20, 2012 Art & Teaching , works of art 5 Comments
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It’s official, today is the first day of spring! Which means I get to do some of my very favorite things.
Like picnics and swimming
Brunch and tennis
Smelling the flowers
And wearing dresses
Playing outside and enjoying nature
Once again, it’s my favorite time of the year.

I guess there’s just something about the sunshine that makes me want to rhyme. In the spirit of the new season, I have paired a few beautiful springtime scenes from the DMA’s collection with poetry. I hope you enjoy!

River Bank in Springtime, Vincent van Gogh

Never Mind, March

Never mind, March, we know
When you blow
You’re not really mad
Or angry, or bad;
You’re only blowing the winter away
To get the world ready for April and May

~ Author Unknown
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Early Spring in Central Park, Nicolai Cikovsky

I Meant To Do My Work Today

I meant to do my work today,
But a brown bird sang in the apple tree,
And a butterfly flitted across the field,
And all the leaves were calling me.

And the wind went sighing over the land,
Tossing the grasses to and fro,
And a rainbow held out its shining hand–
So what could I do but laugh and go?

~ Richard Le Gallienne
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Bougival, Maurice de Vlaminick

Sunflakes

If sunlight fell like snowflakes
gleaming yellow and so bright
we could build a sunman
we could have a sunball fight.
We could watch the sunflakes
drifting in the sky
We could go sleighing
in the middle of July
through sundrifts and sunbanks
we could ride a sunmobile
and we could touch sunflakes-
I wonder how they’d feel.

~Frank Asch
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A Host of Golden Daffodils, Charles Webster Hawthorne

Daffy Down Dilly

Daffy Down Dilly
Has come to town
In a yellow petticoat
And a green gown.

~ Mother Goose nursery rhyme
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Jeanne: Spring, Edouard Manet

March

Dear March, come in!
How glad I am!
I looked for you before.
Put down your hat-
You must have walked-
How out of breath you are!
Dear March, how are you?
And the rest?
Did you leave Nature well?
Oh, March, come right upstairs with me,
I have so much to tell.

~ Emily Dickinson

What do you love about spring?

Hannah Burney
McDermott Education Intern for Teaching Programs and Partnerships

Artworks shown:

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

Early Spring in Central Park, Nicolai Cikovsky, date unknown, lithograph, Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. Alfred L. Bromberg

Bougival, Maurice de Vlaminick, 1905, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection

A Host of Golden Daffodils, Charles Webster Hawthorne, before 1927, oil on canvas affixed to composition board, Dallas Museum of Art, gift of Edna Smith Smrz in memory of Mrs. Ed C. Smith, Sr.

Jeanne: Spring, Edouard Manet, 1882, etching and aquatint, Dallas Museum of Art, Junior League Print Fund

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O'Keeffe may be her name, but this artist's work has been long eclipsed by that of her famous sister. Now #IdaOKeeffe's distinct creative identity is getting the spotlight it deserves in "Ida O'Keeffe: Escaping Georgia's Shadow". Opening TODAY, discover uA remarkable performance by @dallasblackdance in our American Art Gallery with choreography inspired by artist Dorothy Austin’s “Slow Shuffle”. See more #DMANights highlights in our story! . . #MyDMA #DallasMuseumofArt #AmericanArt #Dance #DancePerformanc
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