Students Create Mural "In Their Words" and Honor Black History Month

The info in this article comes from a Delaware Art Museum press release...
In honor of Black History Month, the Delaware Art Museum unveiled an Aaron Douglas-inspired mural created by local high school students. The February 4 unveiling ceremony included a short presentation during which the participating students and the project leader -- arts educator/artist Chad Cortez Everett -- spoke about the process.

The mural is part of the Museum's Mural Arts Interpretation Project, a student-art initiative created last fall with the goal of exposing under-served students -- who have not taken part in an art class or had access to art education since middle school -- to meaningful art education while raising public awareness of cultural diversity. The project includes eight high school students from William Penn and Dickinson High Schools.

The students' mural is a large-scale painting inspired by Study for a Mural by Aaron Douglas, an African American illustrator and muralist and important Harlem Renaissance artist.Study for a Mural (c.1963) -- currently on view in the Museum's modern American Art gallery -- was a mural design for the home of Dr. W.W. and Mrs. Grace Goens, a prominent African American family in Wilmington. Douglas painted two murals for the Goens family, and this study presents his design for the second mural for their Hockessin home in 1964.

Over the course of 10 weeks, Everett and the students met to discuss how to preserve the spirit of Douglas' work while transforming it to reflect themselves and today's society. After learning about Douglas and the Harlem Renaissance from Curator of American Art Heather Campbell Coyle, the students discussed the world they live in and how it might differ from Douglas' era. The students incorporated text from their discussions into the design and learned how to transfer an image to large canvas panels.

The words the students discussed and chose were born out of the original themes of the piece: African American history, cultural significance, and societal progress. As the students planned the mural design, they developed images and symbols that serve as important markers of their own personal histories. After a discussion about monochromatic color (as Douglas typically painted) the students chose to use local color and edit as they went, preserving a homage to Douglas' color scheme in the bottom right corner of the piece. The three-panel piece, which will be named during Thursday's presentation, will be on display on the Museum's lower level during the month of February.

The Museum is open late every Thursday evening from 4:00-8:00pm with free general admission. Special events and programs for all ages are offered on select nights throughout the year.

See www.delart.org.

Visual Interpretations of Oscar Wilde's Salome at Delaware Art Museum

Salomé, 2011, Barry Moser

Oscar Wilde had quite a reputation as a provocateur in late 19th Century Victorian England -- and it's that reputation, as well as his wit and his sexuality, that people commonly remember today, even moreso than his work.

In the early 1890s, shortly after the publication of his famous (and only) novel "The Picture of Dorian Grey," Wilde became a success as a playwright. The one-act play  "Salomé" was written in French after a conversation about the Biblical story of John the Baptist inspired him. Wilde, of course, was Irish, and he usually wrote in English. He chose the language because of his love of France -- the country he would retire to after he served jail time for “gross indecency with other men” just a few years later.

“Salomé” is short and brutal, centering around a beautiful young woman living with the stigma of her mother's accused incestuous marriage to get stepfather, Herod II. When John (referred to as C) insults her mother and spurns her, she exacts her revenge: When Herod offers her anything she wants if she dances for him, she chooses Jokanaan’s head on a platter. Literally.

Salomé Kisses the Head of Iokanaan, 2011, Barry Moser

The Dancer's Reward, 1906, Aubrey Vincent Beardsley 

Salome was first published in English in 1894, translated by by Wilde's lover, Lord Alfred Douglas, and with illustrations by Aubrey Beardsley. The translation was more flowery than Wilde's style, the illustrations, compared to “the scribbles a precocious schoolboy” by Wilde himself, are sometimes over the top. In 2011, Salome was re-translated by Joseph Donohue, in a style that most agree more closely fits with the way Wilde originally wrote it in French. The illustrations for this version are by Barry Moser; the etchings, in contrast with Beardsley’s style, have an almost photo-realistic look.

The cistern, 2011, Barry Moser

The exhibit starts with Moser's work. This seemed backward to me at first, but as I went through the room, it made sense. Moser's illustrations, placed in chronological order tell the story in images. By the time you get to the last one, you have his idea of what Salomé was really about (the captions on the wall help if you’re not familiar with Wilde’s version of the story). Moser sets a dark mood, featuring a diverse cast of Romans, Nubians, Jews, and Nazarenes. The etchings convey the feel of a stage play, or at least the feeling that real people are being portrayed.

"Let me kiss your mouth," 2011, Barry Moser

“Let me kiss your mouth” shows Jokanaan, the object of Salomé’s desire, despite his almost emaciated appearance, refusing her advances. Wilde plays with sexual objectification — Salomé is seen on both sides of it, and she commands the power position at all times, at least in her own mind. After Moser’s interpretation comes Beardsley’s. The two collections couldn’t be less alike, but, while Moser’s etchings are stunning, Beardsley’s are not inferior — just wildly different.

