Yale Art Gallery Picture Walk

This will be my final post and is a picture walk of the gallery that I experienced today. I saw many new things and would like to share my favorites. 

This is a piece titled View of the Distant Sea 2. It is Japanese and made by Fukami Sueharu. He made this when he was 38 in 1985. It is modeled as porcelain under a green glaze. I was drawn to it because it was in the pottery room. Most things on that floor were dishes or vases or cups. however, this was a ceramic work of art depicting something else. This represents a wave about to break. This was new for this era as most ceramic models were functional and not glazed.

This piece is called View of the Thames from the Vichers Building Millbank by Oskar Kokoschka. He is an Austrian artist who lived from 1886 until 1980. He lived 106 years. This painting is oil on canvas. I liked this painting because it reminds me of the Impressionist era. It is an impression of the city with bright colors and blurred images. It gives motion to the wide landscape. However, when you look closely it is playing with light more than detail. This is always impressive to me. 

This piece is called Standing mobile by Alexander Calder. It was made in 1943 when the artist was 45. I wonder if the artist twas just having a child or if it was later. However, this mobile seems macabre and not at all stimulating for a child but maybe an adult. This specifically prompts ongoers not to touch which leads me to believe it is. mobile for an adult. This artist did not divulge his true intentions as a believer of beauty being in the eye of the beholder.

This painting is Untitled by Oscar Dominguez it was made in 1940 when he was 34 and is oil on canvas. This is a surrealist and somewhat cubist painting. the shading reminds me of cubism more but the figure and perspective is very surrealist. It gives strange and dramatic proportions to this woman. She looks in distress and it takes the viewer a few seconds to understand the figure pose. 

This is by far my favorite piece in the gallery. I have been draw to it every time I visit. It is on the top floor and is called Toward the Forest 1. It is a woodcut print in pink and green and inscribed Edvard Munch who usually works in darker colors and Selvtrykt. It was made in 1897 and printed in 1913-1915.  I love his painting because it is unlike any of Munch's work. It seems to me to be a glimmer of light in his dark expressionary work. As someone who loves nature and camping with friends and family, I can't help but adore the nostalgic film of capturing moments. Although we aren't sure why these two people are leaning on each other we know they have each other for the entire of the "the forest" ahead. 

 

Yale University 4

 This is my final paper about the Yale University Art Gallery. This is a continuation of my trip today with my friend Tori. The weather today was chillier which seemed to bring more people inside the art gallery. It was also much more packed maybe because it was a Saturday rather than a sunday. I was not allowed  to bring in a drink so that I wouldn't disturb the art. As we walked me and tori talked about the preservatory necessities to keep the gallery open. We thought it was chillier in there to preserve the art. It seemed that teh painting rooms were colder than the sculpture rooms. We also noticed that some displays were more interactive than others. One art piece has headphones and a tv to watch so the sound went with the ten minute video. This was much more immersive than other pieces. Some pieces had glass around it. This was mostly the dish pieces. They are very serious with taking care of the art. Some pieces specifically asked you not to touch. All the while Yale has security guards stationed every 20 to 30 feet. Anywhere you go a security guard is watching and aware of your every move. for the most part it is silent in the museum. However, it is open to young children as well. There was a low hum to the place as people chatted about art and children frolicked. 

I want to focus on some pieces we found moving. The first is the most relatable to me a few years ago. It is a piece called Diagram of the Ankle by Jean-Michel Bachiat. At first looking at this piece I thought it was interesting because it reminded me of my own notes. I envisioned the artist starting a class maybe a medical class about the diagram of the ankle. One can only imagine that is where the piece started and the imagination bloomed from there. The viewer tracks the thoughts from left to right as they get more and more abstract. Doodles fill the page. Tori and I could relate heavily to this feeling. It feels like you are scattered and trying to hold the grasp fo the main idea of the class but not missing any little thing however it is so hard because many distractions and wild thoughts are roaming through your brain at this age. Something I really liked about this painting is that the viewer goes through the artistic process at the same rate as the artist. It is a journey rather than a snapshot of the final product. As a student I could relate to this heavily. Upon further research I learned more about the the artists intentions. Basquiat lived from 1960-1988. He embraced the graffiti and street style adn was influenced by andy warhol. The piece is a two hinged canvas that reminds one of a notebook. it is acrylic paint oil stick and xeroxed paper. Me and tori recognized the iconic three-pronged diamond doodle that all students do when they are bored. Basquiat wanted to challenge what has meaning and who gives it that. He labeled his art shit art in order to challenge the things that weren't labeled that. https://www.nxthvn.com/shit-art-a-basquiat-analysis-by-a-young-person-nxthvn-apprentice-justin-threet/

