Timo Andres and Philip Glass

Composer and pianist Timo Andres performed Etude No. 16 by Philip Glass at a Sunday Concerts performance in January. See this post for a video of Mr. Andres playing the Impromptus of Franz Schubert, which he paired with new Etudes by Glass in the same performance.

(b)logs for the Fire: Part 1

Part of what makes The Phillips Collection unique is that the art on the walls is always rotating. But it is also important to note that some of the residents of the collection do have permanent homes. So permanent, in fact, that they were built right into the walls. Many visitors are perhaps familiar with the ornate and beautiful detailing of the Music Room fire place, but sprinkled throughout the gallery are several others—each with their own unique details, styles, and character. Here a just a few examples of what can emerge if you look closer.

baby detail

This little guy is a permanent resident of the West Parlor. What have those little baby eyes seen through the years?

fleur de lis detail

The repeating fleur de lis-style pattern on these bricks lies underneath a glassy, cracked glaze. From certain angles, you can barely make out the design at all.

Swirl detail

Hidden swirls and circles everywhere! This fireplace has a decorative wrought-iron detail and a textured fireplace interior wall.

Check back tomorrow for more fireplace details.

Emily Hurwitz, Marketing and Communications Intern

The Music Room: And in this corner…

Music Room corner post_Emily Hurwitz

The Music Room. Photo: Emily Hurwitz

One of the great things about The Phillips Collection is that even though the space is stationary, the art is not. I started my internship at the Phillips about a month ago. On one of my first journeys through the collection, I found myself staring at The Repentant St. Peter by El Greco, which was then on display in the Music Room. The dark browns of the painting’s background perfectly complemented the rich wood paneling of the room, which made the bright yellows and blues draped around the figure himself seem especially vibrant. He is a contemplative figure, filled with emotion. What a perfect fit for a Music Room—a place that can in and of itself inspire quiet and emotional contemplation, while simultaneously bursting with the vibrancy of a musical work.

Imagine my surprise, then, when I ventured back into the Music Room a few weeks later and found not St. Peter, but Georges Rouault’s Verlaine. And imagine my further surprise when I realized that that painting was also a perfect fit for this corner of the Music Room: not because of the stark background and emotive figure, but because of the brush strokes that captured an almost musical movement, and the figure that seemed like he himself was listening intensely to someone—or something—just outside of the frame. The context of a painting really can inspire an entirely new conversation about the work, and the feeling of the room itself can change depending on what is staring back at you from these walls.

Emily Hurwitz, Marketing and Communications Intern