Asked to describe her ideal last meal, Julia Child (whose 100th birthday would have been today) imagined a joyfully decadent menu building from caviar, Russian vodka sauce, and oysters with Pouilly-Fuisse wine to pommes anna and fresh asparagus. Dessert might include ripe pears and green tea or sorbet with walnut cake. Appetite for Life: The Biography of Julia Child (1997) also lists among the heroic foody’s go-to comfort food red meat and gin. Many an artist has also turned to food and flavors for inspiration and happiness. In honor of Julia Child, we present some of the most delectable food moments in The Phillips Collection .
Duncan Phillips once explained “I bring together congenial spirits among the artists from different parts of the world and from different periods of time.” Phillips’s curatorial philosophy is a hallmark of The Phillips Collection and gives visitors the opportunity to see artworks from different time periods, originating from different countries, created by different artists displayed together under one roof. Displaying artworks in this way allows visitors to discover new relationships between familiar artworks.
Jean-Auguste-Dominique Ingres’s The Small Bather (1826) and Pierre Bonnard’s Nude in an Interior (c. 1935) provided such a point of departure for one of my recent tours of special exhibition Snapshot: Painters and Photography, Bonnard to Vuillard. As I did visitors on my tour, I invite you to consider the relationship between these two artworks, and ask yourself the following set of questions:
What do you see in each work of art?
What is the subject?
How would you describe the style of each painting?
Next, consider additional question:
What are some similarities and differences in both the style and subject of these two artworks?
And finally, ask yourself:
How might the invention of the camera inspire some of the differences between the two artworks?
I encourage you to share your observations in the comment section below. You can read some responses I received on my tour after the jump. Continue reading “Congenial Spirits: Nudes 100 Years Apart” »
Snapshot is part of the National Cherry Blossom Festival, celebrating 100 years of the gift of trees. For readers interested in learning more about the influence of Japan on artists in the exhibition, gallery talks on “Japonisme in France” will be held at 6 and 7 pm this Thursday as part of the Phillips after 5: Journey to Japan event.
Pierre Bonnard was a member of an artistic group called the Nabis, the Hebrew word for prophet. The group, which included Edouard Vuillard and Maurice Denis, were the harbingers of a new way of making art. They broke away from academic tradition to embrace an approach that emphasized decorative unity and a more personal, abstract style. The group members gave each other nicknames; Bonnard’s was “le Nabi très Japonard,” or “the ultra-Japanese Nabi.”
Less than a year after he abandoned law school to pursue a career in art, Bonnard saw a huge exhibition of Japanese prints at the École des Beaux-Arts, where he had been a student. The exhibition featured over a thousand Ukiyo-e woodcuts just when the craze for all things Japanese was at its height in Paris. Bonnard was already looking at Japanese prints at the Goupil Gallery, where Theo van Gogh worked, and bought Japanese prints at a boutique on the Avenue de l’Opera. The prints were available for the equivalent of a few dollars, and Bonnard papered the walls of his studio with them. He purchased works by Hiroshige, Kuniyoshi, and Kunisada.
In Japanese prints, Bonnard found much to inspire him at a key moment in his artistic development: graceful contours, flattened color, asymmetrical compositions, and subjects drawn from everyday life. Bonnard’s The Little Laundress (see above), a color lithograph from 1896, is a prime example of the influence Japanese prints had upon his work. As Colta Ives points out in The Great Wave: The Influence of Japanese Woodcuts on French Prints, the slightly awkward figure with an umbrella, making her way up a street paved with cobblestones, echoes the silhouette of an Ukiyo-e print published in 1891 in Le Japon Artistique (see above), a periodical that Bonnard subscribed to. It also resembles a print by Suzuki Harunobu of a young woman crossing a snow covered bridge (see above). Bonnard found in Japanese art qualities that liberated him from Western conventions of color, form, and composition, creating uniquely intimate, spontaneous works that were aligned with his personal temperament.