American Art in Philadelphia, at PAFA
Washington Concert Opera’s ‘Nabucco’
2023 Cultural Power Breakfast Now at Four Seasons! Meet New Corcoran Director Lauren Onkey, March 23
Arts & Society
Chamber Dance Project Dives Deeper into Dance on Film
2023 Spring Performing Arts Preview
May 7 Cultural Leadership Breakfast: George Washington University President Steven Knapp
Richard Selden • May 7, 2015
Wrapping up Georgetown Media Group’s spring round of Cultural Leadership breakfasts, Dr. Steven Knapp, president of the George Washington University since 2007, will speak the morning of May 7 at the George Town Club about the university’s expanding activity in the arts, exemplified by the bringing of the Textile Museum and the Corcoran School of the Arts and Design into the GW fold. Until recently, the District’s largest institution of higher education had not positioned itself as a leader in the arts.
Dr. Knapp will speak at 8:30 a.m. and a light breakfast will be served. Admission costs $15. For more details and to RSVP, contact Richard Selden at firstname.lastname@example.org.
12th Annual French Market
Richard Selden • April 28, 2015
This Friday and Saturday, visitors to the stretch of upper Wisconsin Avenue known as Book Hill may feel like calling it “la Colline aux Livres.” That’s because the 12th annual Georgetown French Market, organized by the Georgetown Business Improvement District, will have once again turned the blocks between P Street and Reservoir Road into an open-air Parisian-style bazaar.
Between the hours of 10 a.m. and 5 p.m. both days, more than 40 local fashion and home boutiques, antique shops, art galleries and cafés will be offering special displays and discounts. The sidewalk-sale ambiance will be enhanced with strolling entertainers.
On Saturday, from 11 a.m. to 4 p.m., the TD Bank parking lot on Wisconsin Avenue above Q Street will become a gathering place for families with children to listen to live music, interact with mimes and have their faces painted and caricatures sketched.
Live music with a Louisiana-gypsy-jazz flair will also be presented at Wisconsin Avenue and P Street and the 1600 block of Wisconsin Avenue near Urban Chic. The list of performers includes acoustic swing quartet Laissez Foure (a play on laissez faire – get it?), Yamomanem (said to be New Orleans patois for “your mother and the rest of your family and friends that always seem to be around the house”), the Rachel & Sean Jazz Duo, Swing Guitars DC and the Red Hot Rhythm Chiefs.
With some help from the Alliance Française of Washington, the Georgetown Public Library at the top of Book Hill is going Gallic with three special programs. On Friday at noon, art historian Vanessa Badré will lead a discussion, “From Versailles to China.” On Saturday at 10:30 a.m., there will be a Madeline storytime, with a reading of “Madeline at the White House” and a workshop in which participants will make their very own yellow hat. On Saturday at 2 p.m., Jacques Bodelle will talk about and sign copies of his book “Petite(s) Histoire(s) des Francais d’Ameriqué [A Brief History of the French in America].”
At Wisconsin and Volta Place, Georgetown Lutheran Church, founded in 1769, will invite French Market visitors to stop in for water and treats.
Among the curbside food options will be merguez sausages, sweet and savory crepes, Vietnamese bánh mì sandwiches, BBQ chicken skewers, pizza and dipped fruit. Patisserie Poupon – which will feature chicken with lemon and olive tagine along with their extensive selection of fresh-baked pastries – is running a drawing to win an Illy Y5 Duo espresso machine, now through Saturday.
Free parking will be available Saturday at Hardy Middle School across from the Georgetown Safeway, near the intersection with 34th Street, where there is also a Capital Bikeshare station.
Participating Retailers (west of Wisconsin, north to south):
All We Art
Unique international fine art, wooden/textile handmade crafts, jewelry and bags.
30% off select items.
Up to 80% off sale items; 15% off full-priced clothing and denim.
Simply Banh Mi
Banh mi sandwiches, Vietnamese coffee, milk tea and more.
Vicky’s Nail Boutique
25% off select nail polishes.
Kennedy & Co.
Stop by to meet our associates and pick up your free gifts.
$3s moothies, $6 six-count and $12 twelve-count of dipped fruit.
