Monday, May 9, 2011
Thank You Guys
Good evening all, I have to say, I had a wonderful journey over the pass 8 weeks. I want to thank professor Jerry Nevins for his wonderful choice of museums and also, my fellow students who experienced this journey and share the same views and knowledge pertaining to academic art. Thanks again, Gary Wilson.
Sunday, May 8, 2011
Greetings Everyone!
Finally I was able to post my experience. In compose I was not able to cut and paste but when I clicked on Edit Html I was able to use the paste function.
I hope you enjoy this visit through my experience.
Cheers, Kim
I hope you enjoy this visit through my experience.
Cheers, Kim
Yale Art Gallery Visit
Yale Art Gallery
The Yale University Art Gallery was founded in 1892 by Colonel John Trumbull a patriot and artist. The Gallery is the oldest college art museum in North America. Over the years the Collection has grown to more than 185,000 objects.
Upon entering the museum I walked through the lobby and smiled at the gentleman sitting patiently in a chair by the elevator as I passed by snapping pictures. I quickly passed by to enter the first Gallery to view Embodied: Black Identities in American Art showed works that ranged from paintings, sculpture, decorative arts, prints, drawings and photos that portray meanings to African Americans throughout history.
Reading the guide I was a women on a mission to find Hopper’s, Rooms by the Sea. I entered the elevator and got out on the second floor. Okay, no Hopper, but interesting African and Asian Art. After doing a quick tour I headed for the elevator.
I exited the elevator on the third floor and entered into the world of European and American Art from 1200 t the Present. The first painting I see is Samuel F. B. Morse’s, Gallery of the Louvre. Nice painting I thought with no idea it was one of the most important American paintings of the early nineteenth century. Morse considered Gallery of the Louvre as a giant art lesson showing on one canvas in an imaginary arrangement the paintings he considered to be the greatest at the Louvre. Although praised by the art community it was rejected by the public. He sold the painting and abandoned his art career and moved on to his experiments with the telegraph. I loved this painting on first sight. I could only imagine myself as the young girl in the painting surrounded by magnificent works of art. Believing it to be part of Yale’s permanent collection I quickly snapped a picture. Immediately the nice man from the lobby came up to me and said that I couldn’t do that. A security guard quickly came up behind me. Looking up startled I quickly assured him that I didn’t have my flash on. He shook his head and told me the painting was on loan from the Terra Foundation and shouldn’t be photographed. I apologized for my error as he pointed to the very small print of the card, which didn’t say do not photograph, but listed the name Terra Foundation. I thanked him and walked away quickly like I had secret contraband in my possession.
I was aware that the security guard quietly followed behind me as I made sure to check each painting that I photographed. I did find the Hopper painting and enjoyed his use of color, shadow and light to bring you into a surreal room that through a door with no stairs that invites you directly into the sea. The great masters, Seurat, Van Gogh, Monet, Degas, and West were right alongside the contemporary works of West, Kelly, Rothko, Noland, Davis and Warhol and the advant guard, Marclay’s video, Telephones, and Rupperberg’s, Poems & Placements, exhibit. What I enjoyed most was finding the traditional of Morris’s, Gallery of the Louvre right across from the contemporary of Stella’s, Battle of lights, and Davis’s Combination work. Each work is important in its own right.
As I exited the building the same gentlemen who quietly reprimanded me for taking the picture asked me when I would I be coming back to visit the museum. I noticed he had a curator badge on his jacket, chagrined, I smiled and again apologized for taking the picture. I explained that I hoped to be back soon and that my visit was part of a museum experience for class where I had to submit a photo essay. Smiling I said, “How could I not write about the Gallery of the Louvre in my essay along with the other wonderful works of art.” I shared that The Yale Art Gallery for me in its exhibits showed a combination of the Wadsworth, New Britain Museum, Met and MoMA with a little bit of the Whitney in one place right at home and I hoped to be back soon. He smiled, and said, “I do hope you come back soon.”
By Kim Zarra
Photo Links: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4193659015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://artgallery.yale.edu/ Yale Art Gallery
The Yale University Art Gallery was founded in 1892 by Colonel John Trumbull a patriot and artist. The Gallery is the oldest college art museum in North America. Over the years the Collection has grown to more than 185,000 objects.
Upon entering the museum I walked through the lobby and smiled at the gentleman sitting patiently in a chair by the elevator as I passed by snapping pictures. I quickly passed by to enter the first Gallery to view Embodied: Black Identities in American Art showed works that ranged from paintings, sculpture, decorative arts, prints, drawings and photos that portray meanings to African Americans throughout history.
Reading the guide I was a women on a mission to find Hopper’s, Rooms by the Sea. I entered the elevator and got out on the second floor. Okay, no Hopper, but interesting African and Asian Art. After doing a quick tour I headed for the elevator.
I exited the elevator on the third floor and entered into the world of European and American Art from 1200 t the Present. The first painting I see is Samuel F. B. Morse’s, Gallery of the Louvre. Nice painting I thought with no idea it was one of the most important American paintings of the early nineteenth century. Morse considered Gallery of the Louvre as a giant art lesson showing on one canvas in an imaginary arrangement the paintings he considered to be the greatest at the Louvre. Although praised by the art community it was rejected by the public. He sold the painting and abandoned his art career and moved on to his experiments with the telegraph. I loved this painting on first sight. I could only imagine myself as the young girl in the painting surrounded by magnificent works of art. Believing it to be part of Yale’s permanent collection I quickly snapped a picture. Immediately the nice man from the lobby came up to me and said that I couldn’t do that. A security guard quickly came up behind me. Looking up startled I quickly assured him that I didn’t have my flash on. He shook his head and told me the painting was on loan from the Terra Foundation and shouldn’t be photographed. I apologized for my error as he pointed to the very small print of the card, which didn’t say do not photograph, but listed the name Terra Foundation. I thanked him and walked away quickly like I had secret contraband in my possession.
I was aware that the security guard quietly followed behind me as I made sure to check each painting that I photographed. I did find the Hopper painting and enjoyed his use of color, shadow and light to bring you into a surreal room that through a door with no stairs that invites you directly into the sea. The great masters, Seurat, Van Gogh, Monet, Degas, and West were right alongside the contemporary works of West, Kelly, Rothko, Noland, Davis and Warhol and the advant guard, Marclay’s video, Telephones, and Rupperberg’s, Poems & Placements, exhibit. What I enjoyed most was finding the traditional of Morris’s, Gallery of the Louvre right across from the contemporary of Stella’s, Battle of lights, and Davis’s Combination work. Each work is important in its own right.
As I exited the building the same gentlemen who quietly reprimanded me for taking the picture asked me when I would I be coming back to visit the museum. I noticed he had a curator badge on his jacket, chagrined, I smiled and again apologized for taking the picture. I explained that I hoped to be back soon and that my visit was part of a museum experience for class where I had to submit a photo essay. Smiling I said, “How could I not write about the Gallery of the Louvre in my essay along with the other wonderful works of art.” I shared that The Yale Art Gallery for me in its exhibits showed a combination of the Wadsworth, New Britain Museum, Met and MoMA with a little bit of the Whitney in one place right at home and I hoped to be back soon. He smiled, and said, “I do hope you come back soon.”
By Kim Zarra
Photo Links: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4193659015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://artgallery.yale.edu/ Yale Art Gallery
To Jerry and fellow classmate bloggers,
Hello Everyone,
Unfortunately, I have been trying all day to post my museum experience for the Yale Art Gallery and blogger has not allowed me to do so.
Jerry, I have emailed my blog post to your email in campus cruiser and will try again tomorrow to post.
Although it has been a challenge in dealing with and balancing daily life issues this past month, work schedule, class assginments and blogging issues, I am glad I was able to particpate in this class and the museum experience. I have taken away a better understanding of art today and all that it encompasses. I have enjoyed sharing our experiences.
Many thanks! Kim
Unfortunately, I have been trying all day to post my museum experience for the Yale Art Gallery and blogger has not allowed me to do so.
Jerry, I have emailed my blog post to your email in campus cruiser and will try again tomorrow to post.
Although it has been a challenge in dealing with and balancing daily life issues this past month, work schedule, class assginments and blogging issues, I am glad I was able to particpate in this class and the museum experience. I have taken away a better understanding of art today and all that it encompasses. I have enjoyed sharing our experiences.
Many thanks! Kim
Papers
Jerry
I've sent you all 4 papers to your Albertus email address. I cannot cut and paste them as documents to Blogger. I hope you enjoy the papers. Thank you for the experience this class has provided.
Cheryl
I've sent you all 4 papers to your Albertus email address. I cannot cut and paste them as documents to Blogger. I hope you enjoy the papers. Thank you for the experience this class has provided.
Cheryl
Cheryl Hutchinson 2nd paper - Wadsworth
The Wadsorth Atheneum Museum is th oldest public art museum in America. This was just one of the facts give to us by the Docent as she introduced everyone to the museum. Daniel Wadsworth wanted to shar art with everyone and he knew only the wealthy could afford to purchase it. Opening the museum would give everyone an opportunity to experience art. The name Atheneum is in honor of the Greek goddess of wisdom, Athena.
Our trip to the Wadsworth was on a Saturday morning in April. It was a very cold windy spring day. There were not many people at the musuem, maybe because it was early. The Water Lilies exhibit was being held at the time of our visit. I was familiar with Monet and have seen reproductions of his work. I was not as excited to see Monet as I was about being introduced to some other artists that I am not familiar. My opinion quickly changed as a result of my visit.
Jerry and I were greeted by a very interesting Docent. She approached her job with excitement and she was interested in spending our time together teaching us as much as she could about art. What a wonderful experience. We toured the museum with 8 other visitors. The Docent made the experience very interactive. She had us split into groups and asked us to describe how we felt about some pieces in the museum.
There was one piece that I was drawn to because of the amazing likeness to my youngest daughter, Sarah. I felt like the child was staring at me from across the room. The artist is John Singer Sargent and he was born in Italy. He is recognized as one of the foremost portraitist of his time. This portrait of Ruth Sears Bacon at age three was painted in Newport, Rhode Island in 1887. I just loved this painting.
