Man Ray placed the painted canvas of King Lear onto a wooden hoop, turning the work into a three-dimensional object and referencing the recurring motif in his work of “squaring the circle.” In rendering this mathematical model on canvas, Man Ray removed the supports integral to the original object (seen in the image above right), leaving the model afloat in an ambiguous space. He commented: “The color had dripped somewhat, it looked like tears, I called the painting King Lear.” This title-inspiring effect—whether truly fortuitous or intentional—echoes a drip technique he exploited in other works.
March may be coming to an end, but we are surely not ready to finish celebrating Women’s History Month just yet. Women artists have helped to propel contemporary art into the rich field it is today, so I thought it only right to dedicate this post to one of the female artists I find most fascinating from the Phillips’s permanent collection—Joan Mitchell (1925-1992).
Joan Mitchell, born in Chicago, was an essential member of the American Abstract Expressionist movement and an all around fierce character. Sitting pretty in the galleries is Joan Mitchell’s August, Rue Daguerre (1957), an energetic oil on canvas painting, which was inspired by a bustling Paris street. This work, with its rather violent brush strokes and rich colors, is representative of Joan’s work as she was inspired by lively friends (fellow artists de Kooning and Kline) and the cities she traveled between most, New York City and Paris. Having lived in a number of locations, Joan’s abstract paintings expressed her environment and her reaction to them.
I adore how in looking at this painting, one can begin to visualize what Joan was seeing both in her surroundings and how they affected her own psyche. The various shades of brown and black on the canvas could be illustrative of the statuesque Parisian architecture, but also might signify how Joan feels content and rooted in Paris. Perhaps the interspersed strokes of bright, yet subdued reds and blues express the unpredictable French citizens Joan passes daily along the winding streets. I think the magic of this emotive work and of abstract art as a whole is that it’s always up for interpretation.
August, Rue Daguerre (1957) is certainly one of my favorite paintings in the Phillips’s collection. I appreciate how Joan Mitchell was brave enough to express herself through abstract art, knowing critics and the public may never fully understand her vision… and personally, I think being brave is what being a woman is all about.
Aysia Woods, Marketing Intern
In this month’s installment of ArtGrams, Instagrammers prove there are no limits of where to find beauty. We love how so many people find great inspiration in the mixture of stark angles with soft curves in the museum’s spiral staircase in the Goh Annex. Here are some of our favorite images that capture the stairway’s distinctive design.
Remember to hashtag your Instagram photos with #PhillipsCollection or tag your location for a chance to be featured.