7.19.2010

New York, New York


So I am in New York, on rather short notice, and am just now getting around to figuring out what is up at all the museums and what I am going to see this week. Thought I would share the information for anyone in the area or anyone who might be visiting soon.

Metropolitian Museum of Art
An Italian Journey: Drawings from the Tobey Collection, Correggio to Tiepolo
American Woman: Fashioning a National Identity

Frick Collection (one of the best, I always go even if only to see the permanent collection)
From Mansion to Museum: The Frick Collection Celebrates bSeventy-Five Years

Guggenheim

Broken Forms: European Modernism from the Guggenheim Collection
The Geometry of Kandinsky and Malevich

Museum of Modern Art
Matisse: Radical Invention, 1913-1917 (which I saw in Chicago at the Art Institute but I NEED to see the Portrait of Yvonne Landsberg (above) again!)

And if there is time....

Neue Galerie
Otto Dix (yes I am going to see it again!)

Cooper-Hewitt, National Design Museum
National Design Triennal

7.16.2010

Quotes About Art (from the menus of Natt Spil)

So, as I have mentioned before, I recently moved out of Madison, Wisconsin back to San Francisco (for the time being). One of my last nights in Madison I went to my favorite restaurant, Natt Spil (211 King Street Madison, WI 53703 (608) 258-8787, this phone number is for the restaurant next door because Natt Spil is so cool and hip they do not have a telephone... Makes things difficult but it is always worth it!). The menus at this restaurant never change in terms of the food on them but the covers are always decorated with funny quotes. It happened by lovely chance that my last night at my favorite place would coincide with the week that their menus were decorated with truly fantastic quotes about art by artists and famous cultural luminaries. I hope you enjoy them now as much as I did then. Looking at this menu has brought a tear to my eye.


In art the best is good enough.
- Johann Wolfgang von Goethe

All that I desire to point out is the general principle that life imitates art far more than art imitates life.
- Oscar Wilde

An artist cannot fail: it is a success to be one.
- Charles Horton Cooley

Art doesn't transform. It just plain forms.
- Roy Lichtenstein

Art is either plagiarism or revolution.
- Paul Gauguin

Art washes away from the soul the dust of everyday life.
- Pablo Picasso

I choose a block of marble and then chop off whatever I don't need.
- Auguste Rodin

Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.
- John Ciardi

7.14.2010

Guest Post: The Tudors (TV, History & Art) by Lauren Fliegelman


Hans Holbein, Henry VIII



Hans Holbein, Jane Seymour



Hans Holbein, Anne of Cleves


****WARNING: Spoiler Alert for the finale of the third season of Showtime's hit show, The Tudors starring Jonathan Rhys-Myers.****

Guest Blogger: Lauren Fliegelman, fourth year Art History/Journalism major at the University of Wisconsin-Madison. Spent a semester studying the Italian Renaissance masters in Rome, 2009. Current area of research: Manet and Japanese Influences. See her previous post on Michelangelo's Florentine Pieta of 1515 or Japonisme.


The Tudors – It is better to have loved, lost, and remarried, than to never have loved at all.

This week, the Showtime series The Tudors has come to an end. Although I feel many will not mourn this loss, a small part of me is sad to see the decadent interiors, luscious costumes, and yes, the overly intimate, often explicit scenes of royal sex and seduction witnessed over the past three years draw to a close. Although the show, more often than not, scarified history for the sake of all things carnal and unscrupulous, the writers may have had it right in that interest in the women Henry VIII loved and married generally supersedes all else.

In the series finale, Henry sits for Hans Holbein the Younger as he paints probably the most iconic image to come out of this reign (I won’t even go into the quasi-Jonathan Rhys Myers/Henry VIII circa 1540 image the show chose to include in the end). Holbein, who was introduced to Henry’s court by Anne Boleyn in the early 1530’s, would continue to paint the king late into his reign. As Henry sits for his portrait, his “ghosts of girlfriends” past visit him with haunting messages of regret and remorse. Apropos of this episode, I thought it timely to brush up on the chronology of wives and the king that, next to his daughter Elizabeth I, is the most memorable monarch in English history.