Another piece I was drawn to was one of a room opening to the ocean. This piece is titled Rooms by the Sea. It was made in 1951 and is oil on canvas. Th artist is Edward Hopper who was American nad born 1882 and died in 1967. I liked this painting because it seemed so surreal a quiet and relaxed room opening to the calm waters of the sea. The surreal part is that the ocean is very close to the door. It seems that it is right at the edge of the property. While I felt calm looking at the two places it did seem a bit ominous like someone might jump into the water any second. Upon further inspection the blurb recites that the artist also referred to this painting in his notebook as the jumping off place. One wonders what he meant, jumping off for creativity, jumping off from responsibility, escaping the world? Hopper often spent summer in capecod and built a sunny secluded studio at Truro overlooking the bay on a bluff. Was the artist seeking escape or a calm getaway. The sense of danger suggest the former.

Yale Art Gallery 3

Chloe Oliver 

Professor Nevins 

The Museum Experience 

11 May 2024

Today I went to the Yale University Art Gallery again. This time I went with another friend Tori who was eager to go. She had just gotten home from Uconn and had never seen this gallery. Going with her added another level of intrigue as it felt like I was again living through her my first experience of the gallery. Something I never noticed is the sheer size. Yale University Art Gallery has 4 floors and countless exhibits. Some of those floors are split into two different levels. I usually go left when entering the gallery but Tori wanted to go right. This made me appreciate the bust area more as I'm usually leaving through this area. This was my favorite area because of the light and architecture. Knowing that the building was built to play with light in certain areas helped me to appreciate the sculpture section more. As we explored hidden areas more I found out that there are many outdoor spots to explore as well. There is a sculpture terrace that overlooks Chapel Street! I think the environment is an important part to appreciating art. Although we are in a hub and concentrated area of art, I think it was cool to experience art outside. This almost inclined me and my friend when leaving to keep our eyes peeled for more art outside. When exiting we saw sculptures down the street that we might not have noticed. I think this goes to show that art can happen anywhere, just because it is in a museum doesn't mean that it was born there. Every piece of art starts as an idea and probably sits in a dorm room, apartment, or on the street until someone attracts attention to it. Anything that moves you can be art! It is all about perspective! This time I was able to stop and examine different pieces more in depth. It can be very interesting to see what friends are drawn to. My friend Eleanor loved a piece when my friend tori thought it was forgetful. 

An artist that I found very interesting was Alberto Giacometti. I first saw him in the modern art section. He had many sculptures featured ranging from a few inches to a few feet tall. He was a swiss artist. He mostly sculpted painted and was a draftsman and print maker. He was born in 1901 and died in 1966. His work centered mostly around Paris. While he himself started ann artistic movement, he was influenced by cubism nad surrealism. The sculptures that I saw seemed mostly like surrealism as they seemed to pay tribute to the human condition in Paris. His sculptures were often size accurate to the distance from his model. 

The piece that drew me to this was Femme Debout. It translates to standing woman and is attached below. First seeing this piece made me feel uneasy. It was definitely surreal as the bodily proportions were almost alien like and starved. Reading the blurb and researching on this piece had me finding that this piece was supposed to represent not one woman but all people in paris after world war 2. they are starved and broken but they are standing tall. Although the figure is stripped of brute strength it has pride and posture to show for itself. Upon further research this piece is valued at 4,000,000 - 6,000,000 GBP. 

https://www.tate.org.uk/art/artists/alberto-giacometti-1159

Another work of Giacometti's is two side-by-side around 2 inch sculptures. One is small bust on a pedestal and the other is small bust on a double pedastal. These two made me and my friend laughed because we didn't understand why their would be an even smaller version of the sculpture to the right. Upon further research we learned that these two sculptures were solidifying the importance of considering where the artist is. Since Giacometti only sculpted his models from where he actually was, it makes the viewer wonder why didn't he get closer.  Giacometti claims that it is important that he capture that moment from that distance or that the whole sculpture changes. Perspective

is key. 

Aubryana's Last Mueseum Visit

Entering the Toledo Museum of Art on a sunny afternoon was a delightful experience as it has been cold and/or gross outside during the rest of my visits. The museum's beautiful architecture and rich surroundings created an atmosphere of tranquility. As I strolled through the galleries, I was  once again immediately drawn to the vibrant colors and intricate details of the artworks on display. 

