It's the 102nd anniversary of the 1906 San Francisco Earthquake and Fire, and in observance of the event I put together an online gallery of photographs of the conflagration by San Francisco photographer Arnold Genthe. Genthe, a German-born photographer noted for his portraits of turn-of-the century San Francisco society, documented the destruction with a borrowed camera after his studio was ruined by the earthquake. In Genthe's words, from his 1936 autobiography, As I Remember:
I found that my hand cameras had been so damaged by the falling plaster as to be rendered useless. I went to Montgomery Street to the shop of George Kahn, my dealer, and asked him to lend me a camera. 'Take anything you want. This place is going to burn up anyway.' I selected the best small camera, a 3A Kodak Special. I stuffed my pockets with films and started out.
The gallery, in this site's My Gallery section, includes original 1906 prints and some printed in the 1950s by Ansel Adams. It's hard to fathom the amount of destruction that occurred, especially when you think about what the places in these photos look like today.
Rosanna Raymond. Photograph courtesy of Kerry Brown
This month in the de Young Artist Studio features artist-in-residence Rosanna Raymond, a New Zealand born Pacific Islander of Samoan decent now based in London. As part of Raymond's work, visitors to the Kimball Education Gallery can participate in the art studio by, among other things, create poetry by arranging words from Raymond's "word bank" on the gallery walls. We'll be posting some of the poetry here on the blog, and, making up for lost time, here are the poems from April 2, the first day of Rosanna Raymond's residency:
FASHIONABLE DRESS PRESERVE THE LOST WARRIOR MAKES PROUD LIGHT
FANCY VOYEUR FOUND OTHER TO DISCOVER
AUTHENTIC HALE SHOW TELL REAL
EATING SOCIETY CLAMOUR POLITELY
HUDDLE PATTERN TO PASIFIKA SHELTER
CROWDED SEE REPETITION
A INTERWOVEN INTERROGATION HANGING OPEN
YOUR RHYTHM IS GATHERING THE CROWD
A FRAGRENCE FOOTED FLOWER AND SOFT EYE SUMMER SAVAGE MANUFACTURED BREEZE Y
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We've released another podcast! The latest edition features an interview with artist Dale Chihuly, whose large-scale exhibition, Chihuly at the de Young, arrives at the de Young on June 14 and runs through September 28, 2008. In it, Chihuly discusses, the exhibition, the installations currently on view at the de Young and Legion of Honor (Saffron Tower at the de Young is pictured), and his own personal collections.
I heard that there was a hummingbird nest in the de Young's Fern Court, so I headed downstairs to take a look at it. I happened to have the digital camera on hand right when Mom flew in to feed her baby, which is what you see in the first photo. You can see the baby's little head poking up above the nest in both pictures.
If you're at the de Young and want to see the nest for yourself, it's in the Fern Court to the immediate left of the entrance to the Herbst Special Exhibition Galleries. The court itself is inaccessible to the public, so you don't need to worry about getting too close. I had to zoom way in and crop the photos to get this view, and it's really a tiny thing, no more than a couple inches in diameter.
This week crews have been busy installing four site-specific works by Dale Chihuly at both the de Young and the Legion of Honor. Saffron Tower(2006)is being set up on the little island in the middle of the de Young's Pool of Enchantment, and, as the name implies, will be lit. The official lighting of the piece will be on Friday, April 4, at approximately 7:30 pm. The museum will be open until 8:45 pm that evening for Friday Nights at the de Young.
The Legion of Honor gets not one but three different Chihuly pieces, one outdoors in the Court of Honor and two indoors in the sculpture galleries flanking the main Rodin gallery (Galleries 8 and 12). Rodin's iconic Thinker will now share his space with a 14-foot-diameter orb called Sun (1999), while the indoor galleries will be home tothe ceiling-mounted Aquamarine Three-Tiered Chandelier (2008) and the floor-mounted Sea Blue and Green Tower(2004). These installations are in advance of the special exhibition Chihuly at the de Young, which opens on June 14 and runs through September 28. In addition to the photos here, we've posted a great deal more in on Flickr.more]
Today was the first Hat Day at Bouquets to Art. Hat wearers and admirers gathered in the Piazzoni Murals Room for the judging by local hat experts from Hats on Post, Mrs. Dewson's Hats and the SF Hat Society. Like the floral arrangements throughout the museum, the creativity was abundant.
