Week 34: Aug. 25, 2024

Balcony over Rozzell Court, Nelson Atkins Museum of Art, 1933

Rozzell Court…

Rozzell Court is my favorite part of the museum. They created a replica of an italian courtyard and turned it into a practicl space for visitors to enjoy lunch or a glass of wine. The fountain, the architecture, it’s all wonderful.

This area is in the balcony of walkways that allow you to pass between exhibit halls one floor above the courtyard. The grandeur of the structures - columns, arches, soaring ceiling, contrasts with the painted detail on the vaulted ceilings.

This was another phote in which I had to work hard to remove the elements of modern life that popped up - exit signs and the like. But it really forced me to figure out how to show the elements that I wanted to highlight and I was happy with how it turned out.

Week 33: Aug. 18, 2024

Two pieces: End of the Trail, James Earle Fraser, American, modeled 1894, cast 1918, Bronze; Teaching a Mustang Pony to Pack Dead Game, Remington, American, ca. 1890, Oil on canvas

The wild west…

I grew up not far from the Gilcrease Museum in Tulsa, OK. Arguably the best museum of western art in the country, the Gilcrease has been closed for remodeling - or a complete building overhaul from the sounds of it - for at least 4 years now. I look forward to the next phase. But in the meantime, I’m excited to see these two powerful pieces here in KC.

The bronze work of Fraser is wonderful. The depth of the emotion that it transmits seems counter to its bronze medium. But I was especially struck by the use of ‘black and white’ oil paint in the Remington. There are a lot of works by Remington that show up in enough places to become commonly known - but I’ve not seen this one before. Honestly, it’s the first time I’ve seen any painting that I can recall use the B&W approach.

Then I read the title and was again startled. It had never occurred to me - but now seems obvious when you think about it - that horses would need to be taught to pack a dead animal. I’ve seen it portrayed so many times in images and movies but I never thought about making that incredibly unnatural act seem safe to a young horse. I think the combination of the B&W and the dramatic content of the image helps set up more strongly the sense that ‘this is not natural’ to the viewer, just like it must have been to the horse.

Week 32: Aug. 11, 2024

Amida Nyorai (Amitabha Buddha), Japan, 1392-1568, Lacquered and gilded wood

The Buddha of Infinite Light…

Amida (as you would read on the card under his display if it were large enough to see here) is the personification of eternal life and vast compassion, and one of the most popular representations of the Buddha in Japan. He is positioned at the other end of the room from the carving of the Bodhisattva that I shared in an earlier post.

The peice sits on a landing between two sets of stairs and the lined wall behind the statue keeps your eye moving upward toward the very high ceiling.

Week 31: Aug. 4, 2024

The Green Domino, Albert Bloch, American, 1913, Oil on canvas

Domino, domino, domino…

The word domino comes from the latin for lord or master, but we know it more commonly as a tile game that originated in China in the 14th century and came to the US by way of the railway workers that labored building tracks across the west. It is domino tiles that became associated with the common face paint used on circus clowns in which the eyes are surrounded by black against a solid white face.

Here, the Green Domino is meant to represent a character from an earlier century of Italian comedic theater. But I think it actually foreshadows women’s dress in the twenties across the US and Europe. The shape of the costume, the tight fitting hat, the brazenly bright color, and the contrast of black and white.

What I noticed as I walked through the galleries today was that there is ongoing work, seemingly all the time, to update and change displays, and when they do so, they, of course, make very deliberate choices about the wall color behind the art. I first noticed this in the newly rearranged room holding Monet’s Water Lillies, set against a bright deep blue wall. I would never have chosen the color and yet it is beautiful. Here, we see Bloch’s bold Expressionist painting against a deep grey wall and within a golden frame which seems to amplify the ‘simplified forms and intense color.’

