Sunday Concerts, the Phillips’s time honored music series, began in 1941. Before then music had always been a part of life at the museum, but the formal inauguration of the series aimed to bring the same level of ambition and experimentation that Duncan Phillips had for the visual arts, to music. The charge was led by the inimitable Elmira Bier, Duncan Phillips’s secretary from 1924 onwards. Phillips could scarcely have found a stronger advocate in Bier, who although not formally trained in music, schooled herself out of necessity across a broad range of artistic areas. Her lack of musical preconceptions may have been her strongest suit, as it led her to take risks, especially in her encouragement of young artists. This remains a central tenet of the concert series today as we carry the torch into the current 73rd season and beyond.
Despite being a pioneer in his collecting of modern art, Duncan Phillips did not extend his exploration of the non-traditional to women artists. They make up a small percentage of the works he and his wife, Marjorie, collected as well as the works since added.
Seems that we have three paintings in the collection that capture Montauk. Reynolds Beal puts us out at sea in the choppy waters. Abraham Rattner keeps us safe inside, looking out at the lighthouse through a window.