Crepe stand, $5 per crepe.
50% off select clothing, jewelry and accessories.
10% off spring/summer clothing, shoes and accessories, plus 40% off sale items.
In-store select merchandise 50-75% off.
P Street Gallerie
Original works and prints by local, regional and international artists. Receive 10% off framing coupon with purchase.
Participating Retailers (east of Wisconsin, north to south)
Up to 75% off house and garden.
Cross MacKenzie Gallery
10% off work inside the gallery; 40% off ceramic items outside.
60% off jewelry; 50% off clothing, shoes and handbags. Check out our backyard Secret Garden Sales.
Maurine Littleton Gallery
SwitchWood bow ties, art books. 30% off select artworks on paper.
The Bean Counter
BBQ chicken skewers, lemonade, cold and hot drinks. 10% off sandwiches.
The Dandelion Patch
50-90% off select items in our Georgetown store only. Restrictions apply.
Egg by Susan Lazar
Up to 70% off fall/winter apparel, $5 and $10 baskets filled with past season merchandise and 20% off our brand-new spring line.
Comer & Co.
Antiques and home furnishings. Check out our expanded collection of discounted items.
Moss & Co.
Up to 75% off. Assortment of home accessories, antiques, furniture, garden items, jewelry.
David Bell Antiques
Antiques and home furnishings.
Matt Camron Rugs
Rugs and textiles.
Broad selection of antiques, accessories and jewelry.
Up to 80% off men’s and women’s merchandise.
Croissants, macarons, and more. Grilled merguez, chicken and steak sandwiches. Illy coffee. French tablecloths, handmade African baskets and more.
Susan Calloway Fine Arts
Middle Kingdom porcelains and discounted frames.
Manny & Olga’s Pizza
$2.50-$3 fresh pizza slices and $1 drinks.
Pho Viet & Grille
30-40% off Vietnamese sandwiches, salads and coffee drink.
20% off all merchandise except Chanel and Hermes; table specials.
Bacchus Wine Cellar
Six-pack of French wines in reusable canvas tote, $50. Wine tasting at the cellar, prior to purchase. 15% off all French wines.
Nectar Skin Bar
Spring glam-a-rama sale: select make-up and beauty products 30-50% off.
Hair artist styling outside (weather permitting), giveaways and gifts with purchase.
25% off all full-price Kiki Lynn items.
Special prices/discounts off select dresses, tops and bottoms.
15% off ready-to-order stationery and ready-made note sets.
50-75% off jewelry, 30% off scarves and hats, 50-75% off select designer merchandise.
20% off art books by Phaidon, Taschen, Rizzoli and many other fine art book publishers. Stop by and indulge in works by both local and international contemporary artists.
Additional 20% off on sale items for savings up to 70% off.
Take a break from the Frenchiness of the Market and shop Italian artisanal products. Umbria handprinted ceramics, pastas and tools for your Italian kitchen.
Unique gifts and fine American crafts. 20% to 50% off select items. [gallery ids="102058,134553,134552" nav="thumbs"]
NGA to Celebrate 25th Anniversary of Photo Collection
Richard Selden • March 19, 2015
Three special exhibitions in 2015 will mark the 25th anniversary of the National Gallery of Art’s photography collection. Two will open May 3: “In Light of the Past: 25 Years of Photography at the National Gallery of Art” (through July 26) and “The Memory of Time: Contemporary Photographs at the National Gallery of Art, Acquired with the Alfred H. Moses and Fern M. Schad Fund” (through Sept. 7).
The third, which will open Nov. 1 and run through Feb. 28, 2016, is titled “Celebrating Photography at the National Gallery of Art: Recent Gifts.” Displaying works donated to the museum in honor of the anniversary, it is likely to include gifts that have yet to be made.
Though the collection was launched in 1949 with a spectacular gift – Georgia O’Keeffe’s donation of the “Key Set,” more than 1,600 photographs by her late husband, legendary photographer and gallerist Alfred Stieglitz – the National Gallery began to actively collect photography in 1990.
The collection has expanded under curator Sarah Greenough to nearly 14,000 American and European photographs from 1839 to the present. Photographs are fragile and deteriorate when exposed to light. Most of the collection has never been exhibited and the works that have been exhibited have been on view only briefly.
