Check out Arts Unite Blog

Check out Jennifer Hartman's blog which is providing a forum for contributors in different arts disciplines: theater, music, dance and visual art. A grad student at the University of North Texas (my alma mater!) is working on a blogging project for a multimedia class. Visit her blog and make a comment!

I am really excited about other teachers using the blog as a virtual classroom! Free, convenient, and easily accessible, it is an excellent tool to use with students in the classroom. You can check out her blog in the blog title or in the blog list on the right. Good luck Jennifer!

Blogging In The Art Classroom

Check out this SlideShare Presentation:

Blogging In The Art Classroom

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09/10 Academic Decathlon French Revolution Art Selection #12 - Stormy Coast Scene after a Shipwreck

Stormy Coast Scene after a Shipwreck, Horace Vernet , Oil on canvas, 23 1/4 x 28 3/8 in. (59 x 72 cm), The Metropolitan Museum of Art

This painting is chilling...also painted by Émile-Jean-Horace Vernet, it is a scene of people rescuing victims from a shipwreck that are washed up on the rocky shore. The waves are dominating the image, and the people are tiny in comparison. The Romanticists were enthralled with this idea of the raw power and destruction of nature, and this painting is evident of that interest. A woman is limply being fished out of the sea, either unconscious or dead; the viewer is not sure which it is which adds to the drama. Another man is swimming to shore and grabs at the rocks as he tries to get back on land. If you have ever spent time on a coast and witnessed the power of a storm, you may have a glimpse into this artwork. This vulnerability of man in nature is a common theme in Romantic painting.

The right side of the painting is made up of the rocky shore. I have had my own dramatic event on a rocky shoreline; while snorkeling off the coast of Cozumel, I got caught in a strong surf which pushed and pulled me to and from the rocks (the coast is not a sandy beach, but made of lava rocks as sharp as razor blades). As I was pushed towards the sharp rocks, I tried to grab for them, but then the swell would pull me away back to sea. This happened about 3 or 4 cycles when my husband recognized my precarious situation and called for me to swim back to him, which I did. We both swam back down the shoreline until we found a better place to access a friendlier part of the beach. I will tell you, when I got back on land my legs felt like Jello!! I knew that I had been in a situation that was beyond my swimming skills and without his help I might have had a different outcome. I truly felt as though he had saved my life.

What is interesting about Vernet's painting, is that he shows a tiny slice of the aftermath of the shipwreck. We don't see the ship or any other survivors, so we are left wondering about the rest of the story. What kind of ship was it? Where was it headed? Were there other people on the boat? Are they still drifting about in the sea? When we view art, we may have an obvious connection as my own story above relates. There can be parallels in our lives with the great art we see. By keeping a painting's narrative open and ambigous we are invited to construct our own story or even recall a life event of our own that parallels the picture. I love rocks and though they are beautiful, they can be deadly to our fragile existence. Perhaps you can conjour your own story about this painting; I know I have tasted salt water and felt fear in a vulnerable moment at sea, and it is a feeling and moment I will never forget.

09/10 Academic Decathlon French Revolution Art Selection #11 - The Start of the Race of the Riderless Horses

The Start of the Race of the Riderless Horses, 1820, Horace Vernet, Oil on canvas, 18 1/8 x 21 1/4 in. (46 x 54 cm), The Metropolitan Museum of Art

I just love this painting! It is full of drama and excitement (elements of Romanticism) - the horses are portrayed with power and glory. The artist, Horace Vernet, grew up in an aristocratic French family, the son of another famous painter, Carle Vernet. His career was jump started as a result of his heritage and financial means, and he sprang onto the art scene exhibiting his first artwork at the Salon when he was 23. From the beginning of his career he was known for his paintings of horses, images of soldiers and large scale battle scenes, which were widely popular. He was skilled at capturing battles as a journalist would, including details that might be left out by other artists. He was a very successful artist whose patrons included the kings and emperors of France as well as wealthy members of the upper-middle class.

