5 Disgruntled Characters from the Collection

Not every sitter is excited to be painted. The Phillips owns a wide range of portraits, and within them, all manner of expressions. Here are five less-than-enthused subjects from the museum’s permanent collection.

1. Chaim Soutine’s Woman in Profile  is #NotImpressed.

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Chaim Soutine, Woman in Profile, ca. 1937. Oil on canvas, 18 13/8 x 10 7/8 in. The Phillips Collection, Washington, DC. Acquired 1943; © 2015 Artists Rights Society (ARS), New York, NY

2. Paul Klee, The Witch with the Comb. The fierce brows say it all.

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Paul Klee, The Witch with the Comb, 1922. Lithograph, 20 7/8 in x 16 3/4 in x 1 1/4 in. The Phillips Collection, Washington, DC. Gift of B. J. and Carol Cutler, 2006; © 2015 Artists Rights Society (ARS), New York, NY

3. Sensing some side-eye from Joseph Solman’s Portrait in Yellow and Blue.

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Joseph Solman, Portrait in Yellow and Blue, not dated, Oil on canvas 20 x 16 in. The Phillips Collection, Washington, DC. Acquired 1954

4) Jean-Baptiste-Camille Corot’s Portrait of a Woman unsuccessfully feigning interest.

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Unsuccessfully feigning interest. Jean-Baptiste-Camille Corot, Portrait of a Woman, 1870, Oil on canvas, 22 7/8 in x 19 in x 1 5/8 in. The Phillips Collection, Washington, DC. Acquired 1922

5. Thomas Eakins, Miss Amelia Van Buren. Read what visitors told us she’s thinking in these earlier blog posts.

Eakins_Miss Amelia Van Buren

Thomas Eakins, Miss Amelia Van Buren, ca. 1891. Oil on canvas, 45 x 32 in. The Phillips Collection, Washington, DC. Acquired 1927

To end on a happy note: channel this woman from Sam Taylor-Johnson’s Cry Laughing!

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Sam Taylor-Johnson, Cry Laughing, 1997. 8 C-type prints on aluminum, each print: 16 x 12 in. The Phillips Collection. Gift of the Heather and Tony Podesta Collection, Washington, DC, 2011

Spotlight on Intersections@5: Linn Meyers

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

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Linn Meyers, Untitled, 2014. Gift of Lucinda and Carlos Garcia

The unmediated directness of making a drawing is the result of a line being an extension of the hand and the body. The line is universal.

At the Time Being was a site-specific wall drawing made in response to Van Gogh’s The Road Menders. I chose Van Gogh’s work as a starting point because the method that the artist used to apply paint to his canvases shares some of the same qualities of a drawing.

Twenty-five years ago, I began my career as a painter. Over time I became enamored with the distilled qualities of drawing, and eventually drawing became my primary focus.

While working on the Intersections project in 2010, however, I found that I was not only drawing on the wall, but also using a paintbrush to enhance the image. That return to painting as a mode of expression during the project at the Phillips has stuck with me, and Untitled, 2014 is evidence of that. The piece blends drawing and painting; it puts the two modes of expression on equal footing. The lines in Untitled, 2014 have a calligraphic quality that was achieved with a paintbrush; however, the act of making a line is, in and of itself, an act of drawing.

Linn Meyers

Strictly Painting Is Anything But

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Guests enjoy the opening of Strictly Painting. Photo by Catherine Day

This year I was invited to jury the Strictly Painting 10 biannual that McLean Project for the Arts initiated 10 years ago, showcasing selected works by artists from a broader Washington Metropolitan area. The exhibition, on view through August 1, is anyhting but “strictly painting,” diverse in media, subject matters, and aesthetic approaches.

There is a lot going on in the DC-area art scene and this especially lively opening only confirmed it.

Vesela Sretenovic, Phillips Senior Curator

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Phillips Contemporaries members Todd Galaida, Laura Deming, and Carl Bedell attend the opening with Phillips Curator and Strictly Painting 10 exhibition juror Vesela Sretenovic.

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Winning artists Shante Bullock (left) and Lilianne Milgrom (right) with exhibition juror Vesela Sretenovic. Photos by Catherine Day

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Guests enjoy the opening of Strictly Painting. Photo by Catherine Day