WHAT TO HANG OVER THE FIREPLACE: a Visit to the Phillips Collection, Washington, D.C.

Glow On by Jules Olitski, at the Phillips Collection, Washington, D.C.

On a recent trip to Washington, D.C., I visited the Phillips Collection, the art museum that began as the private collection of the Duncan Phillips family and is now a premier museum of modern art. (Duncan Phillips, who founded the museum, was the grandson of wealthy banker and steel magnate, James H. Laughlin, and son of Pittsburgh window glass millionaire, Duncan Clinch Phillips.) For an overall description of the museum collection and its history, see my last week's post.

Figures by David Driskell.

My first visit to the Phillips Collection was in 2019, and as I explored the part of the museum that was the original Phillips home, I was struck by the way the paintings were integrated into the architecture of each room. Almost every room had a fireplace. I was interested to see how over each fireplace a painting had been selected that fit with its color and style. 

Red Hills, Lake George by Georgia O'Keefe, over the fireplace in the Where We Meet gallery, a combined exhibit of works from the Phillips Collection and the Howard University art collection.

On this visit I was surprised to discover NEW paintings over the fireplaces! Again, each appears to have been chosen to coordinate with the style of each fireplace. Here are a few examples:

Three paintings from the Migration series by Jacob Lawrence.

Succession by Wassily Kandinsky.

Still Life with Grapes and Clarinet by Georges Braque.

In the elegant music room on the main floor, where elaborate wood carvings are part of the massive fireplace design, there is no room for art above the fireplace. On my 2019 visit, two Mondrian paintings, set off by the dark wood paneling, had been chosen to flank the fireplace. Now, in 2024, I discovered that they too had been replaced. 

The Music Room.

These are just a small sample of what you can see at the Phillips Collection. To read my posts about my visit in 2019, go to:

The Phillips Collection, Part 1: America's First Museum of Modern Art. 

The Phillips Collection, Part II: What Do You Hang Over the Fireplace?

And to learn about the Family Gallery at the museum, a guide to looking at art with children, go to my recent post at my Art and Books blog.

A TREASURE HOUSE OF "MODERN" ART: The Phillips Collection, Washington, D.C.

Phillips Collection, Washington, D.C.

Among my favorite art museums in Washington, D.C. is the Phillips Collection, which I had the chance to visit last week. It had been five years since my previous visit, and I discovered that although many of the paintings on exhibit were familiar, there were new ones I hadn't seen before.

In 1921, Duncan Phillips, and his wife, Marjorie Acker Phillips, a painter, turned the family art collection into a public museum, the Phillips Memorial Gallery, in their home near Dupont Circle in Washington, D.C. The collection soon expanded and the family moved across the street, turning over the entire house to art.

From the beginning, the collection focused on “modern” art, acquiring paintings by French Impressionists such as Monet and Renoir, and Cubists such as Picasso and Braque. Giving equal focus to American and European artists, Phillips juxtaposed works by Winslow Homer, Thomas Eakins, Maurice Prendergast, James Abbott McNeill Whistler and Albert Pinkham Ryder, with canvases by Pierre Bonnard, Édouard Vuillard, and Danish painter Peter Ilsted.

Luncheon of the Boating Party by Auguste Renoir.

The painting that makes the museum famous and draws the most visitors is Renoir’s Luncheon of the Boating Party. It still has pride of place, filling one wall in a room on the second floor of the museum.

The Rothko Room.

As the collection expanded over the years it became necessary to add a new wing to the museum. Every room is filled with remarkable art. One small room is devoted to four paintings by Mark Rothko, each intense canvas taking up most of each wall. Standing in the middle one feels bathed in color on every side.

Migration series by Jacob Lawrence. Top: "Families arrived at the station very early. They did not wish to miss their travel north." Bottom: "The migration spread."

Another room contains the paintings of the Jacob Lawrence Immigration Series, depicting the migration of African Americans from the rural South to the urban North.  As one circles the room, it is like reading a book. Jacob Lawrence wrote text to go with each painting, and in the gallery it is placed underneath the paintings. In the excellent gift shop on the first floor, you can buy a book in which all the paintings and text have been assembled as a story.

Detail, Three Lawyers by Honore Daumier.

In another room, one wall features a painting and drawings by the French artist Honore Daumier, a master at capturing facial expressions and body language, a skill he used to critique social norms of the 19th Century. Not much has changed in the 170 years since Daumier painted the Three Lawyers. The three men, aught in conversation, feel contemporary. 

The Road Menders by Vincent Van Gogh.

Detail of The Road Menders.

As I made my way through the museum, I became intrigued by the titles of paintings, finding that my first impression of what the painting was about wasn’t always reflected in the title. For instance, in Vincent Van Gogh’s painting Road Menders, I had to look hard to find the tiny figures in the center of the painting making repairs on the road.

The Blue Armchair by Guy Pene du Bois.

In another painting, The Blue Armchair by Guy Pene du Bois, the chair all but swallows the figure sitting in it, making the title fit perfectly.

Part of the Where We Meet exhibit. L-R: Black Girl by Elizabeth Catlett; Breeze Rustling Through Fall Flowers by Alma W. Thomas; Girl in a Turban by William H. Johnson.

On the second floor of the museum is a room devoted to an exhibit called Where We Meet, in which pieces from the Phillips Collection and the Howard University Museum of Art are shown together “in conversation”. This exhibit is new since my last visit. 