This scene, the race of the riderless horses, was an event that took place in Rome alongside the annual Carnival celebration in Rome. Much like the running of the bulls in Paloma, Spain, the festival and the race attracted tourists from all over Europe. Barberi horses, a breed of small, fast horses from the coast of northern Africa, were the horses who ran the race. They would race over a mile without jockeys, spurred on by irritating bits of metal attached to their bodies as well as the setting off of firecrackers and loud, boisterous crowds. And, like the running of the bulls, once the horses let loose, people on the streets could be crushed by the raw power of the horses, so many spectators watched from the safety of balconies above the street level.

Vernet is showing the moment before the race has begun, when the grooms are trying to control the huge animals which are decorated with ribbons for identification purposes. The drama of being in such close quarters with such powerful animals is displayed in the center - a black horse has fallen on a groom and there is terror in his face as he realizes he could be trampled to death in a moment. Another groom, muscles rippling with effort, is trying to contain the wild beast. There is yet another groom in the background adding his strength to control the situation. We see spectators in the balconies that are hung with red drapery for the celebration. Some are not even interested in the scene below, but are looking off to some other happening in the distance.

The Romanticists loved to focus on the power and uncontrollable aspect of nature and the interest in horses was a favorite subject in their paintings. This particular scene was especially exciting: it showed a time when the power and fury of these magnificent beasts was set free and could also be seen as a symbol of freeing human spirits from the bondage of modern civilization.

Self-Portrait, Emile Jean Horace Vernet, 1835, Oil on canvas, 47 × 39 cm (18.50 × 15.35 in)

09/10 Academic Decathlon French Revolution Art Selection #10 - Evening: Landscape with an Aqueduct

Evening: Landscape with an Aqueduct, 1818, Théodore Gericault, Oil on canvas, 98 1/2 x 86 1/2 in. (250.2 x 219.7 cm), The Metropolitan Museum of Art

Géricault is considered to be one of the most important painters in the movement of Romanticism. He studied under Carle Vernet, but broke away from formal study, copying Renaissance and Baroque painters. He was an independent artist interested in exploring is own artistic vision. He worked across many genres and was not only a painter but a talented printmaker. He painted scenes of contemporary events as well as portraits, horses, genre scenes and landscapes. He died young, at age 32, after sustaining an injury and disease that rapidly shortened his life. One of his landmark paintings is the Raft of the Medusa.

Evening: Landscape with an Aqueduct is one of his largest paintings. The scene is romantic, with its dramatically lit sky and grand view of river and the countryside. The Roman aqueduct is the focal point in the center of the composition - the sky is a dramatic backdrop highlighting this antiquity with its rounded arches. There are bathers in the foreground, but there seems to be no narrative that they are involved in save washing the dust off from their day. This painting seems to be nothing more than a glorious landscape, perhaps paying homage to the Roman aqueduct which could allude to the passage of time.

Check out the essay found on the Met's website about Romanticism.

Self portrait, 27 x 37 cm (10,6 x 14,5 inches), Oil on canvas

09/10 Academic Decathlon French Revolution Art Selection #8 - The Triumph of Aemilius Paulus

The Triumph of Aemilius Paulus, 1789, Carle Vernet (Antoine Charles Horace) (French, 1758–1836), Oil on canvas, 51 1/8 x 172 1/2 in. (129.9 x 438.2 cm), The Metropolitan Museum of Art

This panoramic painting by Carle Vernet is a monumental history painting over 14' wide. The size alone would have gotten a lot of attention from the Salon, but he also displays a confident technical ability. He painting this piece as the Revolution was garnering strength and hoped that it would gain him full membership in the Academy.

