A Stroll Around the Garden

The Sculpture Garden at the Norton Simon Museum

I was able to visit the Norton Simon Museum for the first time in a few months. The water lilies were in full bloom, as were a wide variety of other gorgeous flowers. From yellow and orange to purple and green, a stroll around the pond, through the trees, around the sculptures, was a delight for the senses.

So, I figured that I would share a few photos with you all. ;-)

Looking across the pond towards Aristide Maillol's River

Aristide Maillol's Mountain

Enjoy!!!

Writing Love Letters

Detail of Young Girl Writing a Love Letter (1755) by Pietro Antonio Rotari

This week, we've got a bunch of holidays crowded together. When celebrating Mardi Gras, two days ago, I posted up an appropriate work of art from the local art collection. I figured that would be a fun thing to do again with today's Valentine's Day post.

Therefore, here's Pietro Rotari's Young Girl Writing a Love Letter, one of my favorite paintings from the Norton Simon Museum. I adore her coquettish, sidelong glance and confident, almost saucy, demeanor. Her actions indicate that she's daydreaming about the object of her adoration, but her pose implies that this object is actually the viewer!!! It's a playful piece that I enjoy visiting time and again, both to appreciate the work and to observe how other viewers react to it.

It's especially fun to see the difference in reaction between women and men. ;-)

Anyways, we can't have a holiday post without Barbie.

Queen of Hearts Barbie (1994, designed by Bob Mackie) says "Happy Valentine's Day!!!"

Likewise, whether you have a sweetheart or are currently going solo, this day, like every other, can be as good as you can make it. So, seek out that which makes you happy and have a wonderful time!!!

Half Simpleton, Half God

Late Summer view of the Lily Pond at the Norton Simon Museum


It always amuses me that, whenever I take a vacation from the daily blogging, my readership seems to soar in terms of pageviews. Sometimes, it is because something about which I have written enters into wider consideration. This time it seems just random. It's curious, but I'm happy that some new readers have stumbled upon this humble blog.

As the photo above indicates, I went to visit the Norton Simon Museum over the weekend. They have a pretty good exhibit on still lifes, entitled "Significant Objects: The Spell of Still Life." Now, I'm not a fan of that genre of painting, but it was interesting looking at the huge collection on display, everything from Dutch tulip drawings to Claes Oldenburg's giant soft ketchup bottle. Yeah, it was comprehensive. ;-)

Hopefully, I'll get to write up a review of the show. It'll be tricky, since there is no photography allowed, but most of the images are available on the internet or from my own collection of photographed works. But for now, here's a Lipchitz:

Figure (1926-30) by Jacques Lipchitz

And, for half of this post, let's celebrate the birth date of Anton Bruckner, who was born on this date in 1824. Does this have anything to do with still lifes or my increased vacation readership? No, but incoherence is the name of today's game. ;-)

Muses Work All Day Long. . .

Detail of Dancer Taking a Bow (The Star) (1877) by Edgar Degas

". . . And then at night get together and dance."

That's one of my favorite quotes about the Arts. It's especially appropriate for today, on the birth date of Edgar Degas, born in 1834, one of my favorite Impressionists. No other artist has captured the beauty and grace of dancing as well.

It's all about motion and the transience of the moment. The way in which the figures are positioned, the flashes of color, the evocation of space, these elements create a visual rhythm that carries the eye across the canvas, as if, through the act of seeing, the viewer is a participant in the dance itself.

The Tub (1888) by Edgar Degas


It's a lyrical vision that can also be seen in his sculptural works. Even something as placid as taking a bath becomes a study in motion, a languid twist and stretch, with a natural grace and an inviting poise.

The Progress of Love

Detail of Happy Lovers (1760) by Jean-Honore Fragonard


My love for Rococo art is well documented. Frequently, during museum excursions, my friends have sighed with resignation or rolled their eyes in disdain when I gleefully exclaim, "I'm loco for Rococo!!!"

Perhaps my favorite Rococo master is Jean-Honore Fragonard, born on April 5, 1732. The vibrant colors, soft figures, dreamy landscapes, these all make for a delightful fantasy realm of lighthearted eroticism and whimsical play. If, by magic, I were pulled into the environs of any painter's aesthetic settings, I would want to travel to Fragonard's pastoral and abundant world of beauties.

