In early December, Fine Art Tourist traveled to Detroit for the unique opportunity to see 74 pieces in an exhibition of paintings and drawings by Vincent Van Gogh. This show features Van Gogh works from museums and private collections around the world.
While Detroit in December is not ideal, Van Gogh is our favorite artist (we are not alone there obviously)and this exhibition is at the Detroit Institute of Arts (DIA) for just two months. This exhibition will not appear anywhere else in the United States.
The DIA was the first museum in the United States to purchase a painting by Van Gogh (Self-Portrait (no. 7)) at an auction in New York City in 1922. This exhibition entitled Van Gogh in America,commemorates the hundred-year anniversary of that acquisition. Today, the DIA has six Van Gogh paintings in its permanent collection.
It is difficult to imagine today, but Van Gogh’s work was not popular in the United States until many years after his death in 1890. The first public display of his work in the United States did not take place until 1913 (New York City, Boston and Chicago).
By the late 1920’s Van Gogh’s work had grown popular in the United States. A number of his works were included in an exhibition at the opening of the Museum of Modern Art in New York Cityin 1929.Subsequently, a number of museums in the United States acquired Van Gogh paintings. Curiously, in addition tothe DIA, a number of mid-western museums were early purchasers of his paintings.These included the Art Institute of Chicago, the Toledo Museum of Art, the Saint Louis Art Museumand the Nelson-Atkins Museum of Art (Kansas City).
In this post we are not going to delve into the life of Vincent Van Gogh. There are numerous excellent books available about his tumultuous life and spectacular art. We have included several of our favorites at the end of the post if you are interested in learning more about his personal life and his development as an artist.
We have included below 30 of our photographs taken at the Van Gogh in America exhibit. The paintings included are presented in chronological order. It is fascinating for us to see how dramatically his paintings changein regard to brushwork and color over his short ten year painting career.The majority of the paintings are from late in his career when, despite his illness, he was incredibly productive.
Sorrow, 1882, Pencil and ink on paper, The New Art Gallery Walsall, United Kingdom
Bird’s Nest, 1885, Oil on canvas, Van Gogh Museum, Amsterdam
Beer Tankards, 1885, Oil on canvas, Van Gogh Museum, Amsterdam
Vase with Poppies, 1886, Oil on canvas, Wadsworth Atheneum of Art, Hartford, Connecticut
Terrace in the Luxembourg Gardens, 1886, Oil on canvas, The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Pont du Carrousel and the Louvre, 1886, Oil on canvas, Ny Carlsberg Glyptek, Copenhagen
Le Moulin de la Galette, 1886, Oil on canvas, Staatliche zu Berlin, Nationalgalerie, Berlin
A Pair of Boots, 1887, Oil on canvas, Baltimore Museum of Art, Baltimore, Maryland
Grapes, Lemons, Pears, and Apples, 1887, Oil on canvas, The Art Institute of Chicago, Chicago
Restaurant de la Sirene ofAsnieres, 1887, Oil on canvas, Musee d’Orsay, Paris
The Stevedores in Arles, 1888, Oil on canvas, Museo Nacional Thyssen-Bornemiszo, Madrid
Entrance to the Public Gardens in Arles, 1888, Oil on canvas, The Phillips Collection, Washington, DC
Van Gogh’s Chair, 1888, Oil on canvas, The National Gallery, London
The Sower, 1888, Oil on canvas, Van Gogh Museum, Amsterdam
Mountains at Saint-Remy, 1889, Oil on canvas, Guggenheim Museum, New York City
The Olive Trees, 1889, Oil on canvas, The Museum of Modern Art, New York City
The Bedroom, 1889, Oil on canvas, The Art Institute of Chicago, Chicago
View of Auvers-sur-Oise, 1890, Oil on canvas, Museum of Art, Rhode Island School of Design, Providence, Rhode Island
Poppy Field, 1890, Oil on canvas, Kunstmuseum Den Hoog, The Hague
Farms near Auvers, 1890, Oil on canvas, Tate, London
Wheat Stacks, 1890, Oil on canvas, Fondation Beyeler, Riehen/Basel
Stairway at Auvers, 1890, Oil on canvas, Saint Louis Art Museum, Saint Louis, Missouri
Undergrowth with Two Figures, 1890, Oil on canvas, Cincinnati Art Museum, Cincinnati, Ohio
Sheaves of Wheat, 1890, Oil on canvas, Dallas Museum of Art, Dallas, Texas
Women Crossing the Fields, 1890, Oil on paper, McCoy Art Museum, San Antonio, Texas
Portrait Gallery
Self-Portrait, 1889, Oil on canvas
La Berceuse, 1889, Oil on canvas
Portrait of Camille Roulin, 1888, Oil on canvas
L’Arlesienne, Madame Ginoux, 1890, Oil on canvas
Adeline Ravoux, 1890, Oil on fabric
We hope you enjoyed seeing these works by Van Gogh as much as we enjoyed sharing them with you. Be seeing you!
Van Gogh, an Appreciation of his Art – Gerhard Gruitrooy: Vincent Van Gogh, The Letters – Edited by Leo Jansen, Hans, Luijten and Nienke Bakker: Van Gogh, His Life and His Art – David Sweetman
Fine Art Tourist:OTR 8.0: Mississippi Museum of Art: New Symphony of Time
Jason Bouldin (1965) Portrait of Medgar Wiley Evers, 2013, Oil on canvas
Hystercine Rankin (1929-2010) Baptism in Crow Creek, 1996, quilted fabric, with appliqué and embroidery
After several days in Vicksburg, immersing ourselves in Civil War and Mississippi River history (see post – ctsprinterlife: OTR 8.0: Mississippi Part Three), we decidedto head east to visit Jackson, before continuing our journey south along the Mississippi River.
Our timing turned out to be impeccable asMMOA was just opening a new exhibit entitled New Symphony of Time. The exhibit is ongoing and part of the permanent collection of the MMOA. The exhibit consists of 170 works by noted artists such as Georgia O’Keeffe, Albert Bierstadt and Benny Andrews.Additionally, the exhibit includes many works by talented Mississippi artists.
msmuseumart.org
Albert Bierstadt (1830-1902) A Scene in the Rockies, Lake Silva Plans, not dated, Oil on canvas
New Symphony of Time expands and illuminates the boundaries of Mississippi’s narrative. Exploring the themes of ancestry and memory; migration, movement, and home; shared humanity; the natural environment; and liberty for all, the exhibition is inspired by Margaret Walker’s epic poem, “This is My Century: Black Synthesis of Time.” (Above paragraph is taken from the curator notes.) The poem is interspersed in the post below.
Throughout the exhibit certain ideas resonate: personal and collective memory, history and the connection to place, as well as the roles artists play in pursuit of civil rights and racial equality.