And the winners are:
Most creative--a tie between:
This couple came down from Canada to see the show.
Most beautiful:
Cutest and best marketer for the raffle:
Sabrina, age 4
And most outstanding (note the shoes!):
Our thanks to all the contestants, hat wearers and hat aficionados for their support.
Rembrandt Peale (American, 1778–1860), George Washington, ca. 1850
Rembrandt Peale (American, 1778–1860), after Gilbert Stuart (American, 1755–1828), George Washington, 1854
Ray Beldner (American, b. 1961), E. Pluribus unum, 2005
George Washington that is—Revolutionary War hero and first president of the United States. Being that the de Young Museum has a comprehensive survey collection of American art, it's not surprising that the collection includes several portraits of President Washington. The portraits range from a Folk Art piece by an unknown artist ca. 1825 to two iconic portraits by American painter Rembrandt Peale (1778–1860), to a contemporary portrait made of dollar bills by artist Ray Beldner (b. 1961). In honor of Washington's birthday on February 22, American art curator Timothy Anglin Burgard has installed all these portraits together in the de Young's American Art Galleries.
The two pieces by Rembrandt Peale, who was actually born on Washington's birthday in the midst of the American Revolution, will be instantly recognizable to many. The first is a copy of Peale's own 1824 "Patriae Pater" portrait of the president, done in commemoration of the 25th anniversary of his death. Similar paintings are in the collections of the Smithsonian and the Metropolitan Museum of Art. The second is a copy of Gilbert Stuart's famous portrait of Washington.
Although both these paintings date from the 1850s, late in Rembrandt Peale's career, he did in fact paint Washington's portrait from life, as a 17-year-old artistic prodigy in 1795.
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Third Season of Friday Nights at the de Young Begins January 18
The third season of the popular Cultural Encounters: Friday Nights at the de Young series begins this Friday, January 18. This time it's an opening celebration with special extended hours of 5–10 pm. Friday's program presents Jazz at Intersection, with eight of the musical groups who participated in that program returning to the de Young to perform original compositions inspired by either works in the de Young's permanent collections or works from special exhibitions presented at the museum. It should be a pretty exciting evening.
The lineup features: The Marcus Shelby Jazz Orchestra, Erik Jekabsen's "West Coast" Quartet + Strings, Howard Wiley and the Angola Project, The Kasey Knudsen Group, Angela Wellman's New Roots, The Ben Goldberg Quintet, The Babatunde Lea Quartet, and Mitch Marcus Quintet + 13.
We've posted some sample audio tracks by each of the participating groups, some of which are even the compositions to be performed on Friday. You can listen to them through our handy MP3 jukebox above (if you don't see it you'll need to install Flash player). more]
Edward Hicks (American, 1780–1849) The Peaceable Kingdom, ca. 1849. Oil on canvas. 1993.35.14
The Marcus Shelby Jazz Orchestra’s piece has been inspired by The Peaceable Kingdom by Edward Hicks.
At the opening event for the third season of Friday Nights at the de Young on January 18, 8 musical ensembles will perform original works that have been inspired by either a work in the de Young’s permanent collection or a work from a recent special exhibition. The de Young presents this program entitled Jazz at Intersection in collaboration with Intersection from the Arts, San Francisco’s oldest non-profit alternative arts organization.
The Marcus Shelby Jazz Orchestra will be the first ensemble to perform on Friday, January 18 at 6:30 pm. Shelby has composed a tone poem for a 15-piece jazz orchestra and speaker for Jazz at Intersection. Shelby has been playing the acoustic bass for 23 years, during which time he has received many awards and accolades. Shelby was bandleader of Columbia Records and GRP Impulse! Recording Artists Black/Note and is currently the Artistic Director and leader of The Marcus Shelby Jazz Orchestra, The Marcus Shelby Septet and the Marcus Shelby Trio. He was the recipient of the Charles Mingus Scholarship in 1991 and named as one of the “Top Ten Most Influential African Americans in the Bay Area” by City Flight Magazine in 2005. Shelby is currently working as the artist in residence at Rooftop Elementary School.
