Posts Tagged 'American art'

America the Beautiful

Happy Independence Day! Many of you likely have exciting activities on your agenda today, like proudly parading through the streets, chowing down on some backyard BBQ, watching the night sky illuminate with sparkling bursts of color, or all of the above. For those of you in need of some balance between raucous outdoor festivities and quieter, more subdued plans, today is a great time to visit the DMA and stroll through the American art in our collection. The Museum is open today from 11:00 a.m. until 5:00 p.m.

To celebrate the array of differing landscapes and perspectives that make up the United States, here are a few works from American artists that illustrate various scenes and slices of life in our country.

Small towns:

 

Big cities:

 

Towering mountainscapes:

 

Seaside scenes:

 

Deserts and dry lands:

 

Lush green views:

 

Everyday people:

 

And all the critters in between:

 

Hayley Caldwell is the Communications and Marketing Coordinator at the DMA.

Annual Declaration of Awesomeness

Thomas Eakins is overwhelmingly considered one of the most important American artists. The Pennsylvanian would have been a whopping 172 years old today. His art was deeply influenced by his interest in the anatomy of the human form and the study of motion. The realist painter, photographer, and sculptor took to educating aspiring artists later in his career, and he was both admired and admonished for his controversial and progressive teaching methods.

The painting below—like almost all of Eakins’ portraits—is not a commissioned work, but was done out of friendship. The pensive subject is Gertrude Murray, the sister of one of the artist’s most loyal friends and with whom he shared studio space. As is typical of his extraordinarily moving late portraits, Eakins has isolated his sitter against a neutral background, showing her absorbed in thought. He sets up a tension between his sketchy, bold handling of paint and his intensely observed realism.

Cheers to Thomas!

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Thomas Eakins, Miss Gertrude Murray, 1895, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of Margaret J. and George V. Charlton, Mr. and Mrs. Jake L. Hamon, The Jonsson Foundation, and an anonymous donor, 1975.1.FA

Julie Henley is the Communications and Marketing Coordinator at the DMA. 

 

 

 

 

 

 

 

V.I.B. Visit to the DMA

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We had a Very Important Baby visit the Museum today! Eleven-month old Vance Douglas Lancaster Van Daele took a stroll through the galleries this morning with his father Vance, and graciously agreed to strike a pose for us. Besides his adorable smile and cheerful personality, what makes baby Vance so very important? Well he just so happens to be the great godson of artist Gerald Murphy!

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Baby Vance’s family first met Laura Donnelly, Murphy’s granddaughter, through Deborah Rothschild, curator of the critically acclaimed exhibition Making It New: The Art and Style of Sara and Gerald Murphy, which was on view at the DMA when I first started working here in 2008.

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Our little celebrity wasn’t too concerned with famous names as we spent time in front of Murphy’s painting Watch. He solemnly gazed at the painting, then took off crawling around the gallery with delighted squeals. I like to think Gerald Murphy would approve of Vance’s joyful approach to art and life!

Baby Vance has been a super tourist while his family has been in town, visiting the Perot Museum of Nature and Science, the Dallas Zoo, and the Modern Art Museum of Fort Worth. He loves looking at art, his favorite book is Chicka Chicka Boom Boom, and he’s a regular at his local library.

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We were totally charmed by our V.I.B. and hope he comes back to see us again soon!

Leah Hanson
Manager of Early Learning Programs

Chasing Waterfalls

This month, the Dallas Museum of Art debuts a new acquisition in the American galleries that highlights the work of Henrietta Shore (1880–1963), an artist who made a significant contribution in the development of American modernism. While she and her work were held in high regard, by the 1940s both had fallen into obscurity. Fortunately, the artist is now undergoing rediscovery, as well as a long-overdue reassessment of her impact on American art of the 20th century.

Henrietta Mary Shore, Waterfall, c. 1922, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Boeckman Mayer Family Fund 2015.24.FA

Henrietta Mary Shore, Waterfall, c. 1922, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Boeckman Mayer Family Fund, 2015.24.FA

Waterfall is a remarkable product from one of the most innovative periods of Shore’s long career, when she visually interpreted the natural world into its most essential and abbreviated forms. These “semi-abstractions,” as she called them, were an attempt to convey in a symbolic way the underlying spiritual forces she sensed in nature rather than a literal transcription of the visual phenomena she observed. In Waterfall, pure line and the juxtaposition of positive and negative shapes laid down with the sheer application of pigment are the means the artist employed to render visible the dynamic power of the eternal. Color is the emotional key she wielded to unlock the visual impact of the whole.

