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Archive for the ‘Pissarro’s People’ Category

Addy’s Rad Day

Guest post by Adeline’s Daddy

Rachel and I have been talking about making it out to the Pissarro’s People exhibition at the Clark since it opened back in June. All things Life and Child, have been keeping us away, but being that this was the last weekend and the planets aligned for us, we made it out. It was a rainy fall day, but beautiful none the less and the colorful tree-lined drive was art in itself. As is common in our baby-filled life we arrived and tended to Addy’s every need for about a half an hour, and then we were off to explore. Addy must now climb up every set of stairs (aided of course), and climb she did, excited to see the paintings that were hanging just out of sight.

I was slightly bummed when I was told that I couldn’t take photos once we were inside the exhibition, but I did snap this photo right before we went in.

It was a great exhibition. I’ve always been a big fan of the Impressionists and this was great display focused on portraits and scenes focused on people. Addy really wanted to walk around the room, and I thought this may be a distraction (and possible annoyance) for the very packed house of people intent on taking in this once-in-a-lifetime viewing. But many people were just as happy to see this cute kid walking around holding Daddy’s hand, ooohhhing and ahhhing, and hogging some of Pissarro’s spotlight. We did have to make it slightly brief and kept moving to some of the other exhibitions, and for Addy to exhibit her cuteness. We stopped at the gift shop at the end of the day and picked up a new set of board books for Addy. Pretty awesome.

After everything was packed up and we were about to leave, I had to take a shot of part of the Pissarro bio leading upstairs, since it described the day nicely. It was pretty…

Actually, I would more likely call it…

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By Norma, guest blogger
 
Last week, my quilting buddies and I visited the Clark to see the El Anatsui installation at Stone Hill Center. El Anatsui was born in Ghana and now lives in Nigeria, where he makes monumental sculptures from discarded liquor tops. He wires them together and makes a sort of metal fabric, which he then drapes, pleats, and places them on the wall.
Did I say they are enormous? It’s hard to tell from this picture of Delta, although I guess you can see the floor and the ceiling and get an idea of the scale.
Strips of Earth’s Skin is even bigger. I really wanted to touch it, but I didn’t.
This one, Intermittent Signals made me gasp as I entered the room. The golden colors took on a glow that reminded me of Egyptian splendor. It wrapped around two walls and ended up draping on the floor.
Barbara and Nike getting a close-up view.
Some of the tops were folded and spiraled around into circles that were joined together by wire.
In these last two you can read some of the names of the liquor companies.

There are only three pieces in the installation, but it was well worth the trip just to see them. El Anatsuiwas in Stone Hill Center, the newer section of the museum, which is a whole separate building. We could have taken shuttles up to the main building , but we opted to walk on the path through the woods. It was a lovely walk on a beautiful day.

At the main building we saw Pissaro’s People, the work of Camille Pissarro (1830–1903). This was a large exhibition with many rooms of his paintings. Although Pissarro was best known as a landscape painter, he had a lifelong interest in the human figure and painted people from many walks of life. We enjoyed this and the other special exhibit, Spaces, which were large-scale photographs by Candida Höfer and Thomas Struth.
 
It truly was a wonderful trip, and our heads were spinning with ideas.
 
[This post originally appeared on the blog News from Norma, and has been reprinted with permission.] 

Image credits:

All photos courtesy of Norma.

El Anatsui (Ghanaian, born 1944), Delta, 2010. Found aluminum and copper wire, 15 ft. 3 in. x 11 ft. 3 in. (464.8 x 342.9 cm). Private collection [Courtesy of the artist and Jack Shainman Gallery, NY]

El Anatsui (Ghanaian, born 1944), Strips of Earth’s Skin, 2008. Found aluminum and copper wire, 12 ft. 10 in. x 22 ft. 10 in. (330.2 x 696 cm). The Broad Art Foundation, Santa Monica [Courtesy of the artist and Jack Shainman Gallery, NY]

El Anatsui (Ghanaian, born 1944), Intermittent Signals, 2009. Found aluminum and copper wire, 11 x 35 ft. (335.3 x 1066.8 cm). The Broad Art Foundation, Santa Monica [Courtesy of the artist and Jack Shainman Gallery, NY]

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By Kathleen Morris, the Sylvia and Leonard Marx Director of Collections and Exhibitions and Curator of Decorative Arts

I spend much of my days working on future exhibitions. At any time, we are in the midst of many projects, each of them at a different point of evolution.  For a complex show like Pissarro’s People, the planning takes many years and involves scores of people. Seeing such a show come together—and being part of the team that turns a curator’s idea into a physical reality—is incredibly rewarding. Smaller exhibitions may not take as much time, but each of them presents their own challenges as we shepherd them to fruition. 

