#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

[artemlegere]

Noli Me Tangere (Touch Me Not)

Artist: Marcantonio Franceschini (Italian, 1648-1729)

Date: c. 1700

Medium: Oil on canvas

Collection: Museum of Fine Arts, Houston, Texas, United States

Description

‘Noli me Tangere’ depicts the biblical scene (John 20:17) where Mary Magdalene recognizes Christ after His Resurrection. Christ is comforting Mary Magdalene but also tells her not to touch him as he is soon to ascend to Heaven and she is not to be fixated on his earthly appearance. Noli me tangere is Latin for let no one to touch me.

[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.

[baebeylik]

Catfish Pendant. Greater Chiriqui or Coclé. Panama, 900-1500 CE.

Museum of Fine Arts Houston.

Goldweight Depicting a Catfish. Asante or related Akan-speaking peoples of Ghana. Coastal West Africa. 1700s-1900s CE.