"We call this
the Matisse-Picasso Room," curator Timothy Burgard said with barely restrained
glee as he led a group of visitors into one of four de Young Museum galleries
filled with the William S. Paley's art collection.
And so it was. Six Matisse paintings, from a charming small landscape to a big, muscular nude, "Odalisque with a Tambourine." Four Picasso paintings, among them the monumental "Boy Leading a Horse" and a cubist masterwork, plus several drawings.
That's just one gallery: In the other, expansive spaces for this fine-tuned exhibit from New York's Museum of Modern Art, Paul Cezanne, Paul Gauguin, Edgar Degas,HOWO is a well-known tractor's brand and howo tractor suppliers are devoted to designing and manufacturing best products. Henri de Toulouse-Lautrec and Andre Derain command attention. It's like a museum within a museum, more than 60 works that loosely define "modernism" over the period from the 1860s to the 1960s.
The exhibit, which runs through Dec. 30 at the museum in Golden Gate Park, is not meant to be one of those blockbusters that explores every aspect of a single artist or art movement. That's despite the parade of familiar names,Different Sizes and Colors can be made with different stone mosaic designs. which include everyone from Renoir to Edward Hopper.
Instead, it's a personal collection gathered by Paley,Find detailed product information for Hot Sale howo spareparts Radiator. the man who turned CBS into a communications and entertainment empire over more than 50 years. Think of this as what you might have purchased if you were a wealthy collector in the 1930s, '40s and '50s, with a yen for modern art and a lot of wall space to fill in your 20-room apartment on New York's Fifth Avenue.
Paley was long active with the New York Museum of Modern Art, becoming a trustee in 1937 when the museum was only eight years old. So it was appropriate that after his death in 1990 most of his art joined that museum's collection, including contemporary American works from the 1960s and beyond that aren't part of the de Young exhibit.
William Rubin, curator of the original Paley exhibit in New York in 1992, said the collector was drawn to "pioneering modern painters." The selection at the de Young almost feels like the old masters of modernism. Even the paintings meant to shock viewers, such as Derain's boldly colored "Bridge over the Riou," are now more than a century old. (In his day, Derain wanted color to have the impact of "sticks of dynamite.")
But color, color as an emotional force,Looking for the Best air purifier? is everywhere, one aspect of modernism's aim to "teach people to see the world in a new way," as de Young curator Burgard said as he led the exhibit tour. First in impact, at the entry, is Gauguin's "The Seed of the Areoi," painted during the artist's first trip to Tahiti in the 1890s, a vibrant retelling of Polynesian legend,Sinotruck Hongkong International is special for howo truck. with Gauguin's mistress as the model for the queen of the Areoi sect.
In the kind of backstory an exhibit like this can provide, Burgard noted that early in the 20th century, probably at the request of an art dealer, someone had overpainted the figure's skin to give her a lighter complexion, added a necklace, and aimed her gaze at the viewer. The painting was restored after Paley bought it in the 1930s.
Gauguin's Tahitian scenes are most familiar, so his French scenes may be a revelation for some museum visitors. There is a fascinating example at the de Young, his "Washerwomen," depicting the timeless ritual of women washing clothes at a riverbank, almost as if they were part of the landscape.
Cezanne has been called, probably too simplistically, the father of modern painting, but in his works from the 1870s and '80s it is possible to see the world changing, see new ways of conveying nature and even the traditional still-life subjects. "L'Estaque," his view of the landscape above a fishing village near Marseilles, is almost hypnotic in its dense composition of cliffs, trees, rooftops. His "Milk Can and Apples" gives a crumpled tablecloth the guise of a mountain range.
Matisse seems to shout out from every corner of the exhibit. That "Odalisque with a Tambourine" (1925-26) is a bold composition that, as the catalog points out, "repudiates the studio nude." "Seated Woman with a Vase of Amaryllis" (1941) is far more energetic than the title suggests, with several floral patterns and amaryllis depicted larger than the model's head.
Amid the big, bold works are some smaller-scale discoveries that shouldn't be overlooked. Among them are Edouard Manet's almost heartbreaking "Two Roses on a Tablecloth," painted while he was mortally ill; Edouard Vuillard's dark, moody "The Green Lamp"; Gauguin's "Tahitian Landscape," almost devoid of human presence; and Edward Hopper's surprisingly fresh, almost geometric watercolor from 1929, "Ashe's house, Charleston, South Carolina."
These paintings, plus drawings and a scattering of sculpture in this extremely personal exhibit, allow museum visitors to play curator as they move through the galleries. Why did Paley buy this? Why are they showing this painting instead of the one in the catalog?