Although she was born in Toronto, the key portion of Shore’s artistic training was acquired in the United States, most significantly under Robert Henri in New York. After several years in California, she returned to New York City in 1920 and, forsaking narrative subject matter and the loaded-brush paint application she had learned from Henri, developed the stripped-down modernist approach demonstrated in Waterfall. The inspiration for this bold composition came, most likely, from her explorations of Maine and Canada during the summer of either 1921 or 1922. When her semi-abstractions debuted in a New York gallery in January of 1923, they were widely discussed by critics, who immediately and positively compared them with works by Georgia O’Keeffe then on view at another gallery across town.

On Wednesday, August 19, learn more about the newest addition to the DMA’s American Art Galleries during our lunchtime gallery talk.

Sue Canterbury is The Pauline Gill Sullivan Associate Curator of American Art at the DMA.

30-Minute Dash: Eric Zeidler

Because we offer free general admission, visitors often pop in for a few minutes when they are in the Dallas Arts District. Our Visitor Services team is frequently asked this question: “What would you recommend seeing if you only had thirty minutes to visit the Museum?” We thought it would be fun to pose this tough question to DMA staffers from different departments to see what they consider to be among the highlights. First up is Eric Zeidler, our Publications Manager:

If a visitor had thirty minutes and accepted me as a guide, I would take them to many galleries to highlight multiple works in the collection, starting with the African galleries on Level 3.


My favorite stops include the Fang reliquary guardian figure. It is so riveting and perfectly carved, I can never get my fill of looking at it. Another work to visit is the Songye female power figure with her sheen (she exudes the oil with which she has been anointed down through the years) and that unnerving grin. I can well imagine her exerting a beneficent or malefic power, depending on the inner qualities of those who come into contact with her. Last stop in this gallery would have to be the Djennenke/Soninke figure, with her protuberant eyes and spare, almost angular, elegance.


Continuing our tour on Level 3 in the Arts of Asia gallery includes time to take in the serene Buddha Muchalinda. I love his canopy of naga heads and the fascinating expressiveness of his lips. The Vajrabhairava, with its horns and fangs and union of ecstatic abandon with higher truth, is always a must see, as is the sensuously provocative celestial female with that scorpion on her thigh. And finally we would visit the Vishnu as Varaha, with its diagonal lines and the redoubtable tusks and snout.


We would then dash downstairs to the European galleries on Level 2 to look at a large selection of some of my favorite works, starting with Paul Signac’s neoimpressionist masterpiece Comblat-le-Château, the Meadow (Le Pré), Opus 161. We would then continue on to Paul Sérusier’s Celtic Tale, which partly reminds me of Paul Gauguin but also has symbolist elements reminiscent of Javanese-Dutch artist Jan Toorop, with whom (for me) its imagery has luminous affinities. Next would be Piet Mondrian’s Farm Near Duivendrecht, in the Evening, with its low light, reminds me of Dahl’s Frederiksborg Castle, on view around the corner (it makes me wish that we could acquire some Atkinson Grimshaw canvases), and a quick look at Hans Hofmann’s expressive masterpiece Untitled (Yellow Table on Green).


Going down the other side of the European galleries, I would point out the nice little Still-life with Fruit by Emilie Preyer; Sir Joshua Reynolds’ commanding Portrait of Miss Mary Pelham (she has such a penetrating stare, which for me suggests a certain formidable willfulness); the gorgeous still-life Basket of Flowers by Beert the Elder, with its petals lying strewn on a tabletop; and my beloved College of Animals by Cornelis Saftleven. I think this work, beyond its allegorical subtleties and its charm for all those who love animals, is a beautifully painted canvas, and I love studying its various striking details.