Curated by Greenough and assistant curator Andrea Nelson, the exhibition of contemporary photographs will include works exploring the complexity of time, memory and history, by photographers including Sally Mann (b. 1951), Vera Lutter (b. 1960), Hiroshi Sugimoto (b. 1948), Carrie Mae Weems (b. 1953) and Sophie Calle (b. 1953).
Cultural Ins and Outs
Richard Selden • March 11, 2015
IN – Textile Museum
After nearly 90 years in Kalorama, the Textile Museum will open March 21 in a new Foggy Bottom facility as the George Washington University Museum and the Textile Museum. The largest exhibition in the museum’s history, “Unraveling Identity: Our Textiles, Our Stories,” will display more than 1,000 pieces through Aug. 24. On the grand opening weekend, there will be free activities at the new museum, 701 21st St. NW, as well as a textile symposium on Saturday at the School of Media and Public Affairs, 805 21st St. NW.
The design, by Hartman-Cox Architects, links a new 35,000-square-foot structure with the former university police headquarters, Woodhull House, which will become the home of a collection of Washingtoniana – rare maps, drawings, documents and correspondence – donated to the university by Albert H. Small in 2011. The director of the two museums, also an associate professor of Museum Studies, is John Wetenhall, a historian of modern art who got his Ph.D. at Stanford and was executive director of the Ringling Museum of Art in Sarasota, Fla., among others.
The origins of the Textile Museum were similar to those of the nearby Phillips Collection. It opened in 1925 in the S Street mansion of George Hewitt Myers (a collector of what were then known as Oriental rugs) and grew to be one of the major collections of non-Western textiles in the United States. The struggling museum was taken over by George Washington University a few years after a plan to open an annex in Penn Quarter was canceled in 2008. The university is also building a conservation and resource center on its Loudoun County, Va., campus.
OUT – Franklin School
On Feb. 9, Mayor Muriel Bowser abruptly announced the de-selection of the Institute for Contemporary Expression as the developer, with Anthony Lanier’s East Banc, of the landmark Franklin School at 13th and K Streets NW. A new Request for Qualifications, due March 23, has been issued, with a Request for Proposals to follow in the fall.
ICE’s plan to create a space for the presentation of cutting-edge art, especially large installation and multimedia works – along with education programs, a bookstore and a restaurant by José Andrés – was chosen by then Mayor Vincent Gray’s administration in February 2014. The building, designed in 1865 by Adolph Cluss, the architect of the Smithsonian’s Arts and Industries Building, became vacant when it ceased to be a homeless shelter in 2008. Several plans since then for its reuse went nowhere.
Collector Dani Levinas, executive director of ICE, has said that he was not consulted and his plan is solid. (Cost estimates vary from Levinas’s $13.2 million to more than $20 million.) It is not known if ICE will respond to the RFQ. In the meantime, there have been calls for revisiting the decision, with a letter circulating asking the mayor to “Please take this moment of public appeal to bring this matter back before the City Council.”
Back to the Latin Playground?
Richard Selden • January 29, 2015
Born March 2, 1917, Desiderio Alberto Arnaz y de Acha III became the symbol of America’s love affair with Cuba, the country from which his wealthy and prominent family fled in 1934.
Ironically, the original TV run of “I Love Lucy,” in which Desi Arnaz played bandleader Ricky Ricardo, nearly coincided with the dictatorship of Fulgencio Batista, who led the revolt that sent Arnaz’s family – and many others – into exile in Miami.
During the Desilu decade of the 1950s, Cuba was the “Holiday Isle of the Tropics,” 90 miles from Key West. Havana was the Latin Las Vegas.
An earlier wave of Cuba tourism lasted from the 1920s through the early 1930s, the Prohibition years, when famous and infamous Americans went to Cuba to drink, gamble, golf, fish and perhaps sin. After a few visits, Ernest Hemingway bought his winter retreat, Finca Vigía, in 1940. It is now a museum, a mandatory stop along with his favorite Havana bars, La Floridita (for daiquiris) and La Bodeguita del Medio (for mojitos).