The Stomach Dance, 1906, Aubrey Vincent Beardsley 

Beardsley’s illustrations have a look that more closely resembles political cartoons, and he was pretty clearly making some statements of his own that weren’t actually in Wilde’s work -- for example, there is homoerotic imagery where there was none on “Salomé,” and Wilde is caricatured more than once (and not in a flattering way). In a couple of instances, Beardsley’s original submissions were rejected for being too bizarre, sexual, or off the map; the Rejected and Accepted versions are displayed together.

The Peacock Skirt, 1906, Aubrey Vincent Beardsley 

Despite Wilde’s criticism’s of Beardsley’s work, the lithographs are quite beautiful and captivating. “The Peacock Skirt” look as if it could be a high fashion illustration, but it does highlight the almost detached interpretation, as it doesn’t directly refer to anything in the play. As an exhibit as a whole, “Salomé” bridges over a century, showcasing a great difference in aesthetic. Some might argue that the Donohue/Moser update righted the wrongs of the 1894 Douglas/Beardsley collaboration -- and there’s little doubt that the update more accurately captures Wilde’s words as they were intended. But to be able to look back on the 1894 artwork in conjunction with Moser’s enhances the timeliness of Beardsley’s work. It was both a reflection of and a rebellion against its time, which is something that can’t be truly captured in the 21st Century.

See www.delart.org. 

Delaware Art Museum's 19th-Century American Art Galleries Reopen to the Public November 28

Release and photos courtesy of The Delaware Art Museum

The Delaware Art Museum is pleased to unveil its renovated and re-installed 18th- and 19th-Century American Art galleries — Galleries 1, 2, and 3 — to the public on Friday, November 28 from 10:00am-4:00pm.  Just in time for the holiday season, the beautifully redesigned space will display over 50 works of art, including many permanent collection objects that have not been on view for over 10 years. As part of this re-installation, the galleries will highlight 150 years of portraiture, sculpture, landscape painting, still life, and history painting.

"I am excited to be able to present our local Wilmington history within the context of the dynamic national art scene," explains Heather Campbell Coyle, Curator of American Art at the Delaware Art Museum. "The product of more than two years of research and planning, the redesigned space gives us the opportunity to showcase the Museum's outstanding collection of American art to the local community, visitors, and school groups in new and exciting ways."

The first gallery presents portraits that span 1757 through 1856, featuring familiar favorites by Benjamin West (1738-1820), Thomas Sully (1783-1872), and Raphaelle Peale (1774-1825). Two images of Delawarean women, five-year-old Anna Walraven (1846-1927) and Sally Ann Ross Paynter (1812-1866), will also be on view. These portraits, all produced within a 50-mile radius of the Delaware Art Museum, reflect the aspirations and accomplishments of local families.

The second gallery introduces landscape painting, which became very popular during the mid-1800s. The loan of Michele Felice Cornè's romantic overmantel painting (circa 1800), which hung at Mount Cuba Center in recent decades, provides a prelude to the meticulous landscape paintings of the Hudson River School. These evocative landscapes are joined by history paintings, sculptures, and a luscious still life by Severin Roesen (1815-1872).

In the third gallery, the story of landscape painting continues with works by George Inness (1825-1894) and John Twachtman (1853-1902), which now hang near an early painting by Robert Henri (1865-1929) and a pair of etchings by Thomas Moran (1837-1926) and local printmaker Robert Shaw (1859-1912). One wall has been hung salon-style, creating an interesting juxtaposition of 16 works of art from the Museum's 12,500-object permanent collection and select loans.

In November 2013, the Museum underwent a major renovation and reinstallation of its gallery dedicated to contemporary American art, which nearly doubled the amount of objects on view from the permanent collection. The reinterpretation of the permanent collection galleries allows the Museum to find new ways to present its history and material culture to visitors of all ages.

See www.delart.org.

August 'ArtStuff' #INWilm

This blog post also available on the NEW INWilmingtonde.com blog site...
 
IN the final sweltering days of summer, beat the heat #INWilm with sizzling ArtStuff! Vacation — OUT! Stay IN and join the fun…

Art is After Dark: Doggy Days of Summer at Delaware Art Museum

Friday, August 8, 6:00 -10:00pm | 2301 Kentmere Parkway

Art goes to the dogs this weekend…and this FREE event comes with an enthusiastic “four paws up” endorsement from Dewey the Art Dog! In partnership with Delaware Humane Association, this free event includes dog portraits by caricaturist Sam Mylin in the Copeland Sculpture Garden, plenty of treats for four-legged friends and drinks for you.  P.S. While you’re here, also check out Transitions: The Brandywine Photo Collective, an exhibit featuring works of 20 local artists, located in the Outlooks Gallery.

Always...Patsy Cline at New Candlelight Theatre

Running now through August 24 | 2208 Miller Road, Arden

Showtimes vary; visit nctstage.org for tickets & info

More than just a musical (BONUS: you get dinner, too), the show is based on a true story about Cline’s friendship with Houston fan Louise Seger, who befriended the star in a Texas honky-tonk in l961.  All the favorite and memorable songs you love of Cline’s are here: Crazy, I Fall to Pieces, Sweet Dreams and more. It’s a nostalgic journey back in time and a timeless tribute to one of country’s most beloved and best singers. 

