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.
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.
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.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. Later this week, the San Francisco Tribal and Textile Arts Show opens at Fort Mason. In that spirit, we feature an outstanding new acquisition, Lidded vessel in the form of a turtle shell, currently on display at the de Young in Gallery 2.
William Morris, champion of the Aesthetic Movement, said of interior design, “Whatever you have in your rooms, think first of the walls.” Wallpaper was a defining decorative motif in the homes of the Victorian avant-garde and bourgeoisie alike. In keeping with this fashion, the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900
Matter + Spirit: The Sculpture of Stephen De Staebler , currently on view at the de Young, presents a retrospective of the artist’s work. This week’s FRAME | WORK draws attention to De Staebler’s mentor, Peter Voulkos. A renowned sculptor and teacher, Voulkos was hugely influential
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week we feature a classic photograph by Pierre Dubreuil. If you missed Eléphantaisie when it was on view in Impressionist Paris: City of Light, you will no doubt enjoy this virtual viewing.
The British Aesthetic Movement, which is the subject of the upcoming exhibition The Cult of Beauty: The Victorian Avant-Garde 1860–1900 opening at the Legion of Honor on February 18, promoted the integration of beauty and art into every aspect of life. William Morris (1834–1896) was a chief proponent of the Aesthetic Movement and contributed luxe designs for wallpaper, carpets, tiles, and furniture. His career as a textiles designer, however, quickly surpassed his involvement with all other areas of artistic production.
The subject of quality health care has dominated political rhetoric for decades, but the issue has been of interest for centuries. This week’s FRAME | WORK examines one of the earliest manifestations of the power of medicine in the form of the Statue of Asklepios currently on view in the Hall of Antiquities at the Legion of Honor.
This month, the de Young begins its second installment of the Artist Fellows program, which brings working artists from a variety of disciplines into the museum for a year. During this year, Artist Fellows will break open their art process by exhibiting works-in-progress and investigating new avenues of creativity through collaboration with the museum, partner institutions and other artists.
Each artist is associated with a collaborating institutional partner, an aspect of the program specifically designed to encourage museum engagement with local, community based arts organizations. Working both within and without the walls, the Artist Fellows will inhabit a new kind of museum, one without walls. In celebration of this next phase of the Artist Fellows program, we will focus on these extra-museum collaborations in a blog series called Museum Without Walls.