Helene Canizaro (1911-1997) Stafford Springs,1974, Oil on canvasGeorgia O’Keeffe (1887-1986) The old Maple Tree, Lake George, 1926, Oil on canvasMildred Nungester Wolfe (1912-2009) The Old Studio, 1957, Oil on canvas
This is My Century: Black Synthesisof Time by ---Margaret WalkerO Man, behold your destiny,
Look on this life
and know our future living
our former lives from these our present days
now melded into one.
Hale Woodruff (1900-1980) Mississippi Wilderness, c. 1944, Oil on canvas
Queens of the Nile,Gods of our Genesis,
Parade of Centuries
behold the rising sun.
The dying Western sky
with yawning gates of death,
from decadence and dissonance
destroying false and fair,
worlds of our galaxies,
our waning moons and suns
look on this living hell
and see the rising sun.
Theora Hamblett (1895-1977) Walking, Meditating in the Woods,1963, Oil on canvas
This my centuryI saw it grow
from darkness into dawn.
I watched the molten lava pour
from red volcanic skies;
Islands and Mountains heave
into the sea
Move Man into the spiraled axis turn
and saw six suns and sunsets rise and burn.
Karl Wolfe (1903-1984) Xanadu (View from Studio Window), c. 1960s, Oil on board
Osiris, Isis, black and beautiful gods,
When came your spectacle
of rythmed life and death?
You gods of love
on pyres of sacrifice
our human hearts become
old hearthstones of our tribal birth and flame:
the hammer and the forge,
the anvil and the fire,
the righteous sparks go wild
like rockets in the sky.
The fireworks overhead
flame red and blue and gold
against on darkened sky.
O living man behold
your destined hands control
the flowered earth ablaze,
alive, each golden flower unfold.
John McCrady (1911-1968) Rural Symposium, 1964, Acrylic on board
Now see our marching deadThe tyrants too, have fled.
The broken bones and blood
Have melted in the flood.
Clementine Hunter (1886-1988) Untitled, 1980, oil on canvas board
Cinque.O man magnificent.
The gods endowed you well.
Prince of our innocence
The stars move round your head.
You stride the earth to tell
your sons and daughters young
from island, sea, and land-
a continental span-
how men are made of gods
and born to rule the world.
In majesty with monumental hands
you bridge the Universe
and centuries of desert sands.
Bequeath to us your handsome dignity
and lordly noble trust.
George Morland (1763-1804) Execrable Human Traffick, 1789, Oil on canvas
Gods of compassion, rise
In mortal human form.
The splendor of your eyes
Streaks lightening through the storm.
Noah Saterstrom (1974) Road to Shubuta, 2016, Oil on canvas
This is my century-Black synthesis of Time:
The Freudian slip
The Marxian mind
Kierkaardian Leap of Faith
and Du Bois' prophecy: the color line.
These are the comrades of Einstein,
the dawning of another Age,
new symphony of Time.
New liberties arise;from Freedom's flag unfold;
the right to live and be
both stronger and more wise.
Each child, a prophet's eyes;
each place, a priestess stone.
This Beast no man denies
the godly-human throne.
Each generation cries
to touch divinity
and open up the sunlit splitting skies.
Ruth Miller (1949) The Evocation and Capture of Aphrodite, 2014, hand-embroidered wool
I have had a good time singingthe songs of my fathers
the melodies of my mothers
the plaintive minor notes of my grandmothers.
I heard the drums of Africa
and I made the music of Spain.
I gave rythym to the world
and called it syncopation.
All the Calypso brothers
have dance music in my head
and all my beautiful jazzy greats
like old Satchmo,
the Duke, the Count, the Duchess, the King
the Queen, Prince, and Princesses
they were the sons and daughters of royalty
in my dynasty.
I am a black shoeshine boy
made immortal by Barthe
and I am a black mother
running from slavery.
Ernest Crichlow (1914-2005) Underground III,1990, Oil on canvas
Look on my bronzed and black-red-mahogany face
and know me well.
For I am the seed of the earth,
the broken body of the Son of God,
and the Spirit of the Universe.
Drink wine in my memory
and pour water on stones
singing Libation songs.
I came out of the sunand I swam rivers of blood
to touch the moon.
I will not flinch before the holocaust
for I am a deathless soul,
immortal, black, and free.
The MMOA started as a state art association in 1911 and has grown in size and stature. Today the museum collection includes 5800 worksand contains works by notable artists including Andy Warhol, Robert Henri, Georgia O’Keeffe and George Bellows.
The museum and the community are clearly demonstrating a commitment to confronting the legacy of racism in Mississippi and to moving forward to help foster a better present and future. Our hats off to the organization and community.
We hope you enjoyed this edition of OTR with Maria and Stephen.
Our first stop in Tennessee on the outbound leg of OTR 8.0 was Knoxville. We have chronicled portions our visit to Knoxville in two previous posts (Street Art Tourist OTR 8.0 and Fika with Fiona:OTR 8.0). This post is focused on our visit to the Knoxville Museum of Art (KMOA). https://knoxart.org/contact/. (Photos of the museum below courtesy of the museum)
The KMOA is a regional art museum with a focus on the art, artists and culture of the Southern Appalachians, particularly Eastern Tennessee.The museum opened to the public in its current modern 53,000 square foot facility in 1990. Today the collection includes 1500 pieces of art in a variety of media.While the museum collection extends beyond works from Eastern Tennessee, we were most interested in seeing the paintings of several of the most noted Tennesseans, on display in the Higher Ground exhibition.
Higher Ground : A Century of the Visual Arts in East Tennessee
Marion Greenwood (1909-1970) History of Tennessee, 1954-55, Oil on Linen
Higher Ground is the first permanent exhibition devoted to East Tennessee’s artistic achievements. It includes objects from the KMA collection supplemented by important works borrowed from public and private collections. Many of the featured artists spent their entire lives and careers in the area, while some moved away to follow their creative ambitions. Others were drawn to the region by its natural beauty, as the wealth of landscape imagery in this exhibition attests. Together, these artists’ works form the basis of a visual arts legacy in East Tennessee that is both compelling and largely unheralded. Higher Ground allows viewers to follow the history of artistic activity in the region over roughly a century of development and learn about the many exceptionally gifted individuals who have helped shape the area’s visual arts tradition.
Catherine Wiley
Anna Catherine Wiley was one of the most active, accomplished, and influential artists in Knoxville during the early twentieth century. She taught art at the University of Tennessee, helped organize area art exhibitions, and was a driving force in the Nicholson Art League, a prominent local art association. Wiley studied with Frank DuMond at the Art Students League in New York and spent summers in New England working with Impressionist Robert Reid. She returned to Knoxville following her studies and brought with her a mastery of Impressionism. Wiley specialized in scenes of women amid their daily lives rendered in thick, brightly colored pigment. Morning features a more expressive variety of brushwork often seen in her late paintings.