Q: What work of art in the de Young’s collection inspired the composition that you will be performing on Friday night? A: The piece was inspired by Edward Hicks’ painting, The Peaceable Kingdom, completed in 1846. This painting is part of the de Young’s permanent collection of American Art.
Q: How did you choose this work?
A: Over the course of about three months, I spent lots of time in exhibits and various collections at the de Young to see which pieces resonated with me. I also took my daughter with me on several of these visits to see what works resonated with her as well and what speaks to kids. I wanted to incorporate my experiences from teaching at Rooftop Elementary School in Twin Peaks, where I have been teaching as an artist-in-residence.
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The Art of Turkmen Weaving on View in For Tent and Trade
Turkmen people, Saryk subgroup: Storage bag (juval), face, 19th century. Gift of George and Marie Hecksher
Turkmen people, Tekke subgroup: Door surround (kapunuk), mid 19th century. Wiedersperg Collection, Gift of Wolfgang and Gisela Wiedersperg
Opening this Saturday, December 15, in the de Young’s Textiles Gallery is the exhibition For Tent and Trade: Masterpieces of Turkmen Weaving, which showcases examples from the Fine Arts Museums’ stellar collection of Turkmen carpets and related textiles. I asked exhibition curator Diane Mott a few questions about the show and the works on view.
Q: Why should people come and see this exhibition? What can they expect to see?
A: The Fine Arts Museums’ collection of Turkmen textiles is the finest in any museum in the United States and one of the finest in the world. Only collections in Russian museums, which were started quite early, have as many rare, early pieces.
There is a chance here to see some really outstanding examples of the art of Turkmen weaving. There are of course magnificent carpets on display, as well as tent decorations, camel trappings, and storage bags. There are also photographs for context and a selection of superb Turkmen costumes on loan from New York collectors Marshall and Marilyn Wolf.
Q: Can you tell us a little about the origins and history of Turkmen textiles?
A: The works on display were made by the Turkmen people who live in western Central Asia. Today most of them are concentrated in the former Soviet republic of Turkmenistan, but there are Turkmen people living in northern Afghanistan, Uzbekistan, and northeastern Iran.
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Beyond the Exhibition: Marie-Antoinette’s Decorative Arts in FAMSF Permanent Collection
Look for decorative arts that embody Marie-Antoinette’s style at the Legion of Honor even after the special exhibition Marie-Antoinette and the Petit Trianon at Versailles closes on February 17, 2008. The Museum’s encyclopedic permanent collections of decorative arts contain several excellent examples of Marie-Antoinette’s personal taste. Highlights of the collections, such as the sofa (canapé à la turque) from 1779 and the gilt bronze and marble mantel clock, ca. 1780, are featured in the special exhibition.
The exquisite sofa (canapé à la turque), which was created in 1779 as part of a suite for Marie-Antoinette’s private study, is part of the Legion’s permanent collection. The royal furniture designer, Jacques Gondoin, designed this light colored sofa, carved with massed heads of flowers, one of the queen’s favorite motifs. Although the 90-inch sofa was actually too long for the queen’s private study, it was probably used elsewhere in her private apartments. Marie-Antoinette also owned a version of the mantel clock, ca. 1780, in the Legion’s permanent collection. Designed by clockmaker Michel-Pierre Barancourt, the gilt bronze and marble clock depicts a woman and Cupid. The two figures are mourning over a dead bird that lies on the altar between them. Both the sofa (canapé à la turque), and mantel clock are regularly displayed in Gallery 11 at the Legion of Honor.
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On August 6 the Fine Arts Museums of San Francisco will hold the 9th Annual Access Advisors' Open House and Disability Arts Festival at the de Young. The Access Advisors, a community-based committee of accessibility and art experts, initiated the Open House events to highlight everyday prize-winning accessibility at the de Young and the Legion of Honor. Taking advantage of the new Koret Auditorium as a performance space, this will be the second year we have paired with the Arts and Disabilities Network to expand the event into a Disability Arts Festival.