The museum tour also introduced me to a collection from Salvatore Dali. I found the paintings very unusual. Although the pieces were unusual, I found myself intrigued about what may have been going through this man's head as he painted. I did not enjoy Dali as much as I did Monet.
As I mentioned earlier, I thought I would write about someone other than Monet because I entered into this visit thinking Monet was too mainstream for me. I thought I would select an artist less famous. However, the Water Lilies exhibit was amazing! The information available on Monet is overwhelming and for an artist I thought I was familiar, I quickly realized how very interesting a man he was. The exhibit included pieces of art but more importantly for me, it gave me a look into the life of Monet. In 1890 Monet purchased his house in Giverny and transformed the gardens which inspired this exhibit. Monet had over 100,000 plants replaced annually at his home in Giverny.
The exhibit included letters that Monet wrote describing his obsession with his paintings of his gardens. He gradually limited himself to his water garden and depicted tirelessly the Japanese Bridge and Water Lilies. There were so many pieces in this collection but two pieces really impressed me. They were his paintings of the Japanese Bridge. At the beginning of the exhibit there is a painting of a beautiful bridge. It had clarity, light pastel colors and a light airy feeling to it. As we passed through th exhibit I saw another painting of the Japanese Bridge that did not resemble the earilier painting. It was difficult to make out a bridge, the colors were darker with more primary colors. The first painting gave me a very light airy feeling where the second painting was heavy and gave me a stormy feeling. The years passed and the plantings had filled in the landscape. The stormy feel seemed to be a reflection of his obsession combined with his vision problems he experienced. Monet stayed in Giverny until his death.
Jerry and I were at the Wadsworth museum for hours. We agreed we would be back to the museum. We had a good introduction to the pieces in the museum but did not allow enough time and we regretted having to leave. Our drive home was spent entirely recapping our visit to the Wadsworth.
Our trip to the Wadsworth was on a Saturday morning in April. It was a very cold windy spring day. There were not many people at the musuem, maybe because it was early. The Water Lilies exhibit was being held at the time of our visit. I was familiar with Monet and have seen reproductions of his work. I was not as excited to see Monet as I was about being introduced to some other artists that I am not familiar. My opinion quickly changed as a result of my visit.
Jerry and I were greeted by a very interesting Docent. She approached her job with excitement and she was interested in spending our time together teaching us as much as she could about art. What a wonderful experience. We toured the museum with 8 other visitors. The Docent made the experience very interactive. She had us split into groups and asked us to describe how we felt about some pieces in the museum.
There was one piece that I was drawn to because of the amazing likeness to my youngest daughter, Sarah. I felt like the child was staring at me from across the room. The artist is John Singer Sargent and he was born in Italy. He is recognized as one of the foremost portraitist of his time. This portrait of Ruth Sears Bacon at age three was painted in Newport, Rhode Island in 1887. I just loved this painting.
The museum tour also introduced me to a collection from Salvatore Dali. I found the paintings very unusual. Although the pieces were unusual, I found myself intrigued about what may have been going through this man's head as he painted. I did not enjoy Dali as much as I did Monet.
As I mentioned earlier, I thought I would write about someone other than Monet because I entered into this visit thinking Monet was too mainstream for me. I thought I would select an artist less famous. However, the Water Lilies exhibit was amazing! The information available on Monet is overwhelming and for an artist I thought I was familiar, I quickly realized how very interesting a man he was. The exhibit included pieces of art but more importantly for me, it gave me a look into the life of Monet. In 1890 Monet purchased his house in Giverny and transformed the gardens which inspired this exhibit. Monet had over 100,000 plants replaced annually at his home in Giverny.
The exhibit included letters that Monet wrote describing his obsession with his paintings of his gardens. He gradually limited himself to his water garden and depicted tirelessly the Japanese Bridge and Water Lilies. There were so many pieces in this collection but two pieces really impressed me. They were his paintings of the Japanese Bridge. At the beginning of the exhibit there is a painting of a beautiful bridge. It had clarity, light pastel colors and a light airy feeling to it. As we passed through th exhibit I saw another painting of the Japanese Bridge that did not resemble the earilier painting. It was difficult to make out a bridge, the colors were darker with more primary colors. The first painting gave me a very light airy feeling where the second painting was heavy and gave me a stormy feeling. The years passed and the plantings had filled in the landscape. The stormy feel seemed to be a reflection of his obsession combined with his vision problems he experienced. Monet stayed in Giverny until his death.
Jerry and I were at the Wadsworth museum for hours. We agreed we would be back to the museum. We had a good introduction to the pieces in the museum but did not allow enough time and we regretted having to leave. Our drive home was spent entirely recapping our visit to the Wadsworth.
MoMA
MoMA
The Museum of Modern Art was founded in 1929 and since that time has been totally dedicated to helping people understand and enjoy the visual arts of our time. The galleries of the Museum range from Architecture and Design, Film and Video, and Photography to Painting and Sculpture, Drawings, and Prints and Illustrated Books. The varied and eclectic collections of The Museum of Modern Art cover a full spectrum view into modern art. The Museum of Modern Art's collection includes over 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. The Museum offers modern and contemporary art exhibitions from a wide area of subject matter, mediums, and time periods including visual arts and new interpretations of major artists and art historical movements.
What a great way to start a museum experience: enter in the wrong door. Not, but a very nice guard pointed me in the right direction. So now entering in the right entrance I walk into a huge lobby with people everywhere going in every direction. Finding my way to the information desk I purchase my ticket and walk through the turnstiles and look through a wall of glass up to the ceiling into a magical view of The Sculpture Garden. At the top of the stairs a large viewing area branches off into the different galleries. Of course I turn into the Contemporary gallery and was greeted by Rosenquist’s Marilyn Monroe and Warhol’s Elvis. Of course Albers, Rothko, and Klee were ever present. Moving up the escalator I take a peak in the Architecture and Design Drawings but move quickly up the stairs so I can view the Painting and Sculptures.
I was delighted to see Salvador Dali’s Illumined Pleasures as I contemplated the difference between his reality and illusion. Then Henri Matisse’s, The Blue Window and Goldfish and Sculpture paintings, Munch’s The Storm quickly catches my eye with the dramatic figure of the women wearing white against the blue background and luminous yellow lights coming through the windows of the house in contrast to Van Gogh’s, The Starry Night with its luminous white stars and yellow moon in the dark blue sky. As entered a hallway on the wall was a series of paintings by Jacob Lawrence called, The Migration Series. I spent a lot of time with these series of paintings. Lawrence as a black American painter whose style of flat angular figures and the use of shapes, strong color and the balance of light and darkness to portray with bold social realism the history and struggles of African Americans.
What I found most beautiful was Georges-Pierre Seurat’s, Evening, painting. Upon a closer look I realized there were thousands of dots painted on the canvas. Using this style he applied at least twenty-five colors in this painting accenting and illuminating the long bands of clouds, horizon and breakwaters on the beach. Where the sky and sea meet there is a sense of airiness and light to the painting when you view the painting from far away but up close you see the heaviness of the many dots. Later Seurat added the wooden frame continuing in the style of the painting he hand-painted it with the same dots to add a greater glow and extended the image of the painting beyond the borders of the frame.
Georges-Pierre Seurat (1859-1891) was a French post-impressionist painter who pioneered the painting technique known as Pointillism. Seurat was born into a wealthy family in Paris and attended the École des Beaux-Arts. It was Seurat’s belief that a painter could use color to create emotion and harmony in art the same way that musicians use counterpoint and variation to create this in music. He used the knowledge of perception and optical laws to create a new language of art. In his letter to Maurice Beaubourg in 1890 we capture Seurat’s ideas about the scientific approach to emotion and harmony. It reads, "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations".
He was the founder of the 19th-century French school of Neo-Impressionism. In using his technique of showing the play of light using tiny brushstrokes of dots in contrasting colors he created huge paintings with these tiny dots that were too small to be seen when looking at the entire work but made his paintings shimmer with luminosity and brilliance. He used this to show how emotion in a painting can be achieved. Gaiety by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness by using dark and cold colors and by lines pointing downward. Seurat died in Paris on 29 March 1891.
Looking down at my watch that I seemed to forget all about, I realized that time had passed very quickly and I had to catch the 7:07 train back to New Haven. With regret, I would have to continue my visit another time. As I left the gallery and went back down the escalators I noticed from the second floor balcony a helicopter hanging on the ceiling of the stairwell and snapped a quick picture. As my own contribution of art to this visit I share with you my picture that I call, Stairway inflight. Is wasn’t until I was on the train reliving my museum visits that I noticed a person going down the stairway below with their arms spread out like they were to flying like the helicopter. I can only hope that this was a result of them enjoying the visit as much as I had and not because they were now late for the train back home.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4179794015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.moma.org/
http://en.wikipedia.org/wiki/Georges_Seurat
http://www.biography.com/articles/Georges-Seurat-9479599
The Museum of Modern Art was founded in 1929 and since that time has been totally dedicated to helping people understand and enjoy the visual arts of our time. The galleries of the Museum range from Architecture and Design, Film and Video, and Photography to Painting and Sculpture, Drawings, and Prints and Illustrated Books. The varied and eclectic collections of The Museum of Modern Art cover a full spectrum view into modern art. The Museum of Modern Art's collection includes over 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. The Museum offers modern and contemporary art exhibitions from a wide area of subject matter, mediums, and time periods including visual arts and new interpretations of major artists and art historical movements.
What a great way to start a museum experience: enter in the wrong door. Not, but a very nice guard pointed me in the right direction. So now entering in the right entrance I walk into a huge lobby with people everywhere going in every direction. Finding my way to the information desk I purchase my ticket and walk through the turnstiles and look through a wall of glass up to the ceiling into a magical view of The Sculpture Garden. At the top of the stairs a large viewing area branches off into the different galleries. Of course I turn into the Contemporary gallery and was greeted by Rosenquist’s Marilyn Monroe and Warhol’s Elvis. Of course Albers, Rothko, and Klee were ever present. Moving up the escalator I take a peak in the Architecture and Design Drawings but move quickly up the stairs so I can view the Painting and Sculptures.
