de Young

Cutting Edge Photography Technique Comes to the de Young!

My name is Sue Grinols and as the director of photo services and imaging, I witness the intersection of art and technology on a daily basis. This is an exciting time to be working in photography. Just seeing how technology is changing the field can be breathtaking, not to mention challenging.

Photographing artwork is a sub-specialty of studio photography. Here at the Museums, we use the same equipment and techniques as photographers who produce beautiful images of cars, perfume bottles, leather couches, and the perfectly grilled steak. But instead of trying to capture the steak’s sizzle or the couch’s inviting warmth, we attempt to bring out the essential character of the artwork while emphasizing its sublime beauty whenever possible. When we’re not doing that, we can make images that show the hard, cold details of an object in order to help conservators as they work through treating the artwork, or to help curators in their scholarly study of an object. It is this second type of photography that I want to blog about today.

May 2, 2011

In Memoriam: Merle Greene Robertson, 1913–2011

It is with great sadness that the Fine Arts Museums of San Francisco mourn the passing of Merle Greene Robertson. A legend in the world of Mesoamerican studies and Maya epigraphy, Robertson has been a friend and consultant to the Museums for decades. She generously donated many of her unique rubbings made from the monuments of Chichen Itza, a large Maya center that flourished on the Yucatan Peninsula of Mexico after AD 800. These rubbings provide clear renderings of detailed Maya stone carvings and are an important aspect of the Museums' Mesoamerican holdings.


© 2008 Ron Henggeler
 

April 26, 2011

Happy Birthday, Richard Diebenkorn!

Today the Fine Arts Museums of San Francisco wish a happy birthday to renowned artist Richard Diebenkorn. The Fine Arts Museums have enjoyed a long relationship with the artist since the Legion of Honor hosted Diebenkorn’s first solo exhibition in 1948. From that point on, the Museums were ardent supporters of the artist and his work. Both the American Art Department and the Achenbach Foundation for Graphic Arts have compiled significant holdings of his work.

Richard Diebenkorn (American, 1922–1993)
Seawall, 1957, Oil on canvas
Gift of Phyllis G. Diebenkorn, 1995.96
© The Estate of Richard Diebenkorn

April 22, 2011

When the Earth Shakes, Come to the de Young!

In 2009, senior registrar Stephen Lockwood came across a series of ledger books while examining the de Young’s offsite storage facility. These antique books contained detailed records of the weather and daily attendance at the de Young since its opening day in 1895. One entry was particularly interesting:

April 18, 2011

Our Banner in the Sky

Our Banner in the Sky

Attributed to Frederic Edwin Church (American, 1826-1900)
Our Banner in the Sky, ca. 1861
Oil on paper mounted on paper board
7 13/16 x 11 13/16 inches
1994.71

Exactly 150 years ago today on April 12, 1861, the American Civil War began in earnest. At 4:30 a.m., Confederate batteries on the shores of Charleston Harbor in South Carolina opened fire on Fort Sumter, the Federal-held fortification that dominated the harbor after commander Major Robert Anderson refused its surrender. The resulting bombardment went on for 34 hours, with Confederate artillerists lobbing over 3,000 rounds of shot and shell in the fort's direction. While the fort's masonry walls were battered and many of its wooden buildings were set alight, there were no fatal casualties on either side during the engagement. Ironically, two Union soldiers were killed when ammunition was accidentally ignited during the 100-gun salute to Fort Sumter's tattered but intact American flag.

It is this flag that is thought to be depicted in the de Young's Our Banner in the Sky, believed to have been created in 1861 by American landscape painter Frederic Edwin Church. Major Anderson took Fort Sumter's flag with him back to the North, where it became the focal point of numerous patriotic rallies, the first of which took place in New York City's Union Square. With over 100,000 attendees, it was the largest public gathering in the United States to date. The celebrity flag toured countless cities throughout the North, where it raised funds for the war effort by being auctioned off. The winner naturally donated the flag back to the nation to be auctioned off again at the next rally. In April of 1865, Anderson, now a major general, returned to Fort Sumter and raised the flag over its ruins as part of the celebration of the Union's victory.

April 13, 2011

Julian Cox in conversation with Collection Connections artist Marco Breuer

In the midst of the 48-hour installation of Line of Sight, Founding Curator of Photography and Chief Curator at the de Young Julian Cox sat down with Marco Breuer to discuss his artistic practice.

April 12, 2011

Bouquets to Art 2011: A day in the life of a flower

As Bouquets to Art kicks off its 27th year at the de Young, floral exhibitors poured in with every type of flower and foliage imaginable. We followed floral artist Hiromi Nomura of Belle Flora, who was born and raised in Tokyo, to trace the day in the life of a flower and pay tribute to Japan following last week’s devastating earthquake.

Hiromi Nomura

March 15, 2011

The Bust in the Bog

Olmec bustOne of the rarest pieces in our Olmec exhibition at the de Young is a carved human bust made of a tropical variety of cedar tree. Over three thousand years old, the bust has survived this long because it was buried at the bottom of a freshwater bog for most of its life.

Archaeologists believe it was placed in the bog, along with thirty-six other busts, by the Olmec as part of a large offering, probably in response to a long-term problem facing the community, such as a flood or drought. The busts were bundled in vegetable mats and buried along with other objects of high value—some of which are also  in the exhibition.

Researchers think the Olmec chose the spring, named El Manatí for a nearby hill and the manatees that were abundant in the area, as a site for important offerings because it represented a culmination of important elements. The Olmec believed water and mountains were imbued with sacred qualities, including fertility, and saw tall hills both as a meeting point between the earth and the sky and as “mansions of the rain god.” The area was also abundant in hematite, an iron-rich red pigment that researchers believe the Olmec associated with blood.

February 23, 2011

Filed under:

Pages

Subscribe to de Young