It may be unusually quiet in our offices, but the Phillips has been packed this week. It is wonderful to stroll through the galleries filled with visitors enjoying our special Degas exhibition, but also lingering in the Main Gallery focused on Renoir’s Luncheon of the Boating Party, The Klee Room, the Music Room adorned with the Augustus Vincent Tack cycle, as well as the second floor galleries where an installation reveals a special dialogue between the works of Joseph Marioni, “painter of liquid light”, and masterworks from the permanent collection. I love the variety, the energy. I want to thank my wonderful staff for their hard work throughout this anniversary year. I especially want to thank our wonderful members and visitors for helping us celebrate this milestone in The Phillips Collection’s history. Happy New Year!
Dorothy Kosinski, Director
Director Dorothy Kosinski with works by Augustus Vincent Tack installed in the Music Room. Photo: Sarah Osborne Bender
Over the summer, I presented a gallery talk on a series of 12 works by Augustus Vincent Tack, commissioned by Duncan Phillips in 1928. It is currently reinstalled in the wood-paneled Music Room, for which it was originally created. Below are excerpts from the discussion. Join me on December 15 at 6:30 pm for the next in our series of Director’s Perspectives, this time on work by Joseph Marioni.
Duncan Phillips and Augustus Vincent Tack met in 1914 and developed a deep and enduring friendship. Painter and patron had a lot in common: both were born in Pittsburgh and both had deep ties to Yale. Tack played an important role in fostering Duncan Phillips’s appreciation of the power and beauty of modern art.
The Phillips Collection owns seventy-five Tack paintings. “Tack” never became a household name. Whether Tack was fashionable was not the point. Duncan Phillips was passionately engaged in supporting emerging American artists alongside Europeans. The project was never about a suite of trophies, but about getting to know the artist and collecting his work in depth. Continue reading
Joseph Marioni’s work is a point of departure for a major symposium on painting tomorrow, Saturday, December 10, 2-5 pm. Registration is not required, and it’s included in the cost of museum admission (free for members and students with ID), so feel free to stop by. You’ll hear from Phillips Director Dorothy Kosinski, art historian and critic Michael Fried, National Gallery of Art curator Harry Cooper, Museum of Modern Art curator John Elderfield, and art historian and critic Karen Wilkin.