Tonya Harding, eat your heart out.
A portrait of a scandal.
These might not appear to be the most pious folks—the fifth commandment concerning honoring your parents doesn’t appear to be high on these kids’ list. But read more about how Sir David Wilkie secretly sketched his fellow parishioners in church, and then used those drawings to populate his great painting, Pitlessie Fair from 1804.
The latest of our Scottish visitors, the excerpt below is from the exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.
A drawing room with lilac walls and highly polished black floors—and a pile of props like top hats, opera cloaks, and fans. Read more about how Cadell used his spectacular living space to inject a little glamour into his portrait of our next Scottish vistor, Berthia Hamilton Don-Wauchope, the artist's 50-something neighbor from Edinburgh. The except below is from the exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.
The next in our weekly series of Scottish visitors is Lady Agnew, who sat for John Singer Sargent at the age of 27. Her pose is "notably langorous," possibly because she was recovering from a period of nervous exhaustion at the time. The except below is from the exhibition catalog for Botticelli to Braque: Masterpieces from the National Galleries of Scotland, available for purchase in the Museum Store.
There’s a full cast of characters in Botticelli to Braque: Masterpieces from the National Galleries of Scotland—everyone from a Tahitian temptress painted by Paul Gauguin, to a rowdy Dutchman by Frans Hals. But there are also plenty of Scots, and once a week we'll highlight one of them by excerpting a section from the exhibition catalog, available for purchase in the Museum Store.
From our pen pals at the Getty: What J. M. W. Turner might have loved about the City of Angels. J. M. W. Turner: Painting Set Free, currently at the Getty, heads to the de Young on June 20; stay tuned for why we think Turner should have left his heart in San Francisco.
In 1987, Jane and Robert Meyerhoff announced their pledge to donate their art collection to the National Gallery of Art, including many of the works currently on view in the de Young’s special exhibition Modernism from National Gallery of Art. But before they were given to the nation, these works first made up a personal collection that the couple had built and lived with for many years.
Tonight, Friday Nights at the de Young celebrates the history of the dandy from Oscar Wilde to Jean Paul Gaultier. Whereas Oscar Wilde’s aesthetic style was derided as too feminine, Jean Paul Gaultier embraces gender bending, dressing men in skirts and women in exquisitely tailored suits. In this way, Gaultier's designs approach a new androgyny and subvert established fashion codes. The designer toys with standard concepts of the masculine and feminine throughout the special exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk , but one exhibit in particular literally speaks to this issue. He is the Man in the Mirror.
In this installment of our continuing blog series examining key elements of the Aesthetic Movement through the lens of John Stanhope’s masterwork Love and the Maiden (typically on view in gallery 18 at the Legion of Honor and currently on view in The Cult of Beauty: The Victorian Avant-Garde, 1860–1900), curatorial assistant of European art Melissa Buron takes a closer look at color.