FAMSF Blog

Matter! The 16th Annual New Generations Student Showcase

See tomorrow's art start tonight at the 2012 New Generations: Student Showcase. This year's theme is a call to action–think of it as a one-word manifesto: Matter!

Matter
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Love and the Maiden: A Harmony of Hues

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.

John Roddam Spencer Stanhope (English, 1829–1908). Love and the Maiden, 1877. Tempera, gold paint and gold leaf on canvas. Museum purchase, European Art Trust Fund, Grover A. Magnin Bequest Fund and Dorothy Spreckels Munn Bequest Fund. 2002.176

Love and the Maiden
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FRAME|WORK: Children’s story (water dreaming for two children) by Johnny Warangkula Tjupurrula

FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature a painting by Johnny Warangkula Tjupurrula, a member of the Papunya Tula artist collective. Children’s story (water dreaming for two children) is currently on loan to Australia's National Gallery of Victoria.

Johnny Warangkula Tjupurrula (Pintupi/Luritja, 1925–2001). Children’s story (water dreaming for two children), 1972. Australia, Western Desert, Papunya Tula settlement. Pressboard, tempera pigment. Gift of the Gantner Myer Aboriginal Art Collection. 2002.70.2

Water Dreaming
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FRAME|WORK: A Chasuble from 18th-century France

FRAME|WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. This week, we feature two exquisite 18th-century French liturgical vestments, a chasuble and a dalmatic, from the Museums’ permanent collections. Unfortunately, these garments are not currently on view, but please enjoy this exclusive virtual viewing!

Chasuble and Dalmatic, ca. 1700–1710. France, probably Paris. Silk, metallic thread; cut velvet, embroidery (laid work, couching, padded couching). Museum purchase, Dorothy Spreckels Munn Bequest Fund. 2004.9.1.1–2

Chasuble
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FRAME|WORK: Flora and Pomona by Edward Burne-Jones

The integration of art and beauty into every aspect of life was one of the foremost tenets of the Aesthetic Movement. Artists who subscribed to this ideal stepped outside of the confines of their medium of choice and experimented with all variety of design: painters became furniture designers and architects designed textiles. This week’s FRAME|WORK features two luscious tapestries from the Museums’ permanent collections included in the special exhibition The Cult of Beauty: The Victorian Avant-Garde, 1860–1900 (on view at the Legion of Honor through June 17). Created by Edward Burne-Jones for Morris & Co., Flora and Pomona exemplify the aesthetics of the Aesthetic Movement.

Edward Burne-Jones (English, 1833–1898) for Morris & Co. Flora (left) and Pomona (right), 1886–1920. Wool, silk, cotton; tapestry weave. Museum purchase, Dorothy Spreckels Munn Bequest Fund. 2001.120.1–2.

Flora and Pomona
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FRAME|WORK: George Washington by Rembrandt Peale

FRAME | WORK is a weekly blog series that highlights an artwork in the Museums' permanent collections. On Monday, the Museums were closed in observance of Presidents Day and today is the birthday of American painter Rembrandt Peale (1778–1860). In honor of these two occasions, we feature Peale’s iconic portrait of George Washington, which is currently on display in Gallery 27 at the de Young.

Rembrandt Peale (American, 1778–1860). George Washington, ca. 1854. Oil on canvas. Memorial gift from Dr. T. Edward and Tullah Hanley, Bradford, Pennsylvania. 69.30.214

George Washington
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