“Wait, that wasn’t there last week…”

Two paintings by Arthur B. Davies

Two works by Arthur B. Davies: (left) Dew Drops, not dated, Oil on canvas 13 x 15 5/8 in.; 33.02 x 39.6875 cm.. Acquired 1923. (Right) Elysian Fields, not dated, Oil on canvas 18 x 30 in.; 45.72 x 76.2 cm.. Acquired 1927.

Because our exhibition Made in the USA has a uniquely long run, we’re keeping the story going by swapping out some works for others. Just yesterday a crop of new paintings went up on the walls by Arthur B. Davies, Robert Spencer, and Albert Pinkham Ryder. Come see the show (again) to find other changes.

(Left) Robert Spencer, Across the Delaware, ca. 1916, Oil on canvas 14 x 14 in.; 35.56 x 35.56 cm.. Acquired by 1921, probably 1917. (Right) Albert Pinkham Ryder, Homeward Bound, ca. 1893-ca. 1894, Oil on canvas mounted on wood panel 8 7/8 x 18 in.; 22.5425 x 45.72 cm.. Acquired 1921.

(Left) Robert Spencer, Across the Delaware, ca. 1916, Oil on canvas 14 x 14 in.; 35.56 x 35.56 cm.. Acquired by 1921, probably 1917. (Right) Albert Pinkham Ryder, Homeward Bound, ca. 1893-ca. 1894, Oil on canvas mounted on wood panel 8 7/8 x 18 in.; 22.5425 x 45.72 cm.. Acquired 1921.

Experiments in Installation: Part V

(Left) Red Chimneys, 1918, by Charles Demuth alongside photographs by Alfred Stieglitz. (Right) Albert Pinkham Ryder’s Macbeth and the Witches, mid- 1890′s. Photos: Joshua Navarro

Edited to add: This is the fifth in a series of posts from University of Virginia graduate student Tom Winters on his class’s experience installing works from our permanent collection in the Main Gallery. See parts one, two, three, and four.

After several weeks deliberating over wall texts and agonizing over potential substitutions that we might effect within our ensemble of works, this week finally sees some action. You will notice fresh changes in our gallery space. Our wall texts continue to accrete, each one composed with the aim of establishing links between artist, work, and aspects of modernism. More exciting, however, are the two new artworks that have joined the exhibition. As their addition is necessarily accompanied by the removal of other works, the process has been slightly bittersweet. But only slightly. The team feels satisfied that, in the final balance, our gallery certainly has changed for the better.

First, we’ve added Albert Pinkham Ryder’s Macbeth and the Witches (mid-1890s or later). It is the opening work in our narrative, our research having repeatedly proven Ryder to be a key progenitor of American modernism. To make room for the Ryder, we removed two works by Stuart Davis, an artist whose work was hard to give up but lost out in the final reckoning. Ultimately our group did not find that the works by Davis available to us best represent his quality. Sorry Mr. Davis, we still think you’re great.

Charles Demuth,  Red Chimneys, 1918

Charles Demuth, Red Chimneys, 1918, Watercolor and graphite pencil on medium-weight, medium-textured, off-white, …; 10 1/8 x 14 in.; 25.7175 x 35.56 cm. (sight). Acquired 1925.

Our second addition is Charles Demuth’s Red Chimneys (1918). Demuth’s association with Alfred Stieglitz, one of our seminar’s protagonists, led us to feel that he should be included in our narrative. His work replaces Henri Rousseau’s The Pink Candle (1908). Though Rousseau undoubtedly had some measure of influence on the development of modernism in America, our group decided that his small still life was not contributing much to the theme of our exhibition, pleasing as the piece may be.

Now we’re working on assembling a case of books, catalogues, and Duncan Phillips’s letters. More to come on that in the upcoming weeks.

Tom Winters, UVa graduate student, Department of Art History

The Artist Sees Differently: Roberto Alcaraz

Roberto Alcaraz, Museum Assistant and Sunday Concerts Assistant

Roberto Alcaraz on a break with his guitar. Photo: Joshua Navarro

How did you learn about the Phillips?

A cousin of mine, who was living here at the time, first mentioned it to me soon after my arrival in D.C. However, it did not take long for me to realize its importance in the cultural life of the city.

Do you feel you are inspired by the Phillips art?

Yes. There is a wealth of great works that are really inspiring. Any collection that includes works by van Gogh, Klee, Morandi, Rothko, plus all the major impressionists, is bound to have works worth looking up to.

What do you listen to when you work on your photography?

Curiously, having a music background, I prefer not listening to music when I am in a darkroom doing prints. I try to focus on my task in hand with no distractions, if possible. Continue reading “The Artist Sees Differently: Roberto Alcaraz” »