The Tudors, or as Josephine Ross put it, “England’s Golden Age,” were made up of three kings and two queens. King Henry VII defeated Richard III and became the first Tudor king in 1485. His reign was one of relief as it ended a period of constant battle and turmoil for the British throne. Soon after his marriage to Elizabeth of York, the couple, who would have seven children between 1486 to 1503, welcomed their first son Arthur, then their daughter Margaret and their second son, Henry in 1491. Although their marriage was not necessarily one of great passion, mutual understanding and respect laid the foundations for the most famous succession of royals to rule England.
However, when one thinks “Tudors,” King Henry VIII and his succession of wives come to mind. After the death of his brother Arthur, Henry came to power in 1509 at the age of seventeen. The image of the ideal, albeit Disney prince, Henry was handsome, charming, athletic, and generally well-liked by the public and women alike. Honoring his rather drawn out engagement to Catherine of Aragon (complicated by her pseudo marriage to his brother Arthur), Henry married the princess on June 11, 1509 and the two were swept up in the passion that would mark the outset of many of his subsequent marriages. Early on, the couple suffered two losses when both their first baby girl was a stillborn and their son Henry died seven weeks after his birth. Catherine would suffer several more stillborns and premature deaths of her children until 1515 when she finally delivered a baby girl, Mary, who would live into adulthood. Despite their daughter, Henry began to lose interest in his wife as her pregnancies became fewer and far between. To make matters worse for Catherine, the king flaunted his ability to have sons as he had a healthy baby boy with his mistress Bessie Blount. The judgment of God was surely present in the royal couples inability to produce a legitimate male heir. The Book of Leviticus spelled out plainly in two distinct passages that when one has relations with his brother’s wife, their relationship will end childless. Henry’s religious proof, in conjunction with Catherine's infertility and ageing stature, were all the king needed to begin his lengthy divorce from the queen.

Enter Anne Boleyn stage left. Although she isn’t famous for saying, “let them eat cake,” she is partially responsible for dethroning a queen and permanently changing the religion of an entire country so I suppose we should give her some credit. Although her sister was first to share the kings bed (if you haven’t already done so and you are even remotely a fan of salacious historical fiction check out The Other Boleyn Girl for a great read on this rather odd love triangle) Anne made is clear that is was Queen or nothing as she cleaned house of all her enemies at court. In 1528 Anne made a permanent home at court and by 1532 she was pregnant with the kings child. At this point divorce from Queen Catherine was required to secure the legitimacy of the possible male heir Anne was carrying. On May 23 his marriage to Catherine was official dissolved. However Anne and Henry had already secretly married some time before then. Although Anne did not give birth to the boy the entire country had hoped for, on September 7th Princess Elizabeth was born (who would ironically enough far surpass any male heir Henry was ever able produce). Anne scheming flared as she suffered one after another miscarriage. Adding to her troubles, Anne’s former friend and religious reformer Thomas Cromwell began to plot against her, realizing that he better get behind the rising star at court, Jane Seymour. Beginning in 1536, several of her male associates including Mark Smeaton the musician, Sir Henry Norris, and her brother George Boleyn were all taken to the Tower of London and tortured for information regarding such accusations as treason, adultery, incest, and more. The queen herself was imprisoned on May 2nd in the same rooms where she has been prepared for her coronation. All were found guilty of the charges and either hanged, burnt at the stake, or beheaded. On May 19th Anne was beheaded by a master swordsman she had requested. Anne’s body was buried in an unmarked location in the Chapel of St. Peter ad Vincula. Later her remains were identified during renovations of the chapter during the reign of Queen Victoria. Her grave is now indicated by a marker in the marble floor.

Jane Seymour: Jane was brought to court under the reign of Queen Catherine but served as maid to Anne. Beginning in February of 1536 it is clear that Henry began to favor Jane as he love for Anne waned. The exact opposite of Anne lively charisma and temper, Jane was benevolent and unconscious to the political game she had become a pawn in (however this view on her demeanor is somewhat debatable as it has been suggested she was more like the other wives than was projected by Henry who saw her in this favorable manner). Eleven days after Anne’s execution Henry and Jane were married. The weight on Jane’s shoulders to produce an heir was heavier than ever as Henry’s illegitimate son Henry Fitzroy died at 17 leaving the king with no male predecessors. However, in 1537 Jane became pregnant and delivered Henry’s long awaited male heir, Prince Edward. Although Jane attended Edward’s christening on October 15th, she died later that month on the 24th. Jane’s body was placed in the tomb Henry had been preparing for himself, making her the only queen to be buried alongside the king. Henry would consider Anne his first true wife and would always hold her in the highest regard.