The subject comes again from Roman history as described by the Roman historian Livy. The composition shows a throng of people witnessing the triumphant arrival of Amelius Paulus in Rome. Paulus, seated on the right side in a golden chariot, the men and women lauding him upon his return to Rome. The light is dramatically focused on Aemilius Paulus with the background full of examples of classical architecture. Because there are many monuments in this painting, the work is reminiscent of the vedute that people loved buying during their Grand Tour.

09/10 Academic Decathlon French Revolution Art Selection #9 - Minerva Protecting the Young King of Rome

Minerva Protecting the Young King of Rome, 1811
Joseph-Antoine Romagnési, Plaster, painted to resemble yellowish stone; green marbleized wood (frame only)
45 1/2 x 29 in. (115.6 x 73.7 cm), The Metropolitan Museum of Art

Ah, Roman mythology! The Neoclassical artists loved nothing more than to revisit these stories and see how well they could create the ideal aesthetic. In this relief sculpture, Minerva, the Roman Goddess of war and wisdom, is sheltering the child of Napoleon who he named as his heir and the King of Rome. Her pose is a classical stance from Greek and Roman sculpture, the contrapposto pose. The boy has his arm draped around a she-wolf which reminds the viewer about the legend of Romulus & Remus, the two brothers who were the founders of Rome, suckled and raised by a protective she-wolf.

This sculpture was created commemorating the birth of François-Chrles-Joseph, known as Napoleon II. Finally Napoleon had an heir to his empire. This piece is highly propagandistic - Napoleon wanted to have art and symbols tying his son to the glory of Rome and the empire that leaders continued to try to emulate.

Not a lot is known about Ramagnéi's early career. He became a professional artist after the Revolution. The sculpture, though created in plaster, was painted to look like the more lasting material stone. Marble was more costly, so it also made it look more expensive and precious. It was common for sculptors of this time to complete their designs in plaster and then take it to a professional stone carver to complete it in stone. This work was never realized in marble.

09/10 Academic Decathlon French Revolution Art Selection #7 - The Death of Socrates

The Death of Socrates, Jacques-Louis David, 1787, Oil on canvas, 51 x 77 1/4 in. (129.5 x 196.2 cm), The Metropolitan Museum of Art

David is one of my personal favorite artists! His work is so powerful, so spare, so beautiful! He was privy to a superior education and the style of his training contributed to his rise as one of the great history painters. One of his early teachers was François Boucher, and though he was anxious to win the Academy's greatest honor, the Prix de Rome, it was not a fait accompli for him; his first submission was not accepted. Though he did not receive the Prix de Rome when he first attempted it, he had other commissions and prizes during his years as a student. He finally got to study at the French Academy in Rome and that is where he really connected with the classical influence that would inform his own work. As the AcDec guide states: "David became one of the most influential and successful artists of the 1780s, and some of his most important works were completed in the years leading up to the Revolution." He became very active in the politics surrounding the Revolution. "David also played a prominent role in the development of propaganda for the new Republic, staging funerals for martyrs of the Revolution, designing festivals for new secular heroes, and helping to construct a new body of symbolic imagery for the new political regime."

Because of his political bent and his artistic genius, Napolean commissioned him to create portraits of him as a statesman and as a powerful military leader. This is one of my favorite paintings of Napoleon:

Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the Spanish Ambassador to France, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps in 1800.

This piece of David, The Death of Socrates, was a painting he did during the early years of his career. The scene is powerful and emotional, Socrates has been accused by his society of corrupting the youth and has been sentenced to death. He chooses to be in control of his fate by drinking hemlock, a poison that kills someone slowly. He is in a prison cell - there are shackles and chains on the floor adding to the drama of the situation. Socrates is depicted as a trim, muscular and youthful man even though he is also shown as being advanced in age. His devotees are surrounding him as he points to the heavens and assures them that his soul will remain immortal. His other hand reaches out to the poison in a distracted kind of way. He is calm and assured, though his disciples are emotional and beginning to grieve his imminent death.