I was delighted to see Salvador Dali’s Illumined Pleasures as I contemplated the difference between his reality and illusion. Then Henri Matisse’s, The Blue Window and Goldfish and Sculpture paintings, Munch’s The Storm quickly catches my eye with the dramatic figure of the women wearing white against the blue background and luminous yellow lights coming through the windows of the house in contrast to Van Gogh’s, The Starry Night with its luminous white stars and yellow moon in the dark blue sky. As entered a hallway on the wall was a series of paintings by Jacob Lawrence called, The Migration Series. I spent a lot of time with these series of paintings. Lawrence as a black American painter whose style of flat angular figures and the use of shapes, strong color and the balance of light and darkness to portray with bold social realism the history and struggles of African Americans.
What I found most beautiful was Georges-Pierre Seurat’s, Evening, painting. Upon a closer look I realized there were thousands of dots painted on the canvas. Using this style he applied at least twenty-five colors in this painting accenting and illuminating the long bands of clouds, horizon and breakwaters on the beach. Where the sky and sea meet there is a sense of airiness and light to the painting when you view the painting from far away but up close you see the heaviness of the many dots. Later Seurat added the wooden frame continuing in the style of the painting he hand-painted it with the same dots to add a greater glow and extended the image of the painting beyond the borders of the frame.
Georges-Pierre Seurat (1859-1891) was a French post-impressionist painter who pioneered the painting technique known as Pointillism. Seurat was born into a wealthy family in Paris and attended the École des Beaux-Arts. It was Seurat’s belief that a painter could use color to create emotion and harmony in art the same way that musicians use counterpoint and variation to create this in music. He used the knowledge of perception and optical laws to create a new language of art. In his letter to Maurice Beaubourg in 1890 we capture Seurat’s ideas about the scientific approach to emotion and harmony. It reads, "Art is Harmony. Harmony is the analogy of the contrary and of similar elements of tone, of color and of line, considered according to their dominance and under the influence of light, in gay, calm or sad combinations".
He was the founder of the 19th-century French school of Neo-Impressionism. In using his technique of showing the play of light using tiny brushstrokes of dots in contrasting colors he created huge paintings with these tiny dots that were too small to be seen when looking at the entire work but made his paintings shimmer with luminosity and brilliance. He used this to show how emotion in a painting can be achieved. Gaiety by the domination of luminous hues, by the predominance of warm colors, and by the use of lines directed upward. Calm through an equivalence/balance of the use of the light and the dark, by the balance of warm and cold colors, and by lines that are horizontal. Sadness by using dark and cold colors and by lines pointing downward. Seurat died in Paris on 29 March 1891.
Looking down at my watch that I seemed to forget all about, I realized that time had passed very quickly and I had to catch the 7:07 train back to New Haven. With regret, I would have to continue my visit another time. As I left the gallery and went back down the escalators I noticed from the second floor balcony a helicopter hanging on the ceiling of the stairwell and snapped a quick picture. As my own contribution of art to this visit I share with you my picture that I call, Stairway inflight. Is wasn’t until I was on the train reliving my museum visits that I noticed a person going down the stairway below with their arms spread out like they were to flying like the helicopter. I can only hope that this was a result of them enjoying the visit as much as I had and not because they were now late for the train back home.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4179794015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.moma.org/
http://en.wikipedia.org/wiki/Georges_Seurat
http://www.biography.com/articles/Georges-Seurat-9479599
Saturday, May 7, 2011
The Metropolitan Museum
“The Metropolitan Museum of Art is one of the world's largest and finest art museums. Its collections include more than two million works of art spanning five thousand years of world culture, from prehistory to the present and from every part of the globe. Nearly five million people visit the Museum each year.” So it says on the website. What a daunting but exciting thought that I would soon be visiting this museum. So- I was going to be counted as the five million and one visitor to the Museum. Upon entering the Museum through the majestic Great Hall I was overwhelmed. Which way did I go? Where do you start? I thought as I was handed a map.
My friend, Sheryl, who came along with me asked what do you want to see first? We looked at the map and were totally helpless and just started walking. So we started at the 300’s, 500’s, 700’s, back through more of the 500’s to see Medieval Art, Greek and Roman Art, European Sculpture, Arms and Armor, the American Wing and tried to make our way to the Modern and Contemporary Art section that was in the 900’s. One very helpful guard told us to throw away the map because you will never get where you wanted to go if you follow it. So that is what we did and just asked along the way. With the distraction of the map we made our way. As we passed an elevator we saw a sign to the roof top Garden and caught the next ride up. It was a gorgeous day in New York especially on the rooftop where we enjoyed the view and sculptures. I loved especially “Blazon”. It’s strong red color and form stretching to the sky was an amazing site to see. Out of all the sculptures on the roof that was the one I was drawn to as I walked the rooftop. It evoked a sense of strength and freedom- that there is no limit to what you can do or how far you can reach. The color of red stood out against the greying white of the concrete roof top against a blue sky and the outline of the city in the background.
So my plan was to view all these magnificent masterpiece paintings and write about one of them. I had so many favorites that I viewed that day as we journeyed through the rest of the Museum. From Degas “Dancer” which I had a copy of as a little girl, to a special exhibit off the courtyard of Roman Statues of Cezanne’s Card Players, to the spooky, ethereal qualities of Edvard Munch who I wanted to see up close and personal. I had thought to write about him at first especially after viewing his Cypress in Moonlight and Night in Saint Cloud. But that sculpture called to me again.
I found a second heaven when I actually saw Rothko, Newman, Kelly and Noland, all abstract, minimalist, expressionists in one place and to finally see these American Contemporary paintings that I had been learning about in my color class. Pictures and the web just don’t do any of them justice. In person the meaning and use of texture, form and color to evoke emotion and movement in a painting made more sense. I always thought I was a master’s type of girl. Even more exciting was to view Hoffmann, Scully and Klee. You will see my own attempt to master the art of color in my pictures. I could have written about one of them as well. But “Blazon” called to me still.
Anthony Caro (born 1924) is considered one of the most influential 20th century sculptors and a key figure in the development of modernist sculpture. We got to see in this exhibit a highlight of sculpture in steel, painted and unpainted. They represented the relationship of form, color, sculpture, and architecture in the abstract to engage and embrace form and landscape.
Anthony Caro studied engineering at Cambridge University and sculpture at the Royal Academy Schools in London. In his first visit to the US in 1959 he became acquainted with the work of painter Kenneth Noland and sculptor David Smith. No wonder I liked his sculptures so much. Noland’s use of form and color were like sculptures themselves on canvas.
Caro works in steel, bronze, silver, lead, stoneware, wood, and paper. Through Caro's innovative work he came to public attention in 1963 when he exhibited large, abstract, steel sculptures brightly painted and standing directly on the ground at the Whitechapel Gallery in London. This was so that viewers could approach and interact with the works from all sides which was a radical departure from the way sculpture had been presented in the past. This was Caro’s attempt as an artist "to make sculpture more real." And so he did for me that day on the rooftop.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4180101015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.metmuseum.org/
http://www.anthonycaro.org/default.htm
My friend, Sheryl, who came along with me asked what do you want to see first? We looked at the map and were totally helpless and just started walking. So we started at the 300’s, 500’s, 700’s, back through more of the 500’s to see Medieval Art, Greek and Roman Art, European Sculpture, Arms and Armor, the American Wing and tried to make our way to the Modern and Contemporary Art section that was in the 900’s. One very helpful guard told us to throw away the map because you will never get where you wanted to go if you follow it. So that is what we did and just asked along the way. With the distraction of the map we made our way. As we passed an elevator we saw a sign to the roof top Garden and caught the next ride up. It was a gorgeous day in New York especially on the rooftop where we enjoyed the view and sculptures. I loved especially “Blazon”. It’s strong red color and form stretching to the sky was an amazing site to see. Out of all the sculptures on the roof that was the one I was drawn to as I walked the rooftop. It evoked a sense of strength and freedom- that there is no limit to what you can do or how far you can reach. The color of red stood out against the greying white of the concrete roof top against a blue sky and the outline of the city in the background.
So my plan was to view all these magnificent masterpiece paintings and write about one of them. I had so many favorites that I viewed that day as we journeyed through the rest of the Museum. From Degas “Dancer” which I had a copy of as a little girl, to a special exhibit off the courtyard of Roman Statues of Cezanne’s Card Players, to the spooky, ethereal qualities of Edvard Munch who I wanted to see up close and personal. I had thought to write about him at first especially after viewing his Cypress in Moonlight and Night in Saint Cloud. But that sculpture called to me again.
I found a second heaven when I actually saw Rothko, Newman, Kelly and Noland, all abstract, minimalist, expressionists in one place and to finally see these American Contemporary paintings that I had been learning about in my color class. Pictures and the web just don’t do any of them justice. In person the meaning and use of texture, form and color to evoke emotion and movement in a painting made more sense. I always thought I was a master’s type of girl. Even more exciting was to view Hoffmann, Scully and Klee. You will see my own attempt to master the art of color in my pictures. I could have written about one of them as well. But “Blazon” called to me still.
Anthony Caro (born 1924) is considered one of the most influential 20th century sculptors and a key figure in the development of modernist sculpture. We got to see in this exhibit a highlight of sculpture in steel, painted and unpainted. They represented the relationship of form, color, sculpture, and architecture in the abstract to engage and embrace form and landscape.
Anthony Caro studied engineering at Cambridge University and sculpture at the Royal Academy Schools in London. In his first visit to the US in 1959 he became acquainted with the work of painter Kenneth Noland and sculptor David Smith. No wonder I liked his sculptures so much. Noland’s use of form and color were like sculptures themselves on canvas.