Need more #ALLINFUN and #INbudget ArtStuff? Check out these ongoing programs…

Summer in the Parks throughout City Parks in Wilmington

Running now through August 15 | Varying locations throughout Wilmington

Visit thegrandwilmington.org/parks for complete info

For the second summer, Wilmington’s parks are alive with all manner of arts and culture, thanks to Summer in the Parks.  The FREE programs found everywhere from Titlon, Haynes, Kosciusko and Holloway Parks feature live, interactive performances of music, dance, theater, visual arts and crafts. Bring the entire family and experience the Arts in Wilmington’s green spaces.

Cool Spring Farmers’ Market (with live music)

Every Thursday through October 16 | 10^th & Van Buren Streets

Thursdays in Cool Spring Park are the place to find fresh local veggies, delicious food truck options and plenty of great music, thanks to the partnership with Gable Music Ventures. Free live music livens up the park from 6:00-8:00pm ‘til Labor Day, and 5:00-7:00pm after Labor Day. The market itself opens at 4:00pm — get there early, buy some delicious snacks and stake out a prime spot to enjoy the likes of Nik Everett, Nature Jams and more!

Summer Under the Stars Rooftop Movie Series at ShopRite

Tuesdays through September 16 | ShopRite Christina Crossing

Another successful Year 2 event is this movie series, sponsored by The Kenny Family Foundation.  For only $6, you can enjoy big screen features on the rooftop of, with selections chosen by YOU! Many of Wilmo’s popular food trucks are also on hand to offer delicious snacks. Movies start at sundown and will be moved to Theatre N in case of rain. Showings of “Marley & Me,” “Frozen” and “The Blind Side” complete the month. 

Delaware Art Museum Calls for Artists!

CALL FOR ARTISANS: WINTER ARTS FESTIVAL

Selected artisans will join us on Friday, December 12, 2014 from 6:00 to 10:00pm for Art is After Dark: Winter Arts Festival and Saturday, December 13, 2014 from 9:00am to 4:00pm for the Holiday House Tour to sell art, jewelry, books and other creative handmade items. There will be 20 spaces available for selected artisans at the Museum.

Please email your application form and JPEG images to beckyrosen@aol.com. Label all images as explained on the application form.  Do not send slides or photographs without prior consultation, as a non-refundable processing fee will be required.  For more information, visit www.delart.org.

Click here to download the application form.  Deadline: June 30, 2014.

Things to “Artify” Your Holidays

The holidays are a time to celebrate, make memories and give a little back. We’ve compiled an arts-centric list so you can do just that. Happy (Arty) Holidays from Delaware Arts Info!  

1. Shop the Arts
There’s nothing like finding that perfect, one-of-a-kind holiday gift — and nowhere better to find it than shopping with the Arts!  The Delaware Center for Contemporary Arts’ Alternatives Museum Shop Holiday Craft Show on December 6 & 7 features more than 20 artists’ work in jewelry, ceramics, woodworking and fun accessories. www.thedcca.org

That same weekend, the Delaware Art Museum’s Winter Art Fair on December 7 & 8, features museum Studio Art instructors and their works. Plus, 25% of proceeds benefit the museum’s education department. www.delart.org
 

 And also this weekend: Rehoboth Art League Holiday Open House on December 7, offering plenty unique gift options, art demonstrations, activities for adults and children, refreshments and maybe even a visit from Santa! www.rehobothartleague.org
 
Barry Schlecker and friends certainly know how to throw a Fest. And, they're doing it again on December 6 with Taste of the Holidays, at the Delaware Center for Horticulture. Not only can you find great arts & crafts for gifting, you can sample yummy holiday sips (beer, wine & spirits) and hear some great live music!  Taste of the Holidays  

2. Support an Artist and Her Cause
Sarah Davenport is a designer, a photographer, an ardent supporter of the Arts…and a sufferer of chronic late-stage Lyme disease.  Her fundraiser — FEARLESS: A Fight Against Chronic Lyme Disease — will help defray the cost of her extensive treatment and raise awareness for the disease. On December 7, the event features a mix of music, art and charity, including a silent auction of some fantastic objet d'arts. Tickets available at http://fearless.brownpapertickets.com/

3. Go “Nuts” with Dance
It’s a holiday tradition, and Delaware provides plenty of chances for you to experience The Nutcracker. Take your pick:

• December 7 & 8 with the Delaware Dance Company at John Dickinson High School
• December 7 with New Castle Dance and Music Academy's Ballet Company at the Smyrna Opera House
• December 7 & 8 with Diamond Dance Company at Milford Senior High School
• December 13 & 14 with Mid-Atlantic Ballet at UD
• December 21 with First State Ballet Theatre at the Grand Opera House December 21 with Wilmington Ballet Academy of the Dance at the Dupont Theatre

Details: www.inwilmingtonde.com or  www.delawarescene.com

4. The Greatest Story Ever Told…Through Music & Dance
Christina Cultural Arts Center and Eleone Dance Theatre present “Carols in Color.” CCAC brings back this powerful show, based on the gospel according to St. Matthew, on December 15 at the Grand. “Carols in Color” re-tells the story of the birth of Christ through exuberant dance, contemporary music and powerful narration. www.ticketsatthegrand.org