Anne of Cleves: It seems after Jane’s death, allowing Henry to marry again for lust was not on the agenda of his associates. A political marriage which created an alliance between England and another power player country. Candidates were selected depending upon both their political and visual appeal. Anne of Cleves, the sister of the Duke of Cleves, was chosen on the chance France and the Holy Roman Empire made amends and moved against England for the religious reformation. Holbein was sent to paint a portrait of Anne of Cleves to bring to the king, upon which time Henry agreed to the marriage. In January of 1540 the two were married although Henry was already dissatisfied with Anne. Calling her a “Flanders Mare,” Henry did not taking a liking to Anne’s domestic upbringing. Furthermore, the political alliance their marriage has secured seemed obsolete as France and Spain continued their hatred of one another and the Duke of Cleves was pressing for a war with Spain Henry had no interest in becoming involved in. Anne cleverly consented to having the marriage dissolved and being appointed sister of the king, stating her marriage to Henry had never been consummated. She was appointed the former estate of Anne Boleyn where she lived in peace till her death.

Kathryn Howard: The mischievous baby queen who got into trouble with the king’s groom Thomas Culpepper was also the first cousin of Anne Boleyn. Kathryn has been brought to court as a lady for Anne of Cleves at the age of 19. Little more than two weeks after his annulment from Anne, at the age of 49, Henry married Kathryn in July of 1540. Although Henry began to suffer many of the maladies that would slowly end his life, Kathryn was able to restore the kings spirits for a short time until talk of adultery began around court. Archbishop Cramer (who had for all intensive purposes replaced Thomas Cromwell upon his execution close to the annulment of Anne of Cleves) investigated the young queen and found her guilty of the aforementioned infidelity as well as former indiscretions with prior to her marriage to the king. Her short life came to an end in February of 1542 when she was beheaded and buried in close proximity to her cousin Anne Boleyn.

Katherine Parr: Coincidently enough, Katherine’s parents, Sir Thomas Parr and Maud Green, had been at court during Henry’s early reign. Maud had served as a lady in waiting to Queen Katharine, Henry’s first wife, and had named her daughter after her. Katharine, whose mother had independently raised and educated her children after the early death of her husband, was a life-long learner, reader, and writer. Katherine was married twice before she wedded Henry. Her second husband, Lord Latimer died in 1543 leaving Katherine a widow for the second time at the age of 31. Although she had secretly proclaimed her love for Thomas Seymour, when the king requested her hand in marriage she had no choice but to oblige. The two were married in July of 1543 beginning a most interesting match for the reign of Henry VIII. Accusations of Katherine’s reformist faith began to swarm as members of the conservative alliance in Henry’s court interrogated and tortured members of the queen’s circle. Anne of Askew, a notorious Protestant preacher was racked however she refused to besmirch the queen or her ladies. Eventually, the king, whose health was failing, famously went to her after Katherine was made aware of a warrant for her arrest. He reprimanded her for her religious outspokenness and reminded her that others had been put to death for similar comments. Katherine was forgiven after she profusely apologized and claimed to only speak of such matters so that the king could teach her the err of her ways. Despite this political stumble, Katherine is famous for becoming the first English Queen to have her book, Prayers or Meditations, published in 1545. Soon after the death of the king Katherine married Thomas Seymour as originally planned. The two moved away from court together where they looked after the upbringing of Princess Elizabeth. However, around 1548 it was proposed that Elizabeth and Thomas Seymour had engaged in an affair and the princess was moved to another home. Katherine became pregnant for the first time at age 37 and gave birth to a daughter. She died shortly thereafter, never recovering form the birth.

Henry died in January of 1547 leaving his son, Edward VI king at age nine. Watched over by his uncle Edward Seymour, the Seymour family would essentially rule via the young king. Edward died in July of 1553 leaving the kingship in question. Shortly before his death Edward convinced to leave his crown to his cousin Jane Grey, avoiding the religious turmoil his sister Mary would bring to England. Eventually Mary would be declared queen July 24th. Along with her Spanish husband, Mary become widely unpopular for the religious persecution of Protestants that had been predicted. The English people looked to Elizabeth as their savior but Mary saw her as a threat. She had her imprisoned in the Tower at which point Mary realize she was pregnant and let her go shortly after because Elizabeth was no longer a threat. The queen, who was forty at this point never gave birth to a child. It is unclear what exactly happened medically, however she died in 1558. Elizabeth become queen upon the death of here sister and would rule until her death in March of 1603.

I have high hopes for the newest historical fiction drama to be released in 2011 by Showtime, The Borgias!

Best, Lauren Fliegelman

7.13.2010

Returning to Full Force Tomorrow


Hello Everyone!

I have finally made it home. What a trip and I was able to see some lovely things along the way thanks to Robbie G. who suggested the Nelson-Atkins Museum in Kansas City. However, sometimes the most beautiful things in the world are the most familiar, and as I walked into the home I grew up in today for the first time in months I was struck by the work of art that hangs in my room.

