Vincent van Gogh | Dallas Museum of Art Uncrated

Posts Tagged 'Vincent van Gogh'

Loving Vincent

Vincent van Gogh is one of the most well known names in art; despite that fact, there is still a veil of mystery surrounding the artist’s life, specifically his final days. This is the purpose of the film Loving Vincent, which will be screened at the DMA this Saturday at 7:00 p.m. for its Texas premiere. Through “the world’s first oil painted feature film,” you can see over 65,000 frames painted by 125 artists to mimic van Gogh’s style. You can watch the trailer here and see just how beautiful an oil painted movie can be. Around 130 frames in the movie are landscapes or portraits copied from actual van Gogh paintings, a few of which have a direct tie-in to two works on paper in the Museum’s collection.

The first is a preliminary drawing for van Gogh’s famous work Café Terrace at Night. This piece is re-created in the film for a scene between the main character, Armand Roulin, and his brother, Joseph Roulin, played by Douglas Booth and Chris O’Dowd. This particular frame mimics van Gogh’s painting, but adds in the two characters to the scene.

Vincent van Gogh, Café Terrace on the Place du Forum, September 1888, chalk, ink, and graphite on laid paper, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.79

Café Terrace at Night by Marlena Jopyk-Misiak (image from lovingvincent.com)

The second work from our collection re-created in the film is the etching made by van Gogh after painting Portrait of Doctor Gachet. This was his first and only foray into the artistic technique of etching. The frame from the film shows Doctor Gachet, played by Jerome Flynn, with the same contemplative look and handsome mustache.

Vincent van Gogh, Portrait of Doctor Gachet, 1890, etching, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.81

Dr. Gachet – Keyframe by Piotr Dominiak (image via lovingvincent.com)

Come by the Museum on Saturday, October 7, for a Vincent van Gogh-filled day! Enjoy the free lecture at 3:00 p.m. with one of the artists and animators for the film, Dena Peterson, and the film screening at 7:00 p.m.

Katie Cooke is Manager of Adult Programming at the DMA.

Off the Wall: A New Experience

Published October 12, 2016 African Art , American Art , Asian Art , Contemporary Art , Dallas , Decorative Art and Design , DFW , Education , European Art , Off the Wall , Sculpture , Uncategorized 2 Comments
Tags: Bon Jovi, Dallas Museum of Art, David Bowie, DMA, James Bond, Jr., Off the Wall, Pierre-Auguste Renoir, Robert Rauschenberg, Space oddity, The Karate Kid, Vincent van Gogh, William Waldo Dodge, Yinka Shonibare

What do David Bowie, James Bond, The Karate Kid, Bon Jovi, and dragons have in common? They all served as inspiration for our newest program, Off the Wall.

This spring and summer, the Adult Programming team spent many hours brainstorming themes, program ideas, and the best format for a new evening event. We wanted to be playful in our approach, making sure everyone would have a fun and unexpected experience—thus Off the Wall was born.

From 5:00 to 9:00 p.m. on the second Thursday of each month, Off the Wall will offer a unique way to explore our collection with a pop culture twist. We will launch Off the Wall tomorrow with an exploration of space, astronomy, and the 60s with our take on Space Oddity.

Each member of the team brought her own area of geeky pop culture knowledge to the table, for example, but not limited to, 80s TV, movies, and music (Stacey); movies and all things sci-fi and fantasy (Jessie); Harry Potter, Game of Thrones, and over the top action movies (Katie); and all things 90s with a specialty in rap from the early 2000s (Madeleine).

So stop by and geek out with us, revel in the pop culture madness with us, and boldly go on this new adventure in the DMA collection with us.

October 13: Space Oddity

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, 1986.8.a-b, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY

November 10: Gogh Your Own Way

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.80

December 8: Winter Is Coming

Finial: Dragon head, 11th–14th century, Bronze, Dallas Museum of Art, Dallas Art Association Purchase, 1963.24

Finial: dragon head, Iran, 11th–14th century, bronze, Dallas Museum of Art, Dallas Art Association Purchase, 1963.24

January 12: Plot Twist

Thinking Bodhisattva, Asian, 4th-6th century C.E., terracotta, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and General Acquisitions Fund, 2010.17

Thinking Bodhisattva, Afghanistan, 4th-6th century C.E., terracotta, Dallas Museum of Art, Wendover Fund, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation, the Cecil and Ida Green Acquisition Fund, and General Acquisitions Fund, 2010.17

February 9: Shot Through the Heart

Yinka Shonibare, M.B.E., A Masked Ball (Un ballo mascherd), 2004, high-definition digital video, DMA/amfAR Benefit Auction Fund, 2008.26, (c) Yinka Shonibare

March 9: Et Tu, Brute?