5. Rejoice in the Voice(s) of the Holidays
There’s plenty of holiday chorale music this time of year; here’s a sampling of the voices you’ll hear exalting the season:

Celebrate Christmas with the Mastersingers on December 8. The celebrated Mastersingers, organist Marvin Mills, conductor David Schelat and orchestra provide some of the greatest Christmas music of all time. www.marketstreetmusicde.org

The Music School of Delaware ensembles partner with neighboring synagogues for a stunning performance in Winter Reflection: Winter Choral Concert on December 15. The program features the Delaware Children’s Chorus, the Delaware Women’s Chorus and choirs of Congregation Beth Emeth and Beth Shalom.www.musicschoolofdelaware.org

The “Singing Ambassadors of Wilmington” bring their annual performance and amazing talent to the masses with the Wilmington Children's Chorus Candlelight Holiday Concert on December 13 & 14.www.wilmingtonchildrenschorus.org 

6. Laugh Your Way Through the Holiday
Need a good laugh to brighten your Blue Christmas? Head to World Café Live for The Second City's Nut-cracking Holiday Revue on December 5. The troupe that bore many SNL faves brings you magic and mayhem of the season with original songs, new sketches and classic favorites.queen.worldcafelive.com 

7. Love Live & Local Holiday Tunes
Local and national musicians get into the holiday spirit with these awesome seasonal sets:

TOMORROW, December 4, Lunasa: Christmas from Ireland comes to the Grand, with a blend of homey nostalgia, rollicking high energy and what The Irish Voice calls “the hottest Irish acoustic group on the planet.” www.ticketsatthegrand.org

Market Street Music presents the Cartoon Christmas Trio on December 5.  Celebrate with a nostalgic repertoire of classic cartoon themed-music including Vince Guaraldi “Peanuts” music. www.marketstreetmusicde.org

Our very own favorite DOCK-ROCK power duo, HOT BREAKFAST!, release their single, An Idiot for Christmas, just in time for your holiday party playlist! Get it here: https://soundcloud.com/hotbreakfas.../an-idiot-for-christmas

Celebrate New Year’s Eve with the David Bromberg Quintet. Bromberg’s played with everyone, toured everywhere, and now hosts a New Year’s Eve bash at the Queen just for Delaware fans on December 31. queen.worldcafelive.com

DAM Presents American Moderns, 1910 - 1960: From O'Keefe to Rockwell

Green, Yellow and Orange, 1960, Georgia O'Keefe

Organized by the Brooklyn Museum and co-curated by Karen Sherry, Margaret Stentz, and the Delaware Art Museum's Dr. Heather Campbell Coyle, American Moderns, 1910 - 1960: From O'Keefe to Rockwell asks the question "what is American modern art?" -- then proceeds to push the definition beyond the expected. Covering the first half of the 20th Century, the exhibition focuses on the early defining moments of modern art in the United States, with work that precedes the Digital Age.

The mix of artists, from big names such a Georgia O'Keefe, Grandama Moses, and Brandywine Valley superstar N.C. Wyeth to important but less recognized artists such as Marguerite Thompson Zorach and Ernest Crichlow, encompass a broader spectrum of American Modern artists, showcased in several categories. Visitors move from Cubist Experiments, with its Pablo Picasso influence; Still Life Revisited, where new techniques were applied to an old style; Nature Essentialized, celebrating nature often with the help of modern technology such as air travel and photography; Modern Structures, capturing and reflecting images of modern urban and rural life; Engaging Characters, with a focus on "the human spectacle"; and Americana, which asks "What makes America America?" through styles such as folk art and illustration.

Manhattan Mosaic, 1947,
George Copeland Ault

Where American Moderns pushes through the barriers of modern art is with its inclusion of popular illustration artists such as Norman Rockwell and Wyeth; such respect for illustration artists is nothing new for the Delaware Art Museum, but it's a respect, especially in the Modern Art world, that is still just starting to catch on.

The inclusion of folk art, such as Morris Hirscfield's "Girl with a Dog," by contrast, brings a style of art not found in DAM's permanent collection.

The exhibition, which runs through the holidays and closes on January 5, 2014, is a must-see for American Art lovers, Modern Art lovers, and anyone interested in learning more about either.

A Farewell to Danielle Rice — One of Delaware Arts' Best!

Post courtesy of The Delaware Art Museum

Blogger Note: We wish Dr. Rice the very best in her new endeavors. We are truly sad at her departure from our Delaware Arts circle, but we thank her for her unwavering commitment to invigorate, elevate and promote the Delaware Art Museum and the entire Delaware Arts scene. Thank you, Danielle!  We are so grateful and fortunate to have had you as one of our fearless and dedicated leaders.

The Board of Trustees of the Delaware Art Museum announces the departure of Executive Director Dr. Danielle Rice. Dr. Rice led the Museum for the past eight years. Her departure will be effective September 1, 2013. Mike Miller, the Museum's current Chief Financial Officer, will take the helm as acting Chief Executive Officer while the Board undertakes a national search for a successor to Dr. Rice.
 

