Posts Tagged 'DMA'

Eat Your Art Out: Fabulous Focaccia

Hungry for some art? Get creative in your kitchen! Master the art of making beautiful focaccia bread inspired by works in our collection. We recommend Samin Nosrat’s recipe for focaccia, which you can find here. Remember to plan ahead! This bread requires up to 14 hours to proof before baking.

Tips for making your focaccia:

  • When activating yeast, make sure water is lukewarm (between 105°–115°F).
  • After adding the brine, let it soak for at least 5 minutes before adding herbs and vegetables on top of the focaccia.
  • When creating your design, keep in mind that most vegetables will shrink during baking.
  • Practice re-creating your image on a piece of wax paper first. When you are happy with your design, transfer it to the focaccia dough just before baking.
Miniature Painting – A White-Eared Bulbul (Pycnonotus Leucogenys) Perched on a Rock Under a Slender Tree, 1671, work on paper, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.775

Food used to re-create the artwork:

  • 2 baby yellow sweet peppers
  • 2 shallots
  • 2 baby purple carrots
  • 1 white radish
  • 1 pink radish
  • Half of a red onion
  • Half of a yellow bell pepper
  • Half a cup pitted green olives
  • Half a cup pitted kalamata olives
  • Scallions
  • Cilantro leaves
Manji Inoue, Amalmon Inaiz XIII, Vase, n.d., glazed porcelain, Dallas Museum of Art, gift of Edward Mattil, 2012.28

Food used to re-create the artwork:

  • 6 cherry tomatoes
  • 3 baby yellow carrots
  • 3 baby purple carrots
  • 1 red bell pepper
  • 1 yellow bell pepper
  • 1 shallot
  • Cilantro leaves
  • Chives
Mughal, Textile Fragment, 18th century, silk and metal embroidery, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.1282

Food used to re-create the artwork:

  • 1 beet, boiled, peeled, thinly sliced; cut with flower cookie cutter
  • Fresh rosemary sprigs
  • Crumbled blue cheese
  • Sunflower kernels for garnish on top of beets
Paul Poiret, Carpet, c. 1930, wool, Dallas Museum of Art, the Patsy Lacy Griffith Collection, bequest of Patsy Lacy Griffith, 2001.203

Food used to re-create the artwork:

  • Red cherry tomatoes
  • Yellow cherry tomatoes
  • 1 red onion
  • Minced garlic
  • Fresh rosemary
  • Optional: black olives

Highlights of “Pursuit of Beauty”

Museum exhibitions serve different purposes. Some do heavy lifting in the field of new scholarship about unknown or understudied artists or cultures. Others may capitalize on strengths in the museum’s collection and, thereby, present a richer, contextual understanding of an artistic movement. And yet others present to our visitors works by artists that address gaps in our own permanent collection—a role beautifully fulfilled by the present exhibition, Pursuit of Beauty: The May Family Collection. I would like to focus on a few works and what—besides their apparent beauty—makes them special to me.

William Merritt Chase, Weary, c. 1889, oil on panel, The Collection of Eleanor and C. Thomas May, Jr., 114.2019.17
Gertrude Fiske, Contemplation, before 1916, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr.

Weary (1889), a small interior scene by William Merritt Chase is a quintessential example of the artist’s skills of observation that also provides us a peek into his well-appointed studio in Manhattan. Chase was not striving to make a narrative here. The subject is beauty alone—of a sitter placed within a beautiful setting full of patterns and textures. The large Japanese screen in the background, the plush velvet of the cushion beneath her feet, the sparkle of gilding on the armature of the chair, and the gleam of light on the large vase in the background at right, are all effects that lure and please the eye. A wonderful counterpoint to Chase’s creation is Contemplation (1915) by Gertrude Fiske, an artist trained in Boston. While it too presents a contemplative woman set in an interior, the artist is presenting to us a modern woman for the new age. Using complimentary colors of orange and green to frame the sitter, the crisp striped wallpaper effectively foregrounds her. Fiske further illuminates her with light flooding in from the upper left, which simultaneously bathes her face and torso in yellow that reflects off the material at the right edge.  