But since the 1959 revolution led by Fidel Castro – now aged 88 and ailing, having stepped down from Communist Party leadership in 2011 – Cuba became known as a police state rather than a vacation paradise. Along with others, the politically powerful Cuban exile community in the United States made sure that economic sanctions, including a travel embargo, remained in effect.
Then, on Dec. 17, President Obama announced a move to reestablish diplomatic relations with Cuba, following negotiations (with the assistance of Pope Francis) that led to the release of American Alan Gross, imprisoned since Dec. 2009, in exchange for three Cuban agents.
Unimpeded travel to Cuba from the U. S. will require Congressional approval. However, several regulatory changes will make things easier. For instance, U.S.-based credit and debit cards will now be accepted in Cuba, and U.S. travelers will be able to bring home up to $400 worth of Cuban goods.
The U.S. government will also issue what are called general licenses, for citizens who wish to travel for humanitarian reasons, to perform or compete and for other specific purposes. Currently, only special licenses, requiring an arduous application process, are available. Americans who travel to Cuba without a license or through a travel provider that is not licensed by the Department of the Treasury are breaking the law and risk substantial fines.
The regulatory amendments putting these changes into effect are supposed to be issued “in the coming weeks.” More information may be found online at treasury.gov/resource-center/sanctions/Programs/pages/cuba.aspx, where there is a link to sign up for Cuba Sanctions email updates.
In the meantime, the easiest, if expensive, legal option to visit Cuba is through a “people-to-people” group tour organized by an authorized travel provider, either open to the public or under the auspices of a university, a museum or another nonprofit.
The Cuban government has been investing in tourism since the 1990s, restoring sections of Old Havana and building resort hotels with foreign, but not American, partners. Capacity is limited, and most facilities have not been modernized.
By far the largest source of international visitors to Cuba – nearly a million per year – is Canada, whose citizens tend to go to Varadero, about 14 miles east of Havana, for inexpensive beach and nature vacations. While around 650,000 U.S. citizens visit annually, the vast majority are Cuban Americans with visas to visit family members.
Over the next few years, there will be a strong curiosity factor. Americans will seek to feel the aura of Capone, Hemingway and Sinatra, gawk at the vintage cars, visit unfamiliar beaches and see for themselves what the country and the people are like.
After a few years of opening to America, and, presumably, a surge when the ban is finally lifted, the place that Cuba will come to occupy in the panoply of Caribbean destinations is unknown.
But wouldn’t it be nice to toast Desi’s 100th birthday with rum and cigars in Santiago de Cuba, where both his father and grandfather were mayor?
‘TIP’ and Lots of Play at Carnegie Museum
Richard Selden • January 16, 2015
In 1974, the stark exterior of the Sarah Mellon Scaife Galleries became the new gateway to Pittsburgh’s Carnegie Museum of Art. Forty years later, it is still bracing to come upon this brutalist addition, designed by Edward Larrabee Barnes, to the Carnegie Institute’s neoclassical buildings.
It was an inspired notion, then, last fall, to install “TIP,” a chaotic exhibit of wooden poles wrapped in steel mesh and colorful strips of fabric. “TIP” is the work of British sculptor Phyllida Barlow. It runs 131 feet from the Forbes Avenue sidewalk to the museum entrance, welcoming visitors to the 2013 Carnegie International, the world’s second oldest international survey of contemporary art (the oldest, the Venice Biennale, began a year earlier, in 1895).
The 2013 Carnegie International, curated by Daniel Baumann, Dan Byers and Tina Kukielski, kicked off last October and continues through Mar. 16. Since the next Carnegie International is at least three years away, it would do well to get yourself to Pittsburgh as soon as you can.
As the Barlow piece suggests, this Carnegie International is serious about play.
One of the largest sections of the show, filling the museum’s Heinz Architectural Center, is called “The Playground Project.” An immersive environment by Tezuka Architects, it combines projects by students in the museum’s summer camps with documentation of innovative 20th-century playgrounds from the United States, Europe and Japan. There is also a playground-themed “sci-fi road movie” by Ei Arakawa and Henning Bohl and – what else? – an actual playground.
