FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an exquisite bas-relief of a gift bearer from ancient Persia, currently on view in the Hall of Antiquities at the Legion of Honor.
Arthur Tress: San Francisco 1964 opens tomorrow at the de Young. Although the primary subject of the exhibition is the city we call home, many of the locations represented in the pictures were difficult to pin point. During his preparations for the exhibition, curator James Ganz tried to track down some of the more mysterious sites portrayed, which resulted in a San Francisco adventure of his own.
The blog series Museum Without Walls features de Young Artist Fellows working outside of the museum with other artists and local, community based arts organizations. In this edition, we catch up with Sarah Wilson and Catch Me Bird at their Djerassi alumni artist residency where they gave us a glimpse into the early stages of their creative process.
The integration of art and beauty into every aspect of life was one of the foremost tenets of the Aesthetic Movement. Artists who subscribed to this ideal stepped outside of the confines of their medium of choice and experimented with all variety of design: painters became furniture designers and architects designed textiles. This week’s FRAME|WORK features two luscious tapestries from the Museums’ permanent collections included in the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (on view at the Legion of Honor through June 17). Created by Edward Burne-Jones for Morris & Co., Flora and Pomona exemplify the aesthetics of the Aesthetic Movement.
On view through June 10 in the Textiles Gallery at the de Young, The Art of the Anatolian Kilim: Highlights from the McCoy Jones Collection showcases extraordinary examples of flat-woven kilims from the 15th to the 19th century. Considered to be the most important group of Anatolian kilims outside of Turkey, these kilims are notable for their elaborate design patterns, unusual
FRAME | WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. On Monday, the Museums were closed in observance of Presidents Day and today is the birthday of American painter Rembrandt Peale (1778–1860). In honor of these two occasions, we feature Peale’s iconic portrait of George Washington, which is currently on display in Gallery 27 at the de Young.
This week’s FRAME|WORK, featuring John Roddam Spencer Stanhope’s luscious Love and the Maiden, will serve as the first in a series of posts examining a variety of themes present throughout the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (opening this Saturday, February 18). Stanhope’s allegorical painting will provide the backdrop for the discussion of topics ranging from artistic technique to the Aesthetic Movement’s color palette to the role of frames in the perception of an artwork.
Currently on view at the de Young and SFMOMA are two significant photography exhibitions—Ralph Eugene Meatyard: Dolls and Masks and Francesca Woodman, respectively. In this rare, behind-the-scenes look at the curatorial process, Julian Cox (of the de Young) and Corey Keller (of SFMOMA) discuss the elusive issues of artistic intention and practice, the mythology of the artist, and the position of Meatyard and Woodman in the history of photography.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. Later this week, the San Francisco Tribal and Textile Arts Show opens at Fort Mason. In that spirit, we feature an outstanding new acquisition, Lidded vessel in the form of a turtle shell, currently on display at the de Young in Gallery 2.
William Morris, champion of the Aesthetic Movement, said of interior design, “Whatever you have in your rooms, think first of the walls.” Wallpaper was a defining decorative motif in the homes of the Victorian avant-garde and bourgeoisie alike. In keeping with this fashion, the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900