The local museums don't have many of his works, but the few that they do have are fun pieces. The Happy Lovers at the Norton Simon is one of my favorite paintings in the collection.

Detail of the Fountain of Love (1785) by Jean-Honore Fragonard

So, let's spend a few moments appreciating the gentle grace of Fragonard's lyrical images, the poetic prettiness of his art.

Painted on the Ceiling

Detail of the Triumph of Virtue and Nobility over Ignorance (1750) by Giovanni Battista Tiepolo

More Venetian baroque for today.

This time we celebrate the paintings of Giovanni Battista Tiepolo, born on March 5, 1696. He is best known for his amazing ceiling frescoes, which feature the elaborate staging of figures floating in luminous spaces over the viewer's head. They convey a powerful sense of space, a feeling of ascendance.

Out here in LA, we're lucky enough to have a nice sampling of Tiepolo's work. At the Norton Simon Museum, it is always a pleasure to see the Triumph of Virtue and Nobility over Ignorance. It commands the view of the Baroque wing. Likewise, the Getty and LACMA have a few nice works as well.

But to really appreciate Tiepolo, you need to see the works in their original context and site. Alas, I haven't the time or resources to take a trip to Italy any time soon. ;-)

Detail of the Miracle of the Holy House of Loreto (1743) by Giovanni Battista Tiepolo

So, lets look at some vids instead.

Neon Pop

Detail of Green Shirt (1965) by Robert Rauschenberg


When visiting the Norton Simon Museum, I rarely walk around towards the back side of the building, overlooking the parking lot. On those occasions that I have, I've noticed this work by Robert Rauschenberg, Green Shirt, a fine example of neon Pop Art, but I haven't ever seen it turned on.

This weekend, the lights were colorful and bright.

I had wondered about this piece previously. But there isn't much info available on the work, at least not on the Internet. Doing an image search only turns up a few photos, most of which don't show things in detail.

Detail of Green Shirt (1965) by Robert Rauschenberg

So, I figured that I'd share a few photos for you all. ;-)

Diffuse Reflections, Part II

Venus Victorious (1914) by Pierre-Auguste Renoir, on view in the Sculpture Garden at the Norton Simon Museum

I had been considering paying a trip to the Norton Simon Museum in Pasadena to attend a lecture "Human and Divine: Face to Face with Hans Memling's Portraits" by Maryan Ainsworth, curator of European Paintings at the Met, but, whereas I started the day on the fence in this matter, Renoir's birth date settled it. No other Los Angeles area museum has such interesting examples and diversity of his work.

So, it was off to Pasadena for me. And while I was there, discussing the Frick Collection, from where the current exhibit of Memling's Portrait of a Man is on loan, I found out that there was an interesting show of Renoir's work. It looks mighty impressive. If I had the time and money, I'd be on my way to NYC to check it out. ;-)

But I'll content myself with the local treasures and some very cool vids that the Frick has put up on YouTube.

Detail of Bouquet of Lilacs (1875-80) by Pierre-Auguste Renoir

Beautiful work!!!

Portrait of a Man

Portrait of a Man (c.1470-75) by Hans Memling, on exhibit at the Norton Simon Museum

I was able to attend opening night for the Norton Simon Museum's showcase of Hans Memling's Portrait of a Man, on loan from the Frick Collection. This show will be running until April 30, 2012.

I'm not big on Northern Renaissance art, but Memling is interesting. He certainly transcends the flesh, capturing the subject's personality or mental state. The portrait on view is well worth checking out, subtle but compelling. And the other Memling on view, Christ Giving His Blessing, which is a part of the permanent collection, is also quite excellent.

Here are a couple photos from tonight.

The exhibit spotlights Memling in context with other 15th century artists.



Opening Night for Memling's Portrait of a Man


Enjoy!!!

Pacific Standard Time: Update #7

Pacific Standard Time Logo

It's been over a month since my last update, but that doesn't mean that I haven't been chasing down PST events. ;-)

We're halfway through the event's run, with many shows closing, but new exhibits opening. I went to give a farewell view to some of my favorite shows, such as the Hammer's Now Dig This! exhibition on LA's African-American art scene. As I was giving a final viewing to some of these artworks, melancholy came over me. So many of these works are hidden away in museum vaults or in private collections, I don't know if or when I'll be able to see them again.