Ceremonial Knife (Metal Inlaid Grip), African, 19th-20th century, wood, steel, nickel-silver, Dallas Museum of Art, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.79

Ceremonial knife, Democratic Republic of the Congo, 19th-20th century, wood, steel, and nickel-silver, Dallas Museum of Art, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.79

April 13: Shaken, Not Stirred

William Waldo Dodge, Jr., “Skyscraper” cocktail shaker with cups, c. 1928-1931, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

Skyscraper cocktail shaker with cups, William Waldo Dodge, Jr., designer, c. 1928-31, silver, Dallas Museum of Art, The Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange, 2008.48.1-12

May 11: Wax On, Wax Off

Wraparound skirt, (kain panjang) [pointed-ends cloud motif (megamenlang), Indonesia: Java, c. 1910, Cotton, commercial dye (?), Textile Purchase Fund, 1991.58

Wraparound skirt (kain panjang): cloud design (megamenlang), Indonesia, Java, c. 1910, cotton and commercial dye (?), Textile Purchase Fund, 1991.58

June 8: Make It Work!

Pierre-Auguste Renoir, c. 1867-1868, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.59

Pierre-Auguste Renoir, Lise Sewing, c. 1867-68, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.59

Stacey Lizotte is Head of Adult Programming and Multimedia Services at the DMA.

DMA BFFs

Published June 8, 2016 Collections Closed
Tags: Best Friends Day, Dallas Museum of Art, David Smith, DMA, Emile Bernard, Helen Frankenthaler, Jacob Lawrence, Romare Bearden, Vincent van Gogh

What makes a best friend? There are some common traits associated with a BFF: someone who knows you better than anyone else, someone who accepts you, someone who is honest and forgiving, someone who listens and offers advice, and someone who is trustworthy. We all have best friends, so it isn’t surprising that artists do too. But it is special when two artists share that closeness because their friendship influences each other’s work. In honor of National Best Friends Day, we are highlighting some of the artistic friendships represented in the DMA’s collection.

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection 1985.R.80

Emile Bernard, Breton Women Attending a Pardon, 1892, oil on cardboard, Dallas Museum of Art, The Art Museum League Fund 1963.34

Vincent van Gogh and Emile Bernard met in the mid-1880s, when Bernard was 18 years old and van Gogh 15 years his senior. Both artists were greatly influenced by Japanese art—Bernard by the simplicity and flat forms and van Gogh by the spatial effects, strong color, everyday objects, and detailed depictions of nature. The friends corresponded through mail, often sending each other drawings and discussing their artistic ideas. In 1889, following van Gogh’s highly critical response to Bernard’s Christ in the garden of olives, their correspondence ceased; however, after van Gogh’s death Bernard wrote the first published biography on Vincent van Gogh.

Octavio Medellín, Smoky Celadon, n.d., glazed stoneware, Dallas Museum of Art, Dallas Art Association Purchase, 1949.36

Carlos Mérida, Dancers of Tlaxcala, 1951, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1951.108

Octavio Medellín met Guatemalan painter Carlos Mérida in Mexico in the late 1920s. The friends traveled together and taught at North Texas State (now University of North Texas) from 1941 to 1942. Though Mérida eventually returned to Mexico, the two remained close friends and influenced each other’s work until Mérida died in 1985.

Jacob Lawrence, The Visitors, 1959, tempera on gessoed panel, Dallas Museum of Art, General Acquisitions Fund, 1984.174

Romare Bearden, Soul Three, 1968, paper and fabric collage on board, Dallas Museum of Art, General Acquisitions Fund and Roberta Coke Camp Fund, 2004.11

Romare Bearden and Jacob Lawrence grew up in Harlem following the Harlem Renaissance and were profoundly influenced by the music, literature, and culture of their neighborhood. As young men, both participated in various community-based art classes and workshops in the area and were inspired by writer and philosopher Alain Locke. The two corresponded throughout the years, and some of their letters are available through the Archives of American Art.

Otis Dozier, “Mexican Landscape (adobe),” 1963, oil on Masonite, Dallas Museum of Art, gift of The Dozier Foundation, 1990.46

Velma Davis Dozier, “Terlingua,” n.d., pastel on sandpaper, Dallas Museum of Art, gift of Denni Davis Washburn and Marie Scott Miegel, 1990.21

Barney Delabano, “Shadowed Light,” 1950, oil on canvas, Dallas Museum of Art, Dallas Art Association Purchase, 1950.52

Barney Delabano studied under Otis Dozier when he attended Southern Methodist University and then the Dallas Museum of Fine Arts School in the late 1940s. Over time, Dozier and his wife, Velma, came to be Delabano’s close friends. The Doziers would even come to be mentors for Barney Delabano’s son, artist Martin Delabano.