Under her leadership, the Museum experienced a virtual rebirth. Shortly after her arrival, Dr. Rice successfully managed the opening of the newly renovated and expanded building, along with the related festivities in June 2005. She initiated a large number of community partnerships and re-established the Museum's image. She also led a strategic planning effort that resulted in a revised mission and tightly focused community-minded goals. In 2007 and 2008 she guided the Museum through the American Alliance of Museums' rigorous re-accreditation process.
 
During her tenure, the Museum hosted several successful major exhibitions and welcomed back the Bancroft Collection of Pre-Raphaelite Art from a world tour into newly designed galleries. In addition to enriching the Museum's collections through major acquisitions of art, including 50 works from the Vogel collection and numerous other gifts, Dr. Rice helped to initiate and launch several innovative uses of technology, including cell phone tours, dedicated websites for John Sloan and the Pre-Raphaelites, and the delightful interactive educational website Art of Storytelling. She led the Museum through its Centennial Celebration, including a wide array of partnerships throughout the state. She also initiated the Centennial Campaign for the Next Century Fund, which has raised over $6.5 million.

Gerret Copeland, Chairman of the Board of Trustees, noted on behalf of the Board, "Danielle has been a great asset to the Museum and to the community. She has made the Museum a place where everyone can feel welcome. We are deeply grateful for her leadership over the past eight years and we wish her all the best in her next adventure."  

Beginning in September 2013, Dr. Rice will assume the position of Director of the Master of Science Program in Museum Leadership at Drexel University's Antoinette Westphal College of Media Arts & Design. This newly created Master of Science in Museum Leadership program is designed to prepare leaders who will enable museums to fulfill their missions of stewardship and education. The program combines cutting-edge theory, history and practice, and addresses the need for increased diversity in the museum workforce, management, collections, and programs.

See www.delart.org.

French Twist: From Atget to Man Ray

The Delaware Art Museum starts their new exhibit of vintage photographs on Saturday, June 29.  The works are from the collection of Michael Mattis and Judith Hochberg and curated by Heather Campbell Coyle.  We were given a press tour by the enthusiastic Margaretta Frederick, who is chief curator for the museum.  Her delight in  the photographs and their history and the time in which they were made was infectious.



Boulevard de Strasbourg Corsets, 1912 
Eugène Atget

When you walk in and see the works in the collection by Eugène Atget, you may have your doubts about their artistic value.  Some are dark, some are gray and bleak and none are splashy, posed photographs that you might hope to see in a museum.  And yet, they represent the coincidence of turning points in history as well as turning points in photography.  Atget took pictures to record history, to record the Paris he knew after World War I, a Paris he sensed would never come back again.  He didn’t care if his work was pretty or artsy or even appreciated – he just wanted to record.   He also wanted his photographs to be regarded as historical documents, an unvarnished view -- not one made to look pretty.

After Atget, the other photographers in the collection seem to have worked harder to intrigue you and stop you cold as you try to puzzle what their photography represents.  Ilse Bing, using a much more modern camera than Atget, starts to look for different views whose unexpected angles and perspectives still show you Paris, but not the one you would see on a postcard. 

Fille de Montmartre playing Russian Billiards,
 Boulevard Rochechouart,  1932-33 Brassaï

Brassaï sneaks you in to those discreet brothels, eerie night clubs and opium dens – the faces captured in them showing an intense bristling as they reveal their secrets.  You can almost hear the surly waiters, the all-knowing demoiselles and their managers in this evocation of the darker side of Parisian life.

Jacques-Henri Lartigue was given a camera when he was six and took pictures of the Belle Époque when all seemed possible – flight of man and flight of fancy as a lady walks her dog down the street.   These early photographs were unearthed by none other than Richard Avedon and their juxtaposition in the display make you think of the optimism of Antoine de Saint-Exupéry’s Little Prince – the world before the war changed it.

Man Ray’s photographs are fascinating for their inventiveness in concept – as well as his use of solarization – leaving the film to be exposed outside the camera for periods of time.  It was he who called the public’s attention to the work of Eugène Atget.  Man Ray heavily influenced his protégée, Dora Maar, who took his surrealist ideas and pushed them even further.

The highlight of the collection are the striking photos of Henri Cartier-Bresson.  They represent the world in a journalistic, yet artistic way.   A photograph which stuck in my mind and will probably be there forever is one of a matronly lady standing in front of a poster.  The lady is straining her eyes as she looks into the light and the eyes of the young lady in the poster are covered with stickers.   As you gaze at his work, you can see that he communicated his immediate impression of the scene he recorded.  He lets you look through his lens and shows you the view as he caught it in that instant. 

When you leave the exhibit, you will feel as if you were eavesdropping on a long conversation about Paris, art, nightlife, society and the world, and it will fill your mind for days to come.

The exhibit is open until September 15.  For more information and hours, see www.delart.org.

