This painting, known in 1925 as “New York Roof,” was part of the first Little Room exhibition. Marjorie Phillips, The City, 1922. Oil on canvas, 20 x 24 in. The Phillips Collection, Washington, D.C. Gift of the artist, 1984.
On January 4, 1925, the Sunday Star runs a column by its art critic Leila Mechlin, who reports:
The Phillips Memorial Gallery has extended its exhibition facilities by opening a little gallery in the Phillips residence communicating, up a few steps, with the main gallery in the annex. In this little gallery, which has excellent lighting, are to be installed during the remainder of the season a series of one-man shows to run a fortnight each. The series was inaugurated this week by an exhibition of the recent work of Marjorie Phillips- a good beginning, and one which augurs well for the interest of the plan.
The space, known as the Little Gallery (and later identified as Gallery B), will be used to highlight the work of American artists such as Ernest Lawson, Childe Hassam, Charles Demuth and others. The installation of Marjorie’s work is on view January 4 through 17, 1925.
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 .
Joseph Goldyne, Asparagus at the Phillips, 1979. Monotype on paper, 3 1/2 x 3 in. Gift of the artist, 1979.
John D. Graham, Pears, 1926. Oil on canvas; 14 1/8 x 17 1/8 in. Gift of Marjorie Phillips, 1985.
Marjorie Phillips, The Big Pear, 1955. Oil on canvas, 12 1/8 x 14 in. Acquired 1955 (?)
Georges Braque, Lemons and Oysters, 1927. Oil on canvas, 10 3/4 x 13 3/4 in. Acquired 1941.
Pierre Bonnard, Bowl of Cherries, 1920. Oil on canvas, 11 7/8 x 16 1/2 in. Gift of Marion L. Ring Estate, 1987.
Paul Gauguin, The Ham, 1889. Oil on canvas, 19 3/4 x 22 3/4 in. Acquired 1951.
Darci Vanderhoff, Chief Information Officer, on the mic! Photo: Joshua Navarro
DARCI VANDERHOFF, Chief Information Officer
How did you learn about the Phillips?
I originally came to Phillips exhibitions as an art enthusiast. One of my favorite shows was Impressionists in Winter in 1998. I didn’t even mind the long lines (once I got inside). Several years later, I came to sell the Phillips on the idea of online ticketing. Then, in 2001, I applied for the IT Director position when it became available at the museum.
You formerly worked as a writer, you’re a musician in a band. Do you feel you are inspired by the Phillips art?
I worked at the editorial desk of the Washington office of the Wall Street Journal for a number of years, and then left to freelance in both writing and photography. I was published locally as well as in Dallas, Detroit, and other cities. I did research for Judy Woodruff’s book This is Judy Woodruff at the White House. Radcliffe College’s Arthur Schlesinger Library (a women’s archive) holds a collection of my articles and photographs. I eventually became a music critic, and at the suggestion of musician friends, I decided to attend music school myself. It was a radical idea to me, so I took to it immediately. After getting my feet wet in a local music school for a year, I enrolled at Berklee College of Music in the mid-1980s with a scholarship.
I am a musician. I primarily sing but also write. My degree is in songwriting. I am one of thirteen in the local band Cleve Francis and Friends. We routinely play at The Birchmere in Alexandra, Virginia, and at local benefits. We released a CD, Storytime: Live at the Birchmere, in 2009. In addition to singing, I am the “administrator” of the group: setting rehearsal schedules, digitally recording rehearsals, distributing recordings, managing databases, etc., which is where my digital skill-set comes in handy. I am the only woman in the group. Go figure. I recently joined a smaller group doing more instrumental music across a wide spectrum of genres. Instrumentation includes keyboards, guitar, upright bass, and vocals (three of us sing). I’m having fun doing lead vocals again.
Yes, I am inspired by the art at the Phillips, and even more by the artists who work here. Most of my coworkers are brilliantly creative people.
Do you listen to anything as you do your artwork?
My “artwork” is primarily music. I listen to a lot of music during my work commute, but I also use that time to prep for shows. The rehearsing could be considered a driving distraction, I guess, but it’s been a part of my commute for some time, so I think I balance the two well. Don’t tell anyone.
I collect a few things: I have a striped beach rock collection, mostly from Plum Island in Massachusetts where I strolled often while going to school. I have a Washington Nationals bobble-head collection that is in need of attention. I also collect art. One of my favorite acquisitions was purchased from one of the Phillips museum assistants in a staff show: a colorful photograph of multiple faucet handles from an abandoned steel mill in Pittsburgh. Clearly, I trend toward water themes.
And do you have a favorite Marjorie Phillips painting?