And so it was. Six Matisse paintings, from a charming small landscape to a big, muscular nude, "Odalisque with a Tambourine." Four Picasso paintings, among them the monumental "Boy Leading a Horse" and a cubist masterwork, plus several drawings.
That's just one gallery: In the other, expansive spaces for this fine-tuned exhibit from New York's Museum of Modern Art, Paul Cezanne, Paul Gauguin, Edgar Degas,HOWO is a well-known tractor's brand and howo tractor suppliers are devoted to designing and manufacturing best products. Henri de Toulouse-Lautrec and Andre Derain command attention. It's like a museum within a museum, more than 60 works that loosely define "modernism" over the period from the 1860s to the 1960s.
The exhibit, which runs through Dec. 30 at the museum in Golden Gate Park, is not meant to be one of those blockbusters that explores every aspect of a single artist or art movement. That's despite the parade of familiar names,Different Sizes and Colors can be made with different stone mosaic designs. which include everyone from Renoir to Edward Hopper.
Instead, it's a personal collection gathered by Paley,Find detailed product information for Hot Sale howo spareparts Radiator. the man who turned CBS into a communications and entertainment empire over more than 50 years. Think of this as what you might have purchased if you were a wealthy collector in the 1930s, '40s and '50s, with a yen for modern art and a lot of wall space to fill in your 20-room apartment on New York's Fifth Avenue.
Paley was long active with the New York Museum of Modern Art, becoming a trustee in 1937 when the museum was only eight years old. So it was appropriate that after his death in 1990 most of his art joined that museum's collection, including contemporary American works from the 1960s and beyond that aren't part of the de Young exhibit.
William Rubin, curator of the original Paley exhibit in New York in 1992, said the collector was drawn to "pioneering modern painters." The selection at the de Young almost feels like the old masters of modernism. Even the paintings meant to shock viewers, such as Derain's boldly colored "Bridge over the Riou," are now more than a century old. (In his day, Derain wanted color to have the impact of "sticks of dynamite.")
But color, color as an emotional force,Looking for the Best air purifier? is everywhere, one aspect of modernism's aim to "teach people to see the world in a new way," as de Young curator Burgard said as he led the exhibit tour. First in impact, at the entry, is Gauguin's "The Seed of the Areoi," painted during the artist's first trip to Tahiti in the 1890s, a vibrant retelling of Polynesian legend,Sinotruck Hongkong International is special for howo truck. with Gauguin's mistress as the model for the queen of the Areoi sect.
In the kind of backstory an exhibit like this can provide, Burgard noted that early in the 20th century, probably at the request of an art dealer, someone had overpainted the figure's skin to give her a lighter complexion, added a necklace, and aimed her gaze at the viewer. The painting was restored after Paley bought it in the 1930s.
Gauguin's Tahitian scenes are most familiar, so his French scenes may be a revelation for some museum visitors. There is a fascinating example at the de Young, his "Washerwomen," depicting the timeless ritual of women washing clothes at a riverbank, almost as if they were part of the landscape.
Cezanne has been called, probably too simplistically, the father of modern painting, but in his works from the 1870s and '80s it is possible to see the world changing, see new ways of conveying nature and even the traditional still-life subjects. "L'Estaque," his view of the landscape above a fishing village near Marseilles, is almost hypnotic in its dense composition of cliffs, trees, rooftops. His "Milk Can and Apples" gives a crumpled tablecloth the guise of a mountain range.
Matisse seems to shout out from every corner of the exhibit. That "Odalisque with a Tambourine" (1925-26) is a bold composition that, as the catalog points out, "repudiates the studio nude." "Seated Woman with a Vase of Amaryllis" (1941) is far more energetic than the title suggests, with several floral patterns and amaryllis depicted larger than the model's head.
Amid the big, bold works are some smaller-scale discoveries that shouldn't be overlooked. Among them are Edouard Manet's almost heartbreaking "Two Roses on a Tablecloth," painted while he was mortally ill; Edouard Vuillard's dark, moody "The Green Lamp"; Gauguin's "Tahitian Landscape," almost devoid of human presence; and Edward Hopper's surprisingly fresh, almost geometric watercolor from 1929, "Ashe's house, Charleston, South Carolina."
These paintings, plus drawings and a scattering of sculpture in this extremely personal exhibit, allow museum visitors to play curator as they move through the galleries. Why did Paley buy this? Why are they showing this painting instead of the one in the catalog?
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