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.
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.
I had to Google some tidbits on why Autin is a unique place in Texas and not at all like the stereotypes we in the Northeast usually have about Texas in general... "Those of us that live in Austin LOVE it and the ones that visit always wish they could stay. Some call Austin “weird,” or the “blue dot in a red state,” while others call it the “Live Music Capital of the World.” Regardless of what you have heard about Austin, one thing is certain - it is VERY different than the rest of Texas for a number of reasons. Austin has its own culture and is known as a tolerant, open-minded city that attracts a wide variety of people –college students, tech entrepreneurs, artisans, nature enthusiasts, alternative health practitioners, and many others. To top it off, Austin was ranked the best place to live in 2017, according to US News and World Report! Let’s be honest here, we couldn’t agree more that Austin is the best, which is why we came up with 5 reasons why Austin is strikingly different from (and arguably better) than the rest of Texas." For more: 5 Reasons... https://blog.aoma.edu/blog/5-reasons-why-austin-is-different-from-the-rest-of-texas#:~:text=Austin%20has%20its%20own%20culture,health%20practitioners%2C%20and%20many%20others.
ReplyDeleteI really enjoyed travelling to the sites through your eyes... I hope to visit Austin someday....