Theodore Robinson, Miss Motes and Her Dog Shep in a Boat, 1893, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr.
John Henry Twachtman, Frozen Brook, 1893, oil on canvas, The Collection of Eleanor and C. Thomas May, Jr., 114.2019.12

American Impressionism is underrepresented at the DMA and two works within the May Family Collection created in the exact same year offer comparison of two artists whose means (light & brushwork), achieved different ends. Theodore Robinson’s small canvas of Miss Motes and Her Dog Shep in a Boat (1893) is an oil sketch by the first and most important of the American Impressionists to paint alongside Monet at Giverny between 1886 and 1892. Robinson’s intent was to capture an individual in a fleeting moment and his quick touches of brushwork fix her at a point in time as well as evoking the optical effect of forms blurred in reflection on the dappled surface of the water. In Frozen Brook (1893), John Twachtman also endeavored to capture a particular moment, but his motivation was to capture the atmospheric and emotive effects of a winter’s day. His brushwork is more varied, complex, and labor intensive (daubed, scumbled, and dragged) to conjure the optical effect of heavy, wet snow on the cusp of spring, when all is blanketed in contemplative silence. 

I do hope that you will come to the DMA to explore these five works for yourselves, along with the other twenty-three now on view. 

Sue Canterbury is The Pauline Gill Sullivan Curator of American Art and Interim Allen and Kelli Questrom Curator of Works on Paper at the DMA.

The Views Are Tree-mendous

When you visit the DMA this fall, you’ll have the opportunity to see Van Gogh and the Olive Groves, the first exhibition dedicated to Vincent van Gogh’s series of olive grove paintings!  

These paintings capture the abundant olive trees around the asylum of Saint-Rémy, where Van Gogh spent the final year of his life. But he was not the only artist who took inspiration from nature. There are many depictions of trees in our collection; take some time to see how many you can find!  

To help you, I’ve put together a tour of trees featuring 11 of my favorites currently on view. Starting on Level 1 in the Keir Collection of Islamic Art, look for this 17th-century dish from Iran among the many ceramics displayed in this gallery. 

Dish, Iran, 17th century, fritware, underglaze-painted in black, blue, turquoise, and brown, with red and yellow slips, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.653

Across from the Keir Collection, step outside into the Fleischner Courtyard, named after the artist Richard Fleischner, who designed this space for the DMA’s move to this location in 1983. These are not the original trees, as the courtyard has been refurbished twice since the 1980s—in 1993 and 2009.

Richard Fleischner, Courtyard Project for the Dallas Museum of Art, 1981–83; reconfigured by the artist for the Hamon addition, 1993; refurbished 2009, limestone, marble, wood, and plantings, Dallas Museum of Art, commissioned to honor Minnie and Albert Susman on the occasion of their 50th anniversary by their children Robert F. and Anna Marie Susman Shapiro, 1983.14, © Dallas Museum of Art, 

Next, head to Level 2 and our European Art Galleries to find the grove of oak trees in the Forest of Fontainebleau by Narcisse Diaz de la Peña. The artist was part of the Barbizon School of French painters, whose goal was to rediscover the magic of untouched nature.

Narcisse Diaz de la Peña, Forest of Fontainebleau, 1868, oil on canvas, Dallas Museum of Art, Munger Fund, 1991.14.M

Leaving the dark forest behind, take in the bright colors of Claude Monet’s poplar trees. Poplars, Pink Effect belongs to a series of 24 paintings; like Van Gogh, Monet often revisited the same subject multiple times to capture varying light and weather conditions.

Claude Monet, Poplars, Pink Effect, 1891, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott, 2019.67.14.McD

Before leaving Level 2, look for an apple tree painted by Piet Mondrian. Through his use of line and color, Mondrian conveyed nature’s dynamic energy.

Piet Mondrian, Apple Tree, Pointillist Version, 1908–09, oil on composition board, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.26.FA

Did you know Winston Churchill was also an artist? If you visit the Wendy and Emery Reves Collection on Level 3, you will find several paintings by Churchill, including Sea and Pine Trees, Cap d’Ail

Winston Churchill, Sea and Pine Trees, Cap d’Ail, about 1955, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.14, © The Churchill Heritage Limited

As you continue exploring Level 3, take a moment to stop and appreciate the standing male figure from Vanuatu. While not a literal depiction of a tree, it was carved from the lower part of a tree-fern stem and stands over 11 feet tall! 

