Gustav Klimt, Birch Forest, 1903. Oil on canvas, 42 1/4 x 42 1/4 in. Paul G. Allen Family Collection
On view in Seeing Nature, Birch Forest is one of many scenes Gustav Klimt painted at the Attersee, a lake near Salzburg where he often spent his summers beginning in 1900.
Klimt frequently used a telescope or opera glasses when composing his landscapes; these devices allowed him to see in great detail while at the same time collapsing the middle distance. The flatness of the resulting close-up perspective gives the surface of the canvas the appearance of a densely knotted tapestry. As in many of the artist’s other landscapes, a hushed reverence pervades the painting, infusing the simple forest with a sense of the sacred.
The “Seeing Beyond the Frame” Station in Seeing Nature, which invites visitors to contribute their imagined conservation discovery and a resulting new story about a work of art in the exhibition. Photo: Lee Stalsworth
As part of the exhibition Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, the Phillips encourages visitors to “see beyond the frame” with an interactive station focusing on conservation. In this space, you’re invited to learn about discoveries made while conserving works in the exhibition from the short videos playing in an adjacent gallery and peek into the part scientific, part detective work of an art conservator.
Each month, a different work of art from Seeing Nature is highlighted at this station and visitors are invited to create their own imagined conservation discoveries, explaining how their discoveries might change the known story about a work of art. From hidden underpaintings to long lost owners or artists, here are a few of our favorite creative submissions so far.
Visitors to Seeing Nature have submitted a variety of contributions to “Seeing Beyond the Frame.”
One gallery in Seeing Nature is dedicated to Jan Brueghel the Younger’s The Five Senses series. Painted in 1625, this series is a close copy of five paintings by Brueghel’s father, Jan Brueghel the Elder (who painted the backgrounds) and Peter Paul Rubens (who painted the figures) in 1617–18, now in the Museo del Prado in Madrid. Each painting focuses on one of the five senses, providing a platform for visitors to consider their own encounters with nature. Today we focus on Smell.
Jan Brueghel the Younger, The Five Senses: Smell, c. 1625. Oil on panel, 27 5/8 x 44 5/8 in. Paul G. Allen Family Collection
A cultivated garden overflows with the most popular plants of the early seventeenth century, including the exotic Crown Imperial tulip, irises, lilies, narcissus, anemones, hollyhocks, and carnations, all at the peak of beauty and fragrance. In the foreground, Cupid presents a sweet-smelling bouquet to Venus. Curled up nearby is a genet, a musk-producing mammal, as well as two guinea pigs—reminders that not all smells are pleasant.
In fact, the painting Smell features not only a cultivated garden overflowing these potent flowers, but installed in our museum, it also beautifully relates to the Phillips’s multisensory Laib Wax Room, a permanently-installed chamber lined with fragrant beeswax created by the German artist Wolfgang Laib.