BGuthrie Photos: DC -- The Phillips Collection

DC -- The Phillips Collection:

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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. TPC_151006_008.JPG: Jill O'Bryan one billion breaths in a lifetime June 9 - December 7, 2015 It takes approximately 97 years to breathe a billion breaths. "Our corporeal relationship to the number one billion is experienced both intimately and politically," says artist Jill O'Bryan. "one billion breaths in a lifetime is a celebration of longevity and a life well lived, an acknowledgement of mortality, and a recognition of lives cut short. The number is a cultural signifier of excessive abundance, referring primarily to corporate earnings and fiscal budgets. Fundamentally the message is a reminder of a system that connects all life in micro and macrocosmic networks -- you complete the artwork when you walk by and see your reflection." This sculpture is based on the artist's calculation of her own breaths through a series of drawings she began in 2000 to capture time. O'Bryan received her MFA in painting from the San Francisco Art Institute and a PhD in art theory and criticism from New York University. She is also active as a writer and divides her time between New York City and New Mexico. Her work has been on view at the Mildred Lane Kemper Art Museum, St. Louis; Zimmerli Art Museum, Rutgers University, New Jersey; University of Richmond Museums; and Museo de Arte Contempor�neo Esteban Vicente, Segovia, Spain.
2. TPC_151006_026.JPG: Alyson Shotz Allusion of Gravity, 2005
3. TPC_151006_033.JPG: John F. Simon, Jr. Linear Moments, 2013
4. TPC_151006_038.JPG: Lee Boroson Fixed Haze, 2014
5. TPC_151006_045.JPG: A. Balasubramaniam Hold Nothing, 2012
6. TPC_151006_066.JPG: Markus Lupertz Kassandra I, 2013
7. TPC_151006_074.JPG: Walter Sickert Ludovico Magno, 1930-31
8. TPC_151006_080.JPG: Christopher Wood Tiger and Arc de Triomphe, 1930
9. TPC_151006_085.JPG: Pierre Bonnard The Open Window, 1921
10. TPC_151006_094.JPG: Pierre Bonnard Interior with Boy, 1910
11. TPC_151006_099.JPG: Hilaire-Germain-Edgar Degas Women Combing Their Hair, circa 1875-76
12. TPC_151006_105.JPG: Helen Turner On a Rainy Day, c 1918
13. TPC_151006_112.JPG: Pablo Picasso Studio Corner, 1921
14. TPC_151006_118.JPG: Wassily Kandinsky Sketch I for Painting with White Border (Moscow), 1913
15. TPC_151006_122.JPG: Henri Matisse Studio, Quai St. Michel, 1916
16. TPC_151006_127.JPG: Georgia O'Keefe Ranchos Church, 1929
17. TPC_151006_132.JPG: Alberto Giacometti Monumental Head, 1960
18. TPC_151006_136.JPG: Pablo Picasso Still Life with Glass and Fruit, 1939
19. TPC_151006_142.JPG: Edward Hopper Approaching a City, 1946
20. TPC_151006_147.JPG: Childe Hassam Washington Arch, Spring, 1890
21. TPC_151006_154.JPG: Stefan Hirsch New York, Lower Manhattan, 1921
22. TPC_151006_159.JPG: John Marin Pertaining to Fifth Avenue and Forty-Second Street, 1933
23. TPC_151006_169.JPG: Louis Eilshemius New York Roof Tops, 1908
24. TPC_151006_174.JPG: Stuart Davis Blue Cafe, 1928
25. TPC_151006_180.JPG: Charles Sheeler Skyscrapers, 1922
26. TPC_151006_185.JPG: Ralston Crawford Boat and Grain Elevators No. 2, 1941-42
27. TPC_151006_200.JPG: Ferdinand-Victor-Eugene Delacroix Hercules and Alcestis, 1862
28. TPC_151006_205.JPG: Ferdinand-Victor-Eugene Delacroix Paganini, 1831
29. TPC_151006_215.JPG: Edouard Vuillard Interior, 1892
30. TPC_151006_223.JPG: George Bellows Emma at the Window, 1920
31. TPC_151006_231.JPG: Ralph Albert Blakelock Moonlight, late 1880s-early 1890s
32. TPC_151006_239.JPG: Winslow Homer Girl with Pitchfork, 1867
33. TPC_151006_244.JPG: John Henry Twachtman Winter, undated
34. TPC_151006_253.JPG: George Inness Lake Albano, 1869
