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.

BERGEN, NORWAY, 3 DAYS IN MAY: Old and New and a Walk About Town

The Domkirken (Cathedral) in Bergen, Norway, dates to the 12th Century.

Conventional wisdom says to always carry your umbrella when you are in Bergen, and on our recent trip to Norway in May, we were glad we did. Unlike Oslo, where we had enjoyed warm, sunny weather, it was cool and cloudy in Bergen with periods of rain. But that didn’t stop me from going out and walking around the city.

Our hotel and the colorful building fronts of Bryggen.

Our hotel, the Radisson Royal Blu, where Art’s conference was being held, was in the heart of Bryggen, the historic center of the city, now preserved as a UNESCO Heritage site. 

Historic buildings of Bryggen. View from our room at our hotel.

From medieval times through the late 1800s, Bergen was the focus of trade on Norway’s west coast. Colorful storefronts facing the waterfront were once busy offices and warehouses and other buildings connected to the shipping business. Today they are restaurants and souvenir shops.

Entrance to the Bergen Castle.

Just beyond the warehouse district is the entrance to the old castle/fort and its large ceremonial hall, the Hakenshallen, a structure dating back to the 1200s. The opening reception of Art’s conference was held there and we were greeted by the mayor. It was not hard to imagine knights in armor dining in the magnificent room long ago.

Hakonshallen (ceremonial hall)

My first job after arriving in Bergen was finding a laundromat to do our laundry. I learned that, like virtually everything else, all the machines were operated by credit card. We had gone to an ATM machine when we arrived in Norway and gotten cash (Norwegian kroners), but almost never used it. Even the smallest purchases (like a cinnamon roll at the local bakery or the toilets at the train station) was paid for with a tap of a credit card. 

Spring flowers in the Bergen city park.

Armed with a map picked up at the hotel, I took a self-guided walking tour through the streets of Bryggen, then circling the city park, where strollers ambled down flowered paths and swans floated past a fountain in the center of lake. 

Swan in the lake at the Bergen city park.

Bandstand at the Festplaza.

Tulips, rhododendrons, and all kinds of flowers were in the glory of the spring bloom, brightening the overcast weather. At one end of the park a bandstand was ready for summer concerts.

Sample piece (from Brazil) in the Indigenous Histories exhibit at the Kode art museum in Bergen.

Facing the park on one side are three of Bergen’s art museums. One afternoon I met a friend for a visit to a fascinating exhibit called Indigenous Histories. (For a virtual tour of some of the pieces in the exhibit, go to my June 22, 2024 post my Art and Books blog.)

At the main shopping plaza in downtown Bergen, a modern portico has been added to provide protection from rain or snow. Look carefully at the metal column and you can see multiple images of me with my camera.

I then returned to the waterfront by walking through the business district of downtown Bergen. There a wide plaza with memorial sculptures is flanked by commercial buildings dating from the 19^th Century.

A food stand at the fish market offered burgers made of salmon, whale, elk, and reindeer meat.

In the fish market along the waterfront stalls were filled with artfully arranged fish, caviar, and sausages made from reindeer, whale, elk. There were also stalls with various cooked foods to go. (I didn't try any.) The fish market seemed to be more of a tourist draw than a place where locals went to purchase seafood to cook at home.

White building at end of the street is the beginning of the Floibanen Funicular.

A popular attraction in Bergen is the funicular, a skyride that whisks you up from town to the mountain overlooking the city for a spectacular view. But on the day I planned to do it, it was raining and the clouds were so thick that I knew it would be impossible to see anything from the viewpoint. So, instead, I went to the archeology museum next to our hotel and joined a one hour tour.

Trade routes from Bergen in the Middle Ages.

In the Middle Ages, Bergen was a transportation hub, sending ships to ports in Europe, Asia, Africa and North America.

Layers of history revealed in the archeology museum.

Over the centuries the wooden buildings of Bryggen burned many times and were rebuilt many times. As archeologists dig through the layers of remains they have uncovered evidence of life going back to medieval times. In the museum there were displays of ancient shoes, combs, tools, knitting needles and more--even a communal wooden toilet seat! I was particularly fascinated by the display of wooden sticks covered in runic writing.

The Futhark are ancient writing systems used by the Old Norse people of Northern Europe.

Both sides are carved with Runic inscriptions. "Hakon carved me, but the boy owns me." and "Bard owns me. He found much to object to in the person who carved me."

And on our last morning, after the conference was over Art and I did a tour of another museum in Bryggen, which introduced us to life in Hanseatic times. (Bergen was a member of the Hanseatic League, a confederation of German city/states involved in trade in the 14th to 16th centuries. Norway did not become an independent country until 1905.) We then checked out of our hotel and made our way to the ferry building to board the ship for our overnight trip to Alesund. As the ship steamed out of the harbor, the sky cleared and the sun came out as we said good-bye to Bergen. We no longer needed our umbrellas.