Back to my comment about David's spare paintings - his neoclassical scenes have an emphasis on the drama of the human predicament rather than a busy background. He uses light to increase the dramatic tension and focus the attention on the central figures. This stark, stage-like setting is very different from the frivolous, soft paintings of Rococo. Line is emphasized over color which was thought to be associated with intellectual thought rather than the emotional and sensual flavor of Rococo. This subject of classical history was meant to appeal to educated, literary people who were interested in the expanded thinking of the Enlightenment.

Self-portrait, Jacques-Louis David, 1794, Oil on canvas, 31.69 x 25.24 inches / 80.5 x 64.1 cm, Musée du Louvre, Paris, France

09/10 Academic Decathlon French Revolution Art Selection #6 - Modern Rome

Modern Rome, 1757, Giovanni Paolo Panini, Oil on canvas, 67 3/4 x 91 3/4 in. (172.1 x 233 cm), The Metropolitan Museum of Art

We move away from the frivolity of the Rococo movement into an artistic return to the classical ideal. The classic aesthetic that the Greeks and Romans created continue to inspire artists through the ages. Neoclassical art can vary widely, but it looks back to classical art in one way or another. One reason for the rise of interest in classicism was the unearthing of the ruins in Pompeii and Herculaneum near Naples, Italy. These discoveries excited the people in the 18th century - they could see how people worked and lived ages before them.

The Grand Tour became a standard part of the education of privileged young men. Italy was at the heart of the Grand Tour - travelers would visit the important cities and sites studying, sketching and collecting artwork as a memento of their trip. Artists catered to this enthusiastic audience for all things classical. Panini was one of the great masters of vedute, or "view paintings" which were popular with the visitors to Italy on the Grand Tour.

This work by Panini, Modern Rome shows a very large gallery with paintings hung floor to ceiling; each painting is of a monument or building of "modern Rome" depicted from the eras of the Renaissance and Baroque. Gentlemen are portrayed in the gallery looking at the paintings. Panini even put in a self-portrait - he's dressed in gray, seated in an armchair and looking out of the painting. The paintings showcase the works of art and architecture a travelers would see on his Grand Tour.

Portrait of Giovanni Paolo Panini, 1705, Oil on canvas, 29.92 inches wide 37.99 inches high

09/10 Academic Decathlon French Revolution Art Selection #5 - Shepherd's Idyll

Shepherd's Idyll, François Boucher, 1768, Oil on canvas, 94 1/2 x 93 1/2 in. (240 x 237.5 cm), The Metropolitan Museum of Art

François Boucher's artwork is indicative of the mature phase of the Rococo movement and is sometimes thought of as "high rococo." He was born into a working class family, but he gained entrance into the Royal Academy and then had the opportunity to study at the French Academy in Rome. He eventually was categorized as a history painter within the Royal Academy, the highest level you could achieve. Perhaps his biggest claim to fame was being a favorite painter for Madame de Pompadour. He even used her likeness in some of the goddesses in mythological scenes he created.

He was particularly fond of a subcategory of history painting called "gallant mythologies" - scenes that depicted the loves of the gods of antiquity. He drew heavily from Watteau's idea of fête galante, but Boucher's style was full of fantasy. He composed his paintings with a theatrical bent.

Let's look at Shepherd's Idyll. This painting was made two years before his death, so it is part of his mature work. It is very large - on the scale of a history painting. But this is not a scene of action and drama, but a bucolic scene depicting a moment of leisure in the life of this shepherd. The people in the painting are all dressed simply, but they are not dressed in work clothes. The 3 women and the children form an adoring circle around the relaxed figure of the shepherd.

This painting is known as an idyll, which means a charming, bucolic scene of rural life. The people are idealized, young, beautiful, living together in harmony. Though the shepherd is a working class man, it appears his life is carefree and not so involved with working! The wealthy class wanted to fantasize that the working class did not suffer excess toil, so had them portrayed as their own lives were - free of worry and hard work.

