Gifford Beal, Center Ring, 1922. Oil on canvas, 22 x 26 1/8 in. Acquired 1922. The Phillips Collection, Washington, DC
One of my favorite paintings in the permanent collection is Gifford Beal’s Center Ring (1922). I am always drawn to it when I am perusing the second floor galleries—there’s just something about it. It feels alive. If there is one painting I would love to see come alive (à la Night at the Museum) it would be this. It would be like…going to the circus.
Did you know that Gifford Beal was actually the uncle of Marjorie Phillips, Duncan Phillips’s wife? It seems artistic talent ran in the family!
Jane Clifford, Marketing Intern
Because finances can feel like a three ring circus, the finance team poses in our circus-themed gallery in front of Gifford Beal’s 1922 painting, Center Ring. Left to right: Cherie Nichols, director of budget and reporting, Earl Richards, senior accountant, Sue Nichols, chief operating officer, and Lydia O’Connor, finance assistant. Photo: Sandy Lee
Ringing in the new fiscal year and representing one of the museum’s most valuable assets (its staff) are the members of our finance department. As at many other museums, neither the staff nor the invaluable works of art appear as assets on the museum’s balance sheet.
Paintings on view in a second-floor gallery. Photos: Sarah Osborne Bender
If you didn’t get enough of the performer’s life during our Degas’s Dancers at the Barre show, a gallery on the second floor of the Sant Building might do the trick: more Degas dancers (plus a portrait titled Melancholy, who appears to be observing the action in the room), Delacroix’s Paganini, Manet’s Spanish Ballet, and Daumier’s The Strong Man. For a little treat, move into the next gallery to view Bonnard’s Circus Rider and peek around the corner to see her paired with her side-show companion, the Strong Man.