It is a work by Squeak Carnwath (apologies for the horrific image, iPhones!), and it was the first work of art I ever purchased for myself. I was originally drawn to the horse (of course) but every time I see it now I find something new to love about it.

I will return to full posts tomorrow, apologies for the hiatus but it is hard to blog on the road!

7.12.2010

Brief Hiatus from Important Posts





Hey Everyone!

So due to a lack of planning ahead, I will not be doing large posts for today or tomorrow as I drive across the country on my way home to San Francisco from Madison. I will just be posting small art snippets from my travels. It turns out there is a lot of great art in unexpected places.

For instance, yesterday I went to the fabulous Nelson-Atkins Museum in Kansas City, Missouri and was blown away by the incredible collection that included the beautiful Penitent Magdalen shown above by El Greco (and they have a fantastic Caravaggio! Who knew?! Not me, that's for certain!).

More to come tomorrow!


- Posted using BlogPress from my iPhone

7.09.2010

A lot of posts later...


Andy Warhol, 100 Cans (1962)

The 100th Post!

I was going to do this huge article on someone big (see above, wink wink nudge nudge) but I realized that what I really need to do is to say thank you to everyone who has been reading and supporting this strange endeavor I signed on for. When I started the blog it was really to enable me to share my love of art and some of the knowledge that I have been accruing for roughly the last decade of my life (my first trip to the Louvre was when I was 9). I have since realized that so much of art and the understanding of it on the most basic level is relating it to current events and how we each move in the experiences of our lives. To this end I have sought to also share contemporary sources, news articles or blog posts, about how art presently existing in the grander scheme of things. I have missed posting on some of my favorite works of art, so I have to say that there will be more of those type of single-artwork-explained-and-interpreted posts going forward.

I have to say that I was not sure I would make it past a week with this project, and I am so pleased that it has grown to be a real part of my everyday life! For all those who read and enjoy the blog, please let me know if there is something you would like to see, hear explained, or some concept translated. I began this blog to share and to learn, to expand my own base of knowledge through self-directed but concerted study.

I hope you have enjoyed reading so far, I look forward to the next 20 weeks of posting, and hope it will be as enjoyable as the the last 100 posts have been.

A special thanks to Kellin Barlow-Wilcox and Lauren Fliegelman for their contributions, both ladies have promised to write again soon. Also, a special thanks to my readers who have passed on the website to their friends, I love getting emails from people outside my own circle saying so and so turned them on the blog! It is so great to have the support I do and stay tuned for more art to come! And to all of the writers whose stories I have shared with you from the ARTnews, The New Yorker, the New York Times, the Art Newspaper, and other news outlets!

Side note: I have also decided that it may be time to venture into new artistic territory with architecture, music, film and dance. Any suggestions where to start? The Bauhaus and Frank Lloyd Wright are my first leads....

All the best,
Lydia

7.01.2010

Hans Holbein the Younger, The Ambassadors (1533)


Hans Holbein the Younger, The Ambassadors (1533). Oil on oak, 207 x 209.5 cm. The National Gallery, London, UK.

This painting was commissioned by Jean de Dinteville (on the left) the French ambassador to England and his friend Georges de Selve, the bishop of Lavaur, who was, at different times, an ambassador to the Pope, the Republic of Venice and the Emperor. This work was meant to show the education and culture of two men, and to proclaim their status as part of the cultural and social elite. The objects shown behind them are various instruments such as globes, sundials, musical instruments and religious texts. The men's importance during the time period is attested to by the breadth of objects shown and their significance as a depiction of the varied interests and large range of knowledge they were portrayed to have.

"Holbein was one of the most accomplished portraitists of the 16th century. He spent two periods of his life in England (1526-8 and 1532-43), portraying the nobility of the Tudor court. Holbein's famous portrait of Henry VIII (London, National Portrait Gallery) dates from the second of these periods. 'The Ambassadors', also from this period, depicts two visitors to the court of Henry VIII. 'Christina of Denmark' is a portrait of a potential wife for the king. He was taught by his father, Hans Holbein the Elder. He traveled a great deal, and is recorded in Lucerne, northern Italy and France. In these years he produced woodcuts and fresco designs as well as panel paintings. With the spread of the Reformation in Northern Europe the demand for religious images declined and artists sought alternative work. Holbein first traveled to England in 1526 with a recommendation to Thomas More from the scholar Erasmus. In 1532 he settled in England, dying of the plague in London in 1543." - The National Gallery, London.