Wiley’s work is represented in museum collections around the country, including the Metropolitan Museum of Art. Her promising career ended in 1926 when she was confined to a psychiatric hospital where she was without access to her studio supplies. The exact nature of the artist’s illness remains unconfirmed.
Catherine Wiley (Coal Creek [now Rocky Top], Tennessee 1879-1958 Norristown, Pennsylvania) Young Woman Reading with Parasol, circa 1918, Oil on canvas
Catherine Wiley (1879-1958) Untitled (Woman and Child in a Meadow)1913, Oil on canvas
Untitled (Woman and Child in Meadow) represents Knoxville Impressionist Catherine Wiley at the height of her career. She won the top award for regional painting at the 1910 Appalachian Exposition in Knoxville, and evidence suggests the artist selected this canvas for inclusion in Knoxville’s 1913 National Conservation Exposition. In a review of the 1913 exposition, one Knoxville Journal & Tribune critic wrote that “Miss Catherine Wiley’s work has attracted general comment and praise. She has three pictures on exhibition, two of which are new examples of her art. The most pleasing of the three is a study of a woman and child out-of- doors. The figures are sitting in strong sunlight, while a dark wooded hillside forms the background. The piece is strongly handled, and shows originality and force.”
Catherine Wiley (1879-1958) Boats and Water, circa 1915, Oil on canvasCatherine Wiley (1879-1958) Morning Milking Time,circa 1915, Oil on canvas
Beauford Delaney
Beauford Delaney (Knoxville 1901-1979 Paris) Blue-Light Abstraction, circa 1962, Oil on canvas
Born in Knoxville in 1901 to a Methodist Episcopalian minister, Beauford Delaney and his younger brother Joseph demonstrated early artistic talent. Their parents supported the brothers’ creative aspirations, and Beauford’s talents came to the attention of painter Lloyd Branson, who served as an early mentor. Facing the additional hurdle of racism, the brothers left Knoxville in the mid-1920s to pursue their art careers in larger arenas, but followed very different artistic paths. After studying in Boston, Beauford chose New York and later Paris as the ideal settings for his experiments with expressive abstraction. He attracted a host of distinguished friends including Georgia O’Keeffe, Alfred Stieglitz, Willem de Kooning, James Baldwin, Henry Miller, and Louis Armstrong. He became known for his radiant portraits and landscapes in which he explored color—luminous color—applied with explosive brushwork. Visible references to the outside world began to fade as the artist sought what he believed were the healing powers of light as embodied in the brilliant hues of his palette.
Beauford Delaney (Knoxville 1901-1979 Paris) Self-Portrait in a Paris Bath House, 1971, Oil on canvas
Joseph Delaney
Joseph Delaney (Knoxville 1904-1991 Knoxville) Vine and Central, Knoxville, Tennessee,1940, Oil, pastel and charcoal on canvas
Joseph Delaney, like his brother Beauford, was born in Knoxville, but left for Chicago before settling in New York, where he established himself as a tireless and prolific painter of Manhattan’s urban scene. Over the span of his 60-year career, Joseph displayed a remarkable ability to convey a vibrant modern world in transition while representing an unvarnished record of his energetic painterly process. He returned to Knoxville to visit his family over the years and eventually moved back to his hometown in 1986. The Knoxville Museum of Art has worked diligently to call attention to the artistic accomplishments of both brothers by hosting or organizing such exhibitions as Beauford Delaney: From New York to Paris (2005), Beauford Delaney: Gathering Light (2017), Joseph Delaney: On the Move (2018), and Beauford Delaney & James Baldwin: Through the Unusual Door (2020). The KMA owns the world’s largest and most comprehensive institutional collection of Beauford Delaney’s work, and an extensive selection of paintings and drawings by Joseph Delaney.
Joseph Delaney(1904-1991) Marble Collegiate Church,1974-75, Oil on canvasJoseph Delaney (1904-1991) Untitled (Saguenay, Quebec),circa 1945, Oil on canvas board
Lloyd Branson
Lloyd Branson (Union County, Tennessee 1853- 1925 Knoxville)Going Home at Dusk,1920, Oil on board
Enoch Lloyd Branson was one of the most talented and versatile East Tennessee artists of his era. Under his lasting influence, the local art scene reached a new level of activity and quality. Branson received artistic training at East Tennessee University (later renamed the University of Tennessee) and the National Academy of Design in New York. Upon the artist’s return in 1878, he established a successful portrait painting business with photographer Frank McCrary at 130 Gay Street in downtown Knoxville. Branson devised a method of producing vivid portraits based on photographs, which provided his primary income as an artist. However, he earned greatest recognition for heroic genre scenes such as Hauling Marble, which portrayed East Tennessee’s thriving marble industry. The painting won the gold medal at the Appalachian Exposition of 1910. In addition to his studio work, Branson was active as an art teacher, training and inspiring a new generation of talent including Catherine Wiley, Adelia Lutz, and Beauford Delaney, whose works are included in this exhibition.
Lloyd Branson (1853-1925) Hauling Marble,1910, Oil on canvas
The Tennessee marble industry began during the late 1830’s with the discovery of major veins in Hawkins County. Around 1850, Tennessee marble was discovered in Knox and Blount Counties where, with greater access to rail, the stone industry took off. By the 1880s, Knoxville became known as “The Marble City,” and its extensive quarries supplied stone used throughout the region and in the construction of the National Gallery of Art in Washington, D.C., New York’s state capitol, the Lincoln Memorial in Washington, New York’s Grand Central Station, and the New York Public Library’s famous stone lions. The Knoxville Museum of Art is also clad in pink Tennessee marble.
Despite its name, Tennessee marble is not a true marble due to its sedimentary structure and lesser hardness that are more akin to limestone. However, its high density, low porosity, water resistance, and range of color contribute to its distinguished history as a highly attractive building material.
We enjoyed the KMOA and recommend spending a morning or afternoon at the museum on your next visit to Knoxville. The KMOA is conveniently located at the site of the World’s Fair Park (1982) on the edge of downtown.Lastly, we would like to acknowledge that we drew heavily from the excellent Higher Ground Exhibition notes in preparing this post.
After spending time in Louisianna we traveled north back into Mississippi to visit Hattiesburg. We were up in the air about visiting Hattiesburg but after a conversation with a former resident of Hattiesburg (that we met in Cleveland, Mississippi) we decided to invest a day and check out the town.Additionally, visiting Hattiesburg would provide an opportunity to ride the LongleafBike Trail.
Hattiesburg was founded in 1882 by William Hardy and named after his wife Hattie. The land that is now Hattiesburg became available after the Chicksaw and Choctaw peoples were forcibly removed under the Indian Removal Act which allowed the government to relocate the nations to land west of the Mississippi River.