Concerts on Kentmere: The Pyxis Piano Quartet

From left: Amy Leonard, Hiroko
Yamazaki, Meredith Amado, Jie Jin

When classical music comes to the Delaware Art Museum, it's an event not to be missed. For the most recent Concert on Kentmere, the world-class Pyxis Piano Quartet graced the museum's main entry space, under a new (to DAM) piece of artwork, Paul Bocuse's World (1977) by Red Grooms. The wit and whimsy of the giant shadowbox-style piece, set in a restaurant kitchen, both contrasted the music and conformed to it -- the concert series is, after all, "where magnificent art and music come together.

If you're not familiar with the Pyxis Piano Quartet, they are a chamber music ensemble performing traditional and contemporary sonatas, duos, trios and quartets. On this night, the four immensely talented women -- Meredith Amado on violin, Jie Jin on cello, Amy Leonard on viola, and Hiroko Yamazaki on piano, performed three pieces: A duo on viola and cello, a trio on violin, cello, and piano, and, finally, a quartet featuring all four together.

The first two pieces were relatively obscure and contemporary, and classicly avante-garde. American Walter Piston's (1894-1976) Duo (for viola and cello) is an optimistic piece laced with distinctively American half-steps. Russian Dmitri Shostakovich's (1906-1975) Piano Trio in e minor, Op. 67 is a haunting an complex tale of sorrow and hope, written in 1944, with references to Soviet oppression, the discovery of extermination camps in Poland, and the recent death of a friend. The powerful piece, in turns dark and folkishly upbeat, was a highlight of the evening.

The final piece was more well-known: Piano Quartet in g minor, K 478 by Wolfgang Amadeus Mozart (1756-1791) is chamber music at its finest, with an interesting backstory. The piece, written in a couple of days by Mozart for a paycheck, was a failure initially -- it was simply too complicated for the amateur musicians who played chamber music at home with friends for entertainment. Eventually, in the hands of more skilled musicians, it became one of Mozart's most beloved pieces of chamber music.

While visiting the museum for the concert, be sure to explore the open gallery. On this evening, guests could experience the wonderful State of the Art, Illustration 100 Years After Howard Pyle, featuring some of the most revered illustrators in contemporary art.

For information on upcoming Concerts on Kentmere, visit delart.org/prog_events/concerts_on_kentmere.
For upcoming Pyxis dates, visit pyxispianoquartet.com/concerts.html.

Modern Illustration Comes Alive at Delaware Art Museum

Vertical Hold, 2009        
Sterling Hundley (born 1976)

If Howard Pyle could come back, a century after his passing, and experience the work of the great modern illustrators, would he recognize it as illustration? How has illustration evolved, and is his legacy reflected in modern illustration? These are some of the questions posed by State of the Art: Illustration 100 Years After Howard Pyle, guest curated for the Delaware Art Museum by David Apatoff (perhaps best known in the art world for his contemporary illustration blog, Illustration Art). It's easy to see why Apatoff was the curator for the job -- his authority on the subject seems to come from pure passion. 

The eight artists featured have careers that span from the 1950s -- just about the time that photography took over as the dominant medium of choice for magazine covers and advertisements -- through today. The work of Bernie Fuchs, Milton Glaser, Peter de Séve, Sterling Hundley, John Cuneo, Ralph Eggleston, Phil Hale, and Mort Drucker is familiar, to varying degrees, to anyone exposed to modern American culture, from highbrow art connoisseurs to preschoolers.

The journey starts with Fuchs, the earliest illustrator in the show, and the only one to have passed on, in 2009. Fuchs, who grew up in a poor coal mining town in Illinois, came to exemplify 1960s illustration. He had the ability to create illustrations with photo-realistic detail, but, just as things shook up in American society, his work evolved into a more impressionistic, experimental style, while still retaining much of the technique that Pyle would recognize. 

Suicide, 1984, for “A Twilight's Last Gleaming” by Frank Deford, in 
Sports Illustrated, November 19, 1984           
Bernard Fuchs (1932 – 2009)

Glaser, whose work also shaped the commercial art world in the 1960s, took a different tack; he was not a photo-realistic illustrator, so he focused on concept in his work. Shapes layer to create familiar images, some of the first of what we recognize today as graphic design. Before computers, Glaser's techniques blazed the way.

Hermann Hesse & Family, 1974, for Hermann Hesse 1975
Calendar (Farrar, Straus and Giroux, Inc.)     
Milton Glaser (born 1929)

The work of de Séve will be recognized by everyone; in addition to being a prolific commercial  illustrator with a distinctive cartoony style, he designed characters for the digitally animated feature film Ice Age. Original sketches are on display, as well as a video monitor that shows how far illustration, with the help of a large team of digital technicians and creators, has truly come.

Scrat, Character study for Ice Age (Twentieth Century Fox Film Corporation, 2009)
Peter de Séve (born 1958)

Philip Larkin and Bob
Dylan go antiquing, 2011        
John Cuneo (born 1957)

Hundley melds traditional illustration style with a "conceptual twist," with images that skew perspective and even use illusion to create two images at once, such as his William Henry Harrison, that captures the short-lived American president speaking at a lectern and lying in a coffin simultaneously.

