Love is Love is Love

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

Happy Valentine’s Day! We had a blast at this month’s Love is Love is Love Phillips after 5. Here are some of our favorite pictures of speed-friending, card-making, and Be Steadwell’s performance. See you next month!

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

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Photos from Phillips after 5: Love is Love is Love on February 2, 2017

Open Call for Toulouse-Lautrec Inspired Posters

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Along with the opening weekend of special exhibition Toulouse-Lautrec Illustrates the Belle Époque, we kicked off a poster contest inspired by the artist. We want to see your modern-day creations using the exhibition as a jumping off point. We’ll display the top five posters at April’s Phillips after 5 (in custom frames—thanks Framebridge!), plus print and distribute the winning poster to attendees. Did we mention there’s also a $200 cash prize? With representatives from the Phillips, Pyramid Atlantic Art Center, and A Creative DC, our panel of judges will evaluate submissions from a variety of perspectives and expertise.

Read the full call for entry here. Nothing beats a visit to the exhibition for some in-person inspiration, but here are some detail shots from the posters and prints in the show to get your wheels turning.

detail_The Simpson Chain

Henri de Toulouse-Lautrec, The Simpson Chain (detail), 1896. Brush, crayon, and spatter lithograph, printed in three colors. Key stone printed in blue, color stones in red and yellow on wove paper, 32 5⁄8 × 47 1/4 in. Private Collection

detail_Jane Avril 1893

Henri de Toulouse-Lautrec, Jane Avril (detail), 1893. Brush and spatter lithograph. Key stone printed in olive green on wove paper. Unrecorded trial proof, 47 5⁄8 × 34 5⁄8 in. Private collection

detail_Le Tocsin

Henri de Toulouse-Lautrec, Le Tocsin (detail), 1895. Brush and spatter lithograph, printed in two colors. Key stone before text printed in blue with a turquoise-green tint stone on wove paper, 22 1/2 × 17 13⁄16 in.

detail_May Belfort

Henri de Toulouse-Lautrec, May Belfort (detail), 1895. Crayon, brush, and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in red, black, gray, and yellow on wove paper, 31 5⁄16 × 24 in. Private collection

detail_Divan Japonais

Henri de Toulouse-Lautrec, Divan Japonais (detail, 1892–1893. Crayon, brush, spatter, and transferred screen lithograph, printed in four colors. Key stone printed in olive green, color stones in black, yellow, and red on wove paper, 31 3/4 × 23 15⁄16 in.

detail_Moulin Rouge, La Goulue

Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue (detail), 1891. Brush and spatter lithograph, printed in four colors. Key stone printed in black, color stones in yellow, red, and blue on three sheets of wove paper, 75 3⁄16 × 46 1⁄6 in. Private collection

detail_Old Song

Henri de Toulouse-Lautrec, Old Song (detail), 1898, crayon lithograph, printed in black with a beige tint stone on laid paper. Only state, first edition, Yvette Guilbert album, plate 5, 11 9⁄16 × 9 9⁄16 in.

detail_Ambassadeurs, Aristide Bruant

Henri de Toulouse-Lautrec, Ambassadeurs, Aristide Bruant (detail), 1892. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in orange, red, blue and black on two sheets of wove paper, 52 15⁄16 × 36 5⁄8 in. Private collection

 

Images at top, from left to right: Henri de Toulouse-Lautrec, Moulin Rouge, La Goulue, 1891. Brush and spatter lithograph, printed in four colors. Key stone printed in black, color stones in yellow, red, and blue on three sheets of wove paper, 75 3⁄16 × 46 1⁄6 in. Private collection; Henri de Toulouse-Lautrec, The Simpson Chain, 1896. Brush, crayon, and spatter lithograph, printed in three colors. Key stone printed in blue, color stones in red and yellow on wove paper, 32 5⁄8 × 47 1/4 in. Private Collection; Henri de Toulouse-Lautrec, Jane Avril, 1893. Brush and spatter lithograph, printed in five colors. Key stone printed in olive green, color stones in yellow, orange, red, and black on wove paper, 48 13⁄16 × 36 in. Private collection

Meeting “Winter in the Jura”

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Gustave Courbet, Winter in the Jura, c. 1875. Oil on canvas, 19 7/8 x 24 in. The Phillips Collection, Washington, DC. Acquired 1958

During an impromptu stroll around the galleries on a snowy January day, I was drawn in by an intriguing image that I had not noticed before in a gallery that was originally the Phillips family home’s West Parlor. The scene before my eyes was not dissimilar from the one unfolding outside. Gustave Courbet’s Winter in the Jura (c. 1875) appeared just as breathtaking as the fresh snowfall outside. Rather than belonging to a particular school or movement, Courbet is perhaps better known for his lack of association with any one group. His work is neither strictly Romantic nor Neoclassical, and Courbet believed the popular style of History painting to be a waste of his time. Instead, Courbet aimed to “…in short…create living art,” which he has certainly done successfully in Winter in the Jura. The painting has a life-like quality that goes beyond any kind of hyperrealism. The special silence of a snow-covered morning has been captured perfectly.

In the work, a single figure trudges through the picture plane towards a bend in the road. Flecks of red draw the viewer’s eye to what remains of the foliage in the Jura Mountains. As a native of one of the snowiest cities in the US, I’ve developed a level of comfort that comes along with snow, which Courbet conveys perfectly through Winter in the Jura. Artists like Courbet—who refuse to be pigeon-holed into one category—are often the most valuable to our art education, but also to the development of art as a whole. There is certainly something exceptional about a painting which stirs something familiar in a first-time viewer. The artist with this special capability must possess the “power of conception” and “sacred knowing” that Courbet so often mentioned in letters to friends. In this way, Courbet made himself truly free from the restraints of institutions as he always wished to, holding power to “…address the people directly” in self-portraits and scenes of snowy mornings.

Elizabeth Federici, Marketing & Communications Intern