BGuthrie Photos: DC -- Donald W. Reynolds Center -- Paintings

DC -- Donald W. Reynolds Center -- Paintings:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. SIPGPA_090425_44.JPG: Philip Evergood Woman at the Piano, 1955
2. SIPGPA_090612_02.JPG: This gallery was redone in the wake of the closing of the Catlin exhibit at the Grand Salon in the Renwick Gallery. From the Grand Salon were brought two splendid landscapes by Thomas Moran, a couple of dozen of the Catlins, and a buffalo-covered bench.
3. SIPGPA_090612_13.JPG: Thomas Moran The Grand Canyon of the Yellowstone, 1872
4. SIPGPA_090612_46.JPG: Thomas Moran The Chasm of the Colorado, 1873-74
5. SIPGPA_090829_03.JPG: Thomas Hart Benton Wheat, 1967 Wheat is one of the most intimate paintings that Benton ever created. It offers a poignant self-portrait of the artist looking back on his life. Benton had retreated to Kansas City decades before to escape the political and critical controversies his great mural projects had stirred up in New York. Throughout his career, he had drawn strength from the sweeping landscapes and down-to-earth populism of the Midwest. This painting shows endless ranks of wheat marching to the horizons like the democratic masses that Benton felt represented the "true" America. In the foreground, a crowd of stalks seems to bend protectively toward a single broken stem, a symbol of Benton himself, who had suffered a heart attack the year before. New growth pushes upward towards the sun, evoking the Nature's insistent energy and the triumph of life over death.
6. SIPGPA_090829_13.JPG: The Burro 1929 Ernest L. Blumenschein
7. SIPGPA_090829_22.JPG: Sunset Dance -- Ceremony to the Evening Sun 1924 Joseph Henry Sharp
8. SIPGPA_090829_29.JPG: Riders at Sunset 1935-45 E. Martin Hennings
9. SIPGPA_090829_35.JPG: Red Pepper Time about 1930 Oscar Edmund Berninghaus
10. SIPGPA_090829_47.JPG: Shapes of Fear 1930-32 Maynard Dixon
11. SIPGPA_090829_51.JPG: The Gift 1922 Ernest L. Blumenschein
12. SIPGPA_090829_58.JPG: Making Sweet Grass Medicine, Blackfoot Ceremony about 1920 Joseph Henry Sharp Joseph Sharp arranged three figures to suggest different steps in a fire ceremony. On a hide hanging behind the men, faint shapes of hands suggest the helpful presence of spirits. Sharp built a successful career as a painter of tribal scenes, and the Smithsonian was one of the first museums to acquire his works. By the 1920s, painters in the American West understood that railroads and Model Ts had irrevocably transformed the lives of Native Americans. But there is no trace of the modern world in this image, and this painting is a ritual itself, a romantic effort to call forth a vanished civilization.
13. SIPGPA_090829_65.JPG: Callers About 1926 Walter Ufer This painting captures an everyday, yet poetic moment among New Mexico's Pueblo Indians. Ufer was a German emigre who brought to America an intense sympathy for ordinary people instilled in him by his socialist family. He did not romanticize his sitters, because he understood that the Indian "resents being regarded as a curiosity -- as a dingleberry on a tree." The two men on horseback pay their respects to a woman who lives, like millions of Americans, behind a picket fence. Their costumes show that they have held on to their tribal culture. At a time when most Anglo Americans seemed determined to regard the Pueblo tribes as touristic curiosities, Ufer quietly underscored the universality of a timeless courtship ritual.
14. SIPGPA_090829_72.JPG: Elk-Foot of the Taos Tribe 1909 Eanger Irving Couse
15. SIPGPA_091021_002.JPG: Yliaster (Paracelsus) 1932 Marsden Hartley To Americans in the 1930s, Mexico represented an ancient and deeply spiritual civilization much different from the industrial culture to the north. Artists and writers returned to the United States exalted by the myths and rituals that permeated the everyday lives of the Mexican people. Marsden Hartley visited Mexico in 1932 on a Guggenheim Fellowship, absorbing the primeval landscapes and surviving remnants of Aztec art. In a private library in Mexico City, he read that the medieval mystic Paracelsus had given the name yliaster to the base matter from which everything in the universe was made. This painting shows the volcanic peak of Popocatepetl rising from a red plain against the disk of the sun. Fire and earth contend with the intense blues in the sky and lake, completing the four elements of earth, air, fire, and water that Paracelsus described.