Caro works in steel, bronze, silver, lead, stoneware, wood, and paper. Through Caro's innovative work he came to public attention in 1963 when he exhibited large, abstract, steel sculptures brightly painted and standing directly on the ground at the Whitechapel Gallery in London. This was so that viewers could approach and interact with the works from all sides which was a radical departure from the way sculpture had been presented in the past. This was Caro’s attempt as an artist "to make sculpture more real." And so he did for me that day on the rooftop.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4180101015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.metmuseum.org/
http://www.anthonycaro.org/default.htm
The Whitney Museum
The Whitney first opened its doors in 1931 to showcase American art. Gertrude Vanderbilt Whitney was the museum’s founder assembled a rich and diverse collection that she offered with an endowment to The Metropolitan Museum of Art. When the offer was refused, she opened her own Museum and that is how The Whitney Museum began. Today the Museum presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Museum purchases works within the year they are created, often well before the artists became recognized.
While traveling on the train to New York, I couldn’t wait to see The Whitney. From a previous blog about The New Britain Museum of Art I spoke about the Benton Murals. I wanted to see what type of Museum would sell the wonderful murals because they were uncomfortable with the subject matter and kept them locked so that you could only view them by special permission.
The Singular Visions exhibit was one I wanted to see as it represented different types of art. The Whitney curator’s organized this to show “Through their variety of mediums, sizes, styles, and subjects, the works in Singular Visions encourage a range of powerful experiences and reveal how contemporary artists have stretched the very boundaries of what an artwork can be.”
Two pieces stand out in my mind from this collection. When you first get off the elevator you are greeted by George Segal’s sculpture of plaster pedestrians paused at a blinking traffic sign. Okay, I thought this was interesting. I quickly moved through the room with Simmons’s empty boxing ring festooned with tap shoes and wondered if I should stay and try to contemplate the meaning of it all only to turn a corner in a small nook area to my surprise there on the wall was Georgia O’Keefe’s “Ladder to the Moon”. I quickly searched my pocketbook for a pen and on the back of my museum calendar I sketched the painting. I noticed the words “way too advant guarde” that I had scrawled down as notes for my visit. I shook my head and my friend Sheryl asked what was up. I gazed at the ladder reaching up to the moon in the turquoise sky and thought how personal and spiritual this painting is and how odd to find it between a plaster sculpture and a boxing ring.
Respite was found in the Salon Gallery where paintings of the Breaking Ground: The Whitney’s Founding Collection was showcased. In the center of the room two red velvet chairs faced each other. How inviting they looked to me. As I sat down in the soft velvet a sense of peace and relaxation overwhelmed me. I lifted my head to gaze at a splendor of about 80 canvases on three Walls that were part of the formation of the Whitney Museum. I was thrilled to see two works by Benton in this collection. The Lord is my Shepard and Poker Night. I think that The Whitney most definitely wished they never sold the Benton Murals to The New Britain Museum of Art. I was also happy to see Edward Hopper’s, “Early Sunday Morning” painting as I was disappointed that I didn’t get to see the whole exhibit.
On the way downstairs we quickly explored the Dianna Molzan exhibit where I did stop to pay some attention to her very colorful Untitled, 2009 oil on canvas that had part of the canvas cut off. As I was taking my own color painting class at the time I could understand and said to my friend, “Do you know how many times in my class that I wanted to do just that!”
I was disappointed to find that I could not take any pictures. The only pictures you could take were of what was in the lobby. So the only one I could take was George Tooker’s, The Subway. So I took this picture to share but all the others are from the Museum’s website. I must say I was shocked. Could this be the museum that turned away the Benton Murals? The current exhibits whether you liked them or not, made you comfortable or uncomfortable, seemed to create a dichotomy of emotion from tension to the spiritual. It seemed to go from one extreme to another which may or may not have been the intent all along. My friend and I discussed this very topic as we drank lemonade accented with basil that was offered for sale at the café while sitting on a bench looking out to the courtyard where there was supposed to be a sculpture garden. We looked at the concrete walls and floor of the courtyard and wondered where all the sculpture went. Perhaps it has found sanctuary somewhere else until The Whitney’s new building in downtown Manhattan is finished.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4180461015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References: http://whitney.org/
While traveling on the train to New York, I couldn’t wait to see The Whitney. From a previous blog about The New Britain Museum of Art I spoke about the Benton Murals. I wanted to see what type of Museum would sell the wonderful murals because they were uncomfortable with the subject matter and kept them locked so that you could only view them by special permission.
The Singular Visions exhibit was one I wanted to see as it represented different types of art. The Whitney curator’s organized this to show “Through their variety of mediums, sizes, styles, and subjects, the works in Singular Visions encourage a range of powerful experiences and reveal how contemporary artists have stretched the very boundaries of what an artwork can be.”
Two pieces stand out in my mind from this collection. When you first get off the elevator you are greeted by George Segal’s sculpture of plaster pedestrians paused at a blinking traffic sign. Okay, I thought this was interesting. I quickly moved through the room with Simmons’s empty boxing ring festooned with tap shoes and wondered if I should stay and try to contemplate the meaning of it all only to turn a corner in a small nook area to my surprise there on the wall was Georgia O’Keefe’s “Ladder to the Moon”. I quickly searched my pocketbook for a pen and on the back of my museum calendar I sketched the painting. I noticed the words “way too advant guarde” that I had scrawled down as notes for my visit. I shook my head and my friend Sheryl asked what was up. I gazed at the ladder reaching up to the moon in the turquoise sky and thought how personal and spiritual this painting is and how odd to find it between a plaster sculpture and a boxing ring.
Respite was found in the Salon Gallery where paintings of the Breaking Ground: The Whitney’s Founding Collection was showcased. In the center of the room two red velvet chairs faced each other. How inviting they looked to me. As I sat down in the soft velvet a sense of peace and relaxation overwhelmed me. I lifted my head to gaze at a splendor of about 80 canvases on three Walls that were part of the formation of the Whitney Museum. I was thrilled to see two works by Benton in this collection. The Lord is my Shepard and Poker Night. I think that The Whitney most definitely wished they never sold the Benton Murals to The New Britain Museum of Art. I was also happy to see Edward Hopper’s, “Early Sunday Morning” painting as I was disappointed that I didn’t get to see the whole exhibit.
On the way downstairs we quickly explored the Dianna Molzan exhibit where I did stop to pay some attention to her very colorful Untitled, 2009 oil on canvas that had part of the canvas cut off. As I was taking my own color painting class at the time I could understand and said to my friend, “Do you know how many times in my class that I wanted to do just that!”
I was disappointed to find that I could not take any pictures. The only pictures you could take were of what was in the lobby. So the only one I could take was George Tooker’s, The Subway. So I took this picture to share but all the others are from the Museum’s website. I must say I was shocked. Could this be the museum that turned away the Benton Murals? The current exhibits whether you liked them or not, made you comfortable or uncomfortable, seemed to create a dichotomy of emotion from tension to the spiritual. It seemed to go from one extreme to another which may or may not have been the intent all along. My friend and I discussed this very topic as we drank lemonade accented with basil that was offered for sale at the café while sitting on a bench looking out to the courtyard where there was supposed to be a sculpture garden. We looked at the concrete walls and floor of the courtyard and wondered where all the sculpture went. Perhaps it has found sanctuary somewhere else until The Whitney’s new building in downtown Manhattan is finished.
By Kim Zarra
Pictures Link: http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4180461015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References: http://whitney.org/
Friday, May 6, 2011
Housatonic Art Museum - K. Schloss
I visited the Housatonic Art Musuem in Bridgeport, which is located at Housatonic Community College inside Lafayette Hall. It brags that is has the "one of the most significant collections of any two-year college in the country" and even features art by Picasso and Rodin. I was able to photograph the following art while the security guards tried to figure out if this practice was allowed. Luckily, one of the guards is a retired New Haven police officer who I used to order clothing and equipment for so I got the "do it quickly" approval.
This sculpture titled maternity made by Francisco Zuniga in 1960 is on display in the museum. Along with Tarquina 
an oil on canvas painted by Cleve Gray (1961). A large canvas of 
acrylic paint hangs in one of the corridors titled Controlled Chaos (1989)by Nicolas Krushenick.
I like the colors used in this oil on canvas "In the interior", 1981 by Gregory Amenoff.
Untitled, 1968 by Craig Kauffman is a vacuum molded plexiglass form. It reminds me of a light fixture or a medicine pill.
This is titled Halley's Comet, 1985, by 
Nicolas Krushenick.
White Moner made from gypsum and metal by Bronislaw Kierzkowski, 1965.
I found the museum at Housatonic to be very nice. They have a central gallery that features artwork of students. I think the concept of highlighting student art with accomplished art is a nice touch.
Nicolas Krushenick.
White Moner made from gypsum and metal by Bronislaw Kierzkowski, 1965.
NYC Metropolitan Museum of Art - K Schloss
I traveled to the MET yesterday!!! My daughter received a pass from school to attend with me. We jumped on the train, hopped the subway, walked two blocks and we made it! Our visit was not as long as we would have liked because I had to make it back to New Haven for my last 5:30 Senior Humanities class. Graduation is upon me, thank goodness!My literal run through the museum discovered this beautiful Parure jewelry made of 
gold and amethyst in France ca. 1830. In addition to jewelry, furniture was also featured.
gold and amethyst in France ca. 1830. In addition to jewelry, furniture was also featured.
I particularly admired this French (1839) bookstand oak, maple, ebony, ebony veneer, ebonized maple, snake wood, ivory, mother-of-pearl, silk velvet, gilt bronze and brass.
Another piece of furniture that had beautiful color and detail. An Italian mahogany wood designed by Filippo Pelaggio Palagi (1832-35).
Oak and pine veneered with rosewood, tulip wood, ebony and ebonize wood make up this Austrian prayer bench (1855).
Charles Cordier carved these beautiful sculptures in 1862 from bronze, algerian onyx-marble, and enamel. This one is titled
The Jewish Woman of Algiers and this is
The Jewish Woman of Algiers and this is
The Goat Tender of the Colonies. I found these both to be striking.