Boucher's palette was comprised of pastel tones and bright whites. He had a very painterly style - loose and free. He painted to satisfy the tastes of his clientele. He catered to the decorative style that the aristocracy craved. The salons of Paris were held by aristocratic women. They were sophisticated and loved a beautiful environment. This image closes out the Rococo period and is the epitome of the style - luxury, frivolity, soft colors, relaxation AND........love!

Artist of the Week - Edward Burtynsky

Check out the documentary film of his work.

09/10 Academic Decathlon French Revolution Art Selection #4 - Broken Eggs

Broken Eggs, 1756, Jean-Baptiste Greuze (French, 1725–1805), Oil on canvas, 28 3/4 x 37 in. (73 x 94 cm), The Metropolitan Museum of Art

I love Greuze! What a genre painter he was! His paintings were didactic and moralizing - with plenty of drama. Greuze was accepted into the Academy and painted this piece, Broken Eggs, while studying in the French Royal Academy in Rome. He wanted to achieve the status of history painter, but it was not to be - during his career he never broke free of genre painter. This really upset him! Because he could not achieve the higher level with the Academy, he refused to exhibit his work at the Salons for over thirty years! Take that!

Let's get to the drama.....the scene is set inside a lower class home, there is little furniture and the walls and floor are unpainted and cracked. A young girl is in the foreground, and she looks forlorn. The basket next to her is filled with eggs, but a few have spilled out of the basket and one is broken on the floor. She has just returned from trying to sell her eggs. The young man behind her also appears to have just entered the house from the street and he is removing his hat.

The old woman is not happy. She is grasping the young man's hand and pointing to the broken egg as though he is to blame, but he has a bewildered look on his face. The young boy tries to reassemble the egg in a fruitless gesture. The scene is about much more than the actual broken egg - the broken egg was also symbolic for a young girl's lost virtue. The older woman demands that the young man be accountable, but it's unclear how the scene will resolve itself. Greuze has captured a moment of drama and the viewer is given the opportunity to be the judge of the situation (and perhaps use the scene as a moralizing tale for young people in their own households!).


Self-Portrait, Jean-Baptiste Greuze, 1780s, Oil on canvas, 56 x 46 cm, The Hermitage, St. Petersburg

09/10 Academic Decathlon French Revolution Art Selection #3 - Wine Cooler

Wine cooler, 1753, French; Vincennes, Soft-paste porcelain, H. 7 3/4 in. (19.7 cm), W. 10 1/4 in. (26 cm), Diam. 8 in. (20.3 cm), The Metropolitan Museum of Art

The Vicennes porcelain factory started in 1740 in the town of Vincennes just east of Paris. Louis XV was a major shareholder in the operation initially but acquired full ownership in 1759 and it became a national factory at that time. Before the factory in France, porcelain was imported from China.

Porcelain is a beautiful white ceramic material that when fired has a glassy surface. There are two types of porcelain made from a white clay called kaolin - hard-paste and soft-paste. Soft-paste porcelain is more challenging to produce because it has a lower clay content and is more difficult to shape. The Vincennes Manufactory produced high quality products. They enjoyed royal patronage and had superior skill working with the more challenging material.

The function of the wine cooler was to keep a bottle chilled. There is a central decorative panel with gold accents on the handles and panel. The background color, a beautiful turquoise called blue céleste, was first developed the year this was made and was a color unique to the factory. The naturalistic design is typical of Rococo - flora and foliage painted in a soft pastel palette of pinks, blues and greens. The manufacturers of fine ceramics are identified by a mark (or logo) on the bottom of the piece. The wine cooler has a "double-Louis" mark that has two intertwined letter "L's" with a letter "A" and a dot at the top and bottom. These marks changed from time to time which helps historians date works to the time frame they would have been manufactured in.

Needless to say, these items were enjoyed by the aristocracy. A table service could have as many as five hundred pieces: plates, platters, serving dishes and coolers for bottles and glasses! French porcelain of the 18th century was elegant, elaborate, glitzy and highly decorative. Imagine sitting down for dinner and being surrounded by so many beautiful pieces - ooh la la!

