Shin Ōhashi Bridge (Shin Ōhashi) from the series Twenty Views of Tōkyō (Tōkyō nijū kei), Hasui Kawase, 1926
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William Turner Dannat (1853–1929)
Study for "An Aragonese Smuggler"
1881
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Whoever is running the socials for the Art Institute, they aren't paying you enough.
[ID: An instagram post from the Art Institute of Chicago Museum; it shows a professional photograph of a tired-looking young man in a business suit, sitting in front of a holiday decoration in the form of giant Christmas lights. He is looking into the middle distance with headphones in, and seems unaware of the photographer. It is captioned "Christmas has come and gone, and we could all use a little quiet time to recuperate. New York street photographer Melanie Einzig finds a young man in a moment of exhaustion in this 1999 photograph, "Holiday Spirit, Avenue of the Americas."]
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Pair of firedogs representing Venus and Mars, designed by Quentin-Claude Pitoin and modeled by Etienne-Maurice Falconnet
French, c. 1769
gilt bronze and iron supports
Art Institute of Chicago
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The old blind guitarist, 1903, Art Institute of Chicago - by Pablo Picasso (1881 – 1973), Spanish
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Barbara Kruger, Untitled (Perfect), (collage of self-adhesive vinyl letters and frosted mylar, cut-and-tipped to gelatin silverprint), 1980 [Art Institute of Chicago, Chicago, IL. © Barbara Kruger]
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For a slow Sunday here are some Fabergé nephrite jade snails from Russia:
Carl Fabergé, late 19th/early 20th century, carved nephrite jade, 4.8 x 8.1 x 3.2 cm, Victoria and Albert Museum
Fabergé Workshop, c. 1900, carved nephrite jade with diamond eyes, 5.5 x 12.3 x 4.1 cm, Cincinnati Art Museum
Fabergé Workshop, c. 1885-1905, carved nephrite jade with rose aventurine quartz shell and gold tentacles, 4.9 × 4.8 × 10.8 cm, The Art Institute of Chicago
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Winslow Homer (1836-1910)
"After the Hurricane, Bahamas" (1899)
Watercolor and graphite on paper
Realism
Located in the Art Institute of Chicago, Chicago, Illinois, United States
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Finally remembered that having an Art Institute membership means I can go there…whenever. Not just as an event of the day, or to see a specific exhibit, or as a planned visit. I can just…go. And wander. Or read. Or walk through for 15 minutes just cuz. Because I have a membership so I get in for free (girl math). This is a revelation. Catch me reading in there on random benches all the time in 2024.
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The Awakening Of The Forest (L'éveil de la forêt) • 1939.
Paul Delvaux • 1897-1994 • Belgian • Surrealist
Post #1
Paul Delvaux's canvases contain, among other things, a plethora of female nudes. Like classic nudes, they and their surroundings are painted with precise realism. Unlike classic nudes, however, the women are not posing as such but going about their business within fantasy-filled worlds. They stare vacantly toward the unknown and largely do not engage with one-another. It is as if they are captured in a moment in time. If one were to imagine, though, a Delvaux painting coming to life, these women might very well be engaged in robotic, ritualistic movement - the Stepford wives of a surreal canvas. At times disconcerting, the canvas sometimes include fully-dressed,voiristic men. Enigmatic as they are, Delvaux's women hold a beautiful, enigmatic appeal.
Delvaux's inspiration for his visual imagery came from books he loved as a child. Indeed, the painting above is a recreation of a scene from Jules Verne's Journey to the Center of the Earth. He also utilized his childhood fears and dreamscapes as creative material for his visual narratives.
Though not depicted in this post (perhaps next post) skeletons, trains and train stations, and architecture are common themes in Delvaux paintings.
La pause du jour (The Break of Day) • 1937 • The Guggenheim Museum. [This was the first Surrealist painting Peggy Guggenheim added to her collection.]
Below: Femme dans une grotte (Woman in a cave) • 1936 • Oil on canvas • Thyssen Bornemisza Museum, Madrid
La Sirène au claire de lune (A Mermaid in Full Moonlight) • 1940 • Southampton City Art Gallery, Britain. [ As a boy, Delvaux loved the story of the Sirens in The Odyssey.]
Le jardin nocturne (The Night Garden) • 1941 • Location unknown
Les grandes sirènes (The Great Sirens) • 1947 • Metropolitan Museum of Art, New York City
Hommage à Jules Verne • 1971 • Fondation de Paul Delvaux, Saint-Idesbald, Belgium
La Vénus endormie (The Sleeping Venus) • 1944 • Tate Modern, London
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River and Mountain Landscape, Xiang Shengmo (1597-1658)
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works at the Chicago Art Institute that reminded me of books I enjoyed:
1. The Lovers (1855, William Powell Frith) — Jane Eyre by Charlotte Brontë
2. Bacchus Feeding a Panther (1792, John Deare) — The Secret History by Donna Tartt
3. The Song of the Lark (1884, Jules Adolphe Breton) — Tess of the D’Urbervilles by Thomas Hardy
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Some prints&drawings from the Art Institute's collection, which I saw during a recent lecture at the museum and thought were fun to share. I particularly like the Picasso print, which manages to give "postage stamp" without me really understanding why.
[ID: Three images; the first, A Triple Portrait of Hermine, Emilia, and Helena by Emilie Mediz-Pelikan, is a realistic sketch showing three young women, two in profile facing a third in the center; they are wearing large floofy blouses and have beautiful braided and coiffed hair. The lower left, Guitar on a Table by Pablo Picasso, is a print containing several blocks of color and shapes, with ink over top to add texture; an oval in the center does resemble a table, with a blocky guitar lying on it, though that is only a small portion of the image. The third, Starving Spirits by Paul Klee, is a pastel sketch on linen showing several vaguely human-looking shapes drawn with thin angular lines, walking towards a small table with a pitcher and a plate on it; the only color is the background, which is a wild wash of blue with a red streak in it which appears to be leading the "spirits" to the table.]
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Tarquin and Lucretia by Jacopo Robusti, called Il Tintoretto
Italian, 1578-1580
oil on canvas
Art Institute of Chicago
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