Though there is plenty to see, with 35 artists from 19 countries represented, the show is more manageable than most survey exhibitions. However, with the decision to disperse the pieces throughout the museum – even in the attached Carnegie Museum of Natural History, past the dinosaur bones – visitors have to do some navigating. Wear comfortable shoes.
In some cases, the pieces are site-specific. But more generally this approach enables the curators to provide art-historical context and show off the permanent collection, including works from earlier Carnegie Internationals. It also adds a DIY sense of involvement and discovery.
Two of the most captivating installations are in the Hall of Sculpture, viewable both from “ground level” and a perimeter balcony. “The Bidoun Library,” by Negar Azimi, Nelson Harst, Babak Radboy and Ghazaal Vojdani, is an extensive, mobile display of books, magazines, comics and posters, most in Arabic, dealing with “that vast, vexed, nefarious construct known as ‘the Middle East.’”
On the other side of the court is “Disarm” by Pedro Reyes: seven bizarre, self-playing musical instruments making an oval around a sort of drum set, all of which he assembled using 6,700 weapons repurposed from the Mexican drug wars. As visitors wander among them, they go off (so to speak), sounding like electric bagpipes, a xylophone, a rock bass and temple blocks.
The Carnegie Museum of Art is open daily except Tuesdays, with extended evening hours on Thursdays.
‘Picturing Mary’: Ambitious Show at Museum of Women in the Arts
Richard Selden • December 17, 2014
Virgin Most Prudent, Mirror of Justice, Ark of the Covenant, Queen of the Confessors. These are a few of the 50 titles of Mary in the Litany of Loreto, stenciled on a wall in the exhibition “Picturing Mary: Woman, Mother, Idea.”
One of the most ambitious projects in the 27-year history of the National Museum of Women in the Arts, “Picturing Mary” arranges in six thematic sections more than 60 paintings, sculptures and works in other media. Curated by Monsignor Timothy Verdon, director of Florence’s Museo dell’Opera del Duomo, the show is on view through April 12.
It is largely an Old Masters show, with household names such as Botticelli (the captivating “Madonna of the Book”), Dürer (six etchings), Michelangelo (two drawings, one arriving in late January) and Rembrandt (an etching).
Perhaps the most compelling work by a famous artist is Caravaggio’s “Rest on the Flight into Egypt” of 1594-96, from the Galleria Doria Pamphilj in Rome. A big, beautiful puzzle of a painting, it depicts, on its right half, Mary cradling baby Jesus in an arcadian setting and, on its left half, St. Joseph and a brown ox in a barren clearing. Dividing the canvas nearly from top to bottom is a mostly naked angel, back and wings to the viewer, playing a Marian motet on the violin from music that Joseph holds up, every note clearly shown.
This being the National Museum of Women in the Arts, there are works by four women artists: Sofonisba Anguissola (c. 1532-1625), Artemisia Gentileschi (1593-1656), Orsola Maddalena Caccia (1596-1676) and Elisabetta Sirani (1638-1665).
The museum has exhibited Anguissola’s “Self-Portrait at the Easel” of 1556, from Lancut Castle in Poland, once before, but it is an ideal choice for this show, with the artist gazing out as she finishes a painting of Mary nose-to-nose with a young, standing Jesus, Mary’s fingers tenderly touching his cheek and the back of his blond-haired head.
Six paintings by Caccia, an Ursuline nun from Moncalvo (about 30 miles east of Turin) whose father Guglielmo was a painter, are displayed, three of them nine feet in height. The first the visitor encounters, “St. Luke the Evangelist in the Studio” of c. 1625, is probably the finest and most interesting. Modeled on her father, the Evangelist – said to have been an icon painter – is shown working on a sculpture of the Madonna and Child, a painting of them on an easel nearby. The complex composition also includes putti, books, a high window, an ox (Luke’s symbol), a little dog and roses (the symbol of the Virgin) on the floor.
In the gallery titled Mother of the Crucified is a passage from the Gospel of Luke in which Simeon tells Mary that “a sword will pierce your own soul too.” The stenciled excerpt is between a polychromed terracotta, “Madonna and Child” of c. 1430 by Luca della Robbia, and a stained-glass window, “Deposition and Entombment” of 1526 by Guillaume de Marcillat. In the two works, a resigned woman stares out or away, not at her son.