Portrait of Louis XV of France

09/10 Academic Decathlon French Revolution Art Selection #2 - Soap Bubbles

Soap Bubbles, ca. 1734, Jean Siméon Chardin (French, 1699–1779), Oil on canvas, The Metropolitan Museum of Art

Jean-Baptiste-Siméon Chardin was not born into a monied, aristocratic family and did not have access to a formal education in art. He was largely self-taught and considered himself a successful still life and genre painter. He did exhibit his work regularly at the Salons and had a supportive group of patrons. Because he painted simple scenes of typical households, people and animals, his work was embraced by people from different social strata. He sold print reproductions of his paintings which also allowed people of different socio-economic levels to have access to his art.

Soap Bubbles is a simple genre scene that is simple in its composition and color palette. You can see the influence he had from the Dutch Baroque painters. There is something voyeuristic about this painting - a young man is absorbed in the bubble that he is blowing. As it grows bigger and bigger, a small boy peeps over the windowsill, watching with excitement and wonder the act of bubble blowing. When was the last time YOU blew a bubble? Remember the opalescent colors that swirl on the surface? Isn't it interesting (and comforting!) that centuries later, we still find this activity fun and entertaining? Blowing a REAL bubble is not something your iPhone can do! Virtual bubbles are just not the same!

What may not be so obvious on the surface of this painting is the direct portrayal of social class. It was the wealthier patron that could afford to purchase an original oil painting. The elite patron had an interest in having a simple life scene which showed a moment that any social class would have enjoyed displayed in their home. But this young man is not from an affluent class. Though he is groomed and clean, his clothes do not fit him and show signs of wear. His jacket sleeves are too short and it is torn at one shoulder. This image illustrated a moment in the lives of those beneath them in class and rank, and it was something they enjoyed viewing. Interesting - so much in common (the joys of blowing bubbles) and yet also worlds apart (money and privilege).

Soap bubbles are so fragile, we know how delicate and fleeting they are! This image can represent the fleeting nature of life, so the viewer could consider the image on more than one level. Michael Levey has written about Chardin's genre paintings from his book Rococo to Revolution: Major Trends in Eighteenth-Century Painting, "Chardin refers us back to ordinary experience, concentrating it with almost microscopic intensity, tingeing it with the hint of the moral and educative, yet still not telling any specific story."

Self Portrait, Jean-Baptiste-Siméon Chardin, 1771, Pastel on paper, 46 x 37.5 cm, Musée du Louvre, Paris, France

09/10 Academic Decathlon French Revolution Art Selection #1 - Mezzetin

Mezzetin, probably 1718–20 Jean Antoine Watteau (French, 1684–1721), Oil on canvas, The Metropolitan Museum of Art

In an art history class a few years ago, the professor had a free response question on an exam: "Choose your favorite art movement and tell me why you chose it." I surprised myself when I chose Rococo and proceeded to list the things that made my heart sing: pure entertainment, lots of pink putti, FABULOUS clothing, lovely soft colors oozing on the canvas, lots of outdoors romping, parties and last but not least, Love. Who would have thunk it!

The images this year begin with this lovely movement, Rococo. It's birth was in France, and Jean Antoine Watteau is credited for being at the forefront of the movement. An innovative artist, he painted in a looser, more painterly style than his contemporaries. His most notable contribution to art is the creation of a new genre the Académie des Beaux-Arts called the "fête galante" or gallant party. These paintings showed groups of elegantly dressed aristocrats enjoying outdoor gatherings. His submission to the Académie did not fit into their accepted genres. The hierarchy of the genres ranked the works according to their subjects: #1 history paintings, #2 portraits, #3 genre scenes and #4 still life and landscapes. The fête galante genre loosened up this rigid hierarchy and the Académie, which was historically very conservative, began to open up to new subjects and styles. It was important to individual artists to be accepted by the Académie for a successful livelihood as a professional artist.