Holbein is, as mentioned above from an excerpt on the artist from the National Gallery's website, famous for depicting the royal wives of Henry VIII and other court luminaries, including the King himself in his most famous portrait. The complexity of this work makes it stand out from the other formal portraits he executed during his time in England. Though Holbein often included objects as symbols of his subjects, the objects represented here are so specific to the patron that their meanings would have been very evident and obvious to the contemporary viewer. The religious texts shown are allusions to the strife going on in Europe at the time, and the broken strong of the lute signifies the division that was occurring during the Reformation, on the continent and in England. The celestial and terrestrial globes represent the men's earthly and cosmic intelligence and education and allude to their understanding of things of both this world and the spiritual world.

However, by far the most interesting aspect of this work is the elongated skull in the foreground. This distorted image represents the mortality of human beings and the shortness of life. This type of allusion to death in painting, and the visual arts in general, is called 'vanitas'. Also, when the picture is viewed from a specific point to the right of the work, the distorition is corrected and the skull is clearly seen (as shown below).

6.29.2010

Robert Rauschenberg, Erased De Kooning Drawing (1953)





Robert Rauschenberg, Erased De Kooning Drawing (1953). Traces of ink and crayon on paper, mat, label, and gilded frame with mount and hand-lettered ink by Jasper Johns on frame, 64.14 x 55.25. San Francisco Museum of Modern Art, California.


"The simultaneous unmaking of one work and the creation of another" - Robert Rauschenberg

I have been waiting a long time to write about this work because it is one of my favorites, but I could not figure out a way to adequately explain the history of the work and how it came to be while still giving the sense of its creation. However, I just found this clip on YouTube (above) of Rauschenberg explaining the work himself! I hope you will watch the clip to understand the work while I give blog today only about how the work effects me and why I have loved it for so long.

Rauschenberg has been a favorite of mine for a long time but it was only recently when I have come to understand more about art and the progression of the modern movements that his true importance and brilliance has become evident. Here, while the works drew me in, the artist's own progression is what kept me interested. Rauschenberg, working in New York, challenged viewers to interact with his works in a way that the Abstract Expressionists did not. By creating collages that used everyday material to creating monochrome white paintings that made the viewer's shadow the art work, his work is an experience that is on par with his frequent collaborator John Cage's music. A wonderful quote by Cage, when remarking on the praise his silent composition was eliciting, is:

"To Whom It May Concern:
The white paintings came first;
my silent piece came later."

Rauschenberg was interested in the creation and collaboration of art that could move and challenge an audience in its inception and completion. The erased de Kooning Drawing is an example of how he needed always to look outside what was being done at the time and use a new approach to evoke the feelings he felt needed to be expressed. As with other artists of the time his sometimes audacious tactics did not always please the general public or art world critics, but the work's continuing fame and importance proves just how necessary this idea was to the movements and the generational feeling in New York during the 1950's. The concept of this work and the idea of iconoclasm (the destruction of images) are often debated and discussed but as Rauschenberg explains, he did not need to destory de Kooning's art, but rather he wanted to make art out of art. By erasing a piece that would have been considered high art he was attempting to show how subtraction could also create something as important or expressive.

I hope you have listened to Rauschenberg's own words on the subject because it is his interpretation and the story of its inception that makes this work so absolutely fantastic.

Here is also a wonderful interactive site from the SFMoMA about the work and it will give you all the details and another video of Rauschenberg speaking about it.

6.28.2010

Technical Difficulties

Hello Everyone,

I am currently having some problems with my connection at the apartment, and I must beg your pardon that I write this from an iPhone. Posts will resume tomorrow. My apologies!

6.25.2010

Exhibition Alert: San Francisco Museum of Modern Art, San Francisco


Alexander Calder, Double Gong (1953). Painted metal and brass, 60 x 132 inches. Doris and Donald Fisher Collection at SFMOMA.

The San Francisco Museum of Modern Art will put on the first exhibition of the Fisher Collection of contemporary art from June 25 through September 19, 2010 called "Calder to Warhol: Introducing the Fisher Collection. This is something I have long wished to see and am so excited be able to make it to in my hometown! Hopefully some of you can make it, below is an introduction to the exhibition. The Fishers are some of the most prolific collectors of contemporary art and their sometimes combative relationship with San Francisco in terms of their contributions to the arts and their wish for a museum to house their collection if donated to the city makes this moment a wonderful ending to a long battle. With the death of Don Fisher, the works going on display tell the story of a couple whose legacy is a passion for art that created a huge, cohesive collection of masterpieces.