For example, Ed Kienholz's Five Car Stud was created about 40 years ago, but has hardly ever been on view. What are the chances that I'll get to see it again? Likewise, all the lesser known minority artists rarely get shown. I know that one of the purposes behind the PST event is to alter the situation, to reveal the hidden treasures of the early LA art scene, but changing the established bias in the understanding of modern American art is a long-term project.

Although a strong counter-narrative is being proposed, such a fixed "history" is hard to shake, especially as many East Coast experts have so much invested in the current narrative.

Detail of Booster (1967) by Robert Rauschenberg

In any case, it's been fun and enlightening. I finally got to see the show at the Getty, which was awesome! I even got to attend a short talk on George Herms' assemblage piece, The Librarian. At another visit to the Norton Simon Museum, I attended a "spotlight" talk on John Baldessari's Fallen Easel. Likewise, the Hammer featured Maren Hassinger's River. I definitely appreciate these focus talks, brief though they may be, which enable me to benefit from the expertise of the curatorial staff in developing a deeper appreciation of the works under review.

Into the Negative Space

Assembly of Sea Forms (1972) by Barbara Hepworth, looking through the Sea King


On this date in 1903, Barbara Hepworth was born. She is one of my favorite 20th Century sculptors, perhaps in the Top Five. Her utilization of negative space in abstract forms is always compelling, be it as punctures or concavities or even in the distance between multiple forms.

But my favorite thing to do when I see one of her punctured works is to look through the hole. Yeah, it's a bit juvenile, but I feel as if the view is part of the experience of the sculpture, as if the perceived space beyond imparts significance to the artwork itself. Perhaps the thrill that I receive comes from an identification with the sculpture, viewing the environs through the work, seeing the world as the art, if it had sentience, would see it.

And that's another point about Hepworth's work, her sculptures "feel" alive, like creatures comprised of bronze or stone. It's weird to associate personality with abstract forms, but I can't help but detect a spirit within them, like animistic totems or primitive idols.

Four Square - Walk Through (1966) by Barbara Hepworth

Recently, one of her sculptures was stolen out of a park in London, likely by scrap metal thieves. This news totally broke my heart, like a story about an innocent person being brutally murdered. I can't understand how people can look at Hepworth's art and not be able to discern their distinct personalities, their irreplaceable charm, their wit and eloquence.

Colorful Lyricism

Helen Frankenthaler's Adriatic (1968) at the Norton Simon Museum's Surface Truths exhibit


I've been feeling a bit down over the past few days, since hearing of the death of Helen Frankenthaler, one of my favorite American abstract painters. Earlier this year, I had the good fortune to view her painting, Adriatic, on numerous occasions as part of my regular visits to the Norton Simon Museum in Pasadena. I would sit down and let my mind drift into the orange clouds of the surface, following the subtle yet precise flows of color. It was always a rich aesthetic experience.

It pains me that this woman who has brought such beauty into my life has left this world.

I went over to LACMA to view her painting, Winter Hunt, to pay my respects. I prefer Adriatic, but I haven't had time to head over to the Huntington Museum, where I think it currently on view.

Detail of Winter Hunt (1958) by Helen Frankenthaler

Although it doesn't have the tranquility of Adriatic, this painting has her characteristic color play and lyrical compositional style. There's an authentic ferocity to the image, a serene savagery.

Pacific Standard Time: Update #6

Pacific Standard Time logo


Well, it's been a month since my last Pacific Standard Time update, which is why I dropped the "weekly" from the post title. Apparently, that would have been one very long week. ;-)

The reason for my lack of updates is that I wasn't attending enough events to justify the necessity for one. Of course, there were many awesome events in November, but my health difficulties kept me from experiencing them. I'm seriously hoping that I can soon start aggressively covering the art scene again, including the PST events. Moreover, I still haven't visited either the Getty or MOCA, both of which have been on my "to visit" list since October.

It's a frustrating situation.

Nevertheless, I've finally got enough to make for an interesting update. Last weekend, I was able to attend two PST related talks. The Norton Simon Museum had an informative "salon talk" regarding their exhibition, "Proof". And dnj gallery, at Bergamot Station, had an engaging talk featuring photographers, Robbert Flick and Susan Rankaitis. In both cases, the learning about the historical context in which the art pieces were created made for a fascinating topic.

