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LUNCHEON OF THE BOATING PARTY
Pierre-Auguste Renoir
( between 1880 and 1881 )
Shortly after confirming his purchase of the Luncheon of the Boating Party, Duncan Phillips wrote an enthusiastic letter from Paris informing his treasurer of the acquisition: “The Phillips Memorial Gallery is to be the possessor of one of the greatest paintings in the world … It will do more good in arousing interest and support for (the Phillips Memorial Gallery) than all the rest of our collection put together. Such a picture creates a sensation wherever it goes.” In an affirmation of Phillips’s foresight, these statements have proved themselves correct. The Luncheon of the Boating Party is undoubtedly among the most visited, commented upon, and memorable paintings in The Phillips Collection.
Most of the models in the painting, all friends of the artist, have been identified. In the right foreground, Angèle, one of Renoir’s frequent models, turns her head toward the standing Maggiolo, a journalist. The painter Gustave Caillebotte sits backward in his chair and stares across the table at Aline Charigot, Renoir’s future wife, who coos at her terrier, while the burly Alphonse Fournaise Jr., son of the restaurant’s owner, leans against the balcony’s railing surveying the scene. In the center, Baron Raoul Barbier, a former cavalry officer, is seated with his back to the viewer speaking to the woman resting on her elbows on the railing, who is thought to be Alphonsine Fournaise, the daughter of the proprietor. Across the table from Barbier is the actress Ellen Andrée, drinking from a glass. Behind her, the top-hatted Charles Ephrussi, a banker and editor of Gazette des beaux-arts, chats with Jules Laforgue, poet, critic, and Ephrussi’s personal secretary. In the upper right, Eugène Pierre Lestringuez, an official in the Ministry of the Interior, laughs with Jeanne Samary, a famous actress with the Comédie Française, while the artist Paul Lhote, a close friend of Renoir’s, cocks his head. Renoir has immortalized his friends to such a degree that the image is “not anectdotal but monumental.” Marjorie Phillips was inspired to write: “In the light of time it does not matter much who the figures are. They are every man, all people.” Renoir’s magnus opus is a very tightly composed work, uniting within one image the time-honored compositional traditions of figure painting, still life and landscape.
Hailed as “one of the most famous French paintings of modern times” when it was first exhibited, the Luncheon of the Boating Party was flanked by Alfred Sisley’s Snow at Louveciennes and Banks of the Seine at the Phillips Memorial Gallery in December 1923. At the time, Phillips had intentions of forming a unit of Renoir’s works; however, as the painting came to serve its purpose as a magnet attracting to the museum “pilgrims to pay homage from all over the civilized world,” Phillips realized that the Luncheon of the Boating Party was the only major work by the artist that he would need.
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Outdoor dining is the necessary rage in 2020, and Pierre-Auguste Renoir’s sumptuous The Luncheon of the Boating Party (1881) is one of the most idyllic images of its charms. Now in the Phillips Collection in Washington, DC, the painting’s ode to al fresco fun is both well-known and well-loved—but there are plenty of layers to the image too......
news.artnet.com/art-world/renoirs-luncheon-of-the-boating...
artwatch.org.uk/an-unreported-tragedy-picassos-warning-a-...
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Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
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Note-Grids are a tool for collecting and connecting objects of thought (in this case, words).
They treat words and other manifestations of thought as objects that can be freely manipulated to create new meaning.
They break meaning up into individual words to facilitate a more fluid, intuitive, and improvisational approach to knowledge production.
Follow Note Grids on tumblr: notegrids.tumblr.com/
To read some direct statements about these ideas, see "Note-Grids: Statements" www.flickr.com/photos/asgood/sets/72157626654002747/
To see lots of words and patterns you can use to remix meaning, see "Note-Grids: Scores"
www.flickr.com/photos/asgood/sets/72157626782923062/
To see where this might be going, see "Note-Grids: Directions"
Repurposed vintage jewelry statement necklace. Handmade, wire wrapped vintage beads.
dabchick vintage gems
@ the new bus station, Aberdeen.
Was out for a walk today and saw the wall of statements posters were up already. Officially opens on Tuesday. You'd defiantly need to go and have a look at them in person.
Yes kids, back in the day, this was how all writing was done.
My sweetheart is preparing to go back to school for her doctorate. This morning she was spread out on the kitchen table compiling notes.
Day 338 of Project 365.
...or rather asking a question
I think it said, What happens if I forget how to feel?
Or something like that
Statement necklace featuring large red beads hand-embroidered on to felt, embellished with black seed beads, finished with a red satin ribbon.
The ribbon measures 22" on each side but can be tied as you like to achieve the length you desire.
The necklace width is 6.5" and the length is 2".
This bracelet is my new idea and the beginning of the autumn series of jewelry. I made it from copper wire and polymer clay
The statement was made as a response to the government's demands to name the leaders of the movement