#houston museum of fine arts

[rottenstawberrygirl]

Orpheus Leading Eurydice from the Underworld (1861) by Jean-Baptiste-Camille Corot (1796-1875)

[muhammadgiovanni]

Vincent van Gogh “Olive Grove with Two Olive Pickers” December 1889

Museum of Fine Arts, Houston, Texas June 12, 2019

[85tigerphotog]

[lionofchaeronea]

Title: Night Angel Holding a Waning Moon Artist: William Morris (English, 1834-1896) Date: between 1857 and 1869 Genre: religious art Period: Victorian Movement: Pre-Raphaelite Brotherhood; Arts and Crafts Movement Medium: watercolor, ink, graphite, and collage on mold-made paper Dimensions: 34 cm (13.4 in) high x 8.6 cm (3.4 in) wide Location: Museum of Fine Arts, Houston, TX

[thatshowthingstarted]

Bowl with Fish, Iran, probably Kashan (late 13th–mid-14th century AD).

Stone Paste, Painted in Black Under Turquoise Glaze,

7,9 x 18, 7 cm,

Image Credit: Museum of Fine Arts, Houston.

[life-imitates-art-far-more]

Jean-Bernard Restout (1732-1797) "Young Woman with a Guitar" (1768) Oil on canvas Located in the Museum of Fine arts, Houston, Texas, United States

[arthistoryanimalia]

For #NationalSkunkDay here’s a trio of 1930s tempera paintings from Museum of Fine arts Houston by the San Ildefonso Pueblo’s Martinez family:

1. Popovi Da (Tony Martinez) (1921–71) Untitled (Skunks and Squirrels Under Sky Crescent) 1930s San Ildefonso Pueblo, New Mexico, United States Tempera on wove paper 9 5/16 × 11 1/16 in.

2. Popovi Da (Tony Martinez) Skunk, Ducks, Rooster 1930s San Ildefonso Pueblo, New Mexico, United States Tempera on paper board 9 9/16 × 11 1/4 in.

3. Julian Martinez (1885–1943) Untitled (Skunks and Chickens) 1930s San Ildefonso Pueblo, New Mexico, United States Tempera on paper board 10 × 11 1/16 in.

[uwmspeccoll]

Decorative Sunday

GEE’S BEND QUILTS

Since the 19th century, the women of Gee’s Bend in southern Alabama have created stunning, vibrant quilts. In 2002, folk art collector, historian, and curator William Arnett organized an exhibition entitled "The Quilts of Gee's Bend," which debuted at the Museum of Fine Arts in Houston and later travelled to a dozen other locations across the country, including our own Milwaukee Art Museum (September 27, 2003 - January 4, 2004). This exhibition brought fame to the quilts, and Arnett's foundation Souls Grown Deep Foundation continues to collect and organize exhibitions for Gee’s Bend Quilts.

The images shown here are from Gee’s Bend: The Women and Their Quilts, with essays by John Beardsley, William Arnett, Paul Arnett, and Jane Livingston, an introduction by Alvia Wardlaw, and a foreword by Peter Marzio. The book was published in 2002 by Tinwood Books, Atlanta, and published in conjunction with the 2002 exhibition at the Museum of Fine Arts, Houston. It includes 350 color illustrations and 30 black-and-white illustrations. The dust jacket notes observe:

The women of Gee’s Bend - a small, remote, black community in Alabama - have created hundreds of quilt masterpieces dating from the early twentieth century to the present. . . . [The] quilts carry forward an old and proud tradition of textiles made for home and family. They represent only a part of the rich body of African American quilts. But they are in a league by themselves. Few other places can boast the extent of Gee’s Bends’s artistic achievement, the result of geographical isolation and an unusual degree of cultural continuity. In few places elsewhere have works been found by three and sometimes four generations of women of the same family, or works that bear witness to visual conversations among community quilting groups and lineages.

Our copy is a gift from our friend and benefactor Suzy Ettinger.

View more Black History Month posts.

View more Decorative Sunday posts.

[7pleiades7]

Ariadne Abandoned by Theseus (1774) by Angelica Kauffman (1741-1807), oil on canvas, 63.8 × 90.9 cm, Museum of Fine Arts, Houston

[quo-usque-tandem]

Mother with Child, St. Luke’s Baptist Church, Moonshine Village by Keith Calhoun

[galleryofart]

Passing By

Artist: Ernest Martin Hennings (American, 1886–1956)

Culture: American

Date: c. 1924

Place: New Mexico, United States

Medium: Oil on Canvas

Collection: Museum of Fine Arts, Houston, TX, United States of America

DESCRIPTION

As tightly woven as a fine tapestry, Passing By shows people of the Taos Pueblo moving through a glade of cottonwoods in the brilliant autumn sun of the Southwest. The figures and landscape are integrated as one.

Exhibited in the 1924 Venice Biennale and the winner of the gold medal in the 1926 exhibition at New York’s National Academy of Design, Passing By is among the finest paintings produced by Taos Society artist E. Martin Hennings. The Taos Society of Artists was the first art colony established west of the Mississippi River, its roots going back to 1898. Following the development of railroad travel and tourism in the Southwest, artists rushed there and embraced Pueblo culture and the dramatic colors and topography of the desert region.

Shimmering like a golden screen shot through with vivid notes of blue, this painting presents a dramatic backdrop of aspen trees against which three Taos Pueblo Indians pass by as if in a timeless procession. All three men are wrapped in woven blankets and wear silver adornment, long braids, and modern clothing. In Passing By, Hennings presents a solemn, dignified image of an enduring native culture.

[mvckcvm]

“what is coming is better than what is gone”

[archiveofaffinities]

Isamu Noguchi, Cullen Sculpture Garden, Museum of Fine Arts, Houston, Texas ,1984-1986

[lionofchaeronea]

The Bonaventure Pine, Paul Signac, 1893

[archivist-dragonfly]

Book 541

Mark Catesby’s Natural History of America: The Watercolors from the Royal Library Windsor Castle

Henrietta McBurney

Merrill Holberton / The Museum of Fine Arts, Houston

From 1729 to 1749, Mark Catesby (1682-1749) labored on his life’s work, Natural History of Carolina, Florida and the Bahama Islands, better known as simply Natural History, the first comprehensive study of the flora and fauna of the Eastern seaboard of North America and the most important precursor to Audubon’s Birds of America. Published in this book for the first time are the original watercolors from which Catesby prepared the 220 etchings in Natural History. The watercolors, stored away from the light between the pages of a unique three-volume set of the book bought by King George III in 1768, are remarkably bright and fresh and display all the enthusiasm that Catesby brought to his subjects. Detailed, colorful, innovative, stately, and sometimes even whimsical, this is a book that breathes new light into Catesby’s remarkable work and talent.

[clairity-org]

Elsa Gramcko, Oráculo, Oracle, 1964, Gears and industrial materials on wood, 3/4/23 #mfah #artmuseum by Sharon Mollerus