These are just a small sample of the art on display at the Phillips Collection. To see my posts about my visit in 2019, go to:

The Phillips Collection, Part 1: America's First Museum of Modern Art. 

and

The Phillips Collection, Part II: What Do You Hang Over the Fireplace?

And to learn about the Family Gallery at the museum, a guide to looking at art with children, go to my recent post at my Art and Books blog.

NEW MEETS OLD: Contemporary African Art by Leilah Babirye at the de Young Museum, San Francisco, CA

Masks by Leilah Babirye at the de Young Museum in San Francisco.

A new exhibit at the de Young Art Museum in San Francisco, called We Have a History, features the art of Leilah Babirye. At first, Leilah Babirye’s sculptures look like traditional African forms, but on closer look, the complex decorations turn out to be a colorful mixture of found objects—can tops, electrical wire, extension cords, PVC pipe, and whatever else she has happened to find. 

Auntie Muzumganda by Leilah Babirye, Ceramic, wire, and found objects.

Detail.

Leilah Babirye, born in Uganda, works in New York, creating busts, masks, and figures from ceramic and wood. This is her first solo museum show in the United States. Her work highlights the connection between the past and present in African art.

R. Peaceful Bride of Mwanga II, Leilah Babirye, Wood, wax, nails, wire, glue and found objects.

I saw Leilah Babirye’s exhibit when I was at the de Young Museum in July. Her art is displayed in the Art of Africa gallery, alongside the permanent exhibits of masks, paintings and other objects, thus tying Babirye’s work to the larger African tradition. 

Dance mask, Bogadjin people; Headrests, Tami people.

I was intrigued by her use of ordinary household objects and the way they become transformed into vibrant art when incorporated in the sculptures.

Carved wooden figure, Leilah Babirye.

Included in the exhibit is a video installation where we see Leilah Babirye at work in her studio. We see the intense and energetic way she attacks materials, turning them into the forms she intends. As she works we hear her talk about them.  Leilah Babirye’s sculptures, busts and masks are portraits of her LGBTQ+ community. Each one speaks for itself, inviting the viewer to take a closer look.

The exhibit, on the second floor of the museum, runs through October 26, 2025. 

For more information about visiting the de Young Museum of Art, click HERE.

EDITH RENFROW SMITH and the Celebration of Black History in Grinnell, Iowa

Grinnell, Iowa. Wheat paste murals depicting Edith Renfrow Smith's college graduation (1937) and as a two-year-old.

A week ago my husband Art and I were in Grinnell, Iowa celebrating the dedication of Renfrow Hall, a new Grinnell College dormitory and community center, named in honor of Edith Renfrow Smith, the oldest graduate (Class of 1937) and first Black woman to graduate from the college. After graduation she moved to Chicago, where she has lived ever since.

Edith Renfrow Smith at the dedication of Renfrow Hall, September 28, 2024.

Born in 1914, Edith grew up in Grinnell, the fifth child in one of just a few Black families in town. Now, at the sprightly age of 110, she was the star of the show.

Parade welcoming Edith to Grinnell. Edith rode in a red convertible and waved to the crowd.

We joined friends, family, college and townspeople as Edith was welcomed with a parade led by the high school band, a gala dinner followed by a party in the park, and numerous other events and exhibitions.

Wheat paste mural depicting Edith and her sisters. Edith is second from left. They had two brothers. All six graduated from college, although Edith was the only one to attend Grinnell College.

Posted around town were large wheat paste murals depicting Edith's early life and scenes from that period in the town's history. The murals, created by Iowa artist Isaac Campbell from historic photos, enlarged and printed on rolls of blueprint paper, were then fastened to buildings with wheat paste. They will last about a year.

No One is Better Than You is available at the Pioneer Book Store in Grinnell, and on Amazon.

Both Art and I had a chance to chat with Edith. I was especially eager to meet Edith after advising on the wonderful children's book about her life, No One is Better Than You, written by Monique Shore. During the weekend, Monique gave a reading of her book at the Drake Community Library in Grinnell. After the reading, tours were given of the Hazelwood Cemetery, highlighting areas connected to Renfrow family history.

Fourth Avenue in downtown Grinnell has not changed much in the last 100 plus years. Most of the buildings are on the National Historic Register. The store with the striped awning was once Arnold's Shoes.

The whole trip to Grinnell felt like a trip back in time as Art and I recalled our own years as students on campus in the 1960s and as we visited places connected to Arnold family history from earlier generations. Art's great great grandparents first came to Grinnell in the late 1800s. Art's father grew up in Grinnell. Art was delighted to learn that Edith recalled his Uncle Don (a classmate) and the Arnold shoe store on 4th Avenue.

Art chatting with Edith before the dedication ceremony.

Renfrow Hall, under construction.

Renfrow Hall, located off-campus in downtown Grinnell, will be both a dormitory for students at the college and a place for community activities. It is scheduled to open in 2025.

Edith paved the way for more Black women students at Grinnell College. Delabian Rice Thurston, my roommate in college, was honored with a banner at the dedication of Renfrow Hall for her work with Parents United in Washington, DC.

Delabian with her banner at the dedication.

It was a thrill to meet Edith and to be part of the celebration of her remarkable life and of the role she and her family have played in the Grinnell community.

The house on First Avenue in Grinnell where Edith was born.

This building was the Grinnell High School and Junior High attended both by Edith and her siblings and by Art's father and his siblings. It has now been converted to a hotel and this is where we stayed during our visit for the Renfrow Hall dedication.