With the Art Slam, which will be held on Saturday morning, we have the chance to celebrate the work of a large number of artists with disabilities in our museum. We will feature the work of 200 artists with disabilities in a slide show, with each object paired on the screen with the artist’s statement. Artists from around the country have contributed to the Art Slam, but most come from northern California, and many of them will be attending. We are looking forward to a “meet the artist” session and the artists' group photograph.
Probably the most dynamic aspect of the day will be the ten Saturday afternoon performances. Nine groups and individuals will be showcased in the de Young’s Koret Auditorium, and their performances range from excerpts from Grease (the Arc) to poetry (Patty Overland and Bob Guter); storytelling (Merijane Block); dance (Dandelion Dance Theater and the Two Stephaenies Activist Trio); poetry, rock and roll, and history (Sistahs wid’ Gaps); and poetry and jazz (Avotchja).
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Rockwell Kent was an illustrator, oil painter, best-selling author, and adventurer. During the 1930s and 1940s he was famous, rivaling his contemporary Norman Rockwell in popularity. But political controversy made him unpopular, and as the years went by, obscure. Filmmaker Frederick Lewis set out on an epic journey to discover the life and work of Kent. His efforts will be shown in the resulting documentary Rockwell Kent: A Documentary by Frederick Lewis on Sunday, September 30 at 2 p.m. at the de Young.
In every museum, there are numerous "behind-the-scenes" specialists whose work, while not obvious to most visitors, is extremely important in getting works of art displayed in the galleries. One of the most important roles is played by the conservation departments at the Museums, who are responsible for ensuring that works of art are safe and secure, and, perhaps most dramatically, for bringing damaged objects back to life.
An excellent example of the challenges that face the Museums’ conservators is the 1895 lithograph Falls of Eternal Despair, a preaching diagram by Martin Wells Knapp (American, 1853–1901). The restored print is currently on display in the exhibition Rembrandt to Thiebaud: A Decade of Collecting Works on Paper, on view at the Legion of Honor through October 7, 2007.
A recent gift to the Museums by local artist and collector Eleanor Dickinson, Falls of Eternal Despair was in rough shape when initially received (see the "before" image above). Works on paper are inherently fragile, and are vulnerable to damage from light, water, and even the chemicals contained in the paper they’re drawn or printed on. In the course of its 112-year existence, Falls of Eternal Despair was afflicted with tears, losses, and discoloration as seen in the "before" photograph. The finished product, also shown above, is a testimony to the skill and artistry of the Museums’ paper conservation staff.
Here are a couple detail shots of the print, showing one of the more badly damaged areas before conservation and after.
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Three remarkable, photo-based exhibitions at the de Young close this month.
Guise: Recent Prints by Deborah Oropallo—Closing September 16 Deborah Oropallo deconstructs and enhances images to investigate the seduction and power that are evoked by gesture and pose. She layers images of contemporary women in provocative costumes with images of men from 17th- and 18th-century portrait painting, including several from the collection of the Fine Arts Museums. Through re-employment of the vast symbolism of classic portraiture, Oropallo raises issues about gender, costume, fantasy, potency, power, and hierarchy. More information »
Hiroshi Sugimoto—Closing September 23 The extraordinary 30-year career of photographer Hiroshi Sugimoto is celebrated in a retrospective of over 50 luminous photographs, made from 1976 to the present. This presentation constitutes the first major survey of Sugimoto's oeuvre and includes such iconic works as Chrysler Building, 1997, and Ligurian Sea, Frumura, 1993. One of Japan's most important contemporary artists, Sugimoto is known for his ongoing, multiple series of hauntingly beautiful black-and-white photographs, that explore the themes of time, memory, dreams, and natural histories. Working with a large-format camera, his glowing images range from the starkly minimal to the richly detailed, and are often suffused with expanses of light and space.
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Deciphering Art: A Closer Look at John Marin's Study, New York
Deciphering Art is the Fine Arts Museums' new series of blog posts that look at works of art from the Museums' permanent collection in detail.
For our first post, we look at American Modernist artist John Marin's (1870–1953) painting Study: New York (1934) with American art curator Timothy Anglin Burgard.
About the painting Marin declared, “Thus the whole city is alive—buildings, people, all are alive—and the more they move me the more I feel them to be alive.”