16. SIPGPA_091021_013.JPG: Synthetic Arrangement 1922 Morris Kantor
17. SIPGPA_091021_022.JPG: Evening Tones 1911-17 Oscar Bluemner Evening Tones abstracts a landscape along the Hudson River into a vibrant range of colors. Oscar Bluemner came to the United States to escape Germany's conservatism, hoping to find the freedom to try new ideas. After years of struggling in his architectural practice, he turned to painting, throwing himself into the exciting theories of modern art that were making their way across the Atlantic from Europe. But in the climate of World War I, foreign painters and foreign ideas were suspect. A critic reviewing Bluemner's work in 1915 avowed that his art was "utterly alien to the American idea of democracy."
18. SIPGPA_091021_031.JPG: Summer 1909 Max Weber Weber was in Paris from 1905 to 1908, soaking up the artistic styles of Picasso, Matisse, and Cezanne. In the galleries and at Gertrude Stein's salons, the avant-garde writers and painters of the day enjoyed far greater recognition than America's conservative establishment could offer. Weber came back to the States convinced that his personal, expensive art was as important as the work of the academic painters who dominated the market. He and a handful of New York painters staged modest exhibitions that helped pave the way for the great Armory Show of 1913. For Summer, he borrowed the poses of prostitutes in Picasso's Les Demoiselles d'Avignon and ideas from Freud's psycho-sexual theories to create an image of women as elemental forces of nature.
19. SIPGPA_091021_040.JPG: Self-Portrait 1929 William H. Johnson
20. SIPGPA_091021_050.JPG: Metropolitan Port about 1935-37 Joseph Stella
21. SIPGPA_091021_060.JPG: Variations on a Rhythm -- H 1931 Raymond Jonson
22. SIPGPA_091021_069.JPG: Buffalo Grain Elevators 1937 Ralston Crawford
23. SIPGPA_091021_080.JPG: The Library 1960 Jacob Lawerence
24. SIPGPA_091021_088.JPG: Neapolitan Song 1929 Joseph Stella Joseph Stella believed that every day should "begin and end [with] the painting of a flower." The exotic plants he sketched in the Bronx Botanical Garden resurface in this imaginary scene of the Bay of Naples, drawn with the precision and love of nature that Stella absorbed from Italy's Renaissance painters. The tips of the palmetto leaf radiate across the picture plane like a visible, unfolding wave of sound. Stella had moments of homesickness when images of his homeland came to him as clearly as when he first arrived in America in 1896. Here, it is as if the Neapolitan song is reaching across the sea, bridging the distance between Stella's old home and his adopted country.
25. SIPGPA_091021_103.JPG: Strong Woman and Child 1925 Yasuo Kuniyoshi
26. SIPGPA_091021_117.JPG: Wheat 1967 Thomas Hart Benton
27. SIPGPA_091021_122.JPG: Achelous and Hercules 1947 Thomas Hart Benton
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Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.) I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
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2009 photos: Equipment this year: I mostly used the Fuji S100fs. I've also got a Nikon D90 and a newer Fuji -- the S200EHX -- both of which are nice but I still prefer the flexibility of the Fuji. Trips this year: Niagara Falls, NY, New York City, Civil War Trust conferences in Gettysburg, PA and Springfield, IL, and my 4th consecutive San Diego Comic-Con trip (including Los Angeles, Yosemite, Death Valley, Kings Canyon, Joshua Tree, etc). Ego strokes: I had a picture of a Lincoln-Obama cupcake sculpture published in Civil War Times and WUSA-9, the local CBS affiliate, ran a quick piece on me. A picture that I took at the annual Abraham Lincoln Symposium appeared in the National Archives' "Prologue" magazine. I became a volunteer with the Smithsonian American Art Museum. Number of photos taken this year: 417,000.
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