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Friday Photos: Favorites from a Favorite

Published June 1, 2012 Friday Photos Closed
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In honor of Gail Davitt, Chair of Learning Initiatives and Director of Education at the DMA (for one more day!), today’s photo post highlights some of her favorite works of art from our collection.

Melissa Nelson
Manager of Teaching in the Community

Artworks shown:

Jasper Johns, Device, 1961-1962, Dallas Museum of Art, gift of The Art Museum League, Margaret J. and George V. Charlton, Mr. and Mrs. James B. Francis, Dr. and Mrs. Ralph Greenlee, Jr., Mr. and Mrs. James H. W. Jacks, Mr. and Mrs. Irvin L. Levy, Mrs. John W. O’Boyle, and Dr. Joanne Stroud in honor of Mrs. Eugene McDermott

Piet Mondrian, Place de la Concorde, 1938-1943, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation

Rene Magritte, The Light of Coincidences, 1933, Dallas Museum of Art, gift of Mr. and Mrs. Jake L. Hamon

Brice Marden, To Corfu, 1976, Dallas Museum of Art, Foundation for the Arts Collection, anonymous gift

Matthew Barney, The Cloud Club, 2002, Dallas Museum of Art, Contemporary Art Fund, gift of Arlene and John Dayton, Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and three anonymous donors; DMA/amfAR Benefit Auction Fund; and Roberta Coke Camp Fund 

Mask with seal or sea otter spirit, North America, United States, Yup’ik Eskimo people, late 19th century, Dallas Museum of Art, gift of Elizabeth H. Penn

Standing female figure (rhythm pounder), Africa, Southeastern Mali, Senufo peoples, 19th to 20th century, Dallas Museum of Art, The Gustave and Franyo Schindler Collection of African Sculpture, gift of the McDermott Foundation in honor of Eugene McDermott

House of the Head (ile ori), Africa, Nigeria, Yoruba peoples, late 19th to early 20th century, Dallas Museum of Art, African Collection Fund

Mouth mask depicting the head of a bird, Asia, Indonesia, 19th century, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Vincent van Gogh, Sheaves of Wheat, July 1890, Dallas Museum of Art, The Wendy and Emery Reves Collection

Paul Gauguin, Under the Pandanus (I Raro te Oviri), 1891, Dallas Museum of Art, Foundation for the Arts Collection, gift of the Adele R. Levy Fund, Inc.

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

Mother’s Day flashback

Published May 10, 2012 Archive 1 Comment
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We were poking around in the Museum’s archives and found this Dallas Morning News article from May 15, 1949, featuring mothers at the Dallas Museum of Fine Arts. It could be fun to re-create the photos and treat your mom to a beautiful Mother’s Day at the DMA this Sunday.

Dallas Morning News Staff Photos by Ed Miley, May 15, 1949.

 

 

Dallas Morning News Staff Photos by Ed Miley, May 15, 1949.

 

Dallas Morning News Staff Photos by Ed Miley, May 15, 1949.

Hillary Bober is the Digital Archivist at the Dallas Museum of Art.

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

The Quality Instinct

Published May 1, 2012 People Closed
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Join us Wednesday, May 2 at 7:30pm for an Arts & Letters Live Special Event, Seeing Art Through a Museum Director’s Eye: Dr. Maxwell Anderson in Conversation with Krys Boyd.

The Quality Instinct: Seeing Art Through a Museum Director's Eye by Maxwell L. Anderson

The Quality Instinct: Seeing Art Through a Museum Director’s Eye was published less than a month after Maxwell L. Anderson began as The Eugene McDermott Director of the Dallas Museum of Art.  In an interview, he said “The book is really an introduction to a ground floor of understanding about artistic intention and artistic result, and I hope people will take something away from it in feeling more comfortable with objects that, even today, great professors of artistic and art historical theory may be a little out of touch with.”

Maxwell describes his family’s travels when he was a child as “great exposure to new ways of seeing the world”.  These experiences clearly made an indelible impression on him, as he states “I used, in the course of a career as an art historian, and a museum curator and director, to go back and refresh my eye about what I learned as a child and how it would influence the way I see today as an adult.”

Rather than our standard interview format, I decided instead to ask our new Director five quick questions:

  • Are there any books you’ve read multiple times?  Catcher in the Rye, by J.D. Salinger.  The Way We Live Now, by Anthony Trollope.
  • Do you have a “can’t miss” TV show?  The Big C is one Jacqueline and I don’t miss.  That, and Shark Tank.
  • What is your favorite quote? “I’d rather be an optimist and a fool than a pessimist and right.” – Albert Einstein
  • If you could have dinner with any historical figure, who would it be? Montesquieu – he was so funny and casual and arch.
  • Coming from Indianapolis, how are you preparing for the Dallas summer?  I’m looking forward to it.  It will be cooler than growing up in New York in the summer; there, I would walk out on the hot street, get in a cab and stick to the vinyl seat, and go to a walk-up apartment without air conditioning.

Don’t miss what will surely be an interesting conversation between Maxwell Anderson and Krys Boyd.

Melissa Nelson
Manager of Teaching in the Community

Community Connection: Ekphrastic Poetry

Published April 5, 2012 Art & Teaching Closed
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In honor of National Poetry Month, April’s Community Connection is Kolby Kerr.  Kolby is an English teacher at New Tech High at Coppell who incorporates a DMA visit into his creative writing curriculum.