Things to look for:
1. The Brooklyn Bridge tower and the warehouses that line the East River dominate the left side of the painting.
Marin depicts the Brooklyn Bridge, an urban landmark, as a receiver and transmitter of energy that transforms the viewer’s experience of the surrounding cityscape.
2. Marin depicts the New York skyline as a giant pueblo building with a single door. A diagonal airshaft resembles a pueblo kiva ladder.
Marin perceived Native American art as validating modernism’s experimentation with abstract forms.
3. Marin’s use of the five-pointed star marks the modern American city, New York, as the locus for a new spiritual order of the future.
The pueblo, the Brooklyn Bridge and the star represent America’s past, present, and future.
4. The circular “yin/yang” symbol of the lower center represents Marin’s des
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New Acquisition: Susanna and the Elders by Jan van Noordt
Jan van Noordt (Dutch, 1624–1676/86), Susannah and the Elders, ca. 1670. Oil on canvas, 49 x 35-1/8 inches
A powerful new acquisition joins other works in the Baroque art galleries at the Legion of Honor: Susanna and the Elders (ca. 1670) by 17th-century Dutch artist Jan van Noordt. Van Noordt, who moved within the sphere of Rembrandt’s Amsterdam followers, is largely unknown to American museum audiences, but the compelling visual impact and emotional power of this near-life-sized work mark it as the masterpiece of a lesser-known painter.
This monumental painting is currently in the Legion’s Gallery 14, along with other Baroque-era Dutch and Flemish works by artists including van Dyck, Reubens, and Jordaens.
Jan Wahl is the film critic for KRON-4 and an entertainment reporter for KCBS Radio. Vancouver Magazine once called Wahl, “San Francisco’s sharp-witted solo answer to Siskel and Ebert.” She is a favorite community figure and easily recognized by her famous hats and personal flair. Wahl is a great movie enthusiast, and she won an Emmy Award in 1977 for producing and writing “They Still Say I Do.” On Friday, June 22, she will present a lecture entitled, “Fashion in the Movies,” at 7:00 pm in the de Young’s Koret Auditorium, as part of the museum’s Friday Night Programs.
What will people learn in your seminar?
I will be talking about the influence of fashion in the movies. I have arranged the talk chronologically by decade, and I will be showing several film clips.
Some highlights include:
The silent film stars of the 1920s and their carefully chosen fabrics that were extremely influential in the fashion world.
The 1930s, the ultimate time for fashion in the movies with stars Jean Harlow, Mae West, and Greta Garbo. Several stars sparked fashion revolutions, including Katharine Hepburn with her slacks and Mae West with her shoulder pads.
In the 1950s, Audrey Hepburn, Grace Kelly, and Marilyn Monroe were the major fashion icons. Each was unique, and a comparison of these three stars reveals a lot about the evolution of fashion during this period.
I will include film clips from such films as: Annie Hall, Bonnie and Clyde, The Sting (to discuss men’s fashion)
What is the role of fashion in film?
Movies present both realism and fantasy when it comes to fashion, and Hollywood encourages us to use our imaginations to develop our own personal style.
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In anticipation of the opening of the exhibition Nan Kempner: American Chic, at the de Young Museum, we've asked friends and family of native San Franciscan Nan Kempner to share their memories of her with us. If you knew or were acquainted with Nan and would like to share your reminiscences with us, please leave them as a comment for this blog post. Gail Glasser, Nan’s mother-in-law and friend:
“The first time I saw Nan was in 1971. She had just flown to San Francisco from New York City. It was a long flight, but she looked completely fresh and put together. She had on a beautifully cut, belted dress. No matter what, Nan always looked fresh as a daisy. Her hair was always done, her skin was always tan… she was a beautiful creature.”
“Shopping with Nan was interesting. Although she loved couture, she would occasionally shop at stores. For example, she loved the Gap. She would stand at the escalator, take it all in, and immediately know what she wanted.”
“Nan’s style was very basic and very classic, but always with a flair. She went for clean lines and well-fitted clothes. There was always something unique about what she was wearing, but simplicity was always top of mind for her. During the day, she was conservative, but at night, it was all glamour.”