35. TPC_151006_259.JPG: Theodore Robinson Giverny, circa 1889
36. TPC_151006_266.JPG: Thomas Eakins Miss Amelia Van Buren, circa 1891
37. TPC_151006_272.JPG: John Henry Twatchtman Summer, late 1890s
38. TPC_151006_278.JPG: I. Rice Pereira Transversion, 1946
39. TPC_151006_284.JPG: Giorgio De Cherico Horses, undated
40. TPC_151006_292.JPG: Justine Otto strich (line), 2014
41. TPC_151006_298.JPG: John Graham Iron Horse, 1927
42. TPC_151006_302.JPG: John Graham Sailboat, 1927
43. TPC_151006_306.JPG: John Graham Blue Still Life, 1931
44. TPC_151006_314.JPG: John Graham Hallucination, 1929
45. TPC_151006_321.JPG: John Graham Two Eggs, 1928
46. TPC_151006_325.JPG: John Graham Embrace, 1932
47. TPC_151006_333.JPG: John Graham Bird Cage, 1931
48. TPC_151006_339.JPG: John Graham Harlequin in Gray, 1928
49. TPC_151006_344.JPG: Andre Masson Will-o'-the-Wisp, 1942
50. TPC_151006_350.JPG: Pablo Picasso Abstraction, Biarritz, 1918
51. TPC_151006_354.JPG: Chaim Soutine Woman in Profile, circa 1937
52. TPC_151006_358.JPG: Pablo Picasso Reclining Figure, 1934
53. TPC_151006_363.JPG: Chaim Soutine Windy Day, Auxerre, circa 1939
54. TPC_151006_368.JPG: Richard Pousette-Dart Untitled, 1948
55. TPC_151006_373.JPG: Nicolas de Sta El Composition, 1948
56. TPC_151006_380.JPG: Jacques Villon (Gaston Duchamp) The Little Machine Shop, 1946
57. TPC_151006_384.JPG: Jacques Villon (Gaston Duchamp) Machine Shop, 1913
58. TPC_151006_389.JPG: Jacques Villon (Gaston Duchamp) Abstract Composition, 1932
59. TPC_151006_397.JPG: Nocolas de Sta El Musicians, 1953
60. TPC_151006_403.JPG: Jacques Villon (Gaston Duchamp) L'Exile, undated
61. TPC_151006_407.JPG: Ben Shahn Morning, 1943
62. TPC_151006_412.JPG: Max Weber Draped Head, 1924
63. TPC_151006_417.JPG: Charles Burchfield Woman in Doorway, 1917
64. TPC_151006_422.JPG: Edward Hopper Sunday, 1926
65. TPC_151006_427.JPG: Ben Shahn Still Music, 1948
66. TPC_151006_433.JPG: Anselm Kiefer Dein Blondes Haar, Margarethe, 1981
67. TPC_151006_439.JPG: Marc Chagall The Dream, 1939
68. TPC_151006_442.JPG: Chaim Soutine Return from School after the Storm, c 1939
69. TPC_151006_446.JPG: Paul Cezanne Fields at Bellevue, between 1892 and 1895
70. TPC_151006_451.JPG: Paul Gauguin The Ham, 1889
71. TPC_151006_456.JPG: Paul Cezanne Seated Woman in Blue, between 1902 and 1906
72. TPC_151006_461.JPG: Paul Cezanne Ginger Pot with Pomegranate and Pears, 1893
73. TPC_151006_465.JPG: Claude Monet Val-Saint-Nicolas, near Dieppe (Morning), 1897
74. TPC_151006_473.JPG: Pierre Bonnard Landscape with Mountain, 1924
75. TPC_151006_480.JPG: Pierre Bonnard Woman with Dog, 1922
76. TPC_151006_485.JPG: Paul Cezanne Luncheon of the Boating Party, between 1880 and 1881
77. TPC_151006_493.JPG: Vincent van Gogh The Road Menders, 1889
78. TPC_151006_502.JPG: Georges Rouault Yellow Christ, c 1937
79. TPC_151006_505.JPG: Maurice Utrillo Abbey of St. Denis, c 1908
80. TPC_151006_511.JPG: John D. Graham Blue Bay, 1927
81. TPC_151006_519.JPG: John Marin Tunk Mountains, Autumn, Maine, 1945
82. TPC_151006_523.JPG: Marsden Hartley Mountain Lake -- Autumn, c 1910
83. TPC_151006_531.JPG: Georgia O'Keeffe Large Dark Red Leaves on White, 1925
84. TPC_151006_546.JPG: Milton Avery Pink Still Life, 1938
85. TPC_151006_551.JPG: Barbara Liotta Crenae, 2014
86. TPC_151006_559.JPG: Bernardi Roig Insults to the Public, 2007
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Wikipedia Description: The Phillips Collection
From Wikipedia, the free encyclopedia

The Phillips Collection is an art museum founded by Duncan Phillips in 1921 as the Phillips Memorial Gallery located in the Dupont Circle neighborhood of Washington, D.C. Phillips was the grandson of James Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company.