The Toledo Museum of Art, located in Toledo, Ohio, holds a rich history dating back to its founding in 1901 by prominent local industrialists Edward Drummond Libbey and Florence Scott Libbey. Designed by renowned architect Edward B. Green, the museum's main building was completed in 1912, showcasing a Beaux-Arts architectural style characterized by grandeur and classical elements. Over the years, the museum has expanded its collection and facilities, with notable additions.

As I wandered through the galleries, I was pleased by the array of artworks on display, spanning various periods, styles, and mediums. Among this collection was Dirck Jacobsz’s "Jacob Cornelisz van Oostsanen Painting a Portrait of His Wife," which stood out to me with its intimate portrayal of artistic creation and personal connection.

“Jacob Cornelisz van Oostsanen Painting a Portrait of His Wife" is a captivating artwork created about 1550 by the Dutch artist Dirck Jacobsz. The painting, executed in oil on a wood panel, measures 24 7/16 x 19 7/16 inches. It depicts Dirck Jacobsz’s father, Jacob Cornelisz van Oostsanen, in the act of painting a portrait of his wife. 

Dirck Jacobsz was a Dutch artist born in 1497 and passed away in 1567. He was known for his skillful portrayal of domestic scenes and portraits, often imbuing his works with a sense of warmth and humanity. Jacobsz's paintings reflected the artistic trends of the Dutch Renaissance, characterized by a focus on realism and attention to detail.

"Jacob Cornelisz van Oostsanen Painting a Portrait of His Wife" exemplifies Jacobsz's mastery of portraiture and his ability to capture the essence of his subjects. The painting showcases a delicate balance of light and shadow, with subtle nuances of expression that reveal the intimacy of the moment. While this is great, what really sucks you into this piece is the gaze in the parents’ eyes. The portrait makes you want to match the intensity of the subjects’ gazes with your own prolonged attention. And it leads you into a set of reflections on presence and absence. 

Encountering this painting was a moving experience for me. The painting's portrayal of harmony and artistic creation sat with me, reminding me of the power of love and creativity to transcend time. As I gazed upon the scene unfolding before me, I felt a sense of connection to the painting, as if I were witnessing a moment frozen in time. Overall, Dirck Jacobsz's "Jacob Cornelisz van Oostsanen Painting a Portrait of His Wife" is a masterpiece of Dutch Renaissance art, capturing the beauty and complexity of human relationships with grace.

yale university 2

Chloe Oliver 

Professor Nevins 

The Museum Experience

May 9th, 2024

Yale University 2

Because I am an undergrad student I am centering my paper again around Yale University Art Gallery. As I have already written about the overall history and my first impression of the Gallery I will be diving into the Yale University scandal of stolen art. I believe this is important because museums are meant to immortalize history. If they get the story wrong then the whole mission of art and storytelling is ruined. One misrepresentation can soil the museum's goal of celebrating cultures.

On April 4th 2022, over 2 years ago, Yale University, a short walk from Albertus, identified the items that were accused of being stolen. It is said that the university returned the items to the New York District Attorneys office a few days earlier on March 30th. They were reported to be repatriated later this year. This means that the pieces will be returned to their countries of origins. In a parallel timeline there is a new york art dealer being investigated for smuggling thousands of south Asian  artifacts into the country. His name is Subhash Kapoor. 9 of the 13 antiques at yale were connected to the art dealer. 12 are india artifacts and 1 is from Burma. I wondered if I saw any of these pieces at the museum growing up. These artifacts were valued at 1.2 million. The artifacts were mostly sculptures. https://www.ctpublic.org/news/2022-04-04/yale-turns-over-stolen-art-amid-smuggling-investigation

My favorite floors of the museum were the modern art areas. I got the general impression that modern art explored more mediums and expressed it with fresher life. Although exploring the first few floors was fascinating, I was encapsulated by the sculptures made out of different materials and the mixed media that was presented on the higher floors. The next artist that I will be diving into is an artist featured on the top floor. 

This piece I was particularly drawn to. First I will describe my personal reasons as to why I was drawn to it and then I will go into the history of the art. At first I was drawn to the newspaper style, it looked like it was real and not made by the artist but otherwise added on to by the artist. And then, I saw the red lettering. This word can be shocking to some and I wanted to know more about the intention of the artist.From my perspective I thought the artist was taking back the word as it shows women standing together. 