This is a Kwoma Ceiling. The Kwoma are a people who live in the Washku Hills north of New Guinea. My guess is this measures more than 75 feet long.
Marble portrait bust of Marcus Aurelius. Roman Antonine, ca. AD 161-169.
Marble portrait bust of the co-emporer Lucius Versus. Roman Antonine period A.D. 161-169
Marble statue of a bearded Hercules. Roman Flavian period. AD 68-98.I know it's morbid but I was so drawn to the sarcophagus display and I told my daughter I want to be buried in something just as fabulous.
Marble sarcophagus with the myth of Selene and Endymion. Roman Severan period, early 3rd AD.
The detail is beautiful.
Marble sarcophogus lid with reclining couple. Roman Severan, period ca. AD 220.
Here's my daughter making a wish for more scholarship money for her college education. Wish us luck!
I took a bunch more photos, too many to post. The day was an experience within itself.
Wadsworth and the Hudson River School
A Hartford local art patron Daniel Wadsworth founded the Wadsworth to share his love and the wonders of art with the public. The Wadsworth features many works collected by Wadsworth and other Hartford notables such as Elizabeth Hart Jarvis Colt and J. Pierpont Morgan. Leading the way in art the Wadsworth embraced new art movements. It was the first American museum to purchase works by Caravaggio, Frederic Church, Salvador Dalí, Joan Miró, Piet Mondrian, Balthus, and Joseph Cornell. The Wadsworth‘s famed Hudson River School collection can be found in the architecturally majestic Huntington Gallery near the front entrance.
The Hudson River School is the first national school of landscape art in the United States. It was between 1825 and 1875 that the discovery and exploration of the land were important to American landscape painters. The wonders of nature clearly were the subject the artist’s used to express the nation’s hopes and aspirations. This is where during my visit I found my own personal part of heaven. I loved viewing paintings with scenes from Connecticut to places like Niagara Falls and seascapes of Maine where I have visited.
In this collection you find many paintings by Frederic Church. Church, (May 4, 1826 – April 7, 1900), came from a wealthy Hartford family and was a student of Thomas Cole at the Hudson River School. Cole and Church were introduced by Daniel Wadsworth, a family neighbor and founder of the Wadsworth. During the 1850's and 60's he was a famous American landscape artist and one of America's most famous painters at the time. His paintings are of dramatic landscapes representing and harnessing the power, energy, space and light of extraordinary moments of nature with no traces of man. He was adventurous and traveled throughout his career. He took trips through Colombia and Ecuador. His South American pictures showed well in 1855 and for the next decade a great part of his attention focused on this subject producing a series of paintings that brought international fame and attention. Curiosity kept him looking for other subjects to paint from visiting places like Nova Scotia, Maine, New Hampshire, Vermont, and several trips to sketch Niagara Falls. Material for future paintings came from another trip to Ecuador, a voyage to Newfoundland and Labrador. In 1857, however, Church leapt to even international prominence with his seven-foot-wide picture Niagara and ten-foot canvas Heart of the Andes in 1859 that garnered him recognition as America's most famous painter. The exhibition of The Heart of the Andes in New York was the beginning of Church's courtship and marriage to Isabel Carnes. They couple were married in 1860 and lived on a hillside farm overlooking the Hudson River at Hudson, New York.
I especially loved one of his finest seascapes, Coast Scene Mount Desert, Maine. “There is no such picture of wild, reckless abandonment to its own impulses, as the fierce, frolicsome march of a gigantic wave,” Church wrote after observing the sea off Mt. Desert Island, Maine. This quote captured the same feeling of power, energy and light that I had when I was in Maine looking at a similar coastline as represented in his painting. Church’s style of painting remained true to his belief that an artist should capture the realities of nature and focus on the relationship between light and form. His painting technique was more precise and focused on specific effects of nature by the weather and atmosphere. You can see this relationship between the ocean and the clouds as represented in Coast Scene, Mount Desert.
In 1876 Church was stricken with rheumatoid arthritis. This made it difficult to paint. He still managed to paint by using his left hand but at a much slower pace he continued to sketch at his home at his estate on the Hudson River, Olana he died on April 7, 1900. Today, Olana is a New York State Historic Site, a National Historic Landmark, and one of the most popular tourist destinations in the Hudson Valley and upstate New York. Called by Church "the Center of the World," Olana is next on my list of the top 10 places to visit this summer.
By Kim Zarra
Picture link:
http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4186758015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.wadsworthatheneum.org/index.php
http://en.wikipedia.org/wiki/Frederic_Edwin_Church
http://www.artchive.com/artchive/C/church.html
http://www.olana.org/learn_frederic_church_olana.php
http://www.metmuseum.org/toah/intro/atr/atr.htm
http://faculty.pittstate.edu/~knichols/arttours.html#hudson
The Hudson River School is the first national school of landscape art in the United States. It was between 1825 and 1875 that the discovery and exploration of the land were important to American landscape painters. The wonders of nature clearly were the subject the artist’s used to express the nation’s hopes and aspirations. This is where during my visit I found my own personal part of heaven. I loved viewing paintings with scenes from Connecticut to places like Niagara Falls and seascapes of Maine where I have visited.
In this collection you find many paintings by Frederic Church. Church, (May 4, 1826 – April 7, 1900), came from a wealthy Hartford family and was a student of Thomas Cole at the Hudson River School. Cole and Church were introduced by Daniel Wadsworth, a family neighbor and founder of the Wadsworth. During the 1850's and 60's he was a famous American landscape artist and one of America's most famous painters at the time. His paintings are of dramatic landscapes representing and harnessing the power, energy, space and light of extraordinary moments of nature with no traces of man. He was adventurous and traveled throughout his career. He took trips through Colombia and Ecuador. His South American pictures showed well in 1855 and for the next decade a great part of his attention focused on this subject producing a series of paintings that brought international fame and attention. Curiosity kept him looking for other subjects to paint from visiting places like Nova Scotia, Maine, New Hampshire, Vermont, and several trips to sketch Niagara Falls. Material for future paintings came from another trip to Ecuador, a voyage to Newfoundland and Labrador. In 1857, however, Church leapt to even international prominence with his seven-foot-wide picture Niagara and ten-foot canvas Heart of the Andes in 1859 that garnered him recognition as America's most famous painter. The exhibition of The Heart of the Andes in New York was the beginning of Church's courtship and marriage to Isabel Carnes. They couple were married in 1860 and lived on a hillside farm overlooking the Hudson River at Hudson, New York.
I especially loved one of his finest seascapes, Coast Scene Mount Desert, Maine. “There is no such picture of wild, reckless abandonment to its own impulses, as the fierce, frolicsome march of a gigantic wave,” Church wrote after observing the sea off Mt. Desert Island, Maine. This quote captured the same feeling of power, energy and light that I had when I was in Maine looking at a similar coastline as represented in his painting. Church’s style of painting remained true to his belief that an artist should capture the realities of nature and focus on the relationship between light and form. His painting technique was more precise and focused on specific effects of nature by the weather and atmosphere. You can see this relationship between the ocean and the clouds as represented in Coast Scene, Mount Desert.
In 1876 Church was stricken with rheumatoid arthritis. This made it difficult to paint. He still managed to paint by using his left hand but at a much slower pace he continued to sketch at his home at his estate on the Hudson River, Olana he died on April 7, 1900. Today, Olana is a New York State Historic Site, a National Historic Landmark, and one of the most popular tourist destinations in the Hudson Valley and upstate New York. Called by Church "the Center of the World," Olana is next on my list of the top 10 places to visit this summer.
By Kim Zarra
Picture link:
http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4186758015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://www.wadsworthatheneum.org/index.php
http://en.wikipedia.org/wiki/Frederic_Edwin_Church
http://www.artchive.com/artchive/C/church.html
http://www.olana.org/learn_frederic_church_olana.php
http://www.metmuseum.org/toah/intro/atr/atr.htm
http://faculty.pittstate.edu/~knichols/arttours.html#hudson
The Wadsworth Athenueum, Karizma Schloss
My trip to the Wadsworth was Fantastic!!
There are renovations in progress but it's still open to the public and full of beauty. The building, which looks like a castle was designed by Architect Alexander Jackson Davis in the style of gothic revival. With is opening in 1844 the Wadsworth Atheneum is the oldest public art museum in the state of Connecticut. It is named after it's founder Daniel Wadsworth who was an art patron. It was much larger than I anticipated and it was truly a difficult task to select only one thing to focus upon. I visited the Atheneum during the time that Monet's water lilies were being featured, which was delightful but didn't allow capture of images by photography. Though I am a huge Van Gogh fan and never really paid much attention to Monet's lilies I found that I had to pull myself away from them and continued my stroll through the museum alone.I came upon the piece I chose to highligt right away. It is a sculpture by Duane Hanson titled "Sunbather" (1971), which is formed from polyester and fiberglass polychromed in oil. The life like quality of this sculpture is incredible. I walked into the gallery and there I saw a woman laid out in her bathing suit all sunburned and for a moment I forget that I was inside an art museum. See for yourself:
This is incredible! 
Upon researching the artist, I learned that he worked as a highschool art teacher after graduating from Macalster College in 1946 and then went on to achieve his Master of Fine Arts degree from Cranbrook Academy in 1951. Hanson used his creations to tell a story about societal issues. A lot of his work highlights controversial topics such as violence, racism, and drug abuse, which serve as his attempt to raise awareness. He is regarded as one of the leading sculptors in the late twentieth century and as one of America's best to interpret the Superrealist style, which focuses on attention to extreme detail. Hanson is quoted as saying, "I'm mostly interested in the human form as subject matter and means of expression for my sculpture. What can generate more interest, fascination, beauty, ugliness, joy, shock or contempt than a human being. Most of my time involves concentrating on the sculpting aspect. Casting, repairing, assembling, painting, correcting it until it pleases me. That takes some doing as I'm rarely satisfied." It is this dedication to perfecting his expression that made him the recipient of numerous awards. If you look carefully at the articles that are posed around our sunbather 
he is telling a story 
with the headlines of the advertised magazines and newspaper articles.One features weight loss advice and tips for a better life, and if you look closely in her bag you'll see a box of chocolate treats
and a diet soda can that has dropped into the beach sand.