Among the artists represented in the collection are Pierre-Auguste Renoir, Gustave Courbet, El Greco, Georges Braque, Paul Klee, Winslow Homer, James McNeill Whistler, and Mark Rothko.

History:

The Phillips Collection, opened in 1921, is America’s first museum of modern art. Featuring a renowned permanent collection of nearly 2,500 works by American and European impressionist and modern artists, the Phillips is internationally recognized for both its incomparable art and its intimate atmosphere. It is housed in founder Duncan Phillips’ 1897 Georgian Revival home and two similarly scaled additions in Washington, D.C.’s Dupont Circle neighborhood.

Duncan Phillips (1886–1966) played a seminal role in introducing America to modern art. Born in Pittsburgh—the grandson of James Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company — Phillips and his family moved to Washington, D.C. in 1895. He, along with his mother, established The Phillips Memorial Gallery after the sudden, untimely deaths of his father, Duncan Clinch Phillips (1838 – 1917), a Pittsburgh window glass millionaire and member of the fabled South Fork Fishing and Hunting Club of Johnstown Flood fame, and his brother, James Laughlin Phillips (May 30, 1884 - 1918).

Beginning with a small family collection of paintings, Phillips, a published art critic, expanded the collection dramatically. A specially built room over the north wing of the family home provided a public gallery space. With the collection exceeding 600 works and facing public demand, the Phillips family moved to a new home in 1930, turning the entire 21st Street residence into an art museum. From the beginning Phillips conceived of his museum as "a memorial…a beneficent force in the community where I live—a joy-giving, life-enhancing influence, assisting people to see beautifully as true artists see."

Duncan Phillips married painter Marjorie Acker in 1921. With her assistance and advice, Phillips developed his collection "as a museum of modern art and its sources," believing strongly in the continuum of artists influencing their successors through the centuries. His focus on the continuous tradition of art was revolutionary at a time when America was largely critical of modernism, which was seen as a break with the past. Phillips collected works by masters such as El Greco, calling him the "first impassioned expressionist"; Jean-Baptiste-Sim�on Chardin because he was "the first modern painter"; Francisco Goya because he was "the stepping stone between the Old Masters and the Great Moderns like C�zanne"; and Edouard Manet, a "significant link in a chain which began with Goya and which [led] to Gauguin and Matisse."

The museum is noted for its broad representation of both impressionist and modern paintings, with works by European masters such as Gustave Courbet, Pierre Bonnard, Georges Braque, Jacques Villon, Paul C�zanne, Honor� Daumier, Edgar Degas, Vincent van Gogh, Paul Klee, Manuel Robbe, Henri Matisse, Claude Monet, and Pablo Picasso. In 1923, Phillips purchased Pierre-Auguste Renoir's impressionist painting, Luncheon of the Boating Party (1880–81), the museum’s best-known work.

From the 1920s to the 1960s, Phillips would re-hang his galleries in installations that were non-chronological and non-traditional, reflecting the relationships he saw between various artistic expressions. He presented visual connections—between past and present, between classical form and romantic expression—as dialogues on the walls of the museum. Giving equal focus to American and European artists, Phillips juxtaposed works by Winslow Homer, Thomas Eakins, Maurice Prendergast, James Abbot McNeill Whistler, and Albert Pinkham Ryder with canvases by Pierre Bonnard, Peter Ilsted and Edouard Vuillard. He exhibited watercolors by John Marin with paintings by C�zanne, and works by van Gogh with El Greco’s The Repentant St. Peter (circa 1600–05). Phillips’ vision brought together "congenial spirits among the artists," and his ideas still guide the museum today.