This piece was made by Sheila Levrant de Bretteville. She is an American woman born in 1940. I learned the piece is part of a collection called woman house and was made in 1973 when the artist was 33. The blurb tells us that the artist designed this piece for one of the first large feminist art exhibits. The space was to celebrate and educate woman artists. The artists traveled and supported many movements and universities and is a professor of art at Yale. The artist worked mostly in the graphic design department of the womanhouse. She taught her students how to link their own creativity to their innate social responsibility. A theme in her class was to locate public news outlets and bring truth and passion to the ordinary everyday seen things. For example, a student wrote rape on a map of LA where they took place at the time. It these kinds of shocking and thought provoking pieces that make you stop and think. 

After learning about the artist this piece makes me feel a little bit more sad. The cheerleaders are spelling the word cunt, I think it might be to take back the word however, it makes me feel as though this age group is unfit for this word. Overall, I believe it is supposed to be empowering. https://artgallery.yale.edu/exhibitions/exhibition/sheila-levrant-de-bretteville-community-activism-and-design

6th Visit

 This past weekend, I found myself in an immersive journey back to the Blanton Museum of Art. It was a day dedicated to an in-depth exploration of some of the permanent works as I had no where to be and was able to spend a few hours there and see a diverse array of art. It is comprises of a great blend of historic European paintings and modern art pieces from various artists. This mix of the old and the new provides a unique perspective on the evolution of art over the centuries.

I began my day in the European section, a charming space filled with artistic wonders. Among these, one painting that particularly fascinated me was George Romney’s 1791 portrait of Lady Emma Hamilton. This exquisite piece of art, rendered in oil on canvas, is a captivating depiction of Lady Hamilton, who was just 26 when she posed for this portrait. What adds a compelling twist to this artwork is the erupting Mount Vesuvius in the backdrop of Emma in her white dress. This volcanic depiction references her husband’s publication on the volcano. The painting, in its grandeur and historic significance, truly captivated me. As I spent a substantial amount of time on this visit, the opportunity to languish in front of this artwork and ponder about its history and the eras it has lived through was indeed something special.

Moving ahead in my artistic sojourn, I chanced upon a 17th-century still life painting that enraptured me. This piece, titled 'Still Life of Flowers in a Glass Vase', is a creation of Bartolomé Pérez. The colors were rich and vivid, and the intricacies of the painting were absolutely mesmerizing. I have always had a soft corner for still life and this era of painting, primarily due to their remarkable attention to detail and the stunning realism they exhibit. This painting, with its lifelike portrayal, was a testament to this admiration.

The next phase of my exploration took me to the realms of modern art. I was pleasantly surprised to discover that the Blanton Museum houses a piece by the iconic Andy Warhol. I have long been a fan of Warhol's work, even getting to see a wonderful sole exhibition of his at the Whitney museum in 2018. His unique take on consumerism and art has always intrigued me. To find his Farrah Fawcett print in the collection was indeed an exciting moment. His contribution to the transformation of art for the modern era, from prints to art books, is noteworthy. His ability to democratize art, which was once considered the domain of the upper echelons, is truly inspiring.

Another modern piece that swept me off my feet was Nicola Costantino’s ‘Nicola Seamstress’. Painted in 2008 using inkjet. This picture does not do it justice but it was almost haunting and so beautiful in person you can see the contemplative look on the woman's face as the museum states “The mysterious tableau seems eerily suspended in time, a moment in the still of the night when the main character weighs the two options before her: to wear the bride’s virginal white dress, or to follow the life of passion symbolized by the red fabric on the machine in front of her. During the twentieth century, sewing was a way for Argentine women to reach relative economic and sexual independence. In this subtly unsettling self-portrait, Constantino seems to suggest that reaching such goals required difficult choices.”

I was also deeply impressed by Mequitta Ahuja’s 'Parade (diptych)', a two-panel artwork created in 2007 using enamel on canvas. Ahuja's exploration of the significant role of hair in the lives of Black people, and her unique concept of 'automythography' in self-portraiture, were truly thought-provoking. The sheer size of the piece, coupled with the beautiful colors slightly reminiscent of Klimt yet distinctly her own, created a mesmerizing visual impact.

The museum's collection of Baroque art was another highlight of my visit. I am going to identify some really beautiful baroque style art I always love to see when I come to Blanton below. 