Week 30: Jul. 28, 2024

Floor Lamp, Tiffany Studios, United States, 1902-1919, Glass and bronze

Lighting up, lighting down…

Tiffany lamps are always appealing to me, and I love that they have positioned this one in a setting with era-specific furniture and art. It gives them the means and excuse to display it plugged in, throwing light on the Arts and Craft Bookcase next to it. But what I chose to focus on is simply the glasswork and the colors. Spectacular.

I was limited by my own height in getting the downward angle on this that I truly wanted. It is atop a beautiful wooden Arts and Craft stand and on top of a platform. however, I like that it also captured the light coming out below the shade.

Week 29: Jul. 21, 2024

Vaulted ceiling and light feature, Nelson Atkins Museum of Art south entry

Unknown…

As I’ve mentioned, I really love the setting of museums nearly has much as the artwork that is held within them. I’m learning, however, that it is frequently not treated as art in that there is no information to be found about much of the adornment of walls, ceilings, and lighting fixtures. I asked several people if there was information about the craftsman for the vaulted ceilings or the light fixture and no one could find anything.

This beautiful setting greets visitors if they were to enter through the south doors. These are the doors that are photographed on the opening page of this diary, and they are no longer used. However, this entry way opens into Kirkwood Hall and looks out over the south lawn.

Week 28: Jul. 14, 2024

Guardian of the Heartland, Adrian Painter, American, 2024

Individual artist selected to decorate one of 154 hearts across Kansas City in the 2024 Parade of Hearts. Original heart created by Dimensional Innovations.

The dragon…

I have always loved the Year of the Dragon because I was born in 1964, so it’s my dragon. Good luck, strength, health…many good things.

This heart was chosen to decorate the lawn of the Nelson to honor their significant collection of Chinese artwork - a bit of which I have highlighted in this diary.

I chose to photograph him from this angle so that he was looking into the camera. He has a powerful but not evil look to him, and the bright reds and yellows jump out from the tan stone of the museum walls while also accenting the reds of the bushes.

Week 27: Jul. 7, 2024

Dawn [Yellow], Niki de Saint Phalle, French-American, 1995, Painted Polyester

Rebellion and Joy…

This special exhibit of the work of Niki de Saint Phalle was new to me, although some of the works were familiar. I had not heard of the artist, only seen elements of her work. Seeing it all together in one place along with video of interviews with the artist was interesting. However, I found it a bit overwhelming. She had a lot to say - and she said it in big bold ways.

I think my favorite aspect was the amount of joy that exuded all her work. She was usually using her work to make sociopolitical points - but putting that aside - it was simply filled with joy at every turn. The colors, shapes, sense of movement. Joyous.

My favorite was Dawn [Yellow]. It turns out there’s also a Dawn [Blue] but yellow is apparently more well known and more beloved.

I photographed it from almost every angle but again I found myself enjoying the use of the shadows to amplify the sense of movement. You can see her dancing and moving through the multiple shadows of her arms below.

Week 26: Jun. 30, 2024

Heirloom for an heiress to not much but love, Jonathan Boyd, Scottish, 2016, Oxidized and gold plated silver and lacquer

…not much but love…

This is, without doubt, the greatest name for a piece of art of all time. It is a lovely and unusual piece - and what we can’t see too well is that the band holding the art pieces in place on this tiara is covered in text, the words of the mother and father sharing their hopes for their daughter. Everything about it is touching.

The piece was encased in glass against a white background and I photographed it from about 4 different angles. Each showed different elements, but this one really made the tiara appear to hang in space against nothing but white.

Week 25: Jun. 23, 2024

Our Lady of the Rosary, José Manuel Benvides, Colonial New Mexican, ca. 1830-1840, polychrome wood and cloth

Warmth…

Representing the Roman Catholic church of Spain in New Spain, now New Mexico, this sculpture of the Virgin Mary caught my eye because it exudes warmth and welcome. The colors are bold and warm, her face is gentle and kind. Her arms are outreached, and are presumed to have held a rosary and the Christ child at one time.

I find it fun to photograph three dimensional art and, in particular, to pay attention to the shadows they cast. Here I thought that the shadow on the right showed her figure bending down as she might do to interact with a child.