Possibly Hanson is attempting to engage us to think about the pressures of society in terms of our outward appearance. The sunbather has clearly laid out tanning a bit too long and is now burned. 
The depiction of this in the color on the skin is truly remarkable and extremely lifelike. 
This is incredible! 
Upon researching the artist, I learned that he worked as a highschool art teacher after graduating from Macalster College in 1946 and then went on to achieve his Master of Fine Arts degree from Cranbrook Academy in 1951. Hanson used his creations to tell a story about societal issues. A lot of his work highlights controversial topics such as violence, racism, and drug abuse, which serve as his attempt to raise awareness. He is regarded as one of the leading sculptors in the late twentieth century and as one of America's best to interpret the Superrealist style, which focuses on attention to extreme detail. Hanson is quoted as saying, "I'm mostly interested in the human form as subject matter and means of expression for my sculpture. What can generate more interest, fascination, beauty, ugliness, joy, shock or contempt than a human being. Most of my time involves concentrating on the sculpting aspect. Casting, repairing, assembling, painting, correcting it until it pleases me. That takes some doing as I'm rarely satisfied." It is this dedication to perfecting his expression that made him the recipient of numerous awards. If you look carefully at the articles that are posed around our sunbather 
he is telling a story 
with the headlines of the advertised magazines and newspaper articles.One features weight loss advice and tips for a better life, and if you look closely in her bag you'll see a box of chocolate treats
and a diet soda can that has dropped into the beach sand.
Possibly Hanson is attempting to engage us to think about the pressures of society in terms of our outward appearance. The sunbather has clearly laid out tanning a bit too long and is now burned. 
The depiction of this in the color on the skin is truly remarkable and extremely lifelike. 
The Wadsworth Atheneum is celebrating it's 30th Annual Fine Art & Flowers festival. The museum is laced with floral fragrance throughout and has on display floral arrangements based upon an interpretation of the selected art form. I took pictures of a few and couldn't help but post them.
Bacchante (1894) by Frederick MacMonnies in bronze.
Tents at Lake (1916), oil on canvas by John Singer Sargent.
The Pulpit Rock (1913), oil on canvas, by George Bellows and it's flora interpretation: 
.This was my favorite:
Composition (1953), oil on canvas by Franz KlineOf all the musuem experiences during the course I would have to place this as my favorite. I am definitely planning on returning with my family and following the annual Fine Arts & Flowers festival.
Sources:
Art molds sculpture studio. "Hanson Duane."1998. Retrieved from http://www.artmolds.com/ali/hallpffame/duane_hanson.htm
"Wadsworth Atheneum Facts." Freebase. 2011. Retrieved from http://www.freebase.com/view/en/wadsworth_atheneum
IAN CHILVERS. "Superrealism." A Dictionary of Twentieth-Century Art. 1999. Retrieved from http://www.encyclopedia.com/
"Duane Hanson." Encyclopedia of World Biography. 2004. Retrieved from http://www.encylopedia.com/
Thursday, May 5, 2011
The Benton Murals - The New Britain Museum of American Art
The New Britain Museum of American Art has twelve galleries that showcase the Museum’s collection that spans three centuries of American art. It is the oldest museum in the country that concentrates on the collection of only American art. In one gallery you will walk through double doors into a room to view the most colorful murals painted by Thomas Hart Benton that record American Life in the 1930’s.
Thomas Hart Benton (1889-1975), was born in Neosho, Missouri, and the son of a famous political family. Although attending art school in Chicago, study in Paris and New York he was drawn towards modern styles verses the routine of the academic of the old masters of European art as Modern artists were experimenting with abstraction. The turning point came in 1924 when he returned home to visit his father who was dying. The artist, after talks with his father and his father’s old political buddies wanted to reconnect with the world of his childhood. His work then focused on his own country and scenes from the American heartland and became a “Regionalist” painter. His style represents undulating forms, cartoonlike figures, and brilliant color.
In 1930 he created a set of murals “Arts of Life in America”. 1n 1934 he was featured on the cover of Time magazine. This honor had never before been awarded to an artist. This notoriety leads him to be known to the public as the leader of the “Regionalist Movement” in American art.
He taught at the Art Students League in New York, where Jackson Pollock was his best-known student. Benton died in his studio on January 6, 1975, while completing a mural intended for the Country Music Hall of Fame in Nashville, Tennessee.
Benton was a controversial figure in the world of mural art. In his quest to for realism he was often in conflict with the public by giving them a view of America that they may not have wanted to see. A perfect example was his infamous “Arts of Life in America” murals. They are huge wall panels and four more around the ceiling. These panels depict “real” everyday life in American at the time. Not only did it focus on music, games, dance, sports that everyone wanted to see but they focused on regional diversity, unemployment, crime, and political nonsense. The controversy was the artist poking fun at the establishment and there foolishness. Through these series of murals he indulged in his passion for politics and represented America at work and at play.
Five Panels tell story…
Arts of the City depict the city at the height of the Great Depression where prohibition and bootlegging was big business.
Arts of the West represented Benton’s rural roots and his fascination with the western frontier as a small boy.
Arts of the South came from sketches done on various car trips south from Pittsburgh to Georgia and Louisiana to New Mexico.
Indian Arts portrays Benton’s understanding of Native American culture and records the Plains Indian’s way of life which was only a memory in history.
Intellectual Business and Political Ballyhoo was directly related to Benton’s early exposure to the political life and pokes fun at all the forms of political communication.
In 1932 Benton produced this set of large murals for an early home of the Whitney Museum. As told by the docent when I toured upon completion the Museum trustees were uncomfortable with the topics displayed and tried to find any loop hole so they wouldn’t have to show the murals. The only verification I could find is in Benton’s own essay that allows us a view of the artist’s thoughts on this work at the time it was made public. He writes, “The Museum Reading room containing these murals will be open to the public during museum hours from December 6th through 13th 1932. Thereafter the murals may be seen by special appointment.” He goes on to say, “ The subject-matter of this Whitney Museum wall painting is named “The Arts of Life in America” in contrast to those specialized arts which the museum harbors and which are the outcome of special conditioning and professional direction.” According to the docent at the museum, in 1958 these murals found a new home at The New Britain Museum of American Art at the cost of $500. Today it is one of their most popular exhibits. In 2004, when the museum was doing extensive renovations they had to find a home for the murals during construction. Believe it not, the murals went back home to the Whitney during the renovations. The murals were one of the most visited exhibits while they were at The Whitney.
Submitted by Kim Zarra
Picture link:http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4183514015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)
http://www.pbs.org/kenburns/benton/benton/
http://www.nbmaa.org/index.php?option=com_content&task=view&id=58&Itemid=89
Thomas Hart Benton (1889-1975), was born in Neosho, Missouri, and the son of a famous political family. Although attending art school in Chicago, study in Paris and New York he was drawn towards modern styles verses the routine of the academic of the old masters of European art as Modern artists were experimenting with abstraction. The turning point came in 1924 when he returned home to visit his father who was dying. The artist, after talks with his father and his father’s old political buddies wanted to reconnect with the world of his childhood. His work then focused on his own country and scenes from the American heartland and became a “Regionalist” painter. His style represents undulating forms, cartoonlike figures, and brilliant color.
In 1930 he created a set of murals “Arts of Life in America”. 1n 1934 he was featured on the cover of Time magazine. This honor had never before been awarded to an artist. This notoriety leads him to be known to the public as the leader of the “Regionalist Movement” in American art.
He taught at the Art Students League in New York, where Jackson Pollock was his best-known student. Benton died in his studio on January 6, 1975, while completing a mural intended for the Country Music Hall of Fame in Nashville, Tennessee.
Benton was a controversial figure in the world of mural art. In his quest to for realism he was often in conflict with the public by giving them a view of America that they may not have wanted to see. A perfect example was his infamous “Arts of Life in America” murals. They are huge wall panels and four more around the ceiling. These panels depict “real” everyday life in American at the time. Not only did it focus on music, games, dance, sports that everyone wanted to see but they focused on regional diversity, unemployment, crime, and political nonsense. The controversy was the artist poking fun at the establishment and there foolishness. Through these series of murals he indulged in his passion for politics and represented America at work and at play.
Five Panels tell story…
Arts of the City depict the city at the height of the Great Depression where prohibition and bootlegging was big business.
Arts of the West represented Benton’s rural roots and his fascination with the western frontier as a small boy.
Arts of the South came from sketches done on various car trips south from Pittsburgh to Georgia and Louisiana to New Mexico.
Indian Arts portrays Benton’s understanding of Native American culture and records the Plains Indian’s way of life which was only a memory in history.
Intellectual Business and Political Ballyhoo was directly related to Benton’s early exposure to the political life and pokes fun at all the forms of political communication.
In 1932 Benton produced this set of large murals for an early home of the Whitney Museum. As told by the docent when I toured upon completion the Museum trustees were uncomfortable with the topics displayed and tried to find any loop hole so they wouldn’t have to show the murals. The only verification I could find is in Benton’s own essay that allows us a view of the artist’s thoughts on this work at the time it was made public. He writes, “The Museum Reading room containing these murals will be open to the public during museum hours from December 6th through 13th 1932. Thereafter the murals may be seen by special appointment.” He goes on to say, “ The subject-matter of this Whitney Museum wall painting is named “The Arts of Life in America” in contrast to those specialized arts which the museum harbors and which are the outcome of special conditioning and professional direction.” According to the docent at the museum, in 1958 these murals found a new home at The New Britain Museum of American Art at the cost of $500. Today it is one of their most popular exhibits. In 2004, when the museum was doing extensive renovations they had to find a home for the murals during construction. Believe it not, the murals went back home to the Whitney during the renovations. The murals were one of the most visited exhibits while they were at The Whitney.
