Pablo Picasso said, “Every child is an artist. The problem is how to remain an artist once we grow up.” With this in mind, we recently toured the de Young with a precocious eight-year-old named Trevor to learn what we could about the experience of the museum and its art from a child’s perspective. Needless to say, we learned a lot.
Throughout art history, politics have inspired, informed and incited the cultural production of artists throughout the world. In today’s context of social and political unrest, the subject seems particularly relevant. Two major exhibitions in San Francisco and New York currently bookend the country with the art and politics of the radical left. In both Pissarro’s People (on view at the Legion of Honor through January 22, 2012) and Diego Rivera: Murals for the Museum of Modern Art (on view at the Museum of Modern Art through May 14, 2012), the political beliefs of the artists are placed front and center.
Claude Monet’s incomparable Water Lilies has returned to Gallery 19 at the Legion of Honor! Following its display in two important temporary exhibitions, Water Lilies visited the Fine Arts Museums’ paintings conservation laboratory. In celebration of Monet’s birthday today, here is a behind-the-scenes look at the painting’s whereabouts over the past year.
Photographs, a ubiquitous component of contemporary life, serve as an ever-evolving record of our lives and those of our friends and family. Children provide an immediate source of inspiration, and many new parents quickly adopt the role of amateur photographer.
In 1980, H. McCoy Jones announced that he and his wife, Caroline, would donate his entire private collection of more than six hundred Central Asian carpets to the Fine Arts Museums. Two years later, Cathryn M. Cootner was appointed as the de Young’s first textile curator (her tenure as curator-in-charge would run through 1995). Cootner’s robust acquisition and exhibition program transformed the Museums into a well-respected repository for high quality textiles and oriental rugs. Chief among these was a watershed exhibition of Caroline McCoy-Jones’s unsurpassed collection of Anatolian kilims in 1991. We took a moment to sit down with Cathy Cootner to reflect on the McCoy Joneses and their spectacular kilims twenty years later.
Forty years ago, Linda Nochlin published her seminal article "Why Have There Been No Great Women Artists?" spurring art historians and curators to reexamine the contributions of women artists over time. Since then, the landscape of the world’s art institutions has changed drastically. Here at the de Young, we often receive inquiries about the presence (or perceived lack) of women artists in the museum. In response, we have created a self-guided tour highlighting women artists at the de Young.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a fabulous ballgown designed by fashion icon Christian Dior. This garment is currently not on display, so we offer you this exclusive online viewing!
"Will Work for Art" takes you behind the scenes to meet the people who make the Fine Arts Museums work. This week we take you into the curatorial department at the Legion of Honor to meet Jim Ganz, curator of the Achenbach Foundation for Graphic Arts. Originally from West Hartford, Connecticut, Jim has been with the Museums for three years and one month (but who's counting, anyway?).
Last week, the Legion of Honor received a special visit from Berkeley High School’s Latin class. This group of thirty-seven seniors took time out of the final, hectic days of high school to see Marvelous Menagerie: A Roman Mosaic from Lod, Israel, which has served as their muse for the past several weeks.
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.