Install Theme
Paul Cézanne Les Baigneurs (grande planche) [The Large Bathers], 1896–97 Transfer and color lithograph, second state of three The Teaching Collection of Marvin Vexler, ’48 Over 150 of the Blanton’s finest prints and drawings will be displayed together for the first time in the exhibition Luminous: 50 Years of Collecting Prints and Drawings at the Blanton. Among them is this beautiful color lithograph by Paul Cezanne! Luminous opens June 8: http://www.blantonmuseum.org/exhibitions/details/luminous

Paul Cézanne

Les Baigneurs (grande planche) [The Large Bathers], 1896–97

Transfer and color lithograph, second state of three

The Teaching Collection of Marvin Vexler, ’48

Over 150 of the Blanton’s finest prints and drawings will be displayed together for the first time in the exhibition Luminous: 50 Years of Collecting Prints and Drawings at the Blanton. Among them is this beautiful color lithograph by Paul Cezanne!

Luminous opens June 8: http://www.blantonmuseum.org/exhibitions/details/luminous

sfmoma: Happy birthday to Jasper Johns, born 83 years ago today!When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive. – Jasper JohnsImage: Installation view, “Jasper Johns: Seeing with the Mind’s Eye.” In celebration of Jasper Johns’ birthday, we’d like to share one of the artist’s prints from the Blanton collection: Jasper JohnsFigure One, 1963 Lithograph on handmade paper The Leo Steinberg Collection, 2002

sfmoma:

Happy birthday to Jasper Johns, born 83 years ago today!

When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive. – Jasper Johns

Image: Installation view, “Jasper Johns: Seeing with the Mind’s Eye.”

In celebration of Jasper Johns’ birthday, we’d like to share one of the artist’s prints from the Blanton collection:

Jasper Johns
Figure One, 1963

Lithograph on handmade paper

The Leo Steinberg Collection, 2002

thegetty: blantonmuseum: Another inspiring installation shot from the Blanton’s current exhibition, Through the Eyes of Texas: Masterworks from Alumni Collections. Looking closely, what connections do you see between the works in this space? Photo courtesy Mary Myers. May we add a few more images to this group and call it a mini-digital exhibition? (No paperwork needed.) L: Portrait of Madame Brunet, Edouard Manet, French, about 1860-1863. The J. Paul Getty Museum. R: An Oak Tree in Winter, William Henry Fox Talbot, English, probably 1842-1843. The J. Paul Getty Museum. We love this idea and would like to invite others to add to our digital exhibition! Thank you!

thegetty:

blantonmuseum:

Another inspiring installation shot from the Blanton’s current exhibition, Through the Eyes of Texas: Masterworks from Alumni Collections. Looking closely, what connections do you see between the works in this space?


Photo courtesy Mary Myers.

May we add a few more images to this group and call it a mini-digital exhibition? (No paperwork needed.)

L: Portrait of Madame Brunet, Edouard Manet, French, about 1860-1863. The J. Paul Getty Museum. R: An Oak Tree in Winter, William Henry Fox Talbot, English, probably 1842-1843. The J. Paul Getty Museum.

We love this idea and would like to invite others to add to our digital exhibition! Thank you!

Thomas Hart Benton Romance, 1931-1932 Tempera and oil varnish glazes on gesso panel on board Gift of Mari and James A. Michener, 1991 This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity.

Thomas Hart Benton

Romance, 1931-1932

Tempera and oil varnish glazes on gesso panel on board

Gift of Mari and James A. Michener, 1991

This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity.

Byron Kim Synecdoche, 1991/1998 Oil and wax on twenty panels Michener Acquisitions Fund, 1998 At first glance, Synecdoche reads like a series of abstract, monochromatic paintings, ranging from light pink to very dark brown. Through the process of looking, the viewer discovers a nearby list of twenty names in a gridded format that parallels the panels’ arrangement and indicates that these panels are, in fact, portraits. The hue of each panel represents the skin color of twenty people that Byron Kim randomly encountered on The University of Texas at Austin campus. Together, the panels represent the University population. Synecdoche is a term in literary criticism meaning a part that stands in for a whole. Here it refers at once to the color of each panel (which stands in for the individual sitter) and to all of the panels together (which stand in for the University population). Yet by conflating painting and personhood in such an irreverent manner, the work points to the futility—the absurdity even—of reducing human beings to their skin color alone.

Byron Kim

Synecdoche, 1991/1998

Oil and wax on twenty panels

Michener Acquisitions Fund, 1998


At first glance, Synecdoche reads like a series of abstract, monochromatic paintings, ranging from light pink to very dark brown. Through the process of looking, the viewer discovers a nearby list of twenty names in a gridded format that parallels the panels’ arrangement and indicates that these panels are, in fact, portraits. The hue of each panel represents the skin color of twenty people that Byron Kim randomly encountered on The University of Texas at Austin campus. Together, the panels represent the University population.


Synecdoche is a term in literary criticism meaning a part that stands in for a whole. Here it refers at once to the color of each panel (which stands in for the individual sitter) and to all of the panels together (which stand in for the University population). Yet by conflating painting and personhood in such an irreverent manner, the work points to the futility—the absurdity even—of reducing human beings to their skin color alone.