Submitted by Kim Zarra
Picture link:http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4183514015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
References:
http://en.wikipedia.org/wiki/Thomas_Hart_Benton_(painter)
http://www.pbs.org/kenburns/benton/benton/
http://www.nbmaa.org/index.php?option=com_content&task=view&id=58&Itemid=89
Wednesday, May 4, 2011
Our day started with a good amount of anxiety because we had never visited an art museum. We were both wondering how the day would progress. We drove to the Florence Griswold Museum in Old Lyme, Connecticut. It was a sunny cold early spring day. As we drove into the parking lot we were surprised to see a large white contemporary building nestled behind a very classical colonial home.
It was very quiet and not many cars in the parking lot. The few cars that were in the parking lot all had license plates from New York.
Florence Griswold died in 1937 and her belongings were sold at auction. In 1941 the Florence Griswold Association purchased the house and in 1947 The Florence Griswold Museum opened to the public.
My husband and I learned a great deal about the history of the artist that stayed with Florence Griswold. It is truly an amazing history lesson.
There was one artist by the name of Harry Hoffman who stayed with Florence. He first came to Old Lyme in 1902 with his friend Arthur Heming. Florence did not normally invite students into her home at the request of the artist; however, Harry was quickly welcomed into the colony. He met his future wife, Beatrice Pope, when they were staying at the house. After they were married they settled in Old Lyme and raised their son John L. Hoffman.
The piece that I was drawn to was Bridging the Lieutenant, 1906. It is oil on canvas and is a view of Bow Bridge. The bridge spanned the Lieutenant River not far from the Griswold House. Hoffman was an American Impressionist and this piece is said to have an influence of Japanese prints.
Hoffman was a man with strong academic art training, Harry Hoffman was judged by his peers to have done best with his landscapes when he painted what he saw and set aside the theories. He studied in Paris, worked at Yale University with John Ferguson Weir, and was a student at the Art Students League with Frank DuMond. But Willard Metcalf had the strongest influence, encouraging Hoffman to paint in the style of impressionism (BIOGRAPHY for Harry Hoffman)
The experience left Jerry and I with a new interest and appreciation for art. We were looking forward to our next musuem experience.
It was very quiet and not many cars in the parking lot. The few cars that were in the parking lot all had license plates from New York.
Florence Griswold died in 1937 and her belongings were sold at auction. In 1941 the Florence Griswold Association purchased the house and in 1947 The Florence Griswold Museum opened to the public.
My husband and I learned a great deal about the history of the artist that stayed with Florence Griswold. It is truly an amazing history lesson.
There was one artist by the name of Harry Hoffman who stayed with Florence. He first came to Old Lyme in 1902 with his friend Arthur Heming. Florence did not normally invite students into her home at the request of the artist; however, Harry was quickly welcomed into the colony. He met his future wife, Beatrice Pope, when they were staying at the house. After they were married they settled in Old Lyme and raised their son John L. Hoffman.
The piece that I was drawn to was Bridging the Lieutenant, 1906. It is oil on canvas and is a view of Bow Bridge. The bridge spanned the Lieutenant River not far from the Griswold House. Hoffman was an American Impressionist and this piece is said to have an influence of Japanese prints.
Hoffman was a man with strong academic art training, Harry Hoffman was judged by his peers to have done best with his landscapes when he painted what he saw and set aside the theories. He studied in Paris, worked at Yale University with John Ferguson Weir, and was a student at the Art Students League with Frank DuMond. But Willard Metcalf had the strongest influence, encouraging Hoffman to paint in the style of impressionism (BIOGRAPHY for Harry Hoffman)
The experience left Jerry and I with a new interest and appreciation for art. We were looking forward to our next musuem experience.
The New Britian Museum of Art
Hello Everyone,
Who would have thought there was such a jewel of a museum in New Britain. Truly this is where “Art Meets Life” as they proclaim in the museum’s brochure. There was easy parking and access to the building which is on beautiful grounds. I took this journey on my own and quite frankly enjoyed the time to go at my own pace and not worry about others. When I arrived I was just in time for the tour. George Martin was our docent. He was an extremely knowledgeable and distinguished gentleman who had been leading these tours for a long time. The glass chandelier was an amazing site to see. A wonderful blend of Colonial and Early American, Illustrations, Hudson River, Academic, Civil War and Impressionism greeted us on the first floor. The second floor transported us through the first half of the 20th Century and then gave us a view of Contemporary and Regionalism works of art that appealed to many different people. I was busily writing information as fast I as heard it and older lady said with a question in her voice, “You must be a reporter who is writing an article commenting about the paintings?” “No”, I replied,” I am an art student enjoying the lovely paintings.” “Oh”, she exclaimed.
Out of many different works of art what stood out in my mind on that day as I went home was “The Cycle of Terror and Tragedy: September 11, 2001 painting by Graydon Parrish. This oil canvas is 76x210 inches in size. It is a painting you must experience and see for you will either hate it or love it. It was beautiful and tragic at the same time.
But what really stayed with me over the next few days was the Benton Murals. These murals represented “The Arts of Life in America” during the depths of the Great Depression. Through a series of murals he indulged in his passion for politics and represented America at work and at play. In 1950 the Whitney Museum commissioned Benton to paint these murals. When they were done the Museum trustees were uncomfortable with the topics displayed and tried to find any loop hole so they wouldn’t have to show the murals. Finally, they found a zoning law and used this to not show the murals. They were actually covered and the doors of the exhibit room were barred and locked. You had to get special permission to view the murals. Eventually they were happy to sell the murals to The New Britain Museum for $500. Today it is one of their most popular exhibits. In 2004, when the museum was doing extensive renovations they had to find a home for the murals during construction. Believe it not, the murals went back home to the Whitney during the renovations. The murals were one of the most visited exhibits while they were at The Whitney. I wondered if they thought selling them for $500 was a big mistake. Hearing this story made me want to visit The Whitney for one of my experiences.
Here is the link for my pictures from my visit.
http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4161822015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
Best, Kim
Who would have thought there was such a jewel of a museum in New Britain. Truly this is where “Art Meets Life” as they proclaim in the museum’s brochure. There was easy parking and access to the building which is on beautiful grounds. I took this journey on my own and quite frankly enjoyed the time to go at my own pace and not worry about others. When I arrived I was just in time for the tour. George Martin was our docent. He was an extremely knowledgeable and distinguished gentleman who had been leading these tours for a long time. The glass chandelier was an amazing site to see. A wonderful blend of Colonial and Early American, Illustrations, Hudson River, Academic, Civil War and Impressionism greeted us on the first floor. The second floor transported us through the first half of the 20th Century and then gave us a view of Contemporary and Regionalism works of art that appealed to many different people. I was busily writing information as fast I as heard it and older lady said with a question in her voice, “You must be a reporter who is writing an article commenting about the paintings?” “No”, I replied,” I am an art student enjoying the lovely paintings.” “Oh”, she exclaimed.
Out of many different works of art what stood out in my mind on that day as I went home was “The Cycle of Terror and Tragedy: September 11, 2001 painting by Graydon Parrish. This oil canvas is 76x210 inches in size. It is a painting you must experience and see for you will either hate it or love it. It was beautiful and tragic at the same time.
But what really stayed with me over the next few days was the Benton Murals. These murals represented “The Arts of Life in America” during the depths of the Great Depression. Through a series of murals he indulged in his passion for politics and represented America at work and at play. In 1950 the Whitney Museum commissioned Benton to paint these murals. When they were done the Museum trustees were uncomfortable with the topics displayed and tried to find any loop hole so they wouldn’t have to show the murals. Finally, they found a zoning law and used this to not show the murals. They were actually covered and the doors of the exhibit room were barred and locked. You had to get special permission to view the murals. Eventually they were happy to sell the murals to The New Britain Museum for $500. Today it is one of their most popular exhibits. In 2004, when the museum was doing extensive renovations they had to find a home for the murals during construction. Believe it not, the murals went back home to the Whitney during the renovations. The murals were one of the most visited exhibits while they were at The Whitney. I wondered if they thought selling them for $500 was a big mistake. Hearing this story made me want to visit The Whitney for one of my experiences.
Here is the link for my pictures from my visit.
http://www1.snapfish.com/snapfish/thumbnailshare/AlbumID=4161822015/a=141417625_141417625/otsc=SHR/otsi=SALBlink/COBRAND_NAME=snapfish/
Best, Kim
Yale Center For British Art
I tried to recreate my weekend visit to Yale Center For British Art the best waythat I can .I also wished I could have captured Sir Thomas Lawrence genius from my camera lens but the Internet is just as good. Thank you Professor Nevins for providing such a great link.John Julius Angerstein (1736–1823)Medium
Oil on canvas
The Daughters of Colonel Thomas Carteret Hardy
A portraits, of a friend's wife, Mary Hamiltonn Oil on Canvass. He drew Mary Hamilton in pencil, red and black chalk in 1789. The British Museum, which owns the work, writes, "This important drawing of Mary Hamilton is arguably the most beautiful female portrait of its type Thomas Lawrence, self-portrait from 1788, right, was born in Bristol in 1769. He was a child prodigy and by age 10, when his family moved to Bath, he supported then with his drawings in pastels. He moved to London at age 18 and was soon hailed as an up and coming talented successor to Sir Joshua Reynolds, then Britain's leadingportraitist.http://www.britishmuseum.org/explore/highlights/highlight_objects/pd/s/thomas_lawrence,_mary_hamilton.aspx
.
The Duke of Wellington on the horse who carried him throughout the day-long Battle of Waterloo.
