To celebrate the Washington Nationals’s clinching the NL East with a win in Atlanta, the Phillips is showing off its Natitude with bobbleheads, artist jerseys, Nats caps, and even our very own Night Baseball artwork by Marjorie Phillips in the galleries. GO NATS!
There has been a lot of buzz this summer around the Phillips’s The Blue Room by Pablo Picasso, a 1901 painting created at a time when the young artist was trying on different artistic personalities. In June, an AP exclusive story revealed the image of an underpainting—hidden beneath the surface of the masterwork—uncovered by a team of scientists and conservators from the Phillips, Cornell University, National Gallery of Art, and Winterthur Museum. However, this discovery did not happen overnight. It is the result of many years of collaborative research between the four institutions to reveal details of the contemplative man painted in the hidden image and better understand Picasso’s materials and methods.
On Wednesday, the technical details of this scientific analysis were presented by Winterthur Museum’s Dr. Jennifer Mass at the Synchrotron Radiation and Neutrons in Art and Archaeology Meeting (SR2A 2014) in Paris. Her presentation addressed the palette and painting methods Picasso used for the two works and the relationship between those palettes. She also explored the wealth of information acquired through the combination of the cross-section studies, molecular analyses, hyperspectral reflectance imaging, and XRF imaging.
The Blue Room is currently being exhibited in an international exhibition at the Daejeon Museum of Art in central Korea, but the collaborating institutions will continue their research efforts as the museum prepares for a 2017 exhibition that centers on Picasso and this seminal painting.
These three portraits, recent acquisitions for the museum, are currently the only thing displayed in a small gallery at the Phillips. Take a moment to look at each one. What are the similarities? What are the differences?
It’s not until we look at the labels that we realize what creates the small nuances in color and line between the three works—each one is a different form of print. Artist Alex Katz is known for his arresting simplicity of line and form, bright, flat colors, and a powerful graphic punch that link them to commercial art and popular culture. By generalizing the features of a sitter or a landscape, and removing any expressive or emotional content, Katz focuses instead on formal properties of light, scale and color.