In conjunction with the exhibition “Hard-edged, Bright Color: The Washington Color School” at the American Art and Portrait Gallery (AA/PG) Library, the blog will be exploring the group of color artists to accompany the exhibit running until late spring. We’ll be exploring three of the “first generation” Washington Color School artists: Thomas Downing, Howard Mehring, and Paul Reed.
Recently an Artist’s Book, from the American Art and National Portrait Gallery Library, arrived at the Conservation Lab in need of a suitable protective housing. The Quilts of Gee’s Bend by Carolyn Shattuck is a “flexagon” book, a flexible structure made from a chain of tetrahedrons. The book can be manipulated into different shapes and has many vibrant illustrations on the various facets. (Click the Hyperlinks to explore more about this book more »
With the Smithsonian American Art Museum’s upcoming exhibition, Gene Davis: Hot Beat, the American Art and Portrait Gallery (AA/PG) Library is hosting a complementary exhibition of ephemera showcasing a group known as the Washington Color Painters, or perhaps better recognized by their more dubious title, the Washington Color School.
This post was written by Sofia Silva, Katzenberger Intern at the Hirshhorn Museum and Sculpture Garden Library and American Art & Portrait Gallery Library as part of a series exploring the Art & Artists Files at the Smithsonian Libraries. Though contemporaries, the artists James Browning Wyeth and Andy Warhol could not be more diametrically opposed. James, more commonly known as Jamie, is a third-generation member of the famed Wyeth family, who are celebrated as central figures in the revival of realism in American art (his father is Andrew Wyeth, painter of the American classic Christina’s World and his grandfather, N.C. Wyeth is acclaimed painter of vast landscapes and epic narratives of early Americana). Jamie continued this family tradition as a portraitist and landscape painter, whose naturalistic approach to painting produced highly detailed and visually complex work that captured life in rural Maine, Delaware and Pennsylvania.
If you think of Jean Dubuffet, Yves Tanguy, Balthus, Alberto Giacometti, Marc Chagall, and Joan Miró, you may instantly think of some of the most famous canvases and sculptures of modern art. These artists have been immortalized in art history as key figures within Modernism, a position made even more apparent by their countless works housed in some of the most important museums around the world. A name less recognizable is that of more »
If life were like a work of art, what would it look like? How would you take the most ordinary daily routine, such as breakfast, and transform it into an artistic masterpiece? While looking through the Art and Artist Files at the Hirshhorn Museum and American Art/Portrait Gallery libraries, I was given a better idea of what it would be like to have breakfast in the boldly graphic world of Roy Lichtenstein, more »
The world of modern art is at times criticized for a certain reputation of exclusivity and mystery in which the more inaccessible a certain artist or artwork may be, the more valuable and reputable the art becomes. Salvador Dali, the most famed member of the twentieth century avant-garde movement, Surrealism, on the other hand, challenges this perception that artistic creation is a closed-off affair for an elite few. Sure, Dali was no more »
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