I would also take a quick trip to the Level 4 to see the Dust Bowl and other Texas paintings, which show that beauty can be found amidst stark desolation, and the Navajo eye-dazzler blanket, which is a pleasure to gaze upon. We would end our whirlwind tour with the fascinating little painting by Roberto Montenegro, The Shell, one of my favorite works in the entire collection.

Follow Uncrated to catch the next DMA Dash and more behind-the-scenes scoops. Visit our collection online anytime here.

 Reagan Duplisea is the Associate Registrar, Exhibitions at the DMA.

DMA Snapshot: American Portraits

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Sometimes visitors will ask me what they should see if they don’t have much time to spend in the galleries. Generally, I like to tailor my suggestions to the visitors’ preference for a particular style of art, but sometimes I just really like to show off a few of my favorites. One of the sections that I like to visit is the wonderful (and impressive) portrait collection on Level 4 in the American Art Galleries. During a quick visit  you can see celebrities such as George Washington, whose portrait was painted in 1795 by Rembrandt Peale when the artist was only seventeen years old. It wasn’t until 1823 that Peale decided to improve on the original painting.

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

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

The sitter in John Singer Sargent’s Dorothy was the granddaughter of one of Sargent’s first American patrons, George Millar Williamson. Dorothy was selected to be a part of the Art Everywhere US campaign to celebrate American history and culture nationwide. Be on the lookout for her on outdoor displays this August.

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

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

You don’t want to miss the beautiful portrait of Theodore Roosevelt’s first cousin, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer).This portrait is stunning and perfectly exemplifies the practices of John White Alexander that put him on the map, not just as a portrait artists but also as a muralist and illustrator.

John White Alexander, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer), 1901-1902, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation in memory of Pauline Gill Sullivan

John White Alexander, Miss Dorothy Quincy Roosevelt (later Mrs. Langdon Geer), 1901-1902, oil on canvas, Dallas Museum of Art, gift of the Pauline Allen Gill Foundation in memory of Pauline Gill Sullivan

The American Art Gallery features the finest portraits and decorative arts from the 18th and 19th centuries that America had to offer and is a definite must-see. If you’re yearning for more information, visit the DMA.mobi tour to learn interesting facts about more works in the collection, like John Singleton Copley’s portraits Woodbury Langdon and Sarah Sherburne Langdon. Then don’t forget to check in to the DMA Friends program to get your points!

Maegan Hoffman is Assistant Manager of the DMA Partners Program at the DMA.

All Dolled Up

Our 30,000 (and counting!) DMA Friends have some fun and unique rewards to choose from, one of which was the Art Beauty Shoppe Reward. Our lucky DMA Friend Lacey recently redeemed this special reward, which allowed her and three friends to get their hair and makeup styled in 1930s fashion (courtesy of Pouf) and then have a photo shoot with Isaac Soyer’s Art Beauty Shoppe (1934) in the American Art Galleries. The ladies came prepared with vintage outfits and props, including a 1934 Ladies Home Companion. Check out the scene below and stay tuned for an upcoming blog post from Lacey about her experience.

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Sarah Coffey is assistant to the chair of learning initiatives at the DMA.

From Sea to Shining Sea

In celebration of the Fourth of July, we thought it might be fun to spotlight some of the great American artworks in our collection that have been created in the 237 years since our nation’s founding.

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

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

What better way to start than with the Father of Our Country? This portrait, completed fifty-one years after Washington’s death, was created by an artist who had met George Washington on several occasions. His first encounter with the president occurred when Rembrandt Peale was just seventeen years old. He painted a portrait of the president that would serve as the inspiration for countless additional portraits over the years. Peale shows Washington in his later years, perhaps reflecting back on his time as a surveyor, general, and president. When you visit the galleries, you might compare this painting with Jean-Antoine Houdon’s bust of George Washington, which is located right around the corner. Which one do you think is a more accurate likeness?

Crawford Riddell, Bed, c. 1844, Brazilian rosewood, tulip poplar, and yellow pine, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

Crawford Riddell, Bedstead, c. 1844, Brazilian rosewood, tulip poplar, yellow pine, and polychromed textile, Dallas Museum of Art, gift of three anonymous donors, Friends of the Decorative Arts Fund, General Acquisitions Fund, Discretionary Decorative Arts Fund, and the Boshell Family Foundation

It’s impossible to lead a tour through our galleries without stopping at the Gothic bedstead. As beautiful as this work of art is, I think its history is even more fascinating. This bed was commissioned by a group of Whig party supporters who were convinced that Henry Clay was finally going to win an election and become President of the United States. Unfortunately for those eager supporters, Clay lost the 1844 election to James K. Polk, and the bed never made its way into the White House. It’s always fun to hear from our visitors who they think might have slept in a bed this grand.