Week 24: Jun. 16, 2024

Coffered Ceiling and Sculptured Frieze from the Porch of a Hindu temple and Columns from a temple Cart, South India, Early 17th Century, carved wood.

Creating the setting…

Sometimes the art is in the room, other times the art is the room. The Nelson does this so beautifully. Several different areas of the museum bring an entire setting into the museum and transport you to a different place and time. It’s hard to know where to begin photographing because all of the surroundings are part of the experience.

So, I moved in up close to capture one of many gargoyle-like carvings around the upper corners of the walls. Each appeared to have a roll or responsibility as guardians or protectors of some sort. Most had the appearance of a horse or a dragon. But there was no specific information about the figures.

Based on others in the room, the horse was rearing originally and had his front legs extended, but they are no longer there.

I was challenged to photograph something that I could only view from below and that was surrounded by the walls of the corner. And…I’m just going to ignore the gentleman in the front, and whatever it is he’s doing….

Week 23: Jun. 9, 2024

Ushebtis of Meret-it-es, Egypt, 380-250 B.C.E., Faience

Responders…

Ushebtis translates to “responders”. This drove of responders was buried with an Egyptian to serve as the agricultural workers that might be needed in the after life should there continue to be governmental requirements of hard agricultural labor even following death. Ongoing government in the after life was apparently a big concern!

The ushebtis would have been bright blueish-green when they were made. Created from a clay made from ground quartz and lime, and coated with a glaze containing copper pigment. Faience was believed to hold magical qualities, to be imbued with the shimmer of the sun and to represent the power of rebirth.

What I love about this display is the way it shows the vast quantity of ushebtis that were created and buried with just this one man. He had 305 ushebtis going along with him to the afterlife. The 14 larger ones were sent to supervise the 291 others.

Week 22: Jun. 2, 2024

Two pieces: The Benton Farm, Thomas Hart Benton, American, 1973, Oil on canvas;  Armchair, Frank Lloyd Wright, American, 1940, Cypress and plywood

Midcentury midwestern…

The works of both Thomas Hart Benton and Frank Lloyd Wright are at once so exceptional and so comfortable that I am always drawn to them. Each of them has a powerful presence in the west/midwest where I have spent so much of my life, as well. These two pieces were created 30 years apart but work together beautifully, and once again create a mini-setting that invites you to ‘sit a spell’ but in the most sophisticated way.

Again I found myself struggling to manage a photo that wasn’t upstaged by a sign or electrical outlet in the background. It will be miraculous if I make it through this one-year diary of the Nelson without getting in trouble for rearranging the furniture! I would have liked to show the chair more from the front but it was placed near a door way, signage, and other challenges. So instead, I struggled to determine how to use the line created by the front railing to help the photo. I liked how this angle turned out.

Week 21: May 26, 2024

Apollo and Daphne, Unknown artist, German, 17th Century, Boxwood

The pursuit…

This one caught my eye for two reasons…

First, it was a chance to play with the challenge of photographing a three dimensional piece within a clear, four-sided box. I decided to play around with portrait mode and got the look I was hoping for. I still struggle with reflections and lighting challenges but I liked the look of the red walls faded in the background and how they brought out the red tones in the wood.

I was also intrigued by the fact that this was a copy of the original piece which had been a bronze sculpture. This copy was carved in wood, which I think made it more powerful because the story it tells is of Daphne trying to escape her suitor, Apollo, and going so far as to turn herself into a tree. That story seems to be enriched by being carved into the wood of a tree as well.

Week 20: May 19, 2024

Saint Luke Displaying a Painting of the Virgin, Giovanni Francesco Barbieri, called Il Guercino, Italian, 1652-1653, Oil on canvas

The fourth wall…

I usually walk quickly through the European art from the years in which everything seemed to focus on brutal deaths or portraits of the rich and uptight. However, I walked into the room with baroque art and was startled at this kind and welcoming gentleman, St. Luke as it turned out, inviting me to step into the painting with him and be introduced to the Virgin Mary. I don’t recall an oil painting that so effectively broke through that fourth wall to say, “Join me…what do you think?”