The Phillips Collection is also known for its groups of works by artists who Phillips particularly favored. For example, he was overwhelmed by Bonnard’s expressive use of color, acquiring 17 paintings by the artist. Cubist pioneer Braque is represented by 13 paintings, including the monumental still-life The Round Table (1929). The collection has an equal number of works by Klee, such as Arab Song (1932) and Picture Album (1937), as well as seven pieces by abstract expressionist artist Mark Rothko. The Rothko Room, the first public space dedicated solely to the artist’s work, was designed by Phillips in keeping with Rothko’s expressed preference for exhibiting his large, luminous paintings in a small, intimate space, saturating the room with color and sensation.

Throughout his lifetime, Phillips had the prescience and courage to acquire paintings by many artists who were not fully recognized at the time, among them Marin, Georgia O'Keeffe, Arthur Dove, Nicolas de Sta�l, Milton Avery and Augustus Vincent Tack. By purchasing works by such promising but unknown artists, Phillips provided them with the means to continue painting. He formed close bonds with and subsidized several artists who are prominently featured in the collection—Dove and Marin in particular—and consistently purchased works by artists and students for what he called his "encouragement collection." The museum also served as a visual haven for artists such as Richard Diebenkorn, Gene Davis, and Kenneth Noland. In a 1982 tribute to the museum, Noland acknowledged, "I’ve spent many hours of many days in this home of art. You can be with art in the Phillips as in no other place I know."

There is a Duncan Phillips story that is worth recounting. The founder is standing with Dr. Albert Barnes, before the Renoir masterpiece "Luncheon of the Boating Party" (see illustration). "That's the only Renoir you have, isn't it?" asked the fearsome Dr. Barnes, whose distinctive collection of Impressionist and post-Impressionist fine art contains scores of Renoirs and is now the Barnes Foundation in Philadelphia. Phillips's reply was succinct: "It's the only one I need.”

When Duncan Phillips died in 1966, Marjorie succeeded him as museum director. Their son, Laughlin, became director in 1972. He led The Phillips Collection through a multi-year program to ensure the physical and financial security of the collection, renovate and enlarge the museum buildings, expand and professionalize the staff, conduct research on the collection, and make the Phillips more accessible to the public. In 1992, Charles S. Moffett, a noted author and curator, was named director. Moffett was directly involved with the presentation of several ambitious exhibitions during his six-year tenure, including the memorable "Impressionists on the Seine: A Celebration of Renoir’s Luncheon of the Boating Party" in 1996.

Current director Jay Gates assumed leadership in 1998. Under his direction, The Phillips Collection continues to grow and broaden its presence in Washington, D.C., across the country, and internationally. To accommodate its ever-growing collection of art, audiences, and activities, the Phillips completed a major building project in April 2006. With 65 percent of the added 30,000 square feet located below ground, the expansion preserves the intimate scale and residential quality that distinguishes The Phillips Collection, as well as respects the character of the Dupont Circle neighborhood. The new spaces incorporate expanded galleries, among them the first to accommodate larger-scale post-1950s work; a 180-seat auditorium for lectures, films, and events; an outdoor courtyard; and a new shop and caf�.

The museum’s longstanding history of educational programming is in the building project as well. Since the museum’s early years, when art classes were held on the third floor of the house, significant attention has been given to educational outreach. Today, the museum features an active schedule of lectures, gallery talks, classes, parent/child workshops, and teacher training programs. It also reaches out to the community through initiatives such as Art Links to Literacy, combining programs for underserved students at District of Columbia Public Schools and their parents and caregivers with professional development for their teachers. These and other ventures are facilitated by new exhibition spaces for student art, an art activity room for hands-on education projects, and an art technology lab for developing interactive resources based on the museum’s educational programs.

The addition also makes possible The Phillips Collection Center for the Study of Modern Art, a new museum-based educational model. Undertaken in partnership with the University of Illinois at Urbana-Champaign, this interdisciplinary enterprise will bring together scholars from across academic fields in an ongoing forum for discussion, research, and publishing on modern art.
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2015 photos: I retired from the US Census Bureau in god-forsaken Suitland, Maryland on my 58th birthday in May. Yee ha! Trips this year: a quick trip to Florida. two Civil War Trust conferences (Raleigh, NC and Richmond, VA), and my 10th consecutive San Diego Comic-Con trip (including Los Angeles). Ego Strokes: Carolyn Cerbin used a Kevin Costner photo in her USA Today article. Miss DC pictures were used a few times in the Washington Post. Equipment this year: I mostly used my Fuji XS-1 camera but, depending on the event, I also used a Nikon D7000. Number of photos taken this year: just over 550,000.
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