Collections

Love and the Maiden: A Tale in Tempera

Last month we featured John Roddam Stanhope’s Love and the Maiden in FRAME|WORK, which served as the first in a series of blog posts that will demonstrate key elements of the Aesthetic Movement through this singular painting. In this installment, curatorial assistant of European art Melissa Buron examines how Stanhope's use of tempera paint contributed to the aesthetic of the Victorian avant-garde.

2002.176

John Roddam Spencer Stanhope (English, 1829–1908). Love and the Maiden, 1877. Tempera, gold paint and gold leaf on canvas. Museum purchase, European Art Trust Fund, Grover A. Magnin Bequest Fund and Dorothy Spreckels Munn Bequest Fund. 2002.176

FRAME|WORK: At Sea, Japan by Jennifer Bartlett

Last weekend marked the one-year anniversary of Japan’s tragic earthquake and tsunami. Today marks the birthday of Jennifer Bartlett, whose opus, At Sea, Japan, was inspired by Japanese artistic traditions and is highlighted in this week’s FRAME | WORK . This work is currently not on view, so we hope you enjoy At Sea, Japan as we reflect on Japan’s recovery and resilience.

FRAME|WORK: A Relief of a Gift Bearer from Ancient Persia

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.

2008.1

Relief of a Gift Bearer, Persian, Achaemenid Empire, Persepolis, Palace of Darius or Xerxes, ca. 490–470 B.C. Limestone. Museum purchase, gift of Lisa Sardegna, Albert P. Wagner Bequest Fund, William A. Stimson, Friends of Ian White Endowment Income Fund, Unrestricted Art Acquisition Endowment Fund, Volunteer Council Art Acquisition Fund, Ancient Art Trust Fund and Auction Proceeds, Mrs. John N. Rosekrans, Jr., Sande Schlumberger, Endowment Fund in Honor of Francesca and Thomas Carr Howe, Walter H. and Phyllis J. Shorenstein Foundation Fund, Tish and James Brown and various Tribute Funds. 2008.1

Finding San Francisco

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.

Tress 40

Arthur Tress, Untitled (Legion of Honor Museum), 1964. Printed 2010–11. Selenium-toned silver gelatin print. Fine Arts Museums of San Francisco. ©2012 Arthur Tress

Museum Without Walls: Sarah Wilson and Catch Me Bird Go Off the Walls

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.

FRAME|WORK: Flora and Pomona by Edward Burne-Jones

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.

Flora and Pomona

Edward Burne-Jones (English, 1833–1898) for Morris & Co. Flora (left) and Pomona (right), 1886–1920. Wool, silk, cotton; tapestry weave. Museum purchase, Dorothy Spreckels Munn Bequest Fund. 2001.120.1–2.

Investigating Indigo in the Art of the Anatolian Kilim

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: George Washington by Rembrandt Peale

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.

FRAME|WORK: Love and the Maiden by John Roddam Spencer Stanhope

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.

Love and the Maiden

John Roddam Spencer Stanhope (English, 1829–1908). Love and the Maiden, 1877. Tempera, gold paint and gold leaf on canvas. Museum purchase, European Art Trust Fund, Grover A. Magnin Bequest Fund and Dorothy Spreckels Munn Bequest Fund. 2002.176

A Band Apart: Ralph Eugene Meatyard and Francesca Woodman

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.

Meatyard Woodman

Left: Ralph Eugene Meatyard (American, 1925–1972). Untitled, ca. 1960–1962. Gelatin silver print. Museum purchase, John Pritzker Fund. 2011.4.1. Right: Francesca Woodman (American, 1958–1981). My House, Providence, Rhode Island, 1976. Gelatin silver print. Courtesy George and Betty Woodman. x2011.467.032

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