Helen Frankenthaler, “Possibilities,” 1966, acrylic on paper, Dallas Museum of Art, gift of Tucker Willis, 1998.105

David Smith, “Untitled,” 1962, spray paint on paper, Dallas Museum of Art, Contemporary Art Fund, General Acquisitions,1986.58

Helen Frankenthaler and David Smith were first introduced by art critic Clement Greenberg in 1950. Throughout their 15-year friendship, they not only visited each other’s studios and corresponded through mail but even vacationed together with their families. They remained close friends until Smith’s death in 1965.

Jessica Fuentes is the Manager of Gallery Interpretation and the Center for Creative Connections at the DMA.

Oh, Vincent!

Published March 30, 2016 Collections Closed
Tags: Dallas Museum of Art, DMA, Vincent van Gogh

Today we celebrate Vincent van Gogh, who was born March 30, 1853. The occasion of the 163rd anniversary of his birth provides an opportunity to highlight the two paintings in the DMA’s collection by this renowned artist.

Vincent van Gogh, River Bank in Springtime, 1887, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Eugene McDermott in memory of Arthur Berger, 1961.99

Painted in 1887, River Bank in Springtime evidences van Gogh’s belief that “a work of art is a slice of nature.” The painting bears all the characteristics of works he made early in his career when he was working in Paris under the influences of the Impressionist, Neo-Impressionist, and Pointillist artists’ avant-garde methods. He experimented with Pointillism briefly, but found it too rigorous for his sensibilities and soon turned to exploring other innovative ideas.

Vincent van Gogh, Sheaves of Wheat, July 1890, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.80

Van Gogh painted Sheaves of Wheat shortly before his death, at a time when he was particularly plagued with physical and psychological problems. Each of the eight bundles of wheat bends and twists in its own unique manner, almost as if each stack is an individual portrait, yet they unite on the canvas with firm solidarity. This late masterpiece has an intensity and quality that remains unrivaled.

Over the course of his life, van Gogh wrote hundreds of letters to his brother Theo. In one of them, he wrote, “A good picture is equivalent to a good deed.” The Dallas Museum of Art is truly a fortunate beneficiary of Vincent van Gogh’s good deed and artistic genius.

Martha MacLeod is the Senior Curatorial Administrator to the Curatorial Department and Curatorial Assistant for European and American Art.

I’d Like a Kristall-Weissbier with My Van Gogh, Please

Published September 17, 2014 Collections 8 Comments
Tags: Beer, Charles Rohlfs, Dallas Museum of Art, DMA, Gerhard Richter, John Hernandez, Margaret Lee, Oktoberfest, Richard Anuszkiewicz, The Meddlesome Moth, Vincent van Gogh, William Michael Harnett

Guten tag! September 20 marks the beginning of Oktoberfest, the world’s largest beer festival, held in Munich, Germany. In honor of this annual celebration, we’ve paired German and German-style beers with works of art in the DMA’s collection. The Reinheitsgebot, or German Beer Purity Law, originated in 1487 and decreed that water, barley, and hops were the only permissible ingredients in German beer. Realizing that this was somewhat limiting, the 1993 Provisional German Beer Law expanded to allow additional components such as yeast, wheat malt, and cane sugar. The pairings below follow the more generous spirit of the later beer law.

Let’s start with Weihenstephaner Original Premium. The Weihenstephan Monastery Brewery, in the Bavarian town of Freising, originated in 1040 as the monastery brewery of Benedictine monks and is the oldest existing brewery in the world. Weihenstephaner Original Premium is a classic German lager, with clean, crisp flavors with a touch of sweetness, like a doughy bread. This beer pairs well with Munich Still Life by William Michael Harnett. Harnett, an American artist born in 1848, studied in Munich from 1881 to 1885. This painting from 1882 shows a collection of everyday objects from his Germany experience (note the beer stein and doughy bread).

Another product of Weihenstephaner is the Kristall-Weissbier. The Weissbier, or “white beer,” is one of five different types of wheat beers. The Kristall-Weissbier is named so because it is a filtered wheat beer, resulting in a crystal-clear quality (kristall is German for “crystal”). We couldn’t talk about a wheat beer without mentioning Vincent van Gogh’s Sheaves of Wheat, of course. In a letter to painter friend Emile Bernard, van Gogh wrote, “I even work in the wheat fields, in the full midday sun, without any protection . . . I bask in it like the crickets.” Visualize, if you will, van Gogh painting in the middle of this sunny wheat field, surrounded by the yellow color of wheat that we see both in his painting and in the Kristall-Weissbier.

