Tag Archive | Metropolitan Museum Of Art

Modern Art Monday Presents: Eugène Delacroix, Basket of Flowers

Delacroix Basket of Flowers
Photos By Gail

French painter Eugène Delacroix (1798–1863) was one of the greatest creative figures of the nineteenth century. Coming of age after the fall of Napoleon, he reconnected the present to the past on his own terms. Delacroix produced an extraordinarily vibrant body of work, setting into motion a cascade of innovations that changed the course of art.

In September of 1848, social and political unrest in Paris led Delacroix to retreat to his country house in Champrosay. There, he undertook this flower paining and four others, which he intended to exhibit at the next year’s Salon. The present example, Basket of Flowers (1848-49) is a rare hybrid in Delacroix’s work of still life and pure landscape. Falling from the basket are dahlias, rudbeckias, daisies, nasturtiums and roses. The arch is a typical white morning glory or moonflower, which appears to be invading a shrub with flowers arranged incense, fat clusters, possibly elderberry. On the left are elephant head amaranth, with a variety of Centaurea (perhaps cornflowers) beneath.

Photographed as part of the Exhibit, Delacroix, on View Through January 6th, 2019 at the Metropolitan Museum Art in NYC.

Delacroix Installation View
Installation View

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Modern Art Monday Presents: Yves Tanguy, Title Unknown

Yves Tanguy Title Unknown
Photo By Gail

This unknown-titled work from 1926 shows French Surrealist painter Yves Tanguy’s debt to the still and imaginative landscapes of the Italian artist Giorgio de Chirico.  The influence is apparent in the perplexing array of imagery that includes a small school of fish and a child flattened by a cart. The plain white tower in the background —  a favorite iconographic motif of de Chirico — secures the connection between the two artists.

Photographed in the Metropolitan Museum of Art in NYC.

Modern Art Monday Presents: Lyonel Charles Feininger, Lehnstedt

Lehnstedt
All Photos By Gail

Born in New York to German American musicians,  Lyonel Charles Feininger (18711956) travelled to Germany in 1887, and remained in Europe for several years to study art. While in Paris, he encountered Cubism and embraced its rationality and abstraction of form and space. “Cubism is a synthesis,” the painter explained, “but it may be degraded into mechanism. My Cubism is visionary, not physical.”

Feininger most famously applied his visionary style to architectural subjects that resonated with metaphysical meaning, especially churches. Here, the artist depicts the village church of Lehnstedt (1917) and its wooded environs with his characteristic crystalline and refracted forms.

Photographed in the Metropolitan Museum of Art in NYC.

Eye On Design: Thierry Mugler, Madonna Evening Ensemble

Thierry Mugler Madonna Evening Ensemble
All Photos By Gail

This ensemble by Thierry Mugler, entitled Madonna, served as the finale to his tenth-anniversary collection, which was staged at Le Zenith, and indoor in Paris. The model Pat Cleveland wore it as she was lowered from the ceiling of the auditorium in a cloud of dry ice, as if descending from heaven.

Madonna Evening Ensemble Installation View

Its placement this area —  a museum passage archway  — emphasizes links to ascension, and particularly the dogma of the Assumption of Mary, which asserts that her body and soul were assumed into heaven’s glory as her life’s end.

Thierry Mugler Madonna Evening Ensemble

The color of the dress refers to another dogma: the Immaculate Conception, or the belief that the Virgin Mary was born free from the stain of original sin. In artistic representations, (especially after 1854, when Pope Pius IX proclaimed the dogma), she often wears a white tunic with a blue mantle.

Photographed as Part of the Exhibit, Heavenly Bodies: Fashion and the Catholic Imagination, On View Through October 8th, 2018 at the Metropolitan Museum of Art (at both the Fifth Avenue and Cloisters Locations) in NYC.

Modern Art Monday Presents: David Hockney, Breakfast at Malibu, Sunday

Breakfast at Malibu, Sunday
Photo By Gail

In the late 1980s, David Hockney bought a house on the beach in Malibu, California and proceeded to paint interiors that showcased the incredible view of the sea from his picture window. “When you live this close to the sea,” he said, “when it literally comes up and splashes the windows, it is not the horizon line which dominates, but the close movement of  the water itself. It’s like fire and smoke, endlessly changing, endlessly fascinating.” In Breakfast at Malibu, Sunday (1989) the Pacific Ocean is almost opalescent and seems to blend in with the horizon near the top edge  of the canvas.

Part of a Private Collection, This Painting was Photographed While On Loan to the Metropolitan Museum of Art in NYC.

 

 

Modern Art Monday Presents: Paul Delvaux, Small Train Station at Night

Small Train Station at Night
Photo By Gail

Trains play a prominent, reoccurring role in Paul Delvaux’s surrealist imagery, including this eerie depiction of two locomotives leaving their terminus at night. Unpopulated, the composition of Small Train Station at Night (1959) invites the viewer to imagine inhabiting the space, this evoking a sense of loneliness and vulnerability. An unnaturally large moon casts the scene in a cool, still light that produces protracted, ominous shadows. These features betray Delvaux’s debt to Italian artist Giorgio de Chirico, who likewise explored the train as both subject and symbol in his work.

Photographed in the Metropolitan Museum of Art in NYC.

Modern Art Monday Presents: Elizabeth Murray, Once

Once
Photo By Gail

In 1978, Elizabeth Murray (1940 – 2007) made a series of irregular, star-shaped paintings with the aim, she said, of “trying to complicate and obfuscate the edges” of her medium. Indeed, the jostling contours and vivid colors of Once appear to explode outward, as if pressing the very form on the canvas into new arrangements. Murray’s dynamic compositions, charged brush strokes, and radical disruption of the frame transform the picture plane into both surface and object. While these paintings appear purely abstract, hints of imagery and reference return in subsequent works. Drawing on Cubism, Surrealism and Minimalism, Murray’s fragmented geometries and biomorphic shapes reinvigorated formalist painting in the 1970s and 1980s.

Photographed in the Metropolitan Museum of Art in NYC.