The city thrived in its early days as part of the burgeoning lumber industry (Hattiesburg sits in the Pine Belt) and is known as the Hub City because of the confluence of rail lines running through the city. While the timber industry is not a major economic forcetoday, the city is still a major rail hub with freight lines bisecting the city.
While Hattiesburg was not founded until well after the Civil War, the town nonetheless did its part to uphold the legacy of slavery and segregation. The Black residents of Hattiesburg were still largely unregistered to vote in 1962 due to the efforts of the municipal government to make it impossible for Blacks to qualify to vote.For more information about the Civil Rights Movement in Hattiesburg click on the link: https://mississippiencyclopedia.org/entries/hattiesburg-civil-rights-movement/
Hattiesburg — home of rock ‘n roll?
One facet of Hattiesburg that we were totally unaware of prior to our visit is the claim that Hattiesburg is the true home of Rock ’N Roll. Musicologists have traced the roots of the genre to the Graves brothers – Blind Roosevelt and Uaroy. The brothers started as Gospel singers but in 1936 joined with pianist Cooney Vaughn to form the Mississippi Jook Band. Two of their songs in particular are now viewed as very early Rock ’N Roll songs. These songs, Barbecue Bust and Dangerous Woman, were performed and recorded long before the genre was clearly defined and popular. http://www.youtube.com/watch?v=1pegm79r1zE
Today, many musicologists consider the roots of Rock ’N Roll began in the African American Churches in the South where the music was “rocking and reeling” and instruments other than the organ were used to accompany the singers (out of necessity as the congregations could not afford an organ). An excellent article on this subject: https://countryroadsmagazine.com/art-and-culture/visual-performing-arts/hattiesburg-birthplace-of-rock-n-roll/
Longleaf trail
The Longleaf Trail is a 45.5 mile paved rails-to-trails bikeway. The southern trailhead is in Hattiesburg and the trail runs in a northwest direction terminating in Prentis. We rode out and back on the southern half of the trail from Hattiesburg and the northern half of the trail from Sumral Station (west of Laurel).
Longleaf is a Hall of Fame trail and for good reason. The trail is paved, in excellent condition and passes through beautiful Southern scenery. Surprisingly, we encountered very few other riders on either of our rides. We highly recommend this trail. The round trip is 91 miles – beyond our current range – so we split the trail and enjoyed two rides.
The town
Laurel is not our ”home Town” but it could be!
Laurel was added to our intinary once we decided to visit Hattiesburg. If you are a fan of the HGTV show Home Town you may recognize Laurel as the small town where husband and wife Ben and Erin Napier help folks renovate local homes. As a result of the popularity of the show, the town has attracted many visitors and new residents.
We visited their retail store and woodworking shop while in town, but there were unfortunately no celebrity sightings. We can tell you their two stores are doing a brisk trade! Good for them – the couple has done a lot to help bring back this former lumber industry town.
We arrived in Laurel on the day of the annual crawfish festival.The festival runs from 11AM to 3PM – all you can eat for $15- Classic Low Country Boil – crawfish, sausage, potatoes, sweet potatoes and corn. Live music to boot. Now that is Southern Hospitality!
Laurel has more than the CrawFest and the TV show to offer. There are several excellent restaurants (The Loft….our favorite) and several neigborhoods with streets lined with live oaks and stately homes. Lastly, the former town library was converted and expanded into an art museumwith a very nice collection of paintings and sculptures.We have included several photogrpahs of our favorite paintings at the end of this post.
William Hollingworth (1910-1944) The Mystery of a Southern Night, 1941, Oil on canvasCharly Palmer (1960) Leadbelly c. 2012, Acrylic on canvasAlfred Conteh (1975) Preme 2020, Acrylic and Atomized brass dust on canvasJohn Winslow (1938) Painting in Marcella’s Studio 1982, Oil on canvas
Janet Fish (1938) Pink Scarf and Daffodils 2008, Oil on canvas
This post is our penultimate post on Mississippi as part of OTR 8.0. If you missed our previous posts you can find them at ctsprinterlife: OTR 8.0: Mississippi Part One and Ocean Springs, Mississippi at ontheroadwithmariastephen.net Our final post will cover our exploration of the Mississippi Delta.
As we planned a rough itinerary through the Southeast for OTR 8.0 we had not contemplated a visit to Ocean Springs. In fact, we had never heard of Ocean Springs.
However, that was before meeting Cynthia Comsky, the owner of the Attic Gallery in Vicksburg, who strongly recommended a visit to the Walter Anderson Museum in Ocean Springs. Subsequently, we saw a watercolor exhibit of Anderson’s atthe Lauren Rogers Museum in Laurel, Mississippi and knew we needed to visit Ocean Springs and the Walter Anderson Museum.
Much to our delight, the museum met all of our expectations and we found the town itself to be a quaint and friendly destination. In fact, we extended our stay to enjoy the charms of the town and the its friendly inhabitants.
Walter Anderson Museum
”Beware by whom you are called sane.” —- Walter Inglis Anderson
Sissy at the Table c.1933 Oil on board
So, of course, our first stop (well, second after coffee – see below on that topic) was the Walter Anderson Museum. The museum is physically attached to the town community center – which is appropriate as its walls are adorned with murals he created (and was paid a meager one dollar). The museum itself is filled with his works as one might expect – however one might not expect to find water colors, oils, wood sculptures, woodblock prints, pencil and ink drawings all by the same artist. His work in each of these mediums is outstanding.
“Last night there was a beautiful sunset. One felt that it had been arranged with taste. So many sunsets seem to be simply wild explosions of color in order to stun people into a state of mute wonder. But this one had variety, vermilion red and purple together, and lilac and gold together against a heavenly clear green turquoise sky. You felt that there would never be bad weather again.” —- Walter Inglis Anderson
Allison Sleeping c. 1935 Oil on boardShrimp Boat c. 1955 Oil on board
“I wonder how long it will be before nature and man accept each other again.”—- Walter Inglis Anderson
Lady in Red c. 1930 Oil on canvas
The identity of the sitter in the painting above is unknown. She sits slightly askew in her chair with her hands folded delicately in her lap. She gazes off to her right – not making eye contact with the viewer. By positioning his subject in such a way, we first notice the shape that the figure makes, almost reducing her form into a series of S curves against a dark background.
WPA Mural Sketch c. 1934 Oil on board
This mural sketch was created for the WPA. This particular scene is a cartoon (or preparatory work) of The Hunt. The closely depicted forms of the hunters, deer, and yellow dog are reminiscent of the cave painting compositions that Anderson saw in France in the 1920s.
“Nature does not like to be anticipated it too often means death, I suppose but loves to surprise; in fact, seems to justify itself to man in that way, restoring his youth to him each time.”—- Walter Inglis Anderson
Fairy tales
Walter Anderson loved fairy tales and even described them as being “explosive”- having the ability to inspire life and creativity. Anderson drew, painted, and carved classical images of fairy tales and myths throughout his life. Walter Anderson saw the world as a magical place full of wonder and possibility. Classic tales of mythology populated his daily life on the Gulf Coast. Around his home at Shearwater, Anderson would often carve dead trees into the shapes of nymphs and giants. He read stories to his children and illustrated their lives with fairies and mythic creatures.