As I finally seem to be making my way back into good health, with the assistance of modern medication, I'm chomping at the bit to get back onto the Art Beat. Woo hoo!!!

Anyways, here are the shows that I've visited since the last update:

The Group Shoe (1962) by Roberto Chavez

Autry National Center

Art Along the Hyphen: The Mexican-American Generation

Peace Press Graphics

CSU Long Beach, University Art Gallery

Peace Press Graphics 1967-1987: Art in the Pursuit of Social Change










 

L.A. Diary excerpt #20 (1967) by Robbert Flick


dnj Gallery (Bergamot Station)

Then and Now












Gypsy Rose by Jesse Valadez

 
Museum of Latin American Art (MOLAA)

MEX/LA "Mexican" Modernism(s) in Los Angeles, 1930-1985







 


Jivaroland Frog Cup (1968) by Ken Price

Norton Simon Museum

Proof: The Rise of Printmaking in Southern California












 

Brillo Boxes (1969) by Andy Warhol


 Pacific Asia Museum

46 N. Los Robles: A History of the Pasadena Art Museum










Enjoy!!!

En Plein Air

Wheatstacks, Snow Effect, Morning (1891) by Claude Monet, Getty Museum


Yeah, I know that we've been hitting the art topics with high frequency this last weekend. There are many wonderful people to discuss today, but I couldn't ignore Claude Monet, born on this date in 1840.

My feelings about Monet are complex, but all highly positive. Perhaps, the most important way in which he has influenced the development of my own personal aesthetic base is in the "plein air" technique. The concept behind "en plein air" is to work quickly on a piece, assessing the subject's salient features, composing the aesthetic structure, and expressing the authentic experience. By practicing this method, both in pictorial and verbal styles, I feel that my skill as both an artist and a critic of art has been enhanced.

As regards Impressionism, I have a deep love for this style. Fortunately, the local museums have wonderful examples on display, even a few Monet's. It is always a thrill to visit these "old friends" that I've been admiring for over three decades. Maybe I'll finally pay that visit to the Getty that I've been planning for a few weeks now. ;-)

The Artist's Garden at Vetheuil (1881) by Claude Monet, Norton Simon Museum

In any case, let's take a moment to reflect on how amazing human beings are that we could produce an artist like Claude Monet.

Pacific Standard Time: Weekly Update #5

Pacific Standard Time logo

Although my health has improved significantly, the wreckage of two days lost to illness has created a backlog of tasks and social obligations, crowding out most of my art appreciation time. I still managed to fit in a rich set of activities, but not to my customary "aesthete grade" desires.

I didn't see any new exhibits, but I did attend a couple of lectures. The Norton Simon Museum had two Pacific Standard Time events. First, I attended a spotlight talk on Claes Oldenburg's Fire Plug Souvenir- "Chicago August 1968" and the fireplug motif as expressed in his lithographed Notes 1968. It was an interesting contrast between Oldenburg's more familiar light-hearted "pop" pieces and his deceptively critical political/social works.

Then, I attended a lecture on Dennis Hopper's photograph, "Double Standard" (1961), given by Prof. Damon M. Willick of Loyola Marymount University. Using the photo as a jumping point, the lecture was a reading of the various trends salient in the Los Angeles art scene during the era of the photograph and of the ensuing decade. It was a broad examination, encompassing everything from LA car culture to emergent minority voices to the fetishization of image and surface content. It was a good intro talk for those new to the topic of Los Angeles art.

Double Standard (1961) by Dennis Hopper


Finally, I was able to attend a panel discussion, "High Voltage: The Watts Legacy", at the Hammer Museum. The panel was moderated by Dr. Darnell Hunt. The panelists were artists, John Outterbridge and Andrew Zermeno, and collector, Stan Sanders. It was an engaging conversation, bringing up topics of art as political speech, the art establishment's fluctuating level of acceptance for African-American artists, and the transformational role that the Watts Riots played in spurring artistic creativity.

So, focusing more on activities than viewings was a good change of pace. No doubt, I'll be back to my solitary gallery pacing next week, but I had a good time at these events. I'm very grateful to live in a civilization where experts are readily available to impart insight and information.

Operation Teacup (Tower Easter Week Clean-Up) (1965) by Milton Martinez

Here are the Pacific Standard Time exhibits that I attended:

Hammer Museum

"Now Dig This! Art and Black Los Angeles 1960-1980"

Norton Simon Museum

"Proof: The Rise of Printmaking in Southern California"










Enjoy!!!