“The most beautiful dress I ever saw her in was a creamy satin dress with a low scoop back.
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In anticipation of next week's Young at Art 2007 at the de Young, we interviewed student artist Celia Kitchell. She's 18 years old and senior at School of the Arts. Her drawing Father will be exhibited in Young at Art.
Q: Please describe the piece that you are exhibiting in Young at Art 2007
A: My piece is a pencil drawing portrait of my father. It measures 18 x 24 inches. The composition is a close-up of his face, and it is an intense portrayal of him, with a strong emphasis on his eyes.
Q: What inspired you to create this work? Did you create it as part of a particular assignment?
A: In Ms. Ciment’s senior art class at School of the Arts, each student must complete a series of works with a unifying theme. I spent a lot of time during my junior year thinking about what I wanted to create for my series. I also created a self-portrait during that year, and I discovered that I really enjoy painting myself and people in general. I feel like I can capture people, and I enjoy the challenge of depicting a psychological exploration of an individual.
With this in mind, I decided to do a series of portraits for my senior project. There are 12 pieces in the series, some are paintings and some are pencil drawings. Each is a portrait of a member of my family. In the portrait of my father (displayed in the Young at Art exhibition), I feel that I successfully depicted many different aspects of his personality.
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Mystery set flower brooch, Van Cleef & Arpels, 1978. 18K gold, platinum, rubies, sapphires, diamonds. Collection of Iris Cantor
We sat down and talked to Dede Wilsey, FAMSF Board President, about the magnificent pieces she has lent to the exhibition Masterpieces of French Jewelry, on view at the Legion of Honor through June 10.
Q: Martin Chapman, the curator of Masterpieces of French Jewelry, calls the Van Cleef & Arpels necklace you lent to the exhibition "everything a diamond necklace should be." How did it come into your possession?
A: It is a piece my father bought for my mother. We used to go to Monte Carlo in the 50s. Every Friday night there would be an unbelievable gala and the women would dress up in beautiful dresses and gorgeous jewelry. I was a little girl, and I used to watch them and dream of having jewelry and dresses of my own. It was really the heyday of fancy dress.
One Friday in Monte Carlo, my mother, Ruth, needed some jewelry to wear with a new gown. Our family went to Van Cleef & Arpels to borrow something. Claude Arpel was happy to lend her this necklace. He liked to lend jewelry over the weekend, because he said that on Monday it was rarely returned, it was usually purchased instead… and my father purchased the necklace for my mother.
I grew up and married, and occasionally I would borrow the necklace to wear to a party or event. One Christmas, my mother came to visit. When I opened one of her presents to me, it was the necklace along with a note. The note said: "Your father never liked to see beautiful things on old necks.
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Vivienne Westwood at the opening party at the de Young
Courtesy of YouTube and Eric Smith of World Love Productions, here's a video from the opening party for the exhibition Vivienne Westwood: 36 Years in Fashion. It was a colorful event, graced by the presence of Dame Vivienne herself, with amazing fashions on view not only in the exhibition but on partygoers as well.
Bouquets to Art, the Museums' most popular and successful fund-raising event, has taken over the de Young. For those not familiar with Bouquets to Art (or BTA for short) is an annual event that every spring invites some of most talented and sough-after floral designers from California and beyond to create elaborate floral arrangements that complement the works of art on display in the museum.
The crowds that we usually see in the first couple days of BTA are diminishing a bit, so if you're interested to see what all the fuss is about, the next few days are a good time to check things out. We've taken a few special measures this year to make sure that everyone gets a chance to see the spectacle: the de Young will stay open late on Friday, March 23, until 8:45 pm, and BTA will be on view through Saturday, March 24 (in previous years the event has run TuesdayFriday only). After that, you'll have to wait until next spring.
The Modern Corset: A Conversation with Autumn Adamme, corsetiere and owner of Dark Garden
Wedding corset, ca. 1898
Q: When people visit the de Young Museum for the March 30 Friday night program, what will they experience?
A: The majority of people have never had an opportunity to wear a true corset, so we are going to give them the chance. We will have over 50 corsets that people can try on over t-shirts or in a screened dressing area.