Standing male figure, Vanuatu, Ambrym Island, about 1930–50, tree fern and pigment, Dallas Museum of Art, anonymous gift, 1996.33

Now make your way to the Arts of Africa Galleries and look for the linguist staff (okyeame poma) from the Asante peoples of Ghana. The finial on this staff refers to an Asante proverb that states, “One who climbs a good tree always gets a push.”

Linguist staff (okyeame poma), Ghana, Asante peoples, 1900–50, wood and gold leaf, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., 2010.1.McD

Head to Level 4 and find Veteran, a painting by Everett Spruce (bonus tree points!). The tree in this painting shows us the often uncompromising and inhospitable forces that shape the Texas landscape.

Everett Spruce, Veteran, 1932, oil on Masonite, Dallas Museum of Art, gift of Maggie Joe and Alexandre Hogue, 1986.232, © V. Alice Spruce Meriwether

Around the corner from Veteran, Georgia O’Keeffe’s Bare Tree Trunks with Snow gives us a more minimalist and abstract version of trees. O’Keeffe would often simplify what she saw in nature, using descriptive titles to clarify things for the viewer.

Georgia O’Keeffe, Bare Tree Trunks with Snow, 1946, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1953.1, © The Georgia O’Keeffe Foundation / Artists Rights Society (ARS), New York

The final tree on this walk through the woods is in the free special exhibition Devoted: Art and Spirituality in Mexico and New Mexico. George López’s sculpture Adam and Eve and the Tree of Life shows the moment when Eve offers Adam an apple from the tree of knowledge—and it is made of wood from three different trees: cottonwood, pine, and cedar!

George López, Adam and Eve and the Tree of Life, 1956, cottonwood, pine, and cedar, Dallas Museum of Art, Dallas Art Association Purchase, 1956.100.1

Stacey Lizotte is the DMA League Director of Adult Programs at the DMA. 

A Change of Scenery for Jean-Michel Basquiat’s “Sam F”

Jean-Michel Basquiat, Sam F, 1985, oil on door, Dallas Museum of Art, gift of Samuel N. and Helga A. Feldman, 2019.31, © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

In 2017 we began conversations with Helga Feldman about a landmark gift to the institution of a work by the incomparably important US artist Jean-Michel Basquiat. The portrait, Sam F, painted right here in Dallas, is of Feldman’s late husband, who wanted the work to be given to his city’s museum to be enjoyed by the public. As was the wish of the Feldmans, the work entered the collection at the time of Mrs. Feldman’s death in spring 2021. Basquiat’s significance to the recent history of art is almost unparalleled, and when we received the painting, we got to work making immediate plans to get it on view. With this in mind, we adapted to certain considerations of time and space in order to share the work with our audiences without delay. Therefore, we decided to show it in our Concourse, which is the most public of the Museum spaces, and is traversed by all visitors to the DMA. We have often shown works in that space that we want to honor—the Basquiat hangs where the honored artist of our major annual fundraiser, TWO X TWO for AIDS and Art, is typically found. However, because of the very public nature of this space, our duties to care for the collection mandate that the work must be hung above visitor touch distance—an average viewer’s arm span—to keep the work safe. When Sam F went on view, we received the feedback that seeing the painting from this height was far from ideal. This work clearly struck a chord with viewers—for Basquiat was one of the most innovative figures in 20th-century art history. Moreover, as an artist of Puerto Rican and Haitian descent, his presence in the Museum’s collection signals the crucial contributions of Black and Latinx artists to the art historical canon, and the work contains a wealth of references to Afro-diasporic culture that are illuminated in the accompanying interpretive panel.

Jean-Michel Basquiat’s Sam F on view across from Pablo Picasso’s The Guitarist on Level 2

We heard this feedback, and we agree—it’s time to move the Basquiat so that the conditions of display can better facilitate the close looking the work merits. As of today, the work will be on view on Level 2, at the threshold between the European and contemporary galleries. The work’s neighbors include paintings by Pablo Picasso and sculptures by Henry Moore, Jacques Lipchitz, and Aristide Maillol. It also abuts our collection of classical art, providing a compelling survey of how artists have treated the human form over thousands of years. Basquiat’s portrait of Sam, who used a wheelchair, rejects the idealism first introduced in the classical period and depicts subjects that are typically excluded as subjects of the fine arts. His signature formal style combines expressive mark making taken from both his past as a graffiti artist and the Neo-Expressionism movement that dominated art in New York in the 1980s, while also pointing to a groundbreaking synthesis and reconfiguration of the art historical language that now surrounds it. We invite you to come and see the work, and to let us know what you think.