Most notably, he created approximately 30 block prints featuring scenes from familiar tales to sell inexpensively to the public. Many of these block prints of myths and fairy tales are displayed here, demonstrating the timeless attraction that these tales have for all.
Bright eyed brew company
Be bright
Bright EyedBrew Company was a massive bonus – the frosting on our Walter Anderson Museum cake – we did not expect to find a first rate specialtycoffee cafe and roaster in Ocean Springs.
Bright Eyed Brew Company is owned and operated by husband and wife Ryan and Kathryn Reaux. They started the business in 2016 as a part time venture making and selling nitro cold brew from a cart at the local farmers market.Today their cold brew is on tap at a number of restaurants and cafes in the Mississippi Gulf area, and they operate the cafe selling espresso drinks, tea, waffles and, of course, nitro cold brew.
The Reaux Family
On our first morning in Ocean Springs we stopped at Bright Eyed as the prelude to our museum visit. From the moment we ordered our drinks and sat down in the cafe, local folks began chatting us up – that is what Fika is all about! Three hours later we finally departed for the museum. https://brighteyedbrewco.com/
Hotel Beatnik
Once we decided to visit the museum, we needed a place to stay and there were no camping options close by. We found Beatnik online and booked a cabin. The property consists of four cabins and a swimming pool. As you can see from the photographs below they are not rustic cabins.
The Beatnik is cool—Scandinavian style decor, a heated plunge pool and a five minute walk to downtown. Everything is online – registration, door lock combinations, housekeeping requests. What else could a traveler want?https://www.thehotelbeatnik.com/
St JOhn’s Episcopal Church
St John’s Episcopal Church
This lovely church is a two minute walk from the Beatnik. As many of you may recall we visit many churches as we tour – in addition to the spiritual aspect, we find the history and architecture of churches fascinating. We were most fortunate to meet Drew, a retired insurance agent from Jackson and a volunteer at the church. Drew graciously provided us with a tour of the church and we reminisced a bit about the problems with the National Flood Insurance Program (once an underwriter always an underwriter).
St. John’s was built in 1892, and the original church is still standing—which is pretty amazing considering it sits 1000 feet from Biloxi Bay and is a wood frame building. Drew did let us know that the building is to be sprinklered in the near future – this former underwiter is fully supportive of that! https://stjohnsoceansprings.dioms.org/
We think Ocean Springs is a cool little town. If you are an admirer of Walter Anderson and his work, excellent coffee, excellent barbecue (Pleasant’s BBQ) and friendly people, make a point of visiting if you are going to be in the Gulf Region of Mississippi.
Be seeing you!
P.S. If you have been following along at all you probably realize that we have not been publishing our posts in strictly chronological order. We are planning to get back in sync in that regard and we are working to publish a post on the first leg of our journey through Mississippi as we followed the Trans America Trail through Northern Mississippi.
Paul Ninas, Louisiana (1903-1964) Avery Island Salt Mines, 1934, Oil on canvas
The Ogden Museum of Southern Art (OMSA) is relatively new museum, opening its doors in 1999. Its genesis was the donation of 600 works of art by philanthropist Roger Ogden. Today the museum’s collection has grown to 4000 works and is housed in two buildings – the first built in 1989 and the second in 2003. The museum is located in the warehouse district directly across the street from the impressive National World War 2 Museum.
As the name implies, the museum is focused on art representing the South and -through the art – the history and culture of the South. All of the art in the museum is the work of artists from the 14 southern states and Washington D.C.
We toured the permanent collections featuring Southern Landscapes and Southern Regionalism (culture and values). We also viewed the paintings of Benny Williams – a remarkable story (see biography below) of an artist committed to the civil rights movement.
Southern Landscapes
Florence McClung, Louisiana (1894-1992) Cypress Swamp, Caddo Lake, 1940, Oil on masonite
Luis Graner, Louisiana (1867-1929), Misty Marsh Along Lake Pontchartain, c.1920, Oil on canvas
Southern regionalism
Edmund Daniel Kinzinger, Texas (1888-1963), Taxco Woman in Red and Gray, 1937, Oil on board
Crawford Gillis, Louisiana (1914-2000), Women Praying, Holiness Church, 1940, Oil on canvasJohn Kelly Fitzpatrick, Alabama (1888-1953), Mules to Market, 1937, Oil on canvasGeorge Rodrigue, Louisiana (1944-2013), Aioli Dinner, 1971, Oil on canvas
The Aioli Dinner was Rodrigue’s first major painting with people as subjects. He designed the painting using combinations of photographs taken of the Aioli Gourmet Dinner Club, a group that met once a month on the lawn of a different plantation home in and around New Iberia, Louisiana. Traditionally, only men sat at the table, each with their own bottle of wine. The women seen standing in the back row cooked the food, and the young men around the table served dinner. One of the older men made the aioli, a garlic-mayonnaise sauce. Rodrigue’s grandfather, Jean Courrege, sits on the left near the head of the table, and his uncle Emile is the third boy standing from the left, peeking his head in between the others. All of the figures are portraits of people who lived in and around New Iberia. Rodrigue chose the historic Darby House Plantation as the setting for his painting.*
Bo Bartlett, Georgia (1955) Young Life, 1994, Oil on linen with deer hair
Bo Bartlett is an American realist painter born 1955 In Columbus, Georgia. At 19, he travelled to Florence, Italy to study painting under Ben Long. He went on to apprentice under Nelson Shanks and to study in several American schools, including Pennsylvania Academy of Fine Arts, Philadelphia College of Osteopathic Medicine, University of Pennsylvania, and University of the Arts, PA. A Certificate in Filmmaking from New York University in 1986 led him to work with Betty Wyeth on a documentary film, titled Snow Hill, about her husband, Andrew Wyeth, who became both mentor and friend to Bartlett. An interesting detall of this masterwork is the Inclusion of a deer tail ln the frame, and deer hair in the paint. Writlng about Young Life in February of 1994, Bartlett says: “I saw my sister’s son In this shirt and cap. I asked him to pose with his girlfriend in front of my father’s truck. As I took the photo, my youngest son Eliot ran into the picture.*
Benny andrews
Benny Andrews, Georgia (1930-2006) The Poverty of it All, 1965, Oil on canvas