Mezzetin shows us Watteau's interest in the theater as subject matter for his paintings. In this painting, Mezzetin (which means "half-measure") is one of the stock character actors in an Italian commedia dell'arte. There are a couple of not so subtle messages in this composition. The female figure in the background (a statue painted in the grisaillle technique) has her back turned to the wistful troubadour. He appears to be singing a love song, perhaps about unrequited love; he is fully engaged, lost in his own world.

The Louvre has a marvelous collection of Rococo art, both decorative arts and paintings. Can't get to Paris to see the Louvre's Rococo collection? Check out the virtual tour of the Watteau Room in the Louvre!

Portrait of Jean-Antoine Watteau by Rosalba Carriera.

Guess the Famous Painting and feed the poor!

Daumier, Honore, The Painter at His Easel, c. 1870-75, Oil on panel, 33.5 x 27 cm, Sterling and Francine Clark Art Institute, Wiliamstown

Thanks to Susan Benford creator of the fine art Masterpiece Cards set (see a link to her website in My Blog List), I followed the link to this great art game on the "Free Education and Free Rice" site. Click on the post title above to play the game. Here is what they say about their site:

FreeRice is a non-profit website run by the United Nations World Food Program. Our partner is the Berkman Center for Internet & Society at Harvard University.

FreeRice has two goals:

* Provide education to everyone for free.
* Help end world hunger by providing rice to hungry people for free. This is made possible by the generosity of the sponsors who advertise on this site.

Whether you are CEO of a large corporation or a street child in a poor country, improving your education can improve your life. It is a great investment in yourself. Perhaps even greater is the investment your donated rice makes in hungry human beings, enabling them to function and be productive. Somewhere in the world, a person is eating rice that you helped provide. Thank you.

For those of you who love art history, this is a fabulous place to review your knowledge about fine art - it is so fun (and addictive) PLUS you are helping someone in the world and every little bit we can do to make the world a better place matters! See how you do!

My Summer Vacation

Puppy, Jeff Koons, 1992, Guggenheim Bilbao


I've been on vacation this summer and so has the blog! One of my favorite parts of my summer vacation was visiting museums in Spain as well as at home! Here's a list of the museums I visited this summer and what I saw there:

Museo Nacional del Prado, Madrid, Spain - a private guided tour of the permanent collection in all its glory!

Guggenheim, Bilbao, Spain - Cai Guo-Qiang: I Want to Believe and the fabulous Richard Serra's "The Matter of Time" and the permanent collection.

Museo Picasso de Barcelona, Barcelona, Spain, "Kees Van Dongen" and the early works of the great Pablo Picasso.

My visits to the next 5 museums were part of the Museum Forum for Teachers sponsored by the Nasher Sculpture Center - a thrilling experience being able to spend an entire day in each museum with the education staff!

The Rachofsky House, Dallas, Texas, "The quick brown fox jumps over the lazy dog" a site-specific installation by Ricci Albenda.

Dallas Museum of Art,, Dallas, Texas, "Private Universes" an exciting contemporary art exhibit.

Nasher Sculpture Center, Dallas, Texas, explorations of the permanent collection.

Kimbell Art Museum, Fort Worth, Texas, "Butchers, Dragons, Gods & Skeletons"an innovative installation marrying the permanent collection with beautiful films by Philip Haas.

Modern Art Museum of Forth Worth, Fort Worth, Texas, William Kentridge - Five Themes a survey of this South Africa contemporary artist.

It was a stimulating, exciting, enlightening summer and I'm ready to take it into the classroom!

