Happy Father's Day

Portrait if

Alexander J. Cassatt

and his son, Robert Kelso Cassatt

by

Mary Cassatt

,1884-85,

The Philadelphia Museum of Art

Mary Cassatt

, the Impressionist artist, is well known for using her family as models in her artwork (men and boys are seen less often) as she spent a lot of her time around the women of the family. In this portrait we see

Cassatt's

father and her brother sharing an intimate moment. Her father was a railroad man and probably not around the house as often, or willing to sit still for very long (pure conjecture on my part). Happy Father's Day - perhaps you can capture an image of your father today?

The Armory Show - Then and Now

 Gallery A in the 1913 International Exhibition of Modern Art (nicknamed "Armory" Show)

The International Exhibition of Modern Art (The Armory Show) of 1913 was a pivotal time in the world of art. It marked the first time that art considered to be the "modern" style was brought together and exhibited in one space. It took over a year of planning and received much public scorn from people unaccustomed and uninterested the burgeoning styles displayed like Cubism, Fauvism and Futurism.

 Currently, there is an exhibition of the same name taking place in New York at the Piers which highlights art of the 20th and 21st centuries and is primarily a venue to buy and sell. However, if you have the opportunity, it is also a chance to see works by famous and unknown artists in the same locations.


2014 Armory Show in New York through March 9, 2014

Supreme Painting


Suprematist Composition, 1916 by Kazimir Malevich

During the closing ceremonies of the Olympics in Sochi last night, reference was made to Ukrainian artist Kazimir Malevich, but not much else was said about him. He is one of the most important artists of the 20th century, less famous than Picasso, but no less important. This is considered to be one of the most important pieces of 20th century art and in his treatise of 1916 Malevich explained that he wanted to concentrate on color and texture and to move beyond traditional representation.

Artist Carrie Mae Weems on 30 Years of Genius - EBONY

 "Art has saved my life on a regular basis. I wanted to offer that experience to children, to enlist them, to show them the possibilities that are in the arts, to persuade them to pursue it for both their own personal salvation and for changing the way we are understood." Carrie Mae Weems

A Gold Star for Cleveland

A large detail of Louis Grebenak's WBOE mural, which awaits installation at ideastream in downtown Cleveland.
 
There is an article in the Cleveland Plain Dealer today about a series of WPA murals that were saved from destruction by an art history teacher from Cleveland State University named Walter Leedy, who unfortunately did not live to see the results of his efforts. Much of the thanks goes as well to the ICA Art Conservation of Cleveland and to the Cuyahoga Metropolitan Housing Authority (CMHA). The artwork has been displayed around Cleveland, including on the campus at Cleveland State who leased two of the murals.

In Defense of Art History

Art Connoisseur by Norman Rockwell, 1962.

I do not normally use this blog to editorialize, but I was listening to the radio yesterday and they played a sound bite from a speech President Obama was making in Wisconsin in defense of vocational training and I will say I agree with what he was saying, that there is no shame and often wage benefits, to being trained in a trade however, he chose the perpetually easy target of art history as an example of a college pursuit gone wrong (as Click and Clack humorously and routinely point out on Car Talk).
 
Here is the quote according to the Washington Post:
    
      "A lot of young people no longer see the trades and skilled manufacturing as a viable career, but I promise you, folks can make a lot more potentially with skilled manufacturing or the trades than they might with an art history degree." According to the Washington Post, President Obama then chuckled and attempted to put out the fire he had accidentally started by saying "Nothing wrong with art history degree, I love art history. I don’t want to get a bunch of emails from everybody. I’m just saying, you can make a really good living and have a great career without getting a four-year college education, as long as you get the skills and training that you need."
 
I thought oh great, one more insult to add to the pile, way to grab for the low hanging fruit Mr. President, but it points out a larger and and growing disdain in our society for the libral arts/ humanities in education. With all the promotion of the STEM degrees the traditional libral arts have taken a real hit in the last ten years or so. What used to be considered a fine, well-rounded background for almost any pursuit, has become the butt of jokes and is pointed to as an education squandered.

From my perspective, without the studies of the humanities our lives are less rich, they lack an understanding of past and richness that only an appreciation of the arts can bring. People may argue that you can pursue these avenues of enrichment on your own, outside of how you earn your money, but without teachers in these areas, your pursuit will only take you so far. Without someone to explain Abstract Expressionism to you, you might likely dismiss it as so many "globs of paint" and miss the importance of the freedom the movement represented and how by throwing the canvas on the ground and tossing the paint onto it, Jackson Pollock took art to a place without boundaries and represented the potential of a nation emerging from the dust of a hard-fought world war, as the new global super power. Art, music, literature, poetry are the mirror that reflects our world back to us, they capture and see things that may not be clear at the time, but upon further study enrich our understanding of ourselves and our world. 

When I pursued my studies in the areas of literature and art, I knew I was not choosing a path to wealth or fame, but I expected to work in a museum or teach for a wage that would allow me to live modestly, but comfortably and reap my rewards though proximity to beautiful art, or through introducing students to the world of art. As I struggle to find a job (while the adjunct teaching opportunities dry-up and pay far less than a living wage [a rant for another place and time]) I get what Obama is saying, but I am sad for what we lose as a society when we devalue the humanities and look down on those who see its value as more than a guaranteed income bracket.