Q: You own Dark Garden, what kind of store is that?
A: Dark Garden is an atelier that specializes in Victorian- and Edwardian-inspired corsets for modern bodies. It opened in 1989.
Q: What does it feel like to wear a corset like that?
A: Many women say that it gives them a feeling of empowerment. Because it is such a hard, rigid garment, it feels like you are wearing an exoskeleton. Some people say they find it comforting.
Q: Earlier, you mentioned that there are a lot of myths about corsets. What did you mean?
A: One of the big myths was that a woman wearing a corset couldn't breathe. Another is that women who wore them fainted all the time. It's also not true that women had ribs removed so they could wear corsets.
Q: How did you come to be a corset-maker?
A: I'm self-taught. I went to the old school of trial and error. But, my love for corsets springs from a love of historic costumes.
Dark Garden is located at 321 Linden Street in San Francisco. Their web site is www.darkgarden.com.
Additionally, a selection of corsets from the Museums' permanent
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A Passion for Jewelry: An interview with Christopher Forbes about Collecting
If you keep up with business news, you know a lot about Christopher "Kip" Forbes. He's the Vice Chairman of Forbes, the global business media company founded by his grandfather. What you won’t read in the business section is that Forbes is an avid collector of many things, including jewelry.
Although Forbes himself maintains a personal collection, he also oversees the corporate collections, which are displayed in the Forbes Galleries in the company’s New York City headquarters. Masterpieces of French Jewelry originated there.
Mr. Forbes will be in San Francisco for the opening of the exhibition at the Legion of Honor this month. We caught up with him to find out what gets his collecting juices flowing.
Q: In the catalogue for Masterpieces of French Jewelry, you mention that you collect jewelry and objects relating to Napoleon III and his family. Describe the jewelry you have in your collection. Why does this man inspire you to collect?
A: I've long been fascinated by Napoleon III whom I find one of the most under-rated world leaders of the 19th century. He is also far more affordable to collect than his illustrious uncle! Most of the collection is comprised of portraits, documents and other ephemera relating to the Emperor, his wife the Empress Eugenie, and his son the Prince Imperial. Among the few pieces of jewelry, perhaps the most interesting is a presentation ring with the bust of the Emperor all cast in aluminum. It's hard for us to believe now, but when it was first discovered aluminum, given the incredible cost of producing it, was considered far more valuable than silver or gold.
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Divination instruments screen of Yoruba Divination Bowl presentation.
Working with the San Mateo based interactive agency Rolling Orange, we've recently adapted our Collection Icons series of educational multimedia presentations for use by online visitors. Collection Icons is designed to prepare students for looking carefully at art and uncovering the cultural traditions represented by three key works from the de Young's collection: Aaron Douglas's painting Aspiration (1936), a Yoruba Divination Bowl, and the Maya Stela with Queen Ix Mutal Ahaw.
Collection Icons was originally developed for touch-screen panels installed in the de Young's Kimball Education Gallery, and was a collaborative effort by the FAMSF Education Department, Without Walls, Propp Guerin, and Rolling Orange. Collection Icons is a recipient of the 2006 Muse Award, Bronze, in the category of Interpretation and Education in History and Culture.
Howard Finster (American, 1916–2001) The Devil's Vice, 1985. Collection of Eleanor Dickinson
The Legion of Honor is usually associated with its signature European and ancient works of art, but through April 8, 2007, visitors will have the chance to experience the paintings of legendary "outsider artist" the Reverend Howard Finster (1916–2001). Known for his prolific output (he created over 46,000 works during the last 25 years of his life; that's 5 works per day), Finster operated a folk art garden museum dubbed Paradise Gardens in the back yard of his house in Pennville, Georgia, and received a command to paint sacred art through a vision in 1976.
Reverend Finster gained national attention by creating paintings for album covers by bands REM (Reckoning, 1984)), the Talking Heads (Little Creatures, 1986), and others.
The paintings on view at the Legion of Honor are from the collection of Finster's friend and fellow artist Eleanor Dickinson, and can be seen in the Reva and David Logan Gallery of Illustrated Books. (The exhibition opened somewhat earlier than planned, on October 7 rather than November 11.)