One of ten children, Benny Andrews was born on November 13, 1930, in Plainview, Georgia, a light skinned, blue-eyed, blond haired baby. James Orr (“Mr. Jim”), his paternal grandfather, was the son of a prominent white plantation owner. His paternal grandmother, who was the midwife at his birth, was Jessie Rose Lee Wildcat Tennessee. And, like her, his maternal grandparents, John and Allison Perryman, were mixed race, with black and Native American blood. Hts father, George Andrews, was a self-taught artist, the “Dot Man,” who never lived more than ten miles from Plainview and never left Georgia. In contrast, his mother, Viola Perryman Andrews, loved travel and was an advocate for education who encouraged her children to write and to draw daily. After becoming the first member of his family to graduate from high school, he attended Fort Valley State College supported by a scholarship. He was not allowed to attend the University of Georgia, in nearby Athens, nor enroll in Lamar Dodd’s well-known art classes there, due to the color of his skin. In 1954, after serving as a military policeman in the Korean War, he used the GI Bill to attend the School of the Art Institute of Chicago, studying under Kathleen Blackshear. No longer constrained by the racial laws of the South, he entered an art museum and saw original masterworks for the first time in 1954, an experience that brought tears to his eyes. After graduating in 1958, he moved to New York, where he maintained a studio for the rest of his life. Despite limited connections to the city’s art world, by 1962 he began to exhibit regularly at Bella Fishko’s Forum Gallery. By the late-1960s, influenced by the Civil Rights Movement, and troubled by the social, racial and gender inequities he discovered in the art world, he entered a period of social and cultural activism which was reflected in his art. After he co-founded the Black Emergency Cultural Coalition in 1969, and participated in marches outside the Metropolitan Museum of Art and the Whitney Museum of American Art, demonstrating against the exclusion of women and artists of color from those institutions, he was often classified as a “protest artist.” From 1970 through 1976, he executed the “Bicentennial Series,” a project devoted to depicting the complex history of African-Americans for the American Bicentennial. After exhibiting that project, he returned to the studio and to his position as a member of the Queens College art faculty. Beginning in 1982, he served as Director of the Visual Arts Program for the National Endowment for the Arts, a position which brought him increased national stature. He resigned in 1984, feeling he had accomplished what he could and anxious to return to his studio. In 1984, he built a studio outside of Athens, Georgia, where Benny was able to work more closely with his Georgia family. He encouraged his father, “The Dot Man,” to expand his art production to include painted canvases. From 1984 until 1996, when George Andrews died, he worked to advance the recognition of his father’s art. In 2001, after living and working in Manhattan for more than forty years, Benny Andrews and Nene Humphrey renovated and moved to a new studio and residential structure in Brooklyn. The primary focus in the studio during his last years was the “Migrant Series,” inspired by his reading of writers such as Flannery O’Connor and Langston Hughes as well as his rediscovery of The Grapes of Wrath by John Steinbeck. Each of the three major components of this project was planned to reflect one aspect of his own mixed heritage-he was of African-American, Scotch-Irish and Cherokee descent – and was to be related to a major migration in American history, beginning with the Dust Bowl migration to California, continuing with the Cherokee “Trail of Tears” migration, and concluding with the Great Migration of African-Americans to the North. In 2006, after repeated visits to New Orleans and the Gulf Coast, he decided to add a concluding chapter to his American “Migrants” series, devoted to the mass migration that emerged in the wake of Hurricane Katrina. The evolution of the project was suspended when he was diagnosed with the cancer which led to his death, on November 10, 2006.*
Benny Andrews, Georgia (1930-2006) Grandmother’s Dinner, 1992, Oil and collagePeter Dean (1934-1993) Portrait of Benny Andrews, c. 1972-1974, Oil on canvas
We liked the Ogden very much – really interesting art along with some insight into the South through the stories and moments captured in the paintings of these Southern artists. We recommend visiting the museum when you visit the Big Easy.
CAUGHT IN THE CIRCLE, 1903 —- Charles Marion Russell
The NCWHM was founded in 1955 as the National Cowboy Hall of Fame and Museum with a focus on honoring the cowboy. Today the museum is a smorgasbord of history, culture and fine art. The museum has over 200,000 square feet of display space with twelve galleries including a replica of a western frontier town and a significant collection of firearms in addition to cowboy and Native American art and artifacts. https://nationalcowboymuseum.org/all-galleries/
This post will focus on three painters whose works are in the museum collection, and are well known for their depiction of western life and Native Americans.
Federic Sackrider Remington (1861 – 1909) is undoubtedly one of the most widely recognized artists of the Old American West. As with many of his compatriots, Remington was an Easterner sent to the West to create illustrations for books and magazines which were focused on the romantized West of cowboys and indians.
PONIES PAWING IN THE SNOW, 1888 — Frederic Sackrider Remington
Unlike many of his fellow artists, he lived in the West for a period of time, owning a ranch and a saloon at different times (neither of which was successful). Remington’s start as a professional artist was actually the bartering of drawings to pay some of his debtors during the period of time he owned the saloon.
RAY’S TROOP, c. 1903 — Frederic Sackrider Remington
While he had very little formal art training, Remington became highly proficient at drawing cowboys, indians and cavalry officers (who paid him handsomely for portraits in uniform).He was quoted as saying “Cowboys are cash with me”.
THE HUNTERS’ SUPPER, 1909 — Frederic Sackrider Remington
Remington became quite successful financially, moving back East and taking up residence in a large mansion he had built for his family. Unfortunately for him, he adopted an oppulent life style and essentially ate and drank his way to an early death due to complications from his immense size.
THE CHARGE ON THE SUN- POLE, c. 1890 — Frederic Sackrider Remington
IN FROM THE NIGHT HERD, 1907 — Frederic Sackrider Remington
Charles Marion Russell (1864 – 1926) was born in Saint Louis, but from an early age was enamored of the West; by the age of 16 had left home to work as a ranch hand in Montana. He made Montana his home for the rest of his life, marrying Nancy Cooper and building a home in Great Falls.
WHEN TRAILS WERE DIM, 1919 — Charles Marion Russsell
Russell had no formal art training. He drew scenes from his life on the ranch as a way to record his experiences. “Between the pen and the brush there is little difference but I believe the man that makes word pictures is the greater.” —- Charles Marion Russell
WHEN MULES WEAR DIAMONDS, 1921 — Charles Marion Russell
Russell’s wife was influential in marketing his sketches, painting and drawings – as his work became popular he devoted himself full time to his artistic endeavors.By that time, he had spent eleven years ranching and had even lived for a time with a Native American tribe. His first hand knowledge of the West provided him with the ability to portray the West in a manner that other artists could not achieve. It is no wonder that Charlie (as he was known by his friends) is considered America’s true Cowboy Artist.