For a different type of wheat beer, try the Urweisse from Ayinger Brewery in Aying, Bavaria. The Urweisse is an example of the Dunkelweizen type of wheat beer; it is unfiltered, and a darker malt is used, which creates an amber color. Mellow in flavor, this beer has a banana scent and a mild fruity flavor. Since it is unfiltered, the yeast settles to the bottom; swirl the bottle around just before you pour it to circulate the yeast and flavor throughout each sip. Margaret Lee’s 2013 photograph titled Dots on Top comes to mind, with its fruit centerpiece and floating polka dots. Although it looks like a centerpiece of actual fruit, the artist created the banana, orange, and pear by hand, using plaster, which aptly complements the slightly artificial (in my opinion) banana scent from the Urweisse.

The Aventinus Eisbock by Schneider Weisse brewery in Kelheim, Bavaria, also boasts a unique story. Traditionally, beer barrels were loaded up on carriages overnight for delivery. Legend has it that a barrel fell off a wagon during cold weather and broke, revealing a block of ice. Since alcohol does not freeze, a concentrated version of the beer remained liquid in the center, surrounded by frozen water. The stronger, undiluted beer has a sweet plum, banana, and clove flavor. Another item with a luxurious treat in the center is this ice bowl (with spoon), produced by the Gorham Manufacturing Company in the early 1870s. The ice within the bowl was admired as much as the beautiful silver container, since it had to be imported before the age of refrigeration.

Gasthaus & Gosebrauerei Bayerischer Bahnhof brewery in Leipzig, Germany, is known as the home of the Gose. The Gose is a dormant style of beer; first brewed in the 16th century, it disappeared several times before resurfacing again in the 1980s. The Gose originated in the north German town of Goslar. Just a few hours from the Baltic Sea, the salt and mineral quality of the water lends a saltiness to the flavor of the beer. Sipping a Gose transports you immediately to a beach with salt in the water and whipped into the air by frothy waves, as seen in Sea by German artist Gerhard Richter.

Many American breweries produce German-style beers as well. Hans Pils, brewed by Real Ale Brewing Company in Blanco, Texas, is inspired by pilsner beers of northern Germany. Much like German pilsners, the Hans Pils is a drier, crisp beer. The Hans Pils takes an American interpretation by incorporating a hop finish in the flavor. Hops are also integral to the design of this silver beer pitcher by Bailey and Company, creating a decorative detail for the elegant handle made of grain.

Last, but not least, is Pearl Snap by Austin Beerworks in Austin, Texas. Crisp and clean, the Pearl Snap is also a German-style pils (or pilsner). It is less hoppy, not as dry, and slightly more malty in flavor than the Hans Pils. The bright green and red can with its geometric design elements brings to mind Richard Anuskiewicz’s Untitled painting, date unknown (Anuskiewicz was born in 1930; his career spans the 1950s through the present).

Special thanks to The Meddlesome Moth and Matt Quenette, Certified Cicerone (i.e., beer guru) and Beer Director at The Meddlesome Moth. This blog post would not have been possible without Matt’s assistance and encyclopedic knowledge of beer. If you are intrigued by any of these beers, most of them can be purchased by the bottle at The Meddlesome Moth.

Thanks also to Cyndi Long, who provided these beautiful images of the different beers.

Prost! (Cheers!)

Melissa Gonzales is the C3 Gallery Manager at the DMA. Although she enjoys drinking and learning about beer, she is no way an expert; however, she IS the 2nd annual DMA Texas Beer Tasting Competition Champion.

Artworks shown, in order:

William Michael Harnett, Munich Still Life, 1882, Dallas Museum of Art, Dallas Art Association Purchase

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

Margaret Lee, Dots on Top, 2013, Dallas Museum of Art through the Mary Margaret Munson Wilcox Fund; Jackson, Walker, Winstead, Cantwell, and Miller Photography Fund; and Campbell Contemporary Fund, © Margaret Lee

Ice bowl (with spoon), Gorham Manufacturing Company, c. 1871, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Gerhard Richter, Sea, 1972, Dallas Museum of Art, Dallas Museum of Art League Fund, Roberta Coke Camp Fund, General Acquisitions Fund, DMA/amfAR Benefit Auction Fund, and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Howard E. Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and two anonymous donors, © Gerhard Richter, Cologne, Germany

Beer pitcher, Bailey and Company, 1858-1860, Dallas Museum of Art, gift of the Professional Members League

Richard Anuszkiewicz, Untitled, n.d., Dallas Museum of Art, Foundation for the Arts Collection, gift of Mr. and Mrs. Duncan E. Boeckman, © Richard Anuszkiewicz/Licensed by VAGA, New York, NY Reproduction of this image, including downloading, is prohibited without written authorization from VAGA, 350 Fifth Avenue, Suite 2820, New York, NY 10118. Tel: 212-736-6666; Fax: 212-736-6767; e-mail: info@vagarights.com