Cuneo utilizes one of the oldest mediums, pen and ink, to create modern illustrations with fearless subject matter. His rich, lively style will be familiar to readers of The New Yorker and Esquire, among others.

Eggleston was selected as one of the most important artists working for Disney's PIXAR Studios, known for films such as Toy Story, Finding Nemo, and Wall-E. Pieces include character drawings done in pastels, offering a peek at well-loved PIXAR moments before they went high-tech.

School, Sequence Pastel for Finding Nemo (Pixar Animation Studios, 2003) 
Ralph Eggleston (born 1965)

Hale creates huge, dynamic paintings with a fearsome edge -- some bring to mind some of Pyle's darker work such as The Flying Dutchman, but the figures are not only off-center but at times painted with parts of the head and body cut off by the edge of the canvas. His work has been used as the cover artwork of novels by by Joseph Conrad and Stephen King.

Nostromo, 2007 Cover for Nostromo,
by Joseph Conrad (Penguin Classics, 2007)     
Phil Hale (born 1963)

Finally, Mort Drucker's illustration is known and loved by anyone who has ever spent their allowance money on the new MAD magazine. His distinctive caricatures and highly detailed comic panels have become respected at the level of other fine art -- and original panels for the pages of MAD are on display.

Put*on, for MAD, January 1971          
Mort Drucker (born 1929)

It's an eclectic mix, and one that will enthrall art lovers and illustration aficionados of all ages. State of the Art: Illustration 100 Years After Howard Pyle will be on view from February 9 to June 13 2013.

Art IS everywhere in New Castle County, too!!!

Love's Messenger in Brandywine Park

I confess it took us two tries to see all of the pop-up art in New Castle County (a continuation of our Delaware pop-up journey is chronicled in the blog Art is everywhere in Kent and Sussex County), but we had two absolutely gorgeous days in which to view the sights.


The first trip was in the late afternoon – starting from Newark and seeking endlessly on the green (or mall, if you call it that) and discovering John Sloan’s Spring Rain was really on Main Street – mounted on a brick dormitory wall. Not only was it confusing to locate, but I realized that as a Newark resident, I had driven by the outdoor art many times since it was posted.

Then a quick trip to New Castle to see Edward Moran’s Standing Out – a mighty war ship poised in front of the Court House Museum, where you can see the Delaware River flowing just down the street and imagine the ship sailing on it. Right beside the picture, one of our favorite Sunday Coop Market veggie vendors was letting his great display of eggplant, apples and okra lure people in. One of us yielded to the apples.

A trip to Crabby Dick’s let us see Dante Gabriel Rosetti’s Lady Lilith taught me about the first wife of Adam, Lilith. That was not anything I had remembered from Sunday school. Of course, after posing with beautiful Lilith, we just had to have supper at Crabby Dick’s – indoors looking out the window towards Pea Patch Island. Thus endeth our first New Castle County pop-up run.

The second trip was also a beautiful day. We met at the Delaware Center for Contemporary Arts where we had just been to a concert. Walking from the DCCA to the Riverfront took us directly to Howard Pyle’s Attack on a galleon which had itself been attacked – robbed of its sign! We penciled in the proper title for the record and sped off to the Grand Opera House to see Romeo and Juliet by Ford Maddox Brown where we found a young family looking at Tom Maloney’s great statue. We began to stare at the painting and had a great discussion with the family.

Two more stops: the Jasper Crane Rose Garden in Brandywine Park had Love’s Messenger by Marie Spartali Spillman. The painting has a beautiful Pre-Raphaelite model feeding a pigeon and looking towards a river through a window and the Brandywine flowed right behind the picture’s window. Beautiful weather, roses, art, sigh.

When we sought out Howard Pyle’s Marooned, we were surprised that we had to go into the pub and onto their terrace to actually see the work, which is large and quite striking. But somehow, placing a large work between tables and umbrellas on a pub terrace seemed strange.

Milking Time at the Woodside Farm Creamery

Afterwards, we set off for Hockessin to see the very last work on our list: Milking Time by Winslow Homer which was placed on the wall of a barn at the Woodside Creamery. The milkmaid and the farm boy fit in so seamlessly with the cows and barn and fields that one could imagine Mr. Homer painting it after being inspired by Woodside Farm ice cream. We, too, celebrated the completion of our pop-art art tour with a generous serving.

Please do this again, Delaware Art Museum!

 

See www.delart.org.

Taiwan Film Festival at the Delaware Art Museum

The Delaware Art Museum is hosting the fourth annual Taiwan Film Festival presented by the Hanlin Chinese Culture Association, the Taipei Economic and Cultural Representative Office, the Overseas Compatriot Affairs Commission, Taiwan, and the Taipei Cultural Center of TECO in New York.