THE CALL OF THE LAW, 1911 — Charles Marion Russell
Russell is considered by many to be an early conservationist. ”A pioneer is a man who turned all the grass upside down, strung bob-wire over the dust that was left, poisoned the water, cut down the trees, killed the Indian who owned the land and called it progress.” —- Charles Marion Russell
As an acknowledgement of his recognition of the need to preserve the environment, a 1.1 million acre national wildlife refuge stretching along a remote portion of the Missouri River in Montana bears his name. We visited the Charles M. Russell National Wildlife Refuge during the summmer of 2021 as part of OTR 6.0 ( see post – Montana Prairie…Sun, Heat, Wind and Beauty). The land within the refuge is much the same as it was during Russell’s lifetime. See photographs below. https://www.fws.gov/refuge/Charles_M_Russell/about.html
Russell had great respect and admiration for the Native Americans of the Plains and their way of life. Of the 4000 works that he completed during his career, 1700 featured Native Americans as the subject of the work.
THE SIGNAL GLASS, 1916 — Charles Marion Russell
“The Red man was the true American. They have almost all gone, but will never be forgotten. The history of how they fought for their country is written in blood, a stain that time cannot grind out. Their God was the Sun, their church all out doors. Their only book was nature and they knew all the pages.” —- Charles M.Russell
BEFORE THE WHITE MAN CAME, 1897 — Charles Marion Russell
Walter Ufer (1876-1936) was born in Germany in 1876, although he spent most of his youth in Louisville, Kentucky where there was a sizable German immigrant population. Unlike Remington and Russell, Ufer was a trained painter, having returned to Germany to study at the Royal Academy in Dresden. He returned to the United States and began work as a Commercial Artist before returning again to Germany to study in Munich.
In 1914, the mayor of Chicago, Carter Harrison and his business partner, Oscar Meyer (yes, that Oscar Meyer), both admirers of Ufer’s work, helped finance a visit to Taos to provide Ufer with new environment to continue his development as an artist (and, of course, sell his paintings back in chicago).
JIM AND HIS DAUGHTER, c. 1925 — Walter Ufer
The brilliant light, landscapes and Native American culture of New Mexico captivated Ufer.Ufer very quickly abandoned working in the studio and began working outdoors in order to capture the brilliant light of the southwest and the daily activites of Native Americans and Hispanos.
AT REST, 1926 — Walter Ufer
Ufer’s depictions of the Taos Pueblo Indianswere rarely romanticized. He was a committed socialist and soon came to believe that the Euro-American settlers were largely responsible for the destruction of Native American culture and identitythat had occurred in America.
“The Indian has lost his race pride, he wants only to be an American. Our civilization has terrific power. We don’t feel it, but that man out there in the mountains feels it, and he cannot cope with such pressure.”—- Walter Ufer
SLEEP, 1923 — Walter Ufer
Ufer realized both critical and commercial success from his depictions of Native Americans and the southwestern landscape. The stock market crash of 1929 and the ensuing Great Depression were diasterous for Ufer. The public fascination with art depicting Indians and the West diminished significantly as the financial crisis deepened and endured.
Sadly, as the sale of his work evaporated and his financial burdens mounted he turned to alcohol. He died in 1936 at the age of 60 as the result of a ruptured appendix.
Frederic Remington, Charles Russell, Walter Ufer
At one time, the images of the West that were shared via the work of these three artists and others were viewed as illustrative of how the white man won the West and conquered the savagetribes of Indians. The winning of the West was considered a noble and necessary precursor to American greatness – our Manifest Destiny.
None other than Theodore Roosevelt said it is “our manifest destiny to swallow up the land of all adjoining nations who were too weak to withstand us.” Many of the Western artists were, as such, unwitting propagandists for the conquering of the West through their depiction of Native Americans as savages who murdered innocent white settlers. Today it is commonly acknowledged that Native Americans were in fact fighting to remain on their sacred lands and maintain their way of life.
This post is not about villifying the featured artists – they painted the West as they saw and experienced it. Both Russell and Ufer were sympathetic to the plight of the Native American and Hispano peoples.Neither is the post meant to be critical of the museum – the NCWHM is a wonderful museum and we highly recommend a visit when your travels take you to Oklahoma City.
This is the final post from OTR 7.0. We will back on the road in early March. Be seeing you!
h. d. bugbee, mountain men, (old bill williams and jim bridger), oil on canvasboard
A brief history of the PPHM
PPHM is located in Canyon, Texas, approximately 20 miles south of Amarillo. The museum opened to the public in 1933. It was the brainchild of Hattie Anderson, an educator who had moved to Canyon to teach history at the West Texas Normal School (now West Texas A&M University).
Hattie was fascinated by the history of the area and began to enlist the aid of individuals in the area to form a historical society to preserve the history and culture of the Panhandle-Plains. The historical society flourished for thirteen years; the growing collection of artifacts that created the need for more space. The historical society then funded the creation and operation of the museum.
Today the museum continues to prosper and is home to over three million artifacts within the 285,000 square foot complex. The museum provides insight into the past and the present of many facets of the people,culture, history and industry of the Panhandle-Plains. The collection includes galleries devoted to paleontology, archeology, geology, Native American culture, textiles, petroleum extraction and western art. we
We enjoyed the PPHM immensely and strongly recommend devoting at least a half day visit when you visit the Amarillo – Lubbock area of the Panhandle. In addition to the museum this area offers ample outdoor recreational opportunities (Palo Duro Canyon and Caprock Canyon – see post: CTSPRINTERLIFE: TOURING THE PANHANDLE). https://wordpress.com/post/ontheroadwithmariastephen.net/6946
EmIL Bisttram
OTR had the great fortune to meet Deanna Lowe Craighead, Curator of Art at the PPHM, while visiting another museum in the panhandle. In addition to dialing us in about the Bisttram exhibition, Deanna also provided us with the recommendation to visit the Philbrook Museum in Tulsa ( see post FINE ART TOURIST PHILBROOK MUSEUM OF ART). https://wordpress.com/post/ontheroadwithmariastephen.net/7362 The balance of this post is dedicated to the Bisttram exhibit and a bit of his biography.
Emil Bisttram was born in Nagylak, Hungary (now Nadlac, Romania) in 1895. His family emigrated to New York City in 1906. Bisttram studied art at National Academy of Design, Cooper Union, the Art Students League, and the New York School of Fine and Applied Art. He also taught art while studying and was known through out his career as an excellent and sought after teacher.
emil bisttram, storm over taos, c. 1931, oil on canvas
Bisttram visited Taos, New Mexico in 1930. Initially he was overwhelmed by the size and scale of the New Mexico landscape and he struggled to capture the majesty of the environment. Despite that he returned to Taos in 1932 and it remained his home until his death in 1976.