The Welcoming Party: A Van Gogh Returns

Published July 16, 2014 Behind-the-Scenes , Collections , Curatorial , European Art , Works on Paper Closed
Tags: Cézanne, Dallas Museum of Art, Degas, DMA, France, Manet, Musee D'Orsay, night cafe, Paris, Renoir, Vincent van Gogh

Today we at the DMA are excited to welcome home after a “sabbatical” in Paris one of our masterpieces, van Gogh’s work on paper Café Terrace on the Place du Forum. On tour at the Musée d’Orsay, this magnificent work of art was one of only seven drawings featured in Van Gogh/Artaud: The Man Suicided by Society. This exhibition was seen by nearly 655,000 visitors over the course of four months, making it the highest-attended exhibition in Musée d’Orsay history. Now prominently and proudly on view in our special exhibition Mind’s Eye: Masterworks on Paper from David to Cézanne, Café Terrace on the Place du Forum joins other masterworks by van Gogh’s peer artists including Manet, Degas, Cézanne, and Renoir. Say “bonjour” and see it now through October 26 on a visit to Mind’s Eye.

Run the DMA Marathon

Published November 27, 2013 Collections , Dallas , DFW 1 Comment
Tags: Coffin of Horankh, Crawford Riddle, Dallas Museum of Art, Dallas PCS Marathon, DMA, Fernand Léger, Gerald Murphy, Mark Rothko, Pablo Picasso, Robert Rauschenberg, Rufino Tamayo, Tlaloc, Vincent van Gogh

It’s that time of year again, and the excitement of the Dallas PCS Marathon has arrived! Last year, the marathon races drew over 15,700 runners and 300,000 spectators. It’s expected to be bigger than ever this year, and the city of Dallas is pulling out all the stops. The Dallas Museum of Art is joining the city in welcoming runners and their friends, families, and fans alike!

As both a McDermott intern in the education department and a runner, I had the pleasure (and pain!) of gaining my Museum feet during the height of my training for the marathon. As I learned to navigate through the galleries, I discovered that the DMA has many things in common with a marathon: it’s huge, it’s inspirational, and there are lots of friendly staff members to support you along your journey. Therefore, I am thrilled to combine two of my passions–running and museums–in inviting you to embark on your very own DMA Marathon. I’ve highlighted some of my favorite artworks throughout the DMA’s galleries, hand-picked to motivate, inspire, and refuel you. So, what are you waiting for? Lace up your running shoes, and get ready to explore!

Registration: DMA Atrium
The DMA has free general admission (every day!), so you don’t need to pull out your wallet for this race. But please do hit up the Visitor Services Desk to sign up for the DMA Friends program. With your shiny new DMA Friends membership, you’ll be able to check in at various locations in the Museum and earn points toward exciting DMA rewards such as free parking, sneak peeks at new exhibitions, and exclusive Museum experiences. The Atrium is also a great place to grab a pre-race bite in the DMA Cafe, use the line-free bathrooms, and get in your stretches in front of Robert Rauschenberg’s breathtaking Skyway or Rufino Tamayo’s iconic painting El Hombre (Man).

Robert Rauschenberg, Skyway, 1964, oil and silkscreen on canvas, Dallas Museum of Art, The Roberta Coke Camp Fund, The 500, Inc., Mr. and Mrs. Mark Shepherd, Jr. and General Acquisitions Fund, (c) Rauschenberg Estate/Licensed by VAGA, New York, NY

Rufino Tamayo, El Hombre (Man), 1953, vinyl with pigment on panel, Dallas Museum of Art, Dallas Art Association commission, Neiman-Marcus Company Exposition Funds, (c) Estate of the artist in support of Fundacion Olga y Rufino Tamayo, A.C.

Resist Temptation and Find Your Pace: Level 4: Ancient American Art and American Art
The starting gun goes off and you head up the stairs to Level 4, where you will come face to face with Tlaloc, the DMA’s rain god. But no need to worry about rain inside the Museum, Tlaloc was also a war god and will send you off with blessings of stamina and power!

Head of the rain god Tlaloc, Mixtec, Late Postclassic period, c. 1300-1500, ceramic, tufa, stucco, and paint, Dallas Museum of Art, gift of Mr. and Mrs. Stanley Marcus in memory of Mary Freiberg

As you make your way by Crawford Riddle’s bedstead, deemed “The Big Bed” by our younger visitors, try not to be distracted with thoughts of putting your feet up so early in the race. You’ve worked hard to prepare for this moment, and this bed should serve as a reminder that some well-deserved relaxation awaits you at the end of this journey!

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

Bedstead, Crawford Riddell, 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

Also, I know how easy it is to let the excitement of the race throw off your timing. Gerald Murphy’s Watch is a great reminder to check your pace and adjust your gallery viewing speed if necessary.