Leaving the harbor and the cloudy skies of Bergen.

For more about our ferry trip from Bergen to Alesund go to my post of May 27, 2024, Two Weeks in Norway: Trains, Planes, and Automobiles, and a Few Ferries, Too.

And for an overview of our three days in Oslo, go to my post of June 17, 2024, Oslo, Three Days in May: Opera, Art, History and Sunshine. 

 

The Bryggen waterfront, historic buildings, with the addition of a modern Ferris Wheel, constructed while we were there, perhaps in preparation for the summer tourist season.

 

 

 

OSLO, THREE DAYS IN MAY: Art, Opera, History and Sunshine

View of Oslo from inside the Opera House.

We landed in Oslo on May 1^st, our first stop on a two-week trip to Norway. We had three days to get over jet lag before traveling to Bergen, where my husband would attend a professional meeting. We wanted to see as much as we could of Oslo, knowing that in our short time there we would have to pick and choose. 

Pansies in a sidewalk planter in front of our hotel in Oslo.

Our hotel, the Thon Hotel Rosenkrantz, was located in the center of town within walking distance of most things we wanted to do.

Boat in the harbor, Oslo fjord.

On our first evening, after dinner in the excellent Italian restaurant in our hotel, we walked to the harbor on the Oslo Fjord, enjoying the evening sunshine of the far north spring. (Because it was close to midsummer, the sun didn’t set until nearly 10pm and rose again early in the morning!) 

Family of Four, Sculpture by Gustav Vigeland, Oslo.

In the plaza by the harbor stood “Family of Four,” by Gustav Vigeland, Norway's most famous sculptor. Unfortunately, we didn’t have time to see the museum and park in Oslo that features so much of Vigeland’s work. 

A tiny painter puts dots on the side of a storage building at the harbor.

But we saw lots of other public art everywhere we went, including this whimsical painting on the side of a building alongside the harbor.

Nobel Peace Center, Oslo.

The next morning, we visited the Nobel Peace Center. (Gustav Vigeland is the designer of the Nobel Peace Prize Medal.) At the Peace Center we learned about Alfred Nobel (Swedish chemist and inventor of dynamite) and about the history of the Peace Prize and all the individuals who have received the award. I was reminded that Jane Addams, social activist and founder of Hull House in Chicago, was one of the early recipients.

Astrup Fearnley Museum.

All along the waterfront people were enjoying the warm weather, walking, sitting on benches, and eating at the many outdoor restaurants. Further along the Oslo Fjord we came to the Astrup FearnleyMuseum, one of Scandinavia’s most notable museums for contemporary art. The museum, designed by Renzo Piano, spans two buildings bisected by a canal. We walked over a bridge from one to the other. In one building, selected items from the Astrup Fearnley collection are displayed. They include paintings, textiles, sculpture, and other works by a wide variety of artists from around the world. There is also a room for children and families to create their own art.

Looking at Art Institute of Chicago 2, photograph by Thomas Struth at the Astrup Fearnley Museum, 2024.

Looking at Paris Street Rainy Day by Gustave Caillebotte at the Art Institute of Chicago, 2022.

We were particularly engaged by a photograph entitled ­­Art Institute of Chicago 2 by Thomas Struth. In 2022 we were with our family in Chicago in front of the very same painting depicted in the photo, taking our own picture! (See the second photo above.) Our photo in Oslo (with me in the foreground) adds another layer of reality.

Bird Cabinet by Leonard Rickhard.

On the other side of the canal, the Astrup Fearnley Museum building features rotating temporary exhibits. We chose to see the retrospective of the work of Norwegian artist Leonard Rickhard. (It ended on May 19. ) The exhibit was organized around repeating themes in Rickhard's work—a bird cabinet, the night painter, the model table, the birch forest, deserted barracks, workers sheds—often in combination. I was struck by the contemporary look of his paintings, even those done fifty years ago. (For more samples of items at the Astrup Fearnley Museum, see my June 17 post at my Art and Books blog.)

Inside the Oslo Opera House on the ground floor.

That evening we had tickets for the opera, performed at the spectacular new opera house, where the roof is also a giant patio. 

From the roof of the Oslo Opera House your can see the Munch Museum next door. It is dedicated to the work of Norwegian painter Edvard Munch and has three versions of his famous painting The Scream. 

The opera we saw was Cenerentola (Cinderella) by Rossini. The production was lively and humorous and easy to understand—a small screen at our seats followed the libretto translated into either Norwegian or English. (We chose, English, of course. Throughout Norway, at least in areas frequented by tourists, we found that almost everyone speaks English.) At intermission, as we stood on the balcony and gazed out the windows, the sun was just setting over the Oslo skyline.

At Henrik Ibsen's grave in the Memorial Cemetery.