Dr. Anna Katherine Brodbeck is the Hoffman Family Senior Curator of Contemporary Art at the DMA.

Behind the Scenes: Bosco Sodi

Opening September 14, 2021, Bosco Sodi: La fuerza del destino will feature approximately 30 outdoor sculptures by the artist in the DMA’s Sculpture Garden. Created from clay sourced at Sodi’s studio in Oaxaca, dried in the sun, and fired in a traditional brick kiln, the resulting surfaces bear the beautiful scars of their process. Take a behind-the-scenes look at the artist creating his work.

Preparing the clay to sculpt:

Creating the clay spheres:

Drying the clay spheres:

Courtesy: Studio Bosco Sodi, Photographer Sergio Lopez.

Mirror Mirror

Curbed Vanity: A Contemporary Foil by Chris Schanck has given visitors the opportunity to step between the past and the present and see themselves caught in the middle. The free exhibition features two ornate dressing tables facing each other—one an extravagant example of Gilded Age silversmithing and the other a contemporary interpretation by artist Chris Schanck. The vanities are presented together in a conversation from the 19th century to today about craftsmanship, material, and how humans see and perceive themselves.

The exhibition is the perfect spot to stop, reflect, and snap a selfie—something many of you have done over the past five months that these works have been on view. As the show nears its closing date on August 29, we’re looking back on some highlighted “silver selfies” that have been shared on Instagram:

Hayley Caldwell is the Social Media and Content Manager at the DMA.

Connections Across Collections: Fatherhood

With Father’s Day just around the corner, we asked DMA staff to highlight their favorite works across our collections that connect to the art of fatherhood. See what they selected, and celebrate your own father or father figure with a visit to the DMA on June 20!

Nicole R. Myers, The Barbara Thomas Lemmon Senior Curator of European Art

One of the things I love most about this grand self-portrait by Carpentier is that it celebrates his role as a father and husband as much as it does his profession as painter. By tightly grouping the figures, the women’s arms lovingly intertwined, Carpentier places familial love and support at the center of his studio practice.

Listen to Laura Eva Hartman, Paintings Conservator at the DMA, discuss this painting here.

Paul Claude-Michel Carpentier, Self-Portrait with Family in the Artist’s Studio, 1833, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund, 2014.38.FA

Stacey Lizotte, DMA League Director of Adult Programs

Julian Onderdonk was one of the greatest early Texas artists known for his paintings of bluebonnets, the state flower of Texas. Julian was originally trained by his father, Robert Jenkins Onderdonk, an artist and art teacher in San Antonio and Dallas who was known as the “Dean of Texas’s Artists” for his contributions to the arts in Texas.

Julian Onderdonk, Untitled (Field of Bluebonnets), 1918–1920, oil on canvas, Dallas Museum of Art, bequest of Margaret M. Ferris, 1990.153

Mark Castro, The Jorge Baldor Curator of Latin American Art

In the Americas, Saint Joseph is depicted as youthful and strong, often carrying the child Christ in his arms, like in this New Mexican bulto currently on view in Devoted: Art and Spirituality in Mexico and New Mexico. This reinforced his role as Christ’s earthly father and the protector of the Holy Family.

José Benito Ortega, Saint Joseph, Late 19th–Early 20th century, wood, gesso, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus, 1961.51.A-C

Leah Hanson, Director of Family, Youth, and School Programs

This might seem an unusual choice to celebrate fathers, but what you can’t see behind the scenes is a father who supported his daughter in becoming an artist. This love even extended to a menagerie of animals he brought to the family studio for Rosa to study and paint!

Rosa Bonheur, A Sheep at Rest, second half of the 19th century, oil on canvas, Dallas Museum of Art, gift of Dr. Alessandra Comini in honor of Charlotte Whaley, 2018.44

Martha MacLeod, Senior Curatorial Administrator and Curatorial Assistant for Decorative Arts/Design, Latin American Art, and American Art

Chase was one of America’s leading painters and teachers. He completed about a dozen portraits of his daughter Dieudonnée. Here she is in her early teens. Also, one of her father’s students, she was an accomplished still life and landscape painter.