Gerald Murphy, Watch, 1925, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the artist, (c) Estate of Honoria Murphy Donnelly

Dodge Obstacles and Find Inspiration: Level 3: Arts of Africa, Asia, and the Pacific, The Wendy and Emery Reves Collection
Head down the stairs to Level 3, where you will come face to face with sculptures, jewelry, and artifacts from Africa, Asia, and the Pacific. You may want to pick up the pace when you spot the coffin of Horankh in the Ancient Egyptian gallery. We have several Egyptian coffins (including one with an actual mummy inside!), and although they are beautiful, they are rumored to look a little too alive at times!

Coffin of Horankh, Late Period, c. 700 B.C., Thebes, Egypt, wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Coffin of Horankh, Egypt, Thebes, Late Period, c. 700 B.C., wood, gesso, paint, obsidian, calcite, and bronze, Dallas Museum of Art, the Cecil and Ida Green Acquisition Fund

Before you leave the third floor, loop around to the Wendy and Emery Reves Collection for some inspiration. Vincent van Gogh’s Sheaves of Wheat is a breathtaking sight that should not be missed!

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

Beat “The Wall”: Level 2: Ancient Mediterranean and European Art
Trot down the stairs to Level 2, where you will glide between athletic bodies featured in the Greek and Roman statues, busts, and antiquities. Pat yourself on the back; after this race, you will be able to rank yourself among these talented athletes!
At this point in the race, it is common to hit “the wall,” and you may be starting to feel like the characters in Fernand Leger’s Divers or Picasso’s Guitarist in the European galleries, but keep going–you’re almost to the end!

Fernand Léger, The Divers (Red and Black), 1942, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, (c) Artists Rights Society (ARS), New York/ADAGP, Paris

Pablo Picasso, The Guitarist, 1965, oil on canvas, Dallas Museum of Art, The Art Museum League Fund, (c) Estate of Pablo Picasso/Artists Rights Society (ARS), New York

The Light at the End of the Tunnel: Level 1: Contemporary Art
Your heart is pounding as you head into the final stretch of the marathon. Your final leg will take you back up the Museum Concourse to the finish line in the contemporary art galleries. You can hardly believe your eyes when you catch a glimpse of Mark Rothko’s Orange, Red and Red and wonder if you are seeing a mirage. But it is real, and the finish line is surrounded by gorgeous contemporary works. Take in the sights as you relish this moment–you did it!

Mark Rothko, Orange, Red and Red, 1962, oil on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, (c) 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York

It’s been my pleasure to take you along on the DMA Marathon. We hope that you are able to join us during marathon weekend and experience the Museum firsthand! Best of luck to all of my fellow runners; see you at the finish line!

Amelia Wood is the McDermott intern for family & access teaching at the DMA.

Sacré Bleu! A Twisted Tale of the Ultramarine Hue

Published April 4, 2012 Arts & Letters Live , Behind-the-Scenes 1 Comment
Tags: Arts & Letters Live, Christopher Moore, Claude Monet, Dallas Museum of Art, Henri Toulouse-Lautrec, lapis lazuli, Lucien Lessard, Michelangelo, Vincent van Gogh

Recently I managed to get my hands on an advance copy of Christopher Moore’s newest book, Sacré Bleu. This auspicious event was followed by two days of ravenous reading, skipped meals, and neglected chores. Christopher Moore, the author who has brought us absurdly funny stories about Jesus Christ, vampires, and sassy whales, has cannonballed into the pool of art history–and has made a huge splash!

"Sacré Bleu" by Christopher Moore. On sale April 3, 2012.

When asked about the origin of his latest novel, Moore says, “I simply set out to write a novel about the color blue.” This desire brought him to Paris, London, and Italy, where “it turns out they keep a lot of the art discussed in this book.” The novel opens as the tragic news of Vincent van Gogh’s death reaches Paris. His friends, Henri Toulouse-Lautrec and Lucien Lessard, set out to solve the mystery of Vincent’s death after receiving this warning from him:

“P.S. If you see the Colorman, run. Run. You are too talented and too delicate of constitution to endure, I think. I am not mad. I promise.”
–Vincent

To solve the murder, Lucien and Henri will have to hunt down this twisted little Colorman who has a penchant for ultramarine blue. They will find love, heartbreak, forgotten memories, and, ahem, some girls in Moulin Rouge. Ultimately they will uncover the secret of the Colorman and the ordained powers he gets from Sacré Bleu, but not before having a little bit of fun with their impressionist friends.

Here are some examples of uses of Sacré Bleu from Christopher Moore’s novel. Throughout the story, each of these artists is visited by the manipulative Colorman.