On our second full day in Oslo we had arranged to meet an American friend who has lived in Oslo most of her life. It was wonderful to have a personal guide and insight on what it is like to live and raise a family in Norway. On the way to her apartment she took us through the Memorial Cemetery, a beautiful park-like area open to the public. It is the burial place of both ordinary citizens and Norwegian notables like Henrik Ibsen and Edgar Munch. 

Old Aker Church was built as a three-naved Romanesque style basilica.

From the cemetery we walked to the Gamle Aker Church, the oldest church in Oslo. It dates back to the 12^th Century and continues as an active congregation. The next day, on our visit to the Folk Museum in Bygdoy, we saw a 19th Century painting of the church. 

Our guide for our tour of the Folk Museum.

Our last full day in Oslo was devoted to a visit to the Folk Museum, a large park-like complex with museums and historical buildings from rural parts of Norway. Interpreters are dressed in traditional costumes. With a little imagination you almost feel as if you have taken a trip back in time. We took a one-hour English language tour that ended at the famous stave church, dating from the 13th century.

Stave Church at the Folk Museum. It is built entirely of wood.

We then wandered on our own, visiting a traditional farm kitchen, where young women in period clothes were baking lefse (a slightly sweet soft flat bread) on a griddle over hot coals. We bought two slices, served hot and slathered with melted butter. They were delicious!

The next morning we headed for the train station for the next part of our trip—a train ride over the mountains to Bergen. For a report of that journey and more about Oslo, see my post of May 27. We enjoyed our three days in Oslo, had beautiful sunny weather, made progress on adjusting to the time change, and felt we got a taste of the city. Someday we’ll have to go back and explore more.

At the Folk Museum with our two slices of freshly baked lefse.

THE BROKEN PITCHER by William Adolphe Bouguereau, at the LEGION OF HONOR ART MUSEUM, San Francisco

The Broken Pitcher by William Adolphe Bouguereau, 1891

When I was growing up, the walls of our house were decorated with prints of paintings by famous artists--The Flower Seller by Diego Rivera, Bridge at Arles by Vincent Van Gogh, Snowy Egret by John James Audubon. My father loved art and after he retired from his career as a social worker, he became a docent at the Legion of Honor art museum in San Francisco. One day he brought home a poster of one of the paintings in the museum's permanent collection, The Broken Pitcher by William Adolphe Bouguereau. We had no more room in the house for art, so we hung the poster in the garage over the washing machine, where it stayed for many years. With every load of laundry, I gazed into the young girl's sad eyes, wondering what her life might have been. 

Paintings and silver tea set at Legion of Honor museum.

On a recent visit to the museum I had the chance to see the original painting, hung in a room with other 19th century paintings along with decorative arts of the time, and it brought back memories of my father's years as a docent. One of his roles was to lead tours, pointing out interesting facts about the artists and paintings. Here is what he had to say about The Broken Pitcher.

Gallery talk by Lester Scheaffer

If this gallery were a salon of the late 19^th century, you would see many more paintings like the one before us, “The Broken Pitcher,” than  the ones that hang in this gallery. There were two reasons—it conformed with the standards of The French Academy, and it was pleasing to a great many buyers of art.

This painting by Adolphe Bouguereau was done in 1891. While the hand of The Academy was not quite as firm in the 1890s as it was in the third quarter of the century, the basic criteria for acceptable painting was still present—restraint, simplicity, and balance. Experimental paintings were flatly rejected, the artist reviled. This is what happened to the Impressionists. Patrons from the middle class, the bourgeoisie, were attracted to paintings that were 1. ostentatious; 2. That told a story; 3. That did not violate their sense of morality; and 4. That these characteristics show on the surface—that is, nothing too subtle.

This painting is certainly balanced and it is centered. It ha a bit of the classical feeling, reminders of the old days, with the architectural design of the stone well, a suggestion of classical ruins in the background, and above all, the orderliness of the composition. The composition is truly linear, no problem whatever in following the lines of the drawing. The subject matter is sentimental and moralistic. The broken pitcher symbolizes this young girl’s loss of virginity, about which she is perplexed and anxious—“What do I do now?” 

Detail, The Broken Pitcher by Bouguereau.

Her big puppy dog eyes look out at us appealing for an answer. How could a viewer or a buyer not react favorably to a painting like this, at least the buyers of the 19^th century.

One person who reacted in the opposite way to Bouguereau, according to a story, was Auguste Renoir, the Impressionist. On being fitted for a new pair of glasses to correct his myopia, he threw them on the floor crying, “My God, I see like Bouguereau!”

If one had asked Bouguereau how he felt about Renoir and his friends, he probably would have said, “The feeling is mutual.”

Notes: Bouguereau  (1825-1905)–studied at the Ecole des Beaux Arts, Prix de Rome 1850, great technical skill, slick painting but soft style, technically his paintings hold together, could paint any subject desired by the buying public, commercially successful in both Europe and the US.

 

At the Legion of Honor Art Museum, San Francisco, CA