Kimbell Art Museum's New Michelangelo Painting

Michelangelo, The Torment of Saint Anthony, c. 1487–88. Oil and tempera on panel, 18 1/2 x 13 1/4 in. Kimbell Art Museum, Fort Worth

What an exciting addition to the Kimbell's already stellar permanent collection! This painting by Michelangelo was produced after being permitted to see Domenico Ghirlandaio's print and painting collection. Michelangelo was placed by his father into apprenticeship with Ghirlandaio for three years in 1488 "under the following conditions: That the said Michelangelo shall remain with the above-named during all the said time, to the end that they may teach him to paint and to exercise their vocation, and that the above-named shall have full command over him, paying him in the course of these three years threnty-four florins, as wages..." (exerpt from Lives of the Most Eminent Painters) He was particularly interested in Martin Schongauer's engraving The Temptation of Saint Anthony. A young artist, he created his own version of the biblical story.

Here is quoted text from Giorgio Vasari's Lives of the Most Eminent Painters regarding this very painting: "Now it chanced that when Domenico was painting the great chapel of Santa Maria Novella, he one day went out, and Michelangelo then set himself to draw the scaffolding, with some trestles, the various utensils of the art, and some of those young men who were then working there. Domenico having returned and seen the drawing of Michelangelo exclaimed, 'This boy knows more than I do,' standing in amaze at the originality and novelty of manner which the judgment imparted to him by Heaven had enabled a mere child to exhibit. For the work was, in truth, rather such as might have fully satisfied the artist, had it been performed by the hand of an experienced master. But if it was possible to Michelangelo to effect so much, that happened because all the gifts of nature were in him enhanced, and strengthened by study and exercise, wherefore he daily produced works of increased excellence, as began clearly to be made manifest in the copy which he made of a plate engraved by the German Martino, and which procured him a very great name. This engraving was one which had just then been brought to Florence, and represented St. Anthony tormented by devils. It is a copperplate, and Michelangelo copied it with a pen in such a manner as had never before been seen. He painted it in colours also; and, the better to imitate the strange forms of some among those devils, he bought fish which had scales somewhat resembling those on the demons; in this painted copy he displayed so much ability that his credit and reputation were greatly increased thereby."

Vasari is credited to have begun the history of art with this excellent accounting, though some say his narrative is biased. Be that as it may, I procured my volume from an estate sale and have not had the time to read it in full. I feel it rising to the top of book pile to be read this summer. Oh, happy day - a summer to read and a new masterpiece to see this fall when it arrives at the Kimbell. Check out the link in the post title to the Kimbell's page about the acquisition of the painting.

Artist of the Week - 6EMEIA

It's an unusually wet spring here in Dallas with lots of rain. I was awakened at 4:00 this morning by another storm blowing through. We take storm drains for granted, but the lowly storm drain keeps our streets from becoming rivers (at least most of the time). Check out the work of these South American artists! They are hard at work painting the cityscape they live in. It's great to have some color and humor on the street!

Artist of the Week - Ju Duoqi

The Vegetable Museum - 04, Ju Duoqi, 2008
The Third of May 2008
C-Print Size A: 120x150cm Edition: 6 Size B: 80x100cm Edition: 12

(Blogger's note: It was a subconscious act that I chose "The Third of May" for my Third of May post! Only AFTER I viewed the post did I see the cosmic nature of it. Those of you who know me well know how much I LOVE cosmic events!)

What is it about food art that we love so? I think it is because we love food AND art - when they come together it is fun and interesting. Ju Duoqi is a Chinese artist who reinterprets classic paintings using vegetables as her medium. She photographs the scene she has created and prints editions for sale. Click on the post title to go to a site that features The Vegetable Museum. She displays sensitivity and humor in her work. Before going, I'd like to leave you with one quote from the site that captures her feeling about her work: "Everything has a spirit, each vegetable, each person, and each second, under careful observation, has extraordinary meaning." Here is a link to a video interviewing the artist at work.

The Vegetable Museum - 07, Ju Duoqi, 2008
Napoleon on Potatos
C-Print Size A: 150x120cm Edition: 6 Size B: 100x80cm Edition: 12