Quiet Remembrance


Although considered part of the Harlem Renaissance movement, Motley never lived in Harlem. He was born in New Orleans and moved to Chicago where he studied art the School of the Art Institute of Chicago. This painting from early in his career shows his grandmother Emily Motley (a former slave) quietly mending socks surrounded by mementos and references to her life.

Happy Birthday, Ingres



Madame Moitessier, 1856 by Jacques-Auguste-Dominque Ingres, National Gallery of Art, London.

True to the fashion of his time, Ingres was more interested in painting historic scenes than doing portraits, but also true, portraits are an artist's bread and butter. Mme. Moitessier's husband asked Ingres to paint his wife's portrait and Ingres refused, upon meeting her however, he was intrigued and agreed to paint her. Notice how the use of the mirror behind her, gives us two portraits in one.

Happy Birthday Gustave

Fruit Displayed on a Stand by Gustave Caillebotte, 1881-2, Museum of Fine Arts, Boston.
Caillebotte existed on the fringes of the Impressionist group, as he was both a benefactor and a member of the group. He was a painter himself, but lived as a lawyer, solider, and engineer. He did not adhere closely to the painting by light and loose brush strokes of the Impressionists and his work belies his realistic-style training, however, he allowed enough of the looser, less studied style of the Impressionists to enter his work, that it was given a lightness, that more realistic work lacks.

Even in death he supported the Impressionists, leaving his vast collection to the French Government on the condition that it be displayed, not stored away. The artists and their work had not yet been embraced by the French people, and the government and they rejected that condition, but ended up accepting a portion of the work which they did display, making it the first time the artists of the group were displayed in a government exhibition.

Beautifully New

Lady with Fan by Gustav Klimt, 1917, Private Collection.

Happy Birthday to Gustav Klimt, today would have been his 150th birthday. The Austrian Art Nouveau painter, often chose women as his subjects and also used gold leaf to further embellish and decorate his work. There is a retrospective of his artwork at the Belvedere Museum in Vienna, Austria now through January 6, 2013.

Beautiful Perfection

Cupid and Psyche as Children by William-Adolphe Bouguereau, 1889, Private Collection.

Among the most popular and prolific artists of the 19th century, Bouguereau was a traditional academic-style painter as many other artists were shunning (or being shunned by) the French Art Academy and heading in different directions. He preferred classical subjects, such as Greek Mythology, and a very straight-forward, realistic, presentation. His work remains quite popular for it's beauty, and the obvious skill of the artist.

Directing the New Age

The Marshmallow Sofa by George Nelson and Irving Harper for Herman Miller, 1956.

George Nelson was offered the Directorship of The Herman Miller Furniture Company in 1945 following the publication of a book called, Tomorrow's House which he co-authored with Henry Wright. Under Nelson's leadership, mid-20th century design had a home and was allowed to flourish.

The Cranbrook Art Museum in Bloomfield Hills, MI is hosting a retrospective of Nelson's career through October 14, 2012.

Circles and a Flag



Window Triptych from the Avery Coonley Playhouse, Riverside IL., 1912 by Frank Lloyd Wright, The Art Institute of Chicago.

Frank Lloyd Wright designed every element of his buildings especially his homes. He designed this stained glass window for the Playhouse of the young Coonley daughter.

Happy 4th of July!

Another View of the Jersey Shore

Jersey Shore by Mabel Hewit, c. 1935, Mary Ryan Gallery.

Mabel Hewit was from the Cleveland area and created woodblock prints in the "white-line" technique. Most of her subjects were everyday people and scenes. She enjoyed creating these prints, in part, because she felt that the brightly-colored woodblock prints were mare accessible to working people who were looking for colorful art for their homes.

Small Work on a Large Scale

Continuous Mile (Black) by Liza Lou, 2006-08, The Cleveland Museum of Art

Liza Lou is known for creating artwork out of beads and also for creating ambitious pieces. This work is a mile long length of beaded cotton rope that is then coiled around itself so that it forms a circle. It is created in a South African beading technique used by the Zulu peoples. Lou lives and works in both South Africa and Los Angeles.

Happy Birthday John Constable


One of the most important British painters of the 19th century, Constable believed in painting out of doors in order to capture the most true, and realistic atmospheres, for his paintings. He did studies of nothing but clouds, so that he could render them perfectly. This is his most famous work featuring a hay cart, or hay wain, being ferried across the River Stour. The house in the background still exists and is in the care of the National Trust.
Constable was born today in 1776.


A Jewel Within a Jewel

Sainte-Chapelle, 1242-48, Paris, Ile-de-France 

Built by King Louis IX as a Royal Chapel, this piece of Gothic architecture has been likened to an larger-than-life jewel in its own box. King Louis purchased a highly sought after relic, the crown of thorns purportedly worn by Jesus and wanted the finest reliquary he could get so he had this chapel built with 6,458 square feet of stained glass windows.

Honoring Power

Blossom by Polly Apfelbaum, 2000, MoMA, NYC.

This piece is part of a series of installations Apfelbaum did that were named for, and dedicated to The Powerpuff Girls characters from the animated series. Apfelbaum liked the juxtaposition of the young girl characters possessed of super powers and fighting for good. The artist created each "petal" separately and then installed them piece by piece.