BGuthrie Photos: DC -- The Phillips Collection -- Exhibit: History in the Making

DC -- The Phillips Collection -- Exhibit: History in the Making:

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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. TPCHIS_130912_001.JPG: History in the Making: One hundred years ago, the 1913 International Exhibition of Modern Art, otherwise known as the Armory Show, took America by storm. Within the course of a year, the exhibition's co-organizers -- Arthur B. Davies, Walt Kuhn, and Walter Pach of the American Association of Painters and Sculptors -- secured more than 1,200 loans by nearly 300 artists for the New York exhibition, with American art forming two-thirds of the overall presentation. While American audiences had been exposed to Matisse, Cezanne, Picasso, Braque, and other European vanguard artists through Alfred Stieglitz's gallery 291 in New York, the highly publicized Armory Show catapulted the European avant-garde into the national spotlight while simultaneously securing recognition for its progressive American counterparts. Duncan Phillips, who later founded The Phillips Collection, was among the more than 100,000 people who flocked to see the Armory Show at New York's 69th Regiment Armory. Seen through an impressionable 26-year-old's eyes, the radical abstract tendencies in art on vivid display in the work of Matisse, Cezanne, van Gogh, Gauguin, and the cubists were not only baffling but "ridiculous. Phillips set down his reaction in a biting review published in International Studio later that year. However, by the end of the following decade, after an intense period of collecting, studying, and looking at art, Phillip's aesthetic sensibilities had matured to such an extent that many of the artists whom he had once rejected in the Armory Show had found their way into his own museum of modern art. Phillips wisely noted in 1927: "I have in due time graduated to a sharpened consciousness of the need for understanding the artist's methods, and the even greater need for an open door of the mind to many different kinds of aesthetic expression." This installation, drawn from the museum's permanent collection and archives, celebrates the legacy of the Armory Show on Duncan Phillip's evolution as a collector, critic, and champion of modern art. Though not a re-creation, it brings together works by several of the leading artists, old and new, European and American, who captured Phillip's imagination in the years after the watershed 1913 International Exhibition of Modern Art. "As I write, the air of studios in New York is charged with much talk about painting, talk that is full of fanaticism and mystification and real concern for the future of art... an International Exhibition of Modern Art quite stupefying in its vulgarity." -- Duncan Phillips, "Revolution and Reactions in Painting," 1913
2. TPCHIS_130912_006.JPG: Henri Matisse Studio, Quai St. Michel, 1916
3. TPCHIS_130912_017.JPG: Raymond Duchamp-Villon Gallic Cock, 1916
4. TPCHIS_130912_025.JPG: Francisco Jose de Goya Repentant Peter, c 1820-24
5. TPCHIS_130912_033.JPG: Arthur B. Davies The Flood, c 1903
6. TPCHIS_130912_044.JPG: Albert Pinckam Ryder Resurrection, 1885
7. TPCHIS_130912_047.JPG: Pierre Purvis de Chavannes The Wine Press, c 1865
8. TPCHIS_130912_054.JPG: Honore Daumier The Uprising, no date
9. TPCHIS_130912_069.JPG: George Luks Telling Fortunes, 1914
10. TPCHIS_130912_073.JPG: Guy Pene Du Bois The Arrivals, between 1918 and 1919
11. TPCHIS_130912_079.JPG: Odilon Redon Mystery, 1910
12. TPCHIS_130912_086.JPG: Marsden Hartley After Snow, c 1908
13. TPCHIS_130912_090.JPG: Walt Kuhn Flowers-Bouquet (Tulip Buds), between 1920 and 1923
14. TPCHIS_130912_100.JPG: Alexander Archipenko Standing Woman, 1920
15. TPCHIS_130912_110.JPG: Wassily Kandinsky Sketch I for Painting with White Border (Moscow), 1953
16. TPCHIS_130912_116.JPG: Allen Tucker Red Barns, 1923
17. TPCHIS_130912_124.JPG: John Henry Twachtman The Emerald Pool, 1895
18. TPCHIS_130912_130.JPG: Theodore Robinson Two in a Boat, 1891
19. TPCHIS_130912_135.JPG: Pierre Bonnard Early Spring, 1908
20. TPCHIS_130912_143.JPG: Paul Cezanne Mont Sainte-Victoire, 1886-7
21. TPCHIS_130912_149.JPG: Paul Cezanne Seated Woman, between 1902 and 1906
22. TPCHIS_130912_157.JPG: Pablo Picasso The Blue Room, 1901
23. TPCHIS_130912_175.JPG: Pablo Picasso The Jester, 1905
24. TPCHIS_130912_180.JPG: Honore Daumier Celebre Jury de Peinture, 1839
25. TPCHIS_130912_188.JPG: John Sloan The Picture Buyer, 1911
26. TPCHIS_130912_197.JPG: John Sloan Night Windows, 1910
27. TPCHIS_130912_202.JPG: Auguste Rodin Brother and Sister, 1887
28. TPCHIS_130912_210.JPG: Odilon Redon Portrait of Vuillard (Artist's Proof), 1900
29. TPCHIS_130912_216.JPG: Odilon Redon Portrait of Bonnard (Artist's Proof), 1902
30. TPCHIS_130912_227.JPG: Marie Laurencin Flower, no date
31. TPCHIS_130912_239.JPG: Duncan Phillips, Journal HH, 1912 Duncan Phillips spent the summer of 1912 traveling to major art centers in Italy, Spain, Belgium, Austria, Germany, England, and France with the express purpose of training his eye and educating his mind about art. At the Salon Triennaile in Paris, he encountered "a room of radicals... Matisse, Baudouin, Cezanne, etc a bunch of damned fools... The stunt of Matisse and his gang is to paint objects as they appear to one delirious or insane in thick scratches rather than thick gobs of crude and raw pigment."
32. TPCHIS_130912_252.JPG: Auguste Rodin Dancer, undated
33. TPCHIS_130912_266.JPG: Arthur B. Davis Landscape with purple mountains
34. TPCHIS_130912_271.JPG: Jerome Myers Landscape, not dated
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Directly Related Pages: Other pages with content (DC -- The Phillips Collection -- Exhibit: ) directly related to this one: [Display ALL photos on one page]:
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Sort of Related Pages: Still more pages here that have content somewhat related to this one :
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Same Subject: Click on this link to see coverage of items having the same subject: [Museums (Art)]
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