This week’s FRAME|WORK, featuring John Roddam Spencer Stanhope’s luscious Love and the Maiden, will serve as the first in a series of posts examining a variety of themes present throughout the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (opening this Saturday, February 18). Stanhope’s allegorical painting will provide the backdrop for the discussion of topics ranging from artistic technique to the Aesthetic Movement’s color palette to the role of frames in the perception of an artwork.
Currently on view at the de Young and SFMOMA are two significant photography exhibitions—Ralph Eugene Meatyard: Dolls and Masks and Francesca Woodman, respectively. In this rare, behind-the-scenes look at the curatorial process, Julian Cox (of the de Young) and Corey Keller (of SFMOMA) discuss the elusive issues of artistic intention and practice, the mythology of the artist, and the position of Meatyard and Woodman in the history of photography.
William Morris, champion of the Aesthetic Movement, said of interior design, “Whatever you have in your rooms, think first of the walls.” Wallpaper was a defining decorative motif in the homes of the Victorian avant-garde and bourgeoisie alike. In keeping with this fashion, the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900
On February 18, The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 opens at the Legion of Honor. This Wednesday, February 1 at 2:30 p.m., the San Francisco Design Center presents The Aesthetic Movement and Interior Design, a panel exploring the movement’s enduring influence on interiors. The discussion will feature exhibition curator Dr. Lynn Federle Orr, design writer and editor Zahid Sardar, interior designer Geoffrey De Sousa and 3D Magazine editor-in-chief, Alisa Carroll.
In advance of this event, Ms. Carroll is today’s guest blogger.
Matter + Spirit: The Sculpture of Stephen De Staebler presents the work of an artist who used a variety of materials ranging from metal to clay to create lasting works of art. Working with stoneware and sometimes porcelain, De Staebler built monumental sculptures that pushed the limits of the media and extended the boundaries of how these materials had been used in the past.
The British Aesthetic Movement, which is the subject of the upcoming exhibition The Cult of Beauty: The Victorian Avant-Garde 1860–1900 opening at the Legion of Honor on February 18, promoted the integration of beauty and art into every aspect of life. William Morris (1834–1896) was a chief proponent of the Aesthetic Movement and contributed luxe designs for wallpaper, carpets, tiles, and furniture. His career as a textiles designer, however, quickly surpassed his involvement with all other areas of artistic production.
FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week we present a dynamic work by one of Italy’s most important painters. Giovanni Battista Tiepolo’s The Empire of Flora is currently on loan to the Allentown Art Museum where it is featured in the special exhibition Shared Treasure: The Legacy of Samuel H. Kress.
The Legion of Honor is currently host to a terrifyingly beautiful bust of The Medusa, on view through February 19. Created by master Baroque sculptor Gian Lorenzo Bernini (1598–1680), this nightmare in marble arrives at the museum via the Dream of Rome, a project initiated by the mayor of Rome to exhibit timeless masterpieces in the United States. The Medusa is the inaugural loan in the prestigious partnership between the Fine Arts Museums and Rome’s Capitoline Museum.
Art history places a high premium on originality, especially the singular masterpiece. But there are certain occasions when multiplicity is embraced, including works created as part of a series or cast sculpture and printed materials, which are often produced as one of an edition. It is unusual, however, for a museum to include multiple versions of the same artwork in an exhibition.
Masters of Venice: Renaissance Painters of Passion and Power from the Kunsthistorisches Museum, Vienna, on view at the de Young through February 12, 2012, boasts not one, not two, but three variations of Titian’s enigmatic masterwork The Bravo (The Assassin).