Thomas Moran, An Indian Paradise (Green River, Wyoming), 1911, oil on canvas, Dallas Museum of Art, Munger Fund

Thomas Moran, An Indian Paradise (Green River, Wyoming), 1911, oil on canvas, Dallas Museum of Art, Munger Fund

In the late 19th and early 20th centuries, American artists headed West to explore new territories in the United States. Many of them were captivated by the natural beauty of the landscape—especially areas like the Grand Canyon, Yellowstone and Yosemite Parks. These artists began to think of such awe-inspiring locations as our cathedrals and monuments. By capturing their beauty and grandeur on canvas, they celebrated the landscapes that make our country unique. What natural wonders are your favorite American landscapes?

Our collection provides many wonderful primary sources that relate to key events in American history. We hope that you’ll come visit them in person on July 4—the DMA will be open (with FREE general admission) from 11:00 a.m. until 5:00 p.m.

Shannon Karol is the Manager of Docent and Teacher Programs at the DMA.

DMA Athletes in Training

One of my favorite parts of my job is that I get to spend one morning every month talking with our fantastic Gallery Attendants about works in the collection. So far, we have discussed European art, shared Personal Responses to works in the collection, written Facebook profiles for photos in the Cindy Sherman exhibition, and compared three vastly different works in our American collection. Last week, we spent time in The Body Beautiful in Ancient Greece: Masterworks from the British Museum.

After looking at the discus thrower, the Gallery Attendants were asked to divide into teams of two. Each team had to select a sport and strike a pose that epitomizes an athlete participating in that sport. The rest of us had to guess which sporting event they were re-creating. Their poses were creative, clever, and funny, and we couldn’t resist sharing them with you!

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Shannon Karol is the Manager of Docent and Teacher Programs at the DMA.

An American Art Education

Two of our talented McDermott Interns have been busy working on some new projects, both involving our collection of American art.

Alexandra Vargo: As the McDermott Education Intern for Gallery Teaching, I work with school tours, adult tours, teachers, and the volunteer docent corps. Currently, I’m working on a Docent Guide for the Museum’s collection of colonial to modern American art. The guide focuses on creating interactive and versatile experiences that can be presented with any number of objects and age groups. I have been testing these activities with school tours ranging from 3rd graders to high school art students throughout my internship.

The “Make Your Own Profile” exercise has been one of the most fun to create. It is based on Facebook and asks students to think creatively about a portrait of their choice within the American collection. Students use close looking and visual evidence to draw conclusions about the personality and backstory of the subject. Check out some of the examples below:

Pilar Wong: As the McDermott Education Intern for Community Teaching, I work with Go van Gogh®, our art education outreach program. I am currently working on revamping our 5th and 6th grade program titled Picturing American History. The program focuses on artworks in the DMA’s collection that reflect important moments in American history.

Piero Fornasetti, Richard Ginori Porcelain, Le retour (The Return) plate from the "Man in Space" series, designed 1966, porcelain, transfer-printed, Dallas Museum of Art, gift of Michael L. Rosenberg

The Return plate from the Man in Space series, Piero Fornasetti, designer, Richard Ginori Porcelain, manufacturer, designed 1966, porcelain, Dallas Museum of Art, gift of Michael L. Rosenberg

After discussing the five artworks, students make commemorative plates that capture a modern-day current event or social issue. This activity is based on The Return, a plate from the Man in Space series that commemorates the Space Race between the United States and the former USSR. Check out some of the kids’ responses below:

Projects like these provide valuable contributions to our ongoing educational work at the Museum and remain in use long after our McDermott Interns have left the DMA.

Alexandra Vargo is the McDermott Education Intern for Gallery Teaching and Pilar Wong is the McDermott Education Intern for Community Teaching at the DMA.


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