The films are spectacular and sometimes even daunting. This Sunday I arrived at the Art Museum a bit early and had a fun time speaking to members of the predominantly Chinese crowd of spectators. The film being presented was a documentary by Director Chaoti Ho called My fancy high heels. It starts in New York City following a Korean-American fashion designer who is a beautiful, soft-spoken and determined woman who has made a start in the maze of the fashion world. She speaks of her hard work, long hours and her passion for shoes which she regards as pieces of art. The director then shows us the two levels of Chinese production behind her shoes: a harsh end-production factory with a strict manager who speaks English as he sells to Western buyers and then the stage before that – an almost militaristic farm/factory where young people tend and process cattle raised exclusively to produce leather for the highest end of shoes on the market.

This movie forces the viewer to reconsider the entire shoe industry. The music and cinematography are graphic and the story is an extremely moving picture of a China which Americans may not know but in which their purchases and tastes are driving forces. The next film is to be a much more uplifting work about cinematography by Hsiu-Chiung Chiang and Pun-Leung Kwan. Let the wind carry me will be shown at the Delaware Art Museum at 1 p.m. on September 16. Free admission to museum and to film on Sundays.

See www.delart.org

Art IS everywhere in Sussex and Kent County

Abbot Handerson Thayer's The old lion in front of
 the Georgetown Public Library

Last weekend we decided to go to a restaurant on the C& D Canal and enjoy dining while the sun set on a fantastic view of the railroad bridge and a beautifully maintained marina. When we arrived at Aqua Sol, we saw an full-size reproduction of Howard Pyle’s Flying Dutchman which he had created for Collier’s Weekly in 1900. What fun to find one of the centennial works reproduced out in the woods near Lums Pond!!! We asked our waitress about the painting and she brought us a brochure from the Delaware Art Museum with a map and addresses of all fifteen works placed in various outdoor locations throughout the state. We vowed to see them all.

This past Saturday we headed for the beach to catch Edward Hopper’s Summertime which the Lewes Historical Society had placed at the entrance to the charming Lewes Farmers’ Market which is on Shipcarpenter Square – surrounded by some very old historic buildings. Then we headed to see friends near Angola and took off in the late afternoon for Rehoboth to see Howard Pyle’s Buccaneer in front of the Rehoboth Library. A quick coffee and we headed for the opulent Georgetown Public Library (built by the millionaire who owns the development we had just visited in Long Neck) where we saw Abbott Handerson Thayer’s The old lion. Thayer was a naturalist who wrote about the protective coloration of animals. His conclusions are now referred to as Thayer’s law and he is considered one of the theorists behind camouflage dress.


Rain began to fall copiously as we made our way to Milford’s Mispillion Art League to see our third Howard Pyle, The Mermaid, which was posted on the white wall of the Art League, with the darkening sky and stormy raindrops falling on it as we stopped to mug in front of it for a cell phone group picture.

Howard Pyle's Mermaid in Milford

After a snack in Milford – we hit the road again to start the Kent County tour. Absalom Jones by Raphaelle Peale, was standing alone behind a few orange construction barrels in the dark and rain. My friend positioned her car so that we could have light on the painting and we celebrated our fifth pop-up of the day before moving on to Smyrna. By the time we reached the parking lot of the Smyrna Opera House, the rain was pouring down and we drove as close as we could to Dante Gabriel Rossetti’s Veronica Veronese, snapping shots on the cell phone.

The chase of art was a delightful way of touring and appreciating our neatly compact state and we spent a long time wondering how the Delaware Art Museum planned this fantastic campaign – how they chose the works and the placements. I shall report again as we finish our pop-up tour of New Castle County.

See www.delart.org

Pyxis Quartet at the Mainstay

It is so hard to get tickets for the Pyxis piano quartet Kentmere Concerts at the Delaware Art Museum that I traveled to Rock Hall, Maryland to hear them play in the Hedgelawn Classical Music Series at the Mainstay.

The Mainstay, a restored 105-year-old grocery store, may not be the ideal venue for a classical chamber series acoustically, but the homey chairs and sofas, the amiable and knowledgeable concert hosts and the charming atmosphere made up for the informality of the setting, and the Mainstay organization has their own small, well-maintained Kawai grand.

The quartet’s program was both ambitious and eclectic. A little known set of four pieces which Richard Strauss wrote in his teens provided the quartet with an opportunity to create characterizations - from the cello/piano introduction of the Stȁndchen (serenade) to the Middle Eastern rhythms and bowings for the Arabian Dance.

The second piece, the quartet by Joaquin Turina, put the string players to the test. Meredith Amado played very high violin notes effortlessly, with beautiful intonation and control. Jie Jen’s cello had a wonderfully rounded vibrato in the very romantic solo parts. Ms. Jen can make her cello soar to the extremely high registers required in the Turina with great ease.

The Piano Quartet in B-flat Major, Opus 41 by Camille Saint-Saens was a showpiece for pianist Hiroko Yamazaki who glided through the complex fugue of the Andante maestoso ma con moto at a very high speed. Amy Leonard’s viola playing was a beautiful middle voice in the fugal writing for strings and piano. The weaving in and out of voices by each musician provided a beautiful tapestry of sound.

If you can get tickets for the Kentmere Series Concert at the Delaware Art Museum on Friday , February 17, this program is well worth hearing. The Thursday, February 16 concert has been sold out for weeks.

See www.delart.org

See www.pyxispianoquartet.com