Separated at Birth?


Left: A detail of El Greco’s Laocoon, on view at the National Gallery of Art.
Right: El Greco’s The Repentant St. Peter, currently on view at the Phillips.

Phillips educators saw a familiar face during a field trip to the National Gallery of Art on Monday. Check out the uncanny resemblance between the title figure in the  Gallery’s Laocoön (c. 1610/1614) and the Phillips’s The Repentant St. Peter (between 1600 and 1614), both by El Greco.

It was a very timely happenstance considering the Intersections project A Conjunction of Verb opening tomorrow at the Phillips, in which Baltimore-based artist Bernhard Hildebrandt reinterprets El Greco’s work in photography and video.

Are there more St. Peter lookalikes out there?

Natalie Mann, School, Outreach, and Family Programs Coordinator

What’s the big deal about Beethoven?

Albert André, The Concert, 1903. Oil on cardboard on wood panel,. 20 3/4 x 26 3/4 in. The Phillips Collection, Washington, D.C. Acquired 1923

Albert André, The Concert, 1903. Oil on cardboard on wood panel,. 20 3/4 x 26 3/4 in. The Phillips Collection, Washington, D.C. Acquired 1923

Last Sunday, The Phillips Camerata began its five-concert exploration of Beethoven’s piano concertos, in collaboration with resident musicians from the National Gallery of Art. In the space of a few weeks, all five concertos will be performed at our two institutions in a project that explores the depth and scale of these great works in arrangements for chamber ensemble. Camerata pianist Irina Nuzova began the cycle on Sunday with Piano Concerto No. 1, followed by Piano Concerto No. 2 performed at the National Gallery yesterday afternoon with soloist Edvinas Minkstimas. Concertos 3-5 will be performed respectively by pianists Danielle Deswert Hahn (April 7 at 6:30 pm at the National Gallery), Thomas Pandolfi (April 14 at 4 pm at The Phillips Collection), and Mykola Suk (April 21 at 6:30 pm at the National Gallery).

What does Beethoven offer us in these works? Almost always a journey of some kind. If we trace an arc from the first to the last concerto, we can see the enormity of Beethoven’s musical achievement. This can also be found in his 32 piano sonatas, 16 string quartets, and in the symphonies, but never is this voyage so uniquely distilled as it is in the piano concertos. By the time he had completed the first concerto, aged 28, Beethoven had established himself in Vienna as the preeminent keyboard virtuoso of his age. He had absorbed the influence of Mozart and Haydn, and this is evident in his first two concertos. Yet having done so in his 20s, he wanted to show himself as more than the inheritor of their tradition, rather as a revolutionary, dragging the coattails of courtly Viennese society into the dawn of a new musical age. By the third concerto, composed in 1800, it is clear that he was trying something totally new and never before heard.

It was a timely shakeup of the status quo. Until the arrival of Beethoven, composers were largely expected to fulfill obligations to patrons and aristocracy, and music was the gilded flower of social elites. However by the late 18th century the system began to break down–music was being written for a broader audience and published and sold more widely. It was becoming universal. Beethoven’s passionate and explosive new music grasped the spirit of his epoch; truly a man of his time, Beethoven’s compositions elevated music to new levels of expression.

Beethoven the man was a complex and contradictory character, however. He was often gloomy, dark, and intolerable. He detested crowds, led a miserable love life, and through his growing deafness suffered the greatest affliction imaginable for a musician. Yet it was precisely through this adversity that he channeled his art, communicating incredible hope, positivity, and warmth. Our fascination with his life is because his music takes us on an intimate journey through it; we share in his joys, loves, and pains in equal measure.

Jeremy Ney, Music Consultant

People Who Work Here: Keith Costas

Photograph of Keith Costas in his office by Joshua Navarro

Photo: Joshua Navarro

Keith Costas, Director of Special Events

What is your major selling point for the Phillips to be used as a special events location?

The Phillips Collection is a unique venue in the heart of Dupont Circle. The beauty of hosting an event at the museum is its intimacy and feeling of being in someone’s private home surrounded by magnificent works of art. There is no other venue like this in Washington, D.C., where you can enjoy cocktails in the parlors and view major works by American and European artists. The spectacular Music Room is a wonderful setting for seated dinners, receptions, and musical performances. So often when I lead potential clients through the museum, they exclaim how beautiful and grand the Music Room is. From then on it is a pretty easy sell.

What’s your museum background–and is it particularly difficult to coordinate such things at an art museum?

I spent two years at the National Gallery of Art assisting with events, five years catering events in the Katzen Arts Center at American University and spent a good part of my earlier catering and special events career managing events in museums, embassies, cultural venues, and private residences. By far, The Phillips Collection is one of the more difficult venues in D.C. in which to work. Our voluntary agreement with our neighbors near the museum governs the number, size, logistics, and duration of special events held at the museum each year. The fact that we do not allow any open flame within the building poses a special challenge to caterers as they prepare and service events. The delicate nature of the Music Room floor, the proximity to major works of art, and the strict timing make it imperative that we work with vendors and caterers familiar with our space and rules. It is helpful to know your vendors and caterers, their strengths and weaknesses, and to work closely with their staff to ensure every event is flawless. My rule of thumb is to never assume anything and always keep an eye on all moving parts during an event.

It is really helpful to have a dedicated and cooperative group of Museum Assistants, who are your eyes and ears during an event, as well as a sympathetic curatorial team to consult with when necessary about moving or replacing works of art for an event. Working together, we assure the safety of the collection and still allow our clients to have a wonderful event.

How did you learn about the Phillips?

I have lived in D.C.  for 35 years, so the Phillips was always “that small gem” of a museum. A wonderful place to bring visiting friends and family. It wasn’t until I began to work here that I learned about the breadth of the collection, the commitment of the staff and board to make this a world-class museum, and the vital role the museum plays in the cultural environment of D.C.

Who’s your favorite artist in the collection?

I have many favorite artists, but my favorite painting is William Merritt Chase’s Hide and Seek (1888).  Its theme, lighting, and cropping resonate so much with me it is hard to define. It truly is a very modern work of art. I used to vacation in Shinnecock Hills, N.Y., at my uncle’s art studio and cottage situated just below the Chase homestead where this was painted. I have fond memories of picking wild blueberries below the stately Victorian house on the hill and thinking how a talented and wonderful artist drew inspiration from the rolling hills, the light, and stunning sea views of the Hamptons.

Do you collect artworkor anything?

After one of our first trips to Turkey and the Middle East, my wife and I began to collect tribal flat weave textiles (kilims). Most carpet weaving is created by women in some of the most remote and desolate parts of the world. The energy, imagination, choice of colors, weave, and design never ceases to amaze me. Each piece is a unique work of art that tells a story. We have since continued to collect turn-of-the-century Caucasian carpets that look like they were created yesterday with rich vibrant natural colors and soft silky piles. Needless to say, when we entertain and serve red wine they come up off of the floor! We also have a small collection of antique tiles from Turkey, Uzbekistan, Spain, and Portugal.

Which smart phone do you use?

iPhone 4s.