William Merritt Chase, Dieudonnée, c. 1899, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1922.2

Japanese Printmaking Family Visits the DMFA

Fujio, Hodaka, and Chizuko Yoshida

For three generations, the Yoshida family has produced woodblock print artists integral to major 20th-century Japanese print movements. Fujio, Hodaka, and Chizuko Yoshida arrived in Dallas on April 25, 1957. Hodaka; his wife, Chizuko; and his mother, Fujio, represent two generations of the Yoshida family of artists and printmakers active from the 19th century to the present. The trio’s Dallas engagement included lecture demonstrations of woodblock printmaking at the Dallas Museum of Fine Arts, the Art Club of McKinney, the Fort Worth Art Center, and TSCW in Denton.

A small exhibition of 30 prints by the Yoshida family were also on view and for sale during their visit. In the top right of the photo, you can see one of Hodaka Yoshida’s prints that was acquired by the DMFA from the exhibition.

Hodaka Yoshida, Ancient People B, 1956, woodcut, Dallas Museum of Art, Dallas Art Association Purchase, 1957.17

Hodaka Yoshida’s work was completely abstract. He first worked in oils but didn’t start making prints until 1950, though he was steeped in the technique since he was a child. He carved his own blocks and printed his own works from the beginning. Hodaka’s focus on abstraction was a great departure from the style of his father, Hiroshi, a prominent figure in modern Japanese prints who is well known for his landscapes. The DMA’s collection includes 64 prints by Hiroshi Yoshida.

Photo from Dallas Morning News article

The Dallas Morning News article on the trio’s Dallas engagement describes Hodaka (1926-1995) as teaching at the University of Oregon, having previously taught at the Art Institute of Chicago and the University of Hawaii. Though not noted in the article, Fujio and Chizuko were also accomplished artists and printmakers.

Fujio (1887–1987) was the first female artist in the Yoshida family. Like many of the artists in the family, she began in watercolors and oils, exhibiting with her husband, Hiroshi, on their travels to the United States in the early 20th century. After her husband died, she became more influenced by Hodaka’s abstract art and was creating woodblock prints of abstract flowers by 1953.

Chizuko (1924–2017) began studying art at a young age. She met Hodaka through the Taiheyio artist group and shifted away from painting to printmaking after they were married. World travels with Hodaka and Fujio provided inspiration for her prints, which ranged from geometric abstraction to natural forms.

Toshi Yoshida, Shinjuku, date unknown, polychrome woodblock print, Dallas Museum of Art, the Abram C. Joseph and Ruth F. Ring Collection, gift of Miss Ruth F. Ring, 1985.86; Toshi Yoshida, Ishiyama Temple, date unknown, polychrome woodblock print, Dallas Museum of Art, the Abram C. Joseph and Ruth F. Ring Collection, gift of Miss Ruth F. Ring, 1985.87

Hodaka, Chizuko, and Fujio’s visit wasn’t the first introduction Dallas audiences had to the Yoshida family. Hodaka’s older brother Toshi also lectured on woodblock print techniques four years earlier, in 1953. During this trip to the United States, Mexico, London, and the Near East, Toshi gave lectures at 30 museums and galleries in 18 states. 

Hillary Bober is the Archivist at the DMA.

Connections Across Collections: Motherhood

Motherhood is an art! We’re celebrating Mother’s Day by spotlighting artworks and objects in our collection that illustrate the theme of motherly love and strength. Read below to find out about what our curators from different departments selected.

Dr. Michelle Rich, The Ellen and Harry S. Parker III Assistant Curator of Arts of the Americas

Curator Michelle Rich selected this 100 BCE–250 CE ceramic sculpture made by the people of Jalisco. The object depicts the bond between a mother nursing her infant child.

Woman nursing child, 100 BCE–250 CE, Jalisco peoples, ceramic, paint, Dallas Museum of Art, Foundation for the Arts Collection, The Mr. and Mrs. Stanley Marcus Collection of Fertility Figures, 1982.387.FA

Dr. Mark A. Castro, The Jorge Baldor Curator of Latin American Art

In this drawing, Guillermo Meza draws a reddish line from the mother’s head and down her spine. The same color as the blanket that holds the child on her back, together they evoke the physical ties that bind mother and child together.

