When objects conservators design a treatment for a corroded sculpture, they often have to grapple with the issue of the artist’s intent.
For instance, would Henry Moore at age 29, who made a sculpture with a shiny metallic surface, be in agreement with Henry Moore at 75, who, when interviewed about a treatment, stated that he quite liked the idea that surfaces went green, dry and streaky with time?
One way a conservator can help tease out these contradictions is to interview contemporary artists about the materials and techniques they use and then record how these artists would like their sculptures cared for in the future. At the Fine Arts Museums we are developing a database tracking this information for contemporary sculpture under our care.
My name is Sue Grinols and as the director of photo services and imaging, I witness the intersection of art and technology on a daily basis. This is an exciting time to be working in photography. Just seeing how technology is changing the field can be breathtaking, not to mention challenging.
Photographing artwork is a sub-specialty of studio photography. Here at the Museums, we use the same equipment and techniques as photographers who produce beautiful images of cars, perfume bottles, leather couches, and the perfectly grilled steak. But instead of trying to capture the steak’s sizzle or the couch’s inviting warmth, we attempt to bring out the essential character of the artwork while emphasizing its sublime beauty whenever possible. When we’re not doing that, we can make images that show the hard, cold details of an object in order to help conservators as they work through treating the artwork, or to help curators in their scholarly study of an object. It is this second type of photography that I want to blog about today.
It is with great sadness that the Fine Arts Museums of San Francisco mourn the passing of Merle Greene Robertson. A legend in the world of Mesoamerican studies and Maya epigraphy, Robertson has been a friend and consultant to the Museums for decades. She generously donated many of her unique rubbings made from the monuments of Chichen Itza, a large Maya center that flourished on the Yucatan Peninsula of Mexico after AD 800. These rubbings provide clear renderings of detailed Maya stone carvings and are an important aspect of the Museums' Mesoamerican holdings.
This summer, make your kid an artist—join us for art camp at the de Young Museum!
Today the Fine Arts Museums of San Francisco wish a happy birthday to renowned artist Richard Diebenkorn. The Fine Arts Museums have enjoyed a long relationship with the artist since the Legion of Honor hosted Diebenkorn’s first solo exhibition in 1948. From that point on, the Museums were ardent supporters of the artist and his work. Both the American Art Department and the Achenbach Foundation for Graphic Arts have compiled significant holdings of his work.
In 2009, senior registrar Stephen Lockwood came across a series of ledger books while examining the de Young’s offsite storage facility. These antique books contained detailed records of the weather and daily attendance at the de Young since its opening day in 1895. One entry was particularly interesting:
Attributed to Frederic Edwin Church (American, 1826-1900)
Our Banner in the Sky, ca. 1861
Oil on paper mounted on paper board
7 13/16 x 11 13/16 inches
Exactly 150 years ago today on April 12, 1861, the American Civil War began in earnest. At 4:30 a.m., Confederate batteries on the shores of Charleston Harbor in South Carolina opened fire on Fort Sumter, the Federal-held fortification that dominated the harbor after commander Major Robert Anderson refused its surrender. The resulting bombardment went on for 34 hours, with Confederate artillerists lobbing over 3,000 rounds of shot and shell in the fort's direction. While the fort's masonry walls were battered and many of its wooden buildings were set alight, there were no fatal casualties on either side during the engagement. Ironically, two Union soldiers were killed when ammunition was accidentally ignited during the 100-gun salute to Fort Sumter's tattered but intact American flag.
It is this flag that is thought to be depicted in the de Young's Our Banner in the Sky, believed to have been created in 1861 by American landscape painter Frederic Edwin Church. Major Anderson took Fort Sumter's flag with him back to the North, where it became the focal point of numerous patriotic rallies, the first of which took place in New York City's Union Square. With over 100,000 attendees, it was the largest public gathering in the United States to date. The celebrity flag toured countless cities throughout the North, where it raised funds for the war effort by being auctioned off. The winner naturally donated the flag back to the nation to be auctioned off again at the next rally. In April of 1865, Anderson, now a major general, returned to Fort Sumter and raised the flag over its ruins as part of the celebration of the Union's victory.
In case you missed it, here's the archived audio of Balenciaga and Spain guest curator and Vogue European editor-at-large Hamish Bowles as he discussed the exhibition and the life and work of Cristóbal Balenciaga on KQED's Forum.