David with the Head of Goliath

PRIMARY Claude Vignon (Tours, France, 1593–Paris, France, 1670)

NATIONALITYFrench, Europe

DATEcirca 1620-1623

MEDIUM Oil on canvas

DIMENSIONS Canvas: 52 5/8 x 38 9/16 in. (133.7 x 98 cm)

The Toilet of Bathsheba(top left)

Jacopo Amigoni (Venice, Italy, 1682–Madrid, Spain, 1752)

NATIONALITY Italian, Europe

DATE 1740s

MEDIUM Oil on canvas

DIMENSIONS Framed: 33 3/8 x 29 1/8 in. (84.8 x 74 cm)Canvas: 28 1/2 x 24 1/4 in. (72.4 x 61.6 cm)

Young Girl with a Basket of Apples(left side middle)

PRIMARY Giovanni Battista Piazzetta (Venice, Italy, 1682–1754)

NATIONALITY Italian, Europe

DATE 1740s

MEDIUM Oil on canvas

DIMENSIONS Canvas: 13 1/2 x 11 1/4 in. (34.3 x 28.6 cm)

Madonna and Child (left side bottom)

PRIMARY Giuseppe Cades (Rome, Italy, 1750–1799)

NATIONALITY Italian, Europe

DATE circa 1790

MEDIUM Oil on canvas

DIMENSIONS Canvas: 13 11/16 x 10 1/4 in. (34.8 x 26 cm)

Flora (top middle)

PRIMARY Sebastiano Ricci (Belluno, Italy, 1659–Venice, Italy, 1734)

NATIONALITY Italian, Europe

DATE circa 1712-1716

MEDIUM Oil on canvas

DIMENSIONS Framed: 55 x 67 1/4 x 4 3/8 in. (139.7 x 170.8 x 11.1 cm)Canvas: 49 5/16 x 60 1/2 in. (125.3 x 153.7 cm)

Bellona (bottom center left)

PRIMARY Giovanni Antonio Pellegrini (Venice, Italy, 1675–1741)

NATIONALITY Italian, Europe

DATE circa 1713-1714

MEDIUM Oil on canvas

DIMENSIONS Canvas: 35 1/2 x 29 in. (90.2 x 73.7 cm)

Venus and Cupid (center right)

PRIMARY Giovanni Antonio Pellegrini (Venice, Italy, 1675–1741)

NATIONALITY Italian, Europe

DATE 1700

MEDIUM Oil on canvas

DIMENSIONS Canvas: 28 x 24 1/4 in. (71.1 x 61.6 cm)

Return of the Prodigal Son (bottom right)

PRIMARY Sebastiano Ricci (Belluno, Italy, 1659–Venice, Italy, 1734)

NATIONALITYItalian, Europe

DATEcirca 1720

MEDIUMOil on canvas

DIMENSIONS Framed: 25 7/8 x 23 1/2 in. (65.7 x 59.7 cm)Canvas: 22 7/16 x 20 in. (57 x 50.8 cm)

Justice Fulminating the Vices (middle right)

PRIMARY Giovanni Antonio Pellegrini (Venice, Italy, 1675–1741)

NATIONALITY Italian, Europe

DATE 1717

MEDIUM Oil on canvas

DIMENSIONS Framed: 24 3/8 x 23 1/4 x 3 3/4 in. (61.9 x 59.1 x 9.5 cm)Canvas: 13 5/8 x 12 11/16 in. (34.6 x 32.3 cm)

The Adoration of the Magi (top right)

PRIMARY Francesco Fontebasso (Venice, Italy, 1707–1769)

NATIONALITY Italian, Europe

DATE 1740s

MEDIUM Oil on canvas

DIMENSIONS Framed: 31 x 36 1/8 in. (78.7 x 91.8 cm)Canvas: 25 x 30 in. (63.5 x 76.2 cm)

The intricate details, the historical narratives, and the sheer artistic brilliance of these pieces were indeed a feast for the eyes.

Reflecting on my day at Blanton, I am overwhelmed by the true enjoyment and enrichment it has brought me. Going to museums has always been one of my favorite pastimes, and this visit has been no exception. Getting to experience the local art in Austin has been extremely rewarding, and the opportunity to view some international works as well has been a great privilege. I am now looking forward to attending gallery nights here on the East side with more frequency, meeting artists, and discussing their work with them. Moving from New York, I had initially thought Austin as a cultural wasteland. However, this class and the experiences it has brought me have proven me wrong, and I couldn't be happier about it.

Last Day!

 Hi Everyone,

Today is the last day of the Mod.  I will be working on the grades on Mother's Day, theis Sunday, May 12th.  Be sure to have all of your work completed by then... As a reminder, 4 written reports with pictures and 2 photo reports of 20 or so images with identifications.

I hope you enjoyed this experience!  I enjoyed reading about your visits and seeing through your eyes, heart and mind what you were encountering.

Have a great summer!

Prof. Nevins