Bisttram evolved from painting New Mexico landscapes and native culture to a decidely abstractionist style. The painting above (Storm Over Taos, 1931) is representative of his early work in New Mexico. The photographs of his paintings below are from the PPHM exhibit (private collection on loan – Ladd Family) and show his progression into abstraction.
emil bisttram, waterfall, 1959, acrylic on canvas
emil bisttram, winter, 1959, enamel on masoniteemil bisttram, celestial structures, 1959, enamel on masoniteemil bisttram, ascension no. 2, 1959, enamel on masoniteemil bisttram, midsummer night’s dream, 1960, enamel on masonite
festivity, 1960, enamel on masonite
Transcendental painting group (TPG)
Bisttram, along with Raymond Jonson, formed the TPG. The TPG was part of the Non-Objective Abstractionist wave of Modernism – which in part emanated from the influx of artists fleeing the increased political disruption ocurring during the 1930s in Europe.
emil bisttram, left: cosmic stream, 1959 – right: composition #77, 1960emil bisttram, the fiery world, 1963,emil bisttram, symphony in blue, 1963, oil on masonite
“The Transcendental Painting Group is composed of artists who are concerned with the development and presentation of various types of non-representational painting; painting that finds its source in the creative imagination and does not depend upon the objective approach.” —- TPG Manifesto
emil bisttram, windsong, 1964, oil on masonite
While we do not enjoy the work of some popular avant garde abstract artists, in our very humble opinion we think the paintings of the TPG artists and in particular Bisttram are in a different category. The work is clearly non-objective in may regards but relatable and created with a clear design in mind. We would love to know what you think.
Be seeing you!
P.S. Added bonus of visiting the PPHM – the excellent Palace Coffee is a five minute walk from the museum.
From 1927 to 1938 the Villa Philbrook, as it was known, was the family residence of Waite and Genevieve Phillips. The Italian Renaissance style villa as originally built consisted of 72 rooms set on 23 acres of gardens. Phillips donated the mansion to the city of Tulsa for use as an art museum in 1938.
The PMOA opened to the public in 1939. A 70,000 square foot wing was added in 1990 along with a redesign of the garden space ( the new wing also houses a very fine cafe). The museum houses 16,000 works in its permanent collection with a focus on Native American, American and European art.
Historical footnote: Phillips was a member of the Phillips family which founded Phillips Petroleum in 1917. Today the company trades as Phillips 66 and is one of the largest petroleum refiners in the world with revenues of approximately $107b.
Childe hassam, american, bridge over the stour, 1897, oil on canvas
Native american and american artists
Harry fonseca, maidu, Coyote chiefs, from coyotes wild and wooly west show, 1987, acrylic and glitter on canvasJoan hill, muscogee (creek)/cheroke, war and rumors of war, c.1971, acrylic on canvasBrenda kennedy grummer, citizen band potawatomi, one sunday at shawnee, 1979, oil on panelFritz scholder, luiseno, indians #19, 1967 and the end of the trail, 1970, oil on canvashelen hardin, kha’p’oo owinge (santa clara pueblo), vision of a ghost dance, c.1975-1977, oil on boardLeft: Helen hardin, kha”p”oo owinge, prayer for bountiful blessings, 1980, oil on board right: maynard dixon, american, the circle of shimaikuli, 1923, oil on canvasleft: barbara latham, american, gathering aspens for san geronimo day, n.d. right: alexandre hogue, american, studio corner—taos, 1927, both oil on canvasTony abeyta, dine’ (navajo), firestorm, 2021, oil on canvasJoseph henry sharp, american, chief weasel bear, 1906, oil on canvasWALTER RICHARD (DICK) WEST, SR., SOUTHERN CHEYENNE, THE WEDDING OF ART AND SCIENCE, 1949, OIL ON CANVAS
European art
Pablo picasso, spanish, les pommes, 1947, oil on canvasWassily kandinsky,russian, kallmunz, the town hall square, 1903, Oil on boardvittore carpaccio, left: st. peter martyr of verona, right: st. john the baptist, 1505, oil on panel
We enjoyed our visit to the PMOA, and especially appreciated the focus the museum brings to Native American artists. The museum showcases the evolving manner and styles in which Native Americans have been portrayed over the last 150 years – both fascinating and enlightening.
In addition to the finely curated collection, the museum itself is a wonderful piece of architecture. The extravagance and oppulence of a 72 room villa for a family of four is hard to fathom (at least for OTR), but makes for an inspired setting for the art work and artifacts. And of course, the gardens extending down the slope behind the villa are spectacular.
We absolutely recommend an afternoon at the PMOA when you visit Tulsa!
Be seeing you.
P.S. We also recommend having lunch when visiting the PMOA – KITCHEN 27 is excellent.
Roswell is known primarily as the location of an alleged UFO crash that took place in 1947. Strangely, the purported crash site is 75 miles from Roswell – oh well, close enough for tourism purposes. I do not want to put a damper on the UFO tourist trade (and a our little blog won’t) but the UFO was, in fact, a weather balloon!
Donald B. Anderson, Irish Castle, 2000, acrylic on canvas
From our perspective (with all due respect to UFO fans) there is a much better reason to visit Roswell. As we did a quick bit of research on the town we found a website for the Anderson Museum of Contemporary Art, and decided to visit the museum the morning following our arrrival.
The next morning (after coffee and tea) we set out to walk to the museum just a short distance away. We feared we had made a wrong turn along the way as the only building we could see ahead looked much more like a warehouse than the exterior of a museum. However, upon getting loser to the building there was signage indicating that the building was in fact the home of the AMoCA.
Donald B. Anderson
Donald B. Anderson, Achil Island, 1987, acrylic on canvas
We were delighted to find ourselves in a bright and colorful space with paintings covering the walls from floor to ceiling. The museum covers 22,000 square feet and is divided into twelve galleries with more than 500 artworks on display.
The photographs of the large scale landscape paintings directly above and below are by Donald B. Anderson, who was a highly successful businessman and artist. He founded the museum in order to bring more art and culture to Roswell and southeastern New Mexico. While a number of his delighful landscapes occupy one of the galleries, the museum is about much more than Mr Anderson.
Donald B. Anderson, Dark Valley, 2001, acrylic on canvas
roswell artists-in-residence (rair)
Jessica Kirkpatrick, Chora 1, 2013, oil on canvas
In addition to the museum itself, Mr Anderson created and funded the Roswell Artists-in-Residency program to bring artists from around the world to work in Roswell. The photograph above and all those below are of artworks by artists that participated in the program since its inception in the late 1960s.
Linda Long, View From My Window, 1991, oil on canvas
In 2002 the RAIR Foundation assumed full reponsibilty for the management of both the museum and the residency program. RAIR provides a full year residency and includes lodging, studio space and a stipend; over 250 artists have participated in the program since its inception.
Jerry R. West, Roswell Cotton Warehouse with Black Dog and Broken Moon, 2012, oil on linen
AMoCA is a first rate museum with a wide range of work by the artists that have benefited from RAIR. If your travels will be taking you in the vicinity of Roswell or even if you are just passing through we recommend that you visit this gem in the desert.
Brian Myers, On Borrowed Time, 1994, oil on canvas
ON THE ROAD with Maria + Stephen 