Tell us a little about yourself.

I teach AP English IV, regular English IV, and creative writing at New Tech High. It’s a unique school and school environment.  This is my fourth year teaching, and I teach all seniors.  I graduated from Wheaton College with a degree in English and got a Master of Fine Arts degree in Poetry from Seattle Pacific University.  I am interested in literature and creative writing and the intersection aesthetics and academics.

What drew you to New Tech High?

We are a public choice high school; students come here based on a lottery or a first-come, first-serve sign-up within Coppell ISD. We have a one-to-one technology pairing, so students have access to their own laptops and to the internet at all times.  Our curriculum is project-based; everything has to be invested in real-world, directly applicable projects.  Hopefully, that will increase students’ investment in their own intellectual curiosity.  They tell us what they need to know to complete their projects.  I have, more or less, autonomy to create my instruction around concepts and ways of life I’ve found helpful in engaging the world with the mind.

Tell us about your relationship with the DMA.

In my undergraduate degree program, a creative writing professor took us to The Art Institute.  He set us loose, told us to engage and interact with single work of art, and write an ekphrastic poem based on it.  I found the activity liberating and interesting; I don’t know much about art, but I really felt like I had an engagement with the artwork on a deeper level than I had experienced before.

When I knew I would teach creative writing, that was the first project I wanted to do.  I grew up going to the DMA with my grandmother, who was a big art-lover and always took us down there.  I came last year and this year with my students.  We started with an hour-long guided tour of highlights in the DMA collection, then I set them free.

How do you set up the assignment at the DMA?

It is fairly open-ended.  After the highlights tour, I suggest that students take an hour to narrow down four to five different works, take notes, snap a photo and journal.  Then, they spend a full hour with one piece, which forces their attention in one direction.  With constant distraction and consumer overload, writing forces you to produce something from yourself.  You can get at ekphrastic poetry from two angles – either read into the moment of the painting, which provides narrative or a character you see in painting, or take something from the painting and let it project into your own life and become a more lyrical expression.  Some poems are almost all image-driven, while some are story poems.  Either type of poem drives you back to the art and makes you want to see the art and compare the experience of the poem to the experience of the piece.

This partnership gives a sense of relevancy and authority to a field – creative writing – that sometimes feels too abstract.  Creative writing exists way off the beaten path and this assignment gives a kind of legitimacy to a culture that creative writing is not only hoping to sustain but helping to thrive and flourish into the 21st century.

How do you combine poetry and art in your assignments?

Melissa Nelson
Manager of Teaching in the Community

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

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

Friday Photo Post: Wearin' o' the Green

Published March 16, 2012 works of art 1 Comment
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As a reminder to wear your green this weekend, here are are few works of art from the DMA’s collection that use shades of shamrock. Enjoy!

(Click on the first image to get a closer look at all of the works of art.)

Jessica Kennedy
McDermott Intern for Gallery Teaching

Works shown:

  • Goblet, Carlo Moretti, Murano Glass Company, 1975, Dallas Museum of Art, gift of Carole Stupell, Ltd.
  • Wallpaper design, Peter Todd Mitchell, mid 20th century, Dallas Museum of Art, gift of Priscilla Cunningham
  • Candy jar, Gorham Manufacturing Company, Glass produced by Lindshammar Glasbruk, designed 1963, Dallas Museum of Art, The Jewel Stern American Silver Collection, Decorative Arts Fund
  • Clover with Eyes, Roberto Juarez, 1981, Dallas Museum of Art, gift of Mr. and Mrs. I. C. Deal
  • Things the wet nurse told me, Jackie Tileston, 2003, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund
  • Landscape, Rita Leff, n.d., Dallas Museum of Art, gift of Mrs. Robert A. Beyers
  • Saturday Nite, Clementine Hunter, 1971, Dallas Museum of Art, gift of Dr. and Mrs. Robert F. Ryan
  • Magnolia Blossoms, John Breckinridge Martin, 1933, Dallas Museum of Art, gift of Maggie Joe and Alexandre Hogue
  • Variant/Adobe, Josef Albers, 1947, Dallas Museum of Art, Dallas Art Association Purchase
  • Ornament in the form of a feline face, Moche culture, c. A.D. 100-450, Dallas Museum of Art, The Nora and John Wise Collection, bequest of John Wise
  • Untitled, Richard Anuszkiewicz, n.d., Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. Duncan E. Boeckman
  • Summer Foliage, George Inness,1883, Dallas Museum of Art, bequest of Joel T. Howard
  • Plaque fragment with profile face, Maya culture, c. A. D. 600-900, Dallas Museum of Art, given in memory of Jerry L. Abramson by his estate
  • Fish House Door, John Frederick Peto, 1905, Dallas Museum of Art, Dallas Art Association Purchase
  • Untitled (Yellow Table on Green), Hans Hofmann, 1936, Dallas Museum of Art, fractional gift of The Rachofsky Collection in honor of Dr. Dorothy Kosinski, the Barbara Thomas Lemmon Curator of European Art
  • Green Ground Blue Disc, Adolph Gottlieb, 1966, Dallas Museum of Art, gift of Tucker Willis
  • “Cabbage” tureen and cover, Sceaux Factory, c. 1755, Museum of Art, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation in memory of Lucy Ball Owsley
  • Detail of Window with Starfish (“Spring”),  Louis Comfort Tiffany, Tiffany Glass and Decorating Company, c. 1885-1895,Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

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