On July 2, the magnificent exhibition of 85 Impressionist to Modern masterworks from The Phillips Collection opened at the Daejeon Museum of Art in Korea. Nearly 900 people attended the opening celebration, mostly from Daejeon, the country’s hub for science and education. With the recent announcement of the discovery of a mystery man painted beneath Picasso’s The Blue Room, there was particular buzz around that painting. The exhibition will be in view through October 9.
The ribbon cutting for the exhibition opening included Phillips Chief Registrar and Director of Special Initiatives Joe Holbach, Daejeon Mayor Sun-Taek Lee and other local politicians, Daejeon Museum of Art Director Jong-Hyup Lee, exhibition sponsor MBC President and CEO Chang-ok Kim, and many others
Exhibition opening at the Daejeon Museum of Art, which was also the 50th anniversary celebration of exhibition sponsor MBC
Visitors in the Daejeon Museum of Art galleries
Artist Kelly Towles and his dogs in his studio. All photos courtesy The Phillips Collection
Last week, DC-based artist and long-time Phillips fan Kelly Towles brought some of the masterworks from Made in the USA into the 21st century—and gave them some attitude. Best known for his vibrant murals all around DC (think Toki Underground, DC Brau, U Street Music Hall) often featuring fantastical masked figures, Towles used spray paint and ink to add his signature street art style to reproductions of James Abbott McNeill Whistler’s Miss Lillian Woakes (between 1890 and 1891) and Edward Hopper’s Approaching a City (1946). A limited number of t-shirts and totes with these images will be available in the museum shop in the coming weeks—stay tuned for more information.
We visited Towles’s studio to catch the artist at work:
Towles adding to Edward Hopper’s Approaching a City
Towles working on Whistler’s Miss Lillian Woakes
The final product by Kelly Towles
Theodore Robinson, Giverny, ca. 1889, Oil on canvas 16 x 22 in.; 40.64 x 55.88 cm.. Acquired 1920.
Painted during his third summer in the village, Giverny (ca. 1889) is a prototypical example of the technique that earned Theodore Robinson his reputation in America. Using a vantage from a hillside overlooking the Seine valley, he adjusted his easel to paint several views of the rural landscape. The strong composition and strict delineation of architectural elements in Giverny hark back to Robinson’s academic training, while the bright violet-and-green palette and deft, summary treatment of the light-dappled foliage betray his exposure to impressionism. In Giverny, Robinson emphasized parallel diagonal lines that radiate to the left of the picture plane and terminate at the horizon line near the top of the canvas. Robinson executed this painting en plein-air—out of doors—capturing the immediate brilliance of the sunlight and warm colors of the country, a technique he no doubt learned from Monet.