Art and Emotion

Mondrian_No 9

Piet Mondrian, Composition No. III, c. 1921/repainted 1925. Oil on canvas, 19 3/8 x 19 3/8 in. The Phillips Collection, Washington, DC, Acquired 1946

When I first saw a Mondrian painting, I got angry. Hands-curled-up-into-fists, eyes-bulging, frowny-faced angry. “What even is this!?,” I mentally shouted to nobody in particular. “Give me some graph paper and I could do it.” (Full disclaimer: I am a terrible artist. Even if I did have graph paper, I could not come close to emulating the precision of one of Mondrian’s works.) I wandered—stomped—away from the painting, seeking some other work of art that could cool me down.

This reaction was probably about ten years ago. I don’t remember where I was, or the precise details of the painting itself, but I do remember my bodily reaction to it. I’ve created a memory of myself as reactor more than passive observer, and that is the memory which has stuck with me through the years. A painting by Mondrian is currently on display at the Phillips, and when I walk by it, the memory of my initial and totally irrational rage floods in—despite the fact that intellectually, I understand the artistry of the painting in front of me.

Why did a piece of canvas on a wall inspire such an emotional and physical reaction? What is it about certain works of art that makes us actively respond rather than merely see? This is one of the questions on hand in art theorist Fré Ilgen’s latest book, ARTIST? The Hypothesis of Bodiness, which investigates “the involvement of the (mind/)body in everything we do, think or experience.” Ilgen will discuss his book in a panel moderated by Phillips Director Dorothy Kosinski on October 15 at American University.

Have you ever experienced a reaction like this to a work of art, positive or negative? Leave your thoughts in the comments.

Emily Hurwitz, Marketing and Communications Intern

Art Inspires Art

avery girl sitting_actual and instagram user painting

(left) Milton Avery, Girl Writing, 1941. Oil on canvas, 48 x 31 3/4 in. The Phillips Collection, Washington, DC, Acquired 1943 (right) Instagram user @sseoheeya’s Avery inspired creation

Instagrammer Seohee Yoon recently shared her version of Milton Avery’s Girl Writing (1941). We think her attention to detail yielded a pretty spot on result! If you’re an artist, what are some pieces that have inspired your own work, either directly or indirectly?

Family Ties

Painting of a woman on a horse at a circus by Gifford Beal

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