‘Russian Kaleidoscope’ Gala
Richard Selden • October 23, 2014
How often does one get to hear an electric guitarist improvise on famous themes from Russian music?
“We have upped the ante for the upcoming season,” says Vera Danchenko-Stern, artistic director of the Russian Chamber Art Society, which she founded nine years ago to bring a rarely heard repertoire to Washington.
That repertoire includes not only solo jazz guitar—played in this instance by Serge Khrichenko, a classically trained musician based in Silver Spring—but also arias and art songs by Russian composers such as Tchaikovsky, Rimsky-Korsakov and Rachmaninoff.
The opening gala concert of the Russian Chamber Art Society’s 2014-2015 season will take place Friday, Oct. 10, at the Embassy of Austria. Titled “Russian Kaleidoscope,” the program features Khrichenko’s jazz, contemporary works for clarinet and piano performed by Julian Milkis and Danchenko-Stern, and vocal selections sung in Russian by two emerging talents: soprano Yana Eminova and mezzo-soprano Magdalena Wor.
Is the Society’s audience made up primarily of Russian speakers? “Absolutely not,” says Danchenko-Stern. Many patrons are opera aficionados who welcome the opportunity to hear and learn more about Russian vocal music, a tradition as worthy of international admiration as that of Russian literature.
Danchenko-Stern, a graduate of Moscow’s Gnessin Institute of Music was a faculty artist there and at the Royal Conservatory of Music in Toronto where she and her family moved in 1978, says she “immigrated for the second time” this time to the United States in 1990 when she married her second husband Lev Stern. She has coached singers for Washington National Opera productions and taught “Singing in Russian” for more than 20 years at Baltimore’s Peabody Conservatory, one of the few music schools in the country to regularly offer such training.
Two of Danchenko-Stern’s colleagues on the Peabody faculty, violinist (and brother) Victor Danchenko, and pianist Alexander Shtarkman, will perform at the Russian Chamber Art Society’s holiday concert, “Tchaikovsky is Forever,” on Friday, Dec. 5. They will perform alongside her former student, soprano Natalia Conte, mezzo-soprano Elena Bocharova and tenor Viktor Antipenko.
At the Oct. 10 gala, which also includes a buffet dinner, open bar and dessert, the concert begins with the duet between Tatyana and Olga from “Eugene Onegin.” Tchaikovsky specified that the singers should be young and beautiful—Tatyana is supposed to be just 14 years old—and, while not in their teens, Eminova and Wor qualify by age and appearance as well as by vocal ability.
Wor, born in Poland, is an alumna of Washington National Opera’s Domingo-Cafritz Young Artist Program and the Merola Opera Program in San Francisco.
Some of the pieces for clarinet and piano on the Oct. 10 program were heard in D.C. a few years ago when Danchenko-Stern gave a concert of works by Russian Jewish composers in honor of Rabbi Howard S. White, longtime Jewish Chaplain at Georgetown University. Others are Washington premieres.
Referring to the champagne reception for VIP ticket holders, the dinner and other festivities, Danchenko-Stern calls the gala concert “a chance for a whole event.”
More information about RCAS and online ticketing are available at thercas.com.
Paul Strand in Philadelphia
Richard Selden •
Two of the 20th century’s greatest photographers were born in 1890 and died in 1976: Man Ray and Paul Strand. Man Ray was a man of the avant-garde. His stone in Montparnasse Cemetery in Paris reads (in English): “unconcerned but not indifferent.”
Paul Strand could never be called unconcerned. He learned photography in his teens from social reformer Lewis Hine, made leftist films during the Depression and—distressed by the country’s feverish anti-Communism—moved permanently to France in 1950.
The Philadelphia Museum of Art’s new retrospective, curated by Peter Barberie, seeks to place Strand as much in the modernist camp as that mad scientist Man Ray. “Paul Strand: Master of Modern Photography,” on view through Jan. 4, deepens our understanding of modernism as it traces Strand’s six-decade career.