Age of Bronze, Part II

The Thinker (1880, 11/12) by Auguste Rodin, overlooking Colorado Blvd

If The Thinker was originally designed as a figure surveying the damned at the Gates of Hell, then what does it signify that it will be overlooking Pasadena's Tournament of Roses Parade, proceeding to the Rose Bowl, along Colorado Blvd? Hmm. . .

Earlier, I promised some more photos of the Rodin sculptures at the Norton Simon Museum. The lighting conditions were not optimal, but I think a few turned out looking satisfactory.

Jean de Fiennes, Vetu (1884-95, 1/4) by Auguste Rodin

Saint John the Baptist (1878-80, 7/12) by Auguste Rodin

The sculptures have amazing facial expressiveness, revealing a depth of emotion, engaging the viewer with unvoiced questions.

The Age of Bronze

Monument to Honore de Balzac, first modelled 1897, cast in 1967 (9/12) by Auguste Rodin


Auguste Rodin was born on this day in 1840.

Los Angeles is lucky enough to house two significant collections of Rodin's sculptures: LACMA's Cantor Garden and the Norton Simon Museum. Additionally, Stanford University up in the Silicon Valley houses a superb collection that is well worth a long drive (or quick flight) and overnighting the weekend.

I'm so familiar with his works that I sometimes overlook them, passing them by without so much as a glace. The Thinker at the Norton Simon rarely receives a visit from me anymore. So, it's important to remember how awesome these works are.

The Thinker (1880, 11/12) by Auguste Rodin

Let's take a look at a few classic Rodin's and renew our appreciation for his genius.

A (Sculpture) Garden in Pasadena

Sculpture Garden at the Norton Simon Museum


A Garden in Pasadena (Lines 39 to 48)
(By John Hollander)

Flowering trees, perennial anthologies
     Of the outcry of color against
Versions of green, calculated plots of bright shrubs
     Empebbled, flowers of rhetoric
Blaring the brightest colors of unburning fire-
     All these compose themselves in evening
Calm, even at noon, or soon after. When the light
     Has weight, and when the undimmed music
Still taking place here comes to a consonant sigh,
     Wind roughs up the grass, and petals shake.


I know, Hollander's birthday was two days ago, but, since I visited a garden in Pasadena yesterday, it seemed like a shame to not share a snippet of his poetry in this post. ;-)

Rock Form: Porthcurno (1964) by Barbara Hepworth

The Norton Simon Sculpture Garden has a lovely selection of works arranged around a charming pond. I could spend an afternoon relaxing in this peaceful enclave of Art.

Mahadevi on My Mind

Vishnu flanked by Sridevi (left) and Bhudevi (right)

Ever since our Friday Flowers celebrated the Hindu goddess Kali, I've been wanting to go see some classic Indian sculpture. Perhaps the finest collection of such work in the Los Angeles area is at the Norton Simon Museum. So a quick trip to Pasadena was in order.

The collection is very extensive and impressive. Therefore, I'm limiting this post to focusing on my favorite goddess statues. The Norton Simon website has brief audio tour lectures for some of these statues. I'll provide the links after at image.



Vishnu embracing Lakshmi


Here's the link to the Norton Simon page with the audio information. ;-)

One Week Later

Hermosa Beach, South of the Pier

It's been a week since my accident. I'm feeling much better, but still have a few pains and kinks that I have hopes will heal up soon. It seems like the subgenre of "Surviving a Deadly Misadventure" requires that one reassess their existence, perhaps with a life-changing insight. Sadly, I'm too much of a creature of habit and compulsive patterns to give into such expectations.

So what did I do to recover from the collision? I spent a few days just vegging, listening to music. Music has always been my comfort activity. As indicated in the photo above, I took a trip to the beach. Weird, but I haven't actually walk on the beach since last September. Just as last time, it was a gloomy day, perfect for a sulky stroll upon the sand.



Vroman's Bookstore in Pasadena


"Retail Therapy" doesn't usually work for me, but browsing the books is always a good time. Vroman's is an independent bookstore, with one of the finest selections that I've ever seen. They have great history, science fiction, horror, science, and gardening sections. I could spend all day planning my selections. ;-)