This weekend we are opening three exciting exhibitions. For many of us, this is the culminating moment of a tremendous amount of work—and we feel proud and thrilled to open the doors and invite the public in.  This summer we will be offering our visitors three great exhibition experiences. Even as I go back to my daily concerns of chasing down details for shows that open six, twelve, twenty-four, or more months from now, I’ll relish those moments I can escape to the galleries to enjoy three “finished” projects. 

Here’s just a sneak peek at what you’ll see in the Pissarro’s People exhibition:

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See you in the galleries!

Image credits:

Camille Pissarro (French, 1830–1903), The Marketplace, 1882. Gouache on paper,
31 3/4 x 25 1/2 in. (80.6 x 64.8 cm). Courtesy of The Metropolitan Museum of Art. Private collection, L.1984.54.1

Camille Pissarro (French, 1830–1903), Haymakers, Evening, Éragny, 1893. Oil on canvas, 21 3/8 x 25 3/4 in. (54 x 65 cm). Joslyn Art Museum, Omaha, Nebraska. Endowment Fund Purchase, JAM1946.28

Camille Pissarro (French, 1830–1903), Self-Portrait, 1873. Oil on canvas, 22 x 18 5/16 in. (56 x 46.5 cm). Musée d’Orsay, Paris. Gift of Paul-Émile Pissarro, 1930, RF 2837

Camille Pissarro (French, 1830–1903), The Harvest, 1882. Tempera on canvas, 27 11/16 x 49 9/16 in. (70.3 x 126 cm). The National Museum of Western Art, Tokyo. Donated by the heirs of Mr. Kojiro Matsukata, P.1984-3

Camille Pissarro (French, 1830–1903), Jeanne Pissarro, called Minette, Sitting in the Garden, Pontoise, c.1872. Oil on canvas, 28 3/4 x 23 5/8 in. (73 x 60 cm). Private collection

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Pissarro’s Colorful People

By Sarah Hammond, Curatorial Assistant

Having worked on our summer exhibition Pissarro’s People with Rick Brettell and the Clark curatorial staff for the last year, I am filled with eager anticipation as we count down the days to the official opening.

Over the last several weeks, our intrepid preparators have been hard at work: they have painted walls, installed pictures, cut labels, and aimed lights, all to make Camille’s characters come to life.

As I’ve wandered through the in-progress galleries, dodging tool carts and light cans, I have been struck by how colorful our show is. To be sure, in an exhibition of works by an Impressionist painter, color unsurprisingly plays a major role, and Pissarro’s People is no different.

And while Pissarro’s blues, crimsons, and greens seem to radiate forth from each canvas—thousands of repeated dabs, dots, and strokes appear woven together, like threads of a tapestry—it is not just the hues of the paints that are so vibrant.

The people in the pictures themselves form a colorful crew, a cast of distinct roles. The favorite child, the dreamy maid, the exhausted worker, the impassioned radical, the prudent shopper: all mingle together in the Clark’s galleries, seeming to fill our rooms with a bustling din as each painting, drawing, and print vies for our attention.

I hope you’ll have a chance to visit the exhibition this summer, to meet and greet Pissarro’s colorful people!

For more information about Pissarro’s People, check out the special website dedicated to the exhibition.

Image credits:

Camille Pissarro (1830–1903), The Marketplace, 1882. Gouache on paper, 31 3/4 x 25 1/2 in. (80.6 x 64.8 cm). Courtesy of The Metropolitan Museum of Art. Private collection, L.1984.54.1

Camille Pissarro (1830–1903), Apple Harvest, 1888. Oil on canvas, 24 x 29 1/8 in. (61 x 74 cm). Dallas Museum of Art. Munger Fund, 1955.17.M

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