Pierre-Auguste Renoir, “The Swing,” 1876, oil on canvas, Museé d’Orsay.

Henri de Toulouse-Lautrec, “Rousse dit aussi La Toilette,” 1889, oil on cardboard, Museé d’Orsay.

Claude Monet, “Camille Monet on Her Deathbed,” 1879, oil on canvas, Museé d’Orsay.

Georges Seurat, “Bathers at Asnières,” 1884, oil on canvas, National Gallery.

Sacré Bleu, the “sacred blue,” the truest blue, was at the time the most expensive paint in history. It was extremely difficult to obtain. First, colormen would need the gemstone lapis lazuli, which, for centuries, was more rare and more valuable than gold. On top of that, lapis lazuli is only found in one place in the world, the mountains of Afghanistan–a world away from Europe! Why go to all this trouble to make a little bit of blue paint? Because the pigment derived from lapis lazuli creates the most spectacular, everlasting, ultramarine blue. It does not fade over time or blacken with age like some other blue paints. This quality of ultramarine blue, as well as the significant sacrifice one had to make to obtain it, made it the perfect color to reserve for the Blessed Virgin, the mother of Christ. In many religious scenes, Mary is seen wearing a Sacré Bleu gown.

Michelangelo, “The Entombment,” c. 1500, tempera on panel, National Gallery.

Although he spends most of his time haunting the impressionists in Montmartre, the Colorman does make his way back to 16th-century Italy to visit the masters of the Renaissance. In this example, it appears as though Michelangelo’s The Entombment remains unfinished because he was unable to obtain the ultramarine paint he needed to finish the figure of the Virgin Mary. Of course in reality this is probably due to the high cost of the paint, but in Sacré Bleu, it is a mystery that is waiting to be solved by you!

Christopher Moore will discuss his new book as part of the Arts & Letters Live program at the Dallas Museum of Art on Tuesday, April 1o, at 7:30 p.m. For more information and tickets to this event, visit our website. The DMA’s Museum Store is selling first-edition copies of Sacre Bleu, with beautiful color illustrations of the art discussed in the novel.

Hayley Dyer is the Audience Relations Coordinator for Programming at the Dallas Museum of Art.

A Pair of Twos: Two Authors’ Take on Two Painters

Published November 9, 2011 Arts & Letters Live Closed
Tags: Arts & Letters Live, Dallas Museum of Art, Gregory White Smith, Jackson Pollock, Jackson Pollock: An American Saga, Steven Naifeh, Van Gogh: The Life, Vincent van Gogh

Part of what’s most fun about working on Arts & Letters Live is getting to hear the buzz about new books several months before they are released. We first heard about Van Gogh: The Life by Steven Naifeh and Gregory White Smith last winter and couldn’t wait for the release. This new biography came out less than a month ago to tremendous acclaim. Leo Jansen, Curator at the Van Gogh Museum in Amsterdam, called it “the definitive biography for decades to come,” and the authors were profiled on 60 Minutes.

We are thrilled to be able to host these two authors for a program at the Dallas Museum of Art on Monday, November 14. They will discuss their new book and the similarities between Vincent van Gogh and Jackson Pollock, the subject of their Pulitzer Prize-winning biography Jackson Pollock: An American Saga.

Steven Naifeh and Gregory White Smith were gracious enough to answer a few questions for us in advance of their event.

How did you come to tackle Vincent van Gogh as a subject for this book?
While we were still working on our biography of Jackson Pollock, more than twenty-five years ago, we began to think about the next artist we might want to write about. The challenge for a biographer is to find a subject (1) who is significant, in terms of the work he or she has left behind; (2) who led an interesting life; (3) whose life had a particular impact on the work; (4) who left behind enough of a record in order to be able to reconstruct the life; and (5) who hasn’t already been the subject of a definitive, or even a thorough, account. No one met these criteria better than van Gogh. The only hurdle was that we don’t read Dutch, a hurdle got past with the help of eleven translators.

Other than Vincent van Gogh himself, who is the most interesting figure that you write about in this book?
Theo, certainly. He was easily the most important person in van Gogh’s life. He was Van Gogh’s only consistent source of emotional and financial support. He was an interesting person in his own right – both audacious enough to be one of the first dealers in Paris who showed the work of the impressionists, but also conservative enough to show only work he knew would sell. He was intensely conflicted in his feelings for his brother –fully aware of Vincent’s willingness to take advantage of his generosity, furious that Vincent caused their family so much trouble, and angry that Vincent refused to accept his advice about how to make his work more salable, yet caring for him deeply, utterly.

