At first glance you may not consider the curatorial placement of Joseph Marioni’s Yellow Painting (2003) and Green Painting (2002) flanking Henri Matisse’s Studio, Quai Saint-Michel (1916) in the next gallery. But look again . . .
Henri Matisse's Studio, Quai Saint-Michel (1916) on view in the gallery just beyond Joseph Marioni's green and yellow paintings. Photo: Sarah Osborne Bender
When standing and simultaneously viewing all three paintings from a distance, the shared palette becomes very apparent. Marioni’s paintings begin to vibrate against the walls. The green and yellow echo the edges of the Studio window and ceiling. The red tapestry under Matisse’s Italian model, Lorette, suddenly comes to life. Marioni’s rectangular canvases mimic the window panes that captured the view onto Quai Saint-Michel. In our galleries, rather than peering out on the Seine or the palace of Justice, we look further into the layers and depths of color.
On a tour at the Phillips in October, the artist expressed the significance of Matisse in the installation, describing Studio, Quai Saint-Michel as a “key piece.” According to Marioni, Matisse was one of the first artists to champion early modern color, the emotional context of color as well as the shift from representation to abstraction.
Alice Shih, Gallery Educator
Marioni's Green Painting makes Matisse's colors pop. Photo: Sarah Osborne Bender
CHAMPNEYS TAYLOR, control room operator
Champ Taylor taking a break from the basement control room in the sculpture courtyard. Photo: Claire Norman
How did you learn about the Phillips?
I first visited the Phillips in the mid-1990′s as a tourist from Kansas City, which is where I was living at the time. However, it was after I moved to Washington and began working at the Phillips that I really started to learn about the museum. As a Museum Assistant I enjoyed the fact that being in the galleries for long periods of time encouraged me to reconsider my first impressions of the works. Often I would leave at the end of my workday with greatly revised opinions about works I had spent so much time with.
Do you feel you are inspired by the Phillips art?
Ferdinand-Victor-Eugène Delacroix’s Horses Coming Out of the Sea
is coloristic and luminous. It is classical and wants to be taken seriously on the basis of its poetics. Paul Cézanne’s Garden at Les Lauves
features at least three distinctive horizons, giving it a temporal quality which is heightened by its ‘unfinished’ appearance. By contrast Oscar Bluemner’s Oranges
is utterly groundless (and would be at home in any number of contemporary art spaces). Here I should mention that I once had the privilege (with Preparator Bill Koberg presiding) of resting this small painting on the five fingertips of my left hand. Continue reading “The Artist Sees Differently: Champneys Taylor” »
Ever been to a dinner party in Washington, D.C. and not met an attorney or someone who went to law school? Wonder what happens when people leave law school behind in favor of artistic vocations?
CakeLove’s Warren Brown stopped practicing law in 2002 to start a bakery, and the Pink Line Project’s Chief Creative Contrarian Philippa Hughes also worked as a lawyer and lobbyist until 2003. I’m sure there are scores of other creatives who’ve joined the ex-lawyer club.
Washington, D.C. takes the legal cake in this map of U.S. career concentration by city from Richard Florida's 2008 book "Who's Your City."
Several artists included in The Phillips Collection initially set out to become lawyers. Here are a few notables; I think art history is glad they changed career paths! Continue reading “Law and Order: Phillips Edition” »