Two of Strand’s most famous images—“Wall Street, New York” of 1915, in which shadows stretch from tiny figures passing under the House of Morgan’s pharaonic facade; and “Blind Woman, New York” of 1916, a portrait of a peddler, her right eye half-shut, her left open and aimed farther left, the word BLIND on a sign on her chest—achieve a perfect balance of compositional power and social message.
The image of the blind woman is one of eight striking portraits hung near some of Strand’s photographic experiments with cubism, also from 1916. “Abstraction, Bowls, Twin Lakes, Connecticut,” a composition of four ceramic bowls shot close up in soft focus, is as abstract as Strand’s work ever got.
Photographer Alfred Stieglitz showed Strand’s work at 291, his Fifth Avenue gallery, and published it in his journal, “Camera Work.” Several paintings by other members of the Stieglitz circle—Arthur Dove, Marsden Hartley, John Marin and Georgia O’Keeffe—are included in the show. (O’Keeffe, who married Stieglitz in 1924, was also a romantic interest of Strand’s. Stieglitz was more than 20 years her senior and Strand was three years her junior.)
In 1922, Strand married Rebecca Salsbury and purchased a hand-cranked Akeley motion picture camera. Perhaps representing the two sides of the photographer’s aesthetic, five tight close-ups of each—woman and camera—are displayed on one wall.
In the early 1930s, having separated from both his wife and his mentor Stieglitz, Strand moved to Mexico for two years, drawn by the socialist government and related artistic activity. He photographed people in town squares, among other subjects then dropped still photography to make films.
One of the exhibition’s two screening rooms presents a nine-minute segment from “Redes,” his 1936 film about a fictional Mexican fishing village, alternating with a segment from “Native Land,” his documentary about union busting, released in 1942.
Several galleries are devoted to Strand’s travels, which resulted in a number of collaborative “portraits of place.” Three that became books receive special attention: “Time in New England”; “Un Paese: Portrait of an Italian Village,” about Luzzara, the hometown of Cesare Zavattini, screenwriter of the Vittorio De Sica film “The Bicycle Thief”; and “Ghana: An African Portrait.”
The three books, none still in print, have been digitized for browsing on computer kiosks.
The last decades of Strand’s life were spent in France. He and his third wife, photographer Hazel Kingsbury, bought a house in Orgeval outside of Paris. The closing section of the exhibition shows photographs of the Strands in their garden and several of the still lifes of plants he grew there.
“Paul Strand: Master of Modern Photography” is one of several good reasons for a trip to Philadelphia, also the home of the Barnes Foundation, the Pennsylvania Academy of the Fine Arts and the Institute of Contemporary Art.
Upcoming auctions at Freeman’s, the oldest American auction house, include Modern & Contemporary Works of Art (Nov. 2), Jewelry & Watches (Nov. 3), American Furniture, Folk & Decorative Arts (Nov. 13) and American Art & Pennsylvania Impressionists (Dec. 7).
Among the leading Philadelphia art galleries are Schwarz Gallery, next to Freeman’s on Chestnut Street, specializing in 19th- and early 20th-century paintings; Newman Galleries on Walnut Street, showing paintings by Eakins student Fred Wagner (Nov. 1-Dec. 31, reception Nov. 14); and contemporary gallery Locks Gallery on Washington Square, presenting “Thomas Chimes: The Body in Spirals” (Nov. 7-Dec. 13).
[gallery ids="101892,136723" nav="thumbs"]
Brandywine: Wyeth’s Other World
Richard Selden • July 2, 2014
Andrew Wyeth’s “Wind from the Sea” – the centerpiece of the “Looking Out, Looking In” exhibition at the National Gallery of Art (reviewed in the May 7 issue of The Georgetowner) – was painted a year before and on the same Maine farm as his iconic “Christina’s World” of 1948.
Cushing, Maine, where Christina Olson lived, was the painter’s summer home. Andrew Wyeth’s roots were in Chadds Ford, Pa., where the Brandywine River Museum of Art offers scheduled tours of his studio and the Kuerner Farm, both portrayed in several works in “Looking Out, Looking In.”
“His art is all about sense of place – things that mean something to him, people that mean something to him,” says Virginia O’Hara, the Brandywine museum’s curator of collections.