How do you feel van Gogh’s letters shaped Van Gogh: The Life?
The letters are the starting point for any biographer of van Gogh. They are astonishingly long and detailed, and yet they often have a manipulative intent. Van Gogh usually wanted something from Theo, and he was sometimes elegant, sometimes ham-fisted, in his efforts to cloak his requests. But because of van Gogh’s intermittent self-knowledge, because of his extraordinary intelligence and intellect, because they were written for the most part to one person, and because he didn’t think anyone else would ever read them, van Gogh’s letters open an almost unique window onto a great creative mind.

Sheaves of Wheat, Vincent Van Gogh, 1890, Oil on Canvas, The Wendy and Emery Reves Collection

Do you have a favorite work of van Gogh’s? What draws you to that piece?
We have many, many favorites, but one that comes to mind is a painting of underbrush in the Van Gogh Museum collection. It shows both his absolute mastery of color – extraordinary and subtle combinations of browns and purples and blues, hundreds and hundreds of them – and a dazzling display of his command over his brush, and in particular his Sargent-like ability to paint wet on wet.

Tree Roots, July 1890, Oil on Canvas, 19 3/4 x 39 1/4 in. Van Gogh Foundation, Amsterdam.

Have you visited Dallas before? If so, what did you think of the city?
(Steven) Yes, I have a lot of family in Texas – in fact I was Congressman Charlie Wilson’s first intern on Capitol Hill. Dallas has some spectacular architecture, including I. M. Pei’s Morton H. Meyerson Symphony Center, and the Museum has a first-rate collection, including two key works by Jackson Pollock, Portrait and a Dream and Cathedral. We have not yet seen the Nasher Sculpture Center and are thrilled at the opportunity to see it.

Cathedral, Jackson Pollock, 1947, Enamel and aluminum paint on canvas, Gift of Mr. and Mrs. Bernard J. Reis

The November 14 event is sold out but overflow seating is still available in a live simulcast in the Center for Creative Connections Theater.

Katie Hutton is Program Manager of Arts & Letters Live at the Dallas Museum of Art.

Member Appreciation Week

Published October 19, 2011 Members Closed
Tags: Dallas Museum of Art, DMA, Gregory White Smith, Jackson Pollock, membership, Steven Naifeh, Vincent van Gogh

The DMA’s third annual Member Appreciation Week (MAW) is less than a month away. Each year we set aside one week to celebrate our members! Membership contributions are vital to the Museum’s operations, allowing us to present exquisite special exhibitions and rich multidisciplinary programming like Late Nights. The Dallas Museum of Art is extraordinary because of the generosity and investment of its members.

We’ve added a couple of days to this year’s MAW so that we can incorporate the opening of The Fashion World of Jean Paul Gaultier: From the Catwalk to the Sidewalk. Over twenty events are planned during these nine days, which was no easy feat, and there is something that will appeal to all of our members. Some of the week’s highlights include:

Member previews of The Fashion World of Jean Paul Gaultier – Preparation for the Jean Paul Gaultier exhibition has been in the works for months, but we reserved time for our members to have the opportunity to view the exhibition prior to the November 13 public opening.
Arts & Letters Live special lecture: Vincent van Gogh and Jackson Pollock: Changing What Art Is – Authors Steven Naifeh and Gregory White Smith will discuss their new book Van Gogh: The Life as well as the similarities they found between Vincent van Gogh and Jackson Pollock, on Monday, November 14. Members will be able to attend this event free (to make reservations click here), and I’m taking this night off so that I can enjoy my membership benefits!
Story Time – Every summer the education department sends an e-mail to staff members asking who wants to read books during Story Time. I’m always one of the first to volunteer to read a children’s story in one of the collection galleries. It is a popular event with families and we want to offer our members this experience in the fall. After the story, we talk about the art. Hearing children tell me about their experience with art is one of the highlights of my job!
20% off in the Museum Store – who doesn’t love a good sale! The extra 20% is just in time to start your holiday shopping.

For a full list of events, visit Events for Members. Don’t forget to stop by the Member Services Desk to introduce yourself so that we can thank you in person! For information on how to become a member, call 214-922-1247 or visit DallasMuseumofArt.org.

: Receive 20% off the The Fashion World of Jean Paul Gaultier catalogue

: Staff Story Time

: Van Gogh: The Life by Steven Naifeh and Gregory White Smith

Wendi Kavanaugh is the Member Outreach Manager at the Dallas Museum of Art.

Dallas Museum of Art Uncrated

Posts Tagged 'Vincent van Gogh'

Loving Vincent

Off the Wall: A New Experience

DMA BFFs

Oh, Vincent!

I’d Like a Kristall-Weissbier with My Van Gogh, Please

The Welcoming Party: A Van Gogh Returns

Run the DMA Marathon

Sacré Bleu! A Twisted Tale of the Ultramarine Hue

A Pair of Twos: Two Authors’ Take on Two Painters

Member Appreciation Week

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