Guillermo Meza, Mother and Child, 1953, crayon and colored chalk, Dallas Museum of Art, gift of Mr. and Mrs. Richard K. Weil, 1959.27

Sue Canterbury, The Pauline Gill Sullivan Curator of American Art

Mary Cassatt is known for images of a mother and child that also recall Renaissance paintings of the Madonna and Child. Typically, her models were neighbors rather than family. This is one of the last works she devoted to this theme.

Mary Cassatt, Sleepy Baby, c. 1910, pastel on paper, Dallas Museum of Art, Munger Fund, 1952.38.M

The Many Lives of a Still Life

When you walk past a painting in a museum, do you ever wonder what the back side looks like?

Paul Cézanne, Still Life with Carafe, Milk Can, Bowl, and Orange, 1879–80, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.10
Back side of the frame of Still Life with Carafe, Milk Can, Bowl, and Orange

For curators and researchers, the verso, or B-side, of a painting can be a mine of information about its past life. Paul Cézanne’s Still Life with Carafe, Milk Can, Bowl, and Orange, currently featured in the Reves Spotlight rotation gallery on the DMA’s third level, is a case in point: the back of the frame was once filled with stamps and labels applied over many years by the painting’s former owners and their shippers. Those historical records have subsequently been transferred to a backing board to guarantee their preservation and that of the precious information they carry. As a result, this backing board is now reminiscent of an avid traveler’s passport stamp page.

Backing board for Still Life with Carafe, Milk Can, Bowl, and Orange

In the top right, a rectangular piece of cardboard reads “about 1880-2 / Venturi” in faint handwritten pencil. This Italian art historian was the author of the first catalogue raisonné of Cézanne’s works, which is perhaps why his dating of this painting was carefully recorded.

Even before arriving in the US, Cézanne’s Still Life had traveled internationally. From Paris, where the artist likely sold it to a dealer, it entered a private collection in Amsterdam before returning to the French capital in the early 1920s, where it was acquired by Marius de Zaya, an artist and dealer based in New York City who offered it in his newly founded gallery among “drawings, paintings and sculptures of the very best artists of the modern movement.”[1] There, a founder of the Museum of Modern Art (MoMA), Lillie P. Bliss, purchased it, and upon her death she bequeathed it to that institution, which eventually deaccessioned the work in 1944.

As recorded by two large labels on the left side of the panel, at MoMA the painting was known as The Water Can, based on the metal vessel at its center. In 1985 the enigmatic nature of that element was discussed in a letter exchange between then DMA director Steven Nash and Columbia University professor Theodore Reff, who concluded: “The picture is quite wonderful, charming, fresh, simple, almost naïve, and will grace your collections, regardless of the identity of the objects in it.”[2]

Shortly after Wendy and Emery Reves acquired it in 1955, the picture was referred to as simply Nature Morte (still life) or Nature Morte en bleu (still life in blue) in two French exhibitions that were likely the occasion in which the painting received the two transportation labels seen on the right side of the backing board. After entering the DMA’s collection in 1985, the painting’s current title was first formulated in 1998 and slightly revised in 2003 (the term “coffee” referring to the bowl was dropped) in an effort to describe the subject matter as accurately as possible. While we must agree with Reff that the charm of this picture remains unchanged no matter what we call it, by recording the painting’s previous titles and where it traveled, these labels have been essential to the work of art historians to reconstruct the history of the ownership, exhibition, criticism, and scholarship of this object over its 140-plus years of existence.

Stop by to see this work in the Reves Spotlight rotation gallery now through September 27 and admire more still lifes at the DMA in an exhibition focusing on the work of Cubist painter Juan Gris, an avid admirer of Paul Cézanne. In Cubism in Color: The Still Lifes of Juan Gris, the labels and inscriptions on the back of Guitar and Pipe are on full display.

Gloria de Liberali is the Dedo and Barron Kidd McDermott Intern Fellow for European Art at the DMA.


[1] John Rewald, The Paintings of Paul Cézanne. A Catalogue Raisonné (New York: Harry N. Abrams, 1996), 1:288.

[2] Their correspondence is preserved in the painting’s object file at the DMA.


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