I was also intrigued by the angel who seems not to notice the artist or the audience engaging in this dialogue of sorts. She gazes at the infant Jesus and is unaware of us.

I chose to include the entire painting and the frame and parts of the surrounding wall because it all seems to be part of the story of this invitation to the viewer to step right in and view the painting within the painting.

Week 19: May 12, 2024

Winged Genie Fertilizing a Date Tree, from Nimrud, capital of Assyria, 848-860 B.C.E., Limestone Relief

Handbag…

This relief is covered in cuneiform inscription. It tells of the ‘conquests and accomplishments’ of the character who is carved as a life sized person. Technically he is a winged genie, but nonetheless, he is the size of a man. But I was drawn to the little handbag he carries, with the fancy handle, the incredible detail of the fingernails, and the tassels on the tunic, all with text crossing over it - much like a cuneiform tattoo. Such incredible detail and finesse on each small section of this huge work.

This is one of the few times I have chosen to photograph just a small section of a larger piece. I love it and hate it at the same time. Some part of me really wants to show all of it along side the detailed section - but I also appreciate being able to ignore the bigger picture and just focus up close on something so fascinating and beautiful.

Week 18: May 5, 2024

Capricorn, Max Ernst, German, 1948, Bronze

A minotaur and a mermaid walk into a bar…

The best thing about this unusual, surrealist sculpture is that, in the printed description, it starts by saying, “Capricorn is an inventive portrait of Max Ernst and his wife, fellow Surrealist artist Dorothea Tanning.” It cracks me up every time. I expect it to have such symbolism and depth - and there is some further down in the explanation. But on the surface, this artist said, “Hey honey, look at the portrait I sculpted of us!” and showed her this.

Week 17: Apr. 28, 2024

Man with a Pipe, Paul Cezanne, French, 1890-1892, Oil on canvas

Try, try again…

If you zoom in on the information posted beside the painting you will see that this painting is a ‘figure study’ of one charater that later appears in another painting. Just a practice piece. And yet here he stands, inviting us to wonder where he is, what he is thinking, and in what era he exists.

And, until I looked at the information shared, in my mind, he was outdoors. It was drizzling. He had just stepped outside the café to smoke his pipe. He closed his eyes and listened as the ducks quacked and the children played around the pond in the nearby park.

Week 16: Apr. 21, 2024

Three pieces: Chandelier, Henry van de Velde, British, about 1898, Brass; Armchair, George Logan, British, designer, Godfrey Blount (probably), British, designer of appliqué, Wylie & Lochhead, Scottish, maker & retailer, 1901; Mailbox, Paul Hankar, designer, Belgian, 1897

Everything old is nouveau again…

Two things about this installation caught my eye. It includes furnishings that are themselves artwork, and it comes from an art/design perspective that took hold over 125 years ago and would be welcomed into settings today. I love when the museum creates these ‘settings’ to see various pieces coming together.

Photographing them is somewhat frustrating because I so desperately want to ‘rearrange the furniture!’ But I enjoyed playing with the way the light fixture - with it’s three exposed bulbs - created a rich set of shadows from the lines in the chair.

Week 15: Apr. 14, 2024

Rumi, Mark di Suvero, American, 1991, Steel and paint

Lines…

This cloudy day was the perfect time to go back outdoors to capture this steel structure in the north yard of the Nelson. I’ve walked past it on the sidewalks for nearly 9 years now, but never actually walked a full circle around it until today.

I was reminded of the way the cloudy skies of June in LA made it so much prettier to see the purple jacaranda trees in bloom. Now, in KC, this cloudy April day allowed me to look upward at the sculpture with almost no limitations for glaring sun.

And as I moved around, I noticed the parallel lines of the sculpture’s base and the tree in the background, both leaning to the right almost as if the pointed arrow of the cross beams is showing the way to something exciting down the street.