Upon their marriage in 1940, Andrew and Betsy Wyeth made a 19th-century schoolhouse their home and Andrew’s studio. Restored to look as it did when they lived there, the modest building – white, inside and out – is filled with old furniture, artists’ materials (brushes, a carton of eggs for making tempera paints, large blocks of watercolor paper), books on art, ship models and armies of toy soldiers. The kitchen has “modern” appliances from the 1950s.
Part of the studio is set up as the studio of their son James, known as Jamie, as if he were working on his 1967 portrait of John F. Kennedy. A short distance away is the expansive, prop-filled studio of Andrew Wyeth’s father and teacher, famed illustrator N.C. Wyeth, who built it in 1911 with earnings from his work on Scribner’s edition of “Treasure Island.” (The museum also has scheduled tours of N.C. Wyeth’s studio.)
Even more evocative is the bleakly beautiful farm of German immigrant Karl Kuerner, designated a National Historic Landmark in 2011 along with the Olson House in Cushing. A square, stone trough in front of two windows in the ancient barn is clearly the motif of the painting “Spring Fed” in “Looking Out, Looking In.” Another work in the National Gallery show depicts the farmhouse attic, with iron hooks from which onions and potatoes were hung.
No portraits of Wyeth’s Chadds Ford muse, Helga Testorf, who was Karl Kuerner’s nurse, are part of “Looking Out, Looking In,” but the painter had a way of instilling a human presence in his still lifes (not just art-history talk: in some cases a figure in an initial version of a work was later removed).
Much of the credit for preserving the scenic and historic landscape that Wyeth painted goes to the Brandywine Conservancy, founded in 1967 to protect the watershed. Having created the museum in 1971, the organization – based in a former gristmill off U.S. 1 – recently renamed itself the Brandywine Conservancy and Museum of Art.
A selection of Andrew Wyeth’s watercolors of Chadds Ford from the 1940s through the 2000s (he died in 2009) is on view at the museum through the end of September. “Exalted Nature: The Real and Fantastic World of Charles Burchfield,” an exhibition of more than 50 paintings by a very different American artist, opens Aug. 23.
The only name that looms larger than Wyeth in the Brandywine Valley is du Pont. DuPont, the chemical company, began in 1802 as Éleuthère Irénée du Pont de Nemours’s gunpowder mill on the Brandywine. His little family of Huguenot immigrants from Burgundy expanded in size and wealth in the 19th and 20th centuries to produce some of America’s greatest industrialists and philanthropists.
In 1906, Pierre S. du Pont bought the historic arboretum in Kennett Square, Pa., known as Peirce’s Park, making it his private estate and expanding it to more than 1,000 acres of gardens, fountains and greenhouses. We know it today as Longwood Gardens, welcoming roughly a million visitors annually. The latest addition to Longwood is an 86-acre Meadow Garden. Among the upcoming events are Summer Soirées on July 18 and Aug. 22 (free with admission) and Patti LuPone on July 10 ($45-75) and Savion Glover on Aug. 14 ($36-56).
Winterthur, the Wilmington mansion of one of Pierre’s cousins, Henry Francis du Pont, is furnished with his exceptional collection of American antiques and surrounded by gardens. It is a suitable setting for an audience-broadening Winterthur exhibition, “Costumes of Downton Abbey,” displaying 40 historically inspired costumes from the PBS series (through Jan. 4).
Other Wilmington cultural attractions include the Hagley Museum and Nemours Mansion, both connected to du Ponts, and the Delaware Art Museum, which features works by the Pre-Raphaelites, John Sloan and illustrators such as Howard Pyle.
Good dining choices may be found on State Street in downtown Kennett Square, where there is a monthly First Friday Art Stroll. For a country inn ambiance, try Buckley’s Tavern in Centerville, Pa., on Kennett Pike between Kennett Square and Wilmington.
To make an overnight or a weekend of it, there are 11 B&Bs listed on the Brandywine Valley Bed and Breakfast Association website. The landmark 1913 Hotel du Pont in Wilmington displays works by N.C., Andrew and Jamie Wyeth in its elegant public rooms. [gallery ids="116309,116312" nav="thumbs"]