Arlene Shechet with her installation Once Removed (1998). These works are mde from abacá paper and Hydrocal. Photos: Rhiannon Newman
Check out these behind-the-scenes photos of Arlene Shechet installing her Intersections project, From Here On Now. Shechet is a New York-based sculptor known for glazed ceramic sculptures that are off-kilter yet hang in a balance between stable and unstable, teetering between the restraint of intellect and the insistence of instinct.
Shechet in the staircaise of the original Phillips house with Deputy Director for Curatorial and Academic Affairs Klaus Ottmann. Photo: Rhiannon Newman
Deciding on positioning for Shechet’s Best Behavior (2014). Photo: Rhiannon Newman
Shechet and Ottmann with the artist’s Best Behavior (2014). Photo: Rhiannon Newman
In an adjacent gallery to the one pictured above, portraits from the museum’s permanent collection are hung salon style. Photo: Rhiannon Newman
In addition to her works on view in the second floor of the original Phillips house, Shechet’s ceramics are on view in a first floor gallery of the more recent addition. Shechet and Ottmann are pictured here with For the Forest (2016). Photo: Rhiannon Newman
Arlene Shechet installing Once Removed (1998). Photo: Rhiannon Newman
William Merritt Chase, Lydia Field Emmett, 1892. Oil on canvas, 72 x 36 1/8 in. Brooklyn Museum, New York, Gift of the artist
After years of study with him at the Art Students League, in 1891, Lydia Field Emmet accepted William Merritt Chase’s offer to lead the preparatory class at the Shinnecock Summer School of Art. By this time, she was also pursuing work as a society portraitist and a designer of stained glass for Tiffany and Company. Her self-assured expression fixed on Chase’s canvas captures an image of an artist who would become one of the foremost American women portrait painters of the late 19th century.
The portrait bears the strong imprint of the 17th century Dutch portraiture tradition, sharing with Anthony van Dyck, Rembrandt, and Frans Hals an allegiance to painterly brushwork, elegant contrasts of light and dark, dramatic pose, and expressive tone. Moreover, Lydia Field Emmet highlights Chase’s skillful hand in conveying texture, as seen in the precise rendering of the lace and the variegated tones of the pink satin ribbon—signs of the enduring legacy of the artist’s Munich training.
Elsa Smithgall, William Merritt Chase: A Modern Master exhibition curator
Marjorie Phillips, Night Baseball, 1951. Oil on canvas, 24 1/4 x 36 in. The Phillips Collection, Washington, D.C. Gift of the artist, 1951 or 1952
My favorite work from The Phillips Collection’s permanent collection is Marjorie Phillips’s 1951 oil painting, Night Baseball. There is something nostalgic about the way Phillips represents a night at Griffith Stadium. This visual representation of the moment just before the pitch is thrown evokes all of the other senses. When I look at this painting, I hear the buzz of the crowd and I feel the wind push my skin as the breeze ushers in the smells of the ballpark. Phillips masterfully depicts a night sky that is black but somehow simultaneously glowing from the stadium lights—an effect that is familiar to anyone who has been to a nighttime sports game.
Night Baseball is an enduring snapshot of American life. Perhaps my favorite thing about this piece is its current placement within the museum: on a wall adjacent to the landing of a staircase; the location seems almost incidental. I think its placement adds to its charm—Night Baseball endears itself to the viewer by immersing her in a sensory-rich, familiar American scene.
Lizzie Moore, Marketing & Communications Intern