I had pleasant visit at Yale
British Art Gallery. The entrance was free and the counter staff was very knowledgeable. There was a older woman working at the front desk that passed on an abundance of knowledge to me . She explained very piece of art and dates for each era. I was impressed. After explaining the art and artistes for five minutes, she said young man, “what period or artistes are you looking for ?” I said ,“ Thomas Lawrence.” The woman said, “you meant Sir Thomas Lawrence.” I respond, “yes exactly.” She said “ well he’s on the second floor.” I said , “thank you “and proceeded up stairs. I walked into Sir Thomas Lawrence private collection and I was met by a guard. He said no cameras are allowed here." I said ,"very well “that’s fine.” I was a little intimated at first when I was approached by the guard but I didn’t take it personal because it there job to monitored these priceless artwork( these guards ran a tight ship and they monitor every move you make). Sir Thomas collection was very impressive and interesting. My only fault was, I couldn’t take pictures and share them with my classmates. The rest of the museum was very pleasant and simple compare to the others I visited throughout the module. I had another excellent experience and I recommend my fellow student/family members to visit this museum at lease once.
Oil on canvas
The Daughters of Colonel Thomas Carteret Hardy
A portraits, of a friend's wife, Mary Hamiltonn Oil on Canvass. He drew Mary Hamilton in pencil, red and black chalk in 1789. The British Museum, which owns the work, writes, "This important drawing of Mary Hamilton is arguably the most beautiful female portrait of its type Thomas Lawrence, self-portrait from 1788, right, was born in Bristol in 1769. He was a child prodigy and by age 10, when his family moved to Bath, he supported then with his drawings in pastels. He moved to London at age 18 and was soon hailed as an up and coming talented successor to Sir Joshua Reynolds, then Britain's leadingportraitist.http://www.britishmuseum.org/explore/highlights/highlight_objects/pd/s/thomas_lawrence,_mary_hamilton.aspx
.The Duke of Wellington on the horse who carried him throughout the day-long Battle of Waterloo.
I had pleasant visit at Yale
British Art Gallery. The entrance was free and the counter staff was very knowledgeable. There was a older woman working at the front desk that passed on an abundance of knowledge to me . She explained very piece of art and dates for each era. I was impressed. After explaining the art and artistes for five minutes, she said young man, “what period or artistes are you looking for ?” I said ,“ Thomas Lawrence.” The woman said, “you meant Sir Thomas Lawrence.” I respond, “yes exactly.” She said “ well he’s on the second floor.” I said , “thank you “and proceeded up stairs. I walked into Sir Thomas Lawrence private collection and I was met by a guard. He said no cameras are allowed here." I said ,"very well “that’s fine.” I was a little intimated at first when I was approached by the guard but I didn’t take it personal because it there job to monitored these priceless artwork( these guards ran a tight ship and they monitor every move you make). Sir Thomas collection was very impressive and interesting. My only fault was, I couldn’t take pictures and share them with my classmates. The rest of the museum was very pleasant and simple compare to the others I visited throughout the module. I had another excellent experience and I recommend my fellow student/family members to visit this museum at lease once.Tuesday, May 3, 2011
I visited the New Britain Museum of American Art on Wednesday, April 13th with my mom. Our intention was to travel to the Metropolitan Museum of Art on this date but circumstances prohibited the long travel.
However, we enjoyed our visit to New Britain instead. We were given visitor passes that granted us free admission so I knew it was going to be a good day. It was rainso I really didn't get all the shots of the outside that I intended but I took one that I will post shortly. As soon as I entered I knew the piece I wanted to write about.
It's small sculpture that measures about twelve inches from tip to tip
but the size in no way takes away from its detail or impact. Interestingly I saw another edition of this at the Wadsworth Atheneum in Hartford. This bronze edition of 20, titled Flight of Night was sculpted in 1916 by Paul Howard Manship (1885-1966). He is an American sculptor who began his art school background at age 7 at the Institute of Art in St. Paul, Minnesota. While his schooling began in Minnesota he went on to further his artistic education at the Pennsylvania Academy of Fine Arts and honed his talents and earned a scholarship to attend The American Academy of Rome at age 24. It is recorded that this is where he developed his style with the influence of Ancient Greek sculpture. He is regarded for incorporating modern themes with classical sculpture. His defined style of streamlined forms is apparent in the work I've highlighted. Manship is responsible for many artistic expressions that range from gardens, exhibitions featured in the New York Zoological Park and the Prometheus Fountain in Rockefeller Center. Manship has been bestowed many awards for his creativity and artistic renditions, including the Helen Foster Barnett Prize from the National Academy of Design, the American Independent Artists Medal, the J. Sanford Saltus Medal of the American Numismatic Society, the Gold Medal of Philadelphia Art Week and many, many others. His ability to bring a polished finish to sculpture is what attracted me to Flight of Nigh and it was interesting to read abou this as a technique he mastered with precision.
However, we enjoyed our visit to New Britain instead. We were given visitor passes that granted us free admission so I knew it was going to be a good day. It was rainso I really didn't get all the shots of the outside that I intended but I took one that I will post shortly. As soon as I entered I knew the piece I wanted to write about.
It's small sculpture that measures about twelve inches from tip to tip
but the size in no way takes away from its detail or impact. Interestingly I saw another edition of this at the Wadsworth Atheneum in Hartford. This bronze edition of 20, titled Flight of Night was sculpted in 1916 by Paul Howard Manship (1885-1966). He is an American sculptor who began his art school background at age 7 at the Institute of Art in St. Paul, Minnesota. While his schooling began in Minnesota he went on to further his artistic education at the Pennsylvania Academy of Fine Arts and honed his talents and earned a scholarship to attend The American Academy of Rome at age 24. It is recorded that this is where he developed his style with the influence of Ancient Greek sculpture. He is regarded for incorporating modern themes with classical sculpture. His defined style of streamlined forms is apparent in the work I've highlighted. Manship is responsible for many artistic expressions that range from gardens, exhibitions featured in the New York Zoological Park and the Prometheus Fountain in Rockefeller Center. Manship has been bestowed many awards for his creativity and artistic renditions, including the Helen Foster Barnett Prize from the National Academy of Design, the American Independent Artists Medal, the J. Sanford Saltus Medal of the American Numismatic Society, the Gold Medal of Philadelphia Art Week and many, many others. His ability to bring a polished finish to sculpture is what attracted me to Flight of Nigh and it was interesting to read abou this as a technique he mastered with precision. Around the bend in the center of the hall stood this bronze sculpture: 
Sioux Indian Buffalo Dance by Solon H. Borglum,created in 1902. As I admired it something further down the hall caught my eye. Blue and Beyond in glass by Dave Chihuly (2006) 
hangs suspended from the ceiling. It is inspired by the form of sea creatures and I absolutely appreciate that interpretation. Thomas Hart Benton has a section within the museum of wall murals that feature oversized oil paintings. I photographed two that I enjoyed. This is The Arts of Life in America: Indian Arts 1932.
And this one, also painted in 1932 titled The Art of Life in America: Art of the South.
It made me think of artwork that was depicted on the show Good Times painted by the character Jay-Jay. I must include this very unique project, The Gravity of Color (2008) by Lisa Hoke. 
Yes it is constructed totally from plastic and paper cups, with the use of paint and hardware. 
This was a favorite of moms so I had to include her photo, "Hi Mom!"
It was very interesting to view this oil on canvas painting of West Rock in New Haven from 1849 by 
Frederic Edwin Church. The ability to make historical comparisons is just one aspect of art appreciation. Isamu Noguchi's The Balance Stone (1978) was also 
a piece I contemplated researching 
further to highlight. The close of our visit ends with my photograph of the Thinker by David Aronson (1964-1968).
Again we can see the artist technique of creating a gloss finish on bronze art. The New Britain Musuem of America is a modern building with a modern scuplture on the exterior that I could not gain details on due to weather
. The museum is housed within a stone mansion, designed by Frederick Law Olmstead, endowed to the original Culturual Center for expansion of the art display in 1934. The design of the mansion was transformed and opened to the public in 1937 for art viewing. The exterior stones have a nice finish and as you walk in you're greeted by the large modern sculpture where outdoor seating is available. The building definitely put me in the frame of mind for the art that I experienced on the inside.
Sioux Indian Buffalo Dance by Solon H. Borglum,created in 1902. As I admired it something further down the hall caught my eye. Blue and Beyond in glass by Dave Chihuly (2006) 
hangs suspended from the ceiling. It is inspired by the form of sea creatures and I absolutely appreciate that interpretation. Thomas Hart Benton has a section within the museum of wall murals that feature oversized oil paintings. I photographed two that I enjoyed. This is The Arts of Life in America: Indian Arts 1932.
And this one, also painted in 1932 titled The Art of Life in America: Art of the South.
It made me think of artwork that was depicted on the show Good Times painted by the character Jay-Jay. I must include this very unique project, The Gravity of Color (2008) by Lisa Hoke. 
Yes it is constructed totally from plastic and paper cups, with the use of paint and hardware. 
This was a favorite of moms so I had to include her photo, "Hi Mom!"
It was very interesting to view this oil on canvas painting of West Rock in New Haven from 1849 by 
Frederic Edwin Church. The ability to make historical comparisons is just one aspect of art appreciation. Isamu Noguchi's The Balance Stone (1978) was also 
a piece I contemplated researching 
further to highlight. The close of our visit ends with my photograph of the Thinker by David Aronson (1964-1968).
Again we can see the artist technique of creating a gloss finish on bronze art. The New Britain Musuem of America is a modern building with a modern scuplture on the exterior that I could not gain details on due to weather
. The museum is housed within a stone mansion, designed by Frederick Law Olmstead, endowed to the original Culturual Center for expansion of the art display in 1934. The design of the mansion was transformed and opened to the public in 1937 for art viewing. The exterior stones have a nice finish and as you walk in you're greeted by the large modern sculpture where outdoor seating is available. The building definitely put me in the frame of mind for the art that I experienced on the inside.Sources:
IAN CHILVERS. "Manship, Paul." A Dictionary of Twentieth-Century Art. 1999. Retrieved from http://www.encyclopedia.com/doc/105-ManshipPaul.html
Art Paul Howard Mandship Biography. National Museum of Wildlife Art. Retrieved from http://www.wildlifeart.org/Artists/ArtistDetails/index.php?aID=251.
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