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 an enigmatic coffin from Egypt's turbulent past. Currently on view at the Legion of Honor, this ancient artwork provides insight into Egypt's past.
"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 tech shop, where preparator Paul Palacios installs the art that makes the galleries and exhibitions you see possible! Originally from Texas, Paul has been with the Museums for almost thirteen years, minus the two he spent working at the Asian Art Museum during the construction of the new de Young.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a sumptuous portrait of an 18th-century beauty painted by Elisabeth Louise Vigée Le Brun in the wake of the French Revolution. The lovely Hyacinthe is currently on view in Gallery 16 at the Legion of Honor!
When installing a painting or sculpture for exhibition, determining the correct orientation of the work is (perhaps obviously) paramount. When discussing modern art, a seemingly simple question like “Which side is up?” can become much more complicated; and occasionally when dealing with abstract art, this determination can be downright perplexing.
Two paintings recently reinstalled in Gallery 50 at the de Young have raised this question for years. Since they first arrived at the Museums, Georgia O’Keeffe’s Petunias and Arthur Dove’s Sea Gull Motive have puzzled viewers and art historians alike.
"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 whimsical world of the Flower Committee, where we meet artist Ann Hedges. Originally from New York City, Ann has been volunteering with the Museums for fifteen years.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature an extraordinary piece of American decorative art, the Mantelpiece for Thurlow Lodge, currently installed in Gallery 23 at the de Young.
For the past six weeks, we have followed the progress of Balcomb Greene's Six-Sided Planes through the museum on its way to exhibition. We began tracking the painting's journey when it first entered the Fine Arts Museums via the registration department. It then went on to paintings conservation for a makeover before heading on to the Board of Trustees for final approval. Next it re-entered the registration department for final acquisition, after which it was photographed for record-keeping purposes. And last week, we learned about the work's art historical context and significance from the American art department's curatorial perspective. Now, after all the research, preparation, and planning, Six-Sided Planes is finally on display in Wilsey Court!
Art technician Paul Tavian wheels the painting through Wilsey Court.
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!
Last week, we followed Six-Sided Planes into the photgraphy studio where it was shot for record identification. Today we learn about the history and significance of this painting from the curatorial perspective.
My name is Emma Acker, and I’m a curatorial assistant in the American Art department at the Fine Arts Museums. In May of this year, I presented Balcomb Greene’s Six-Sided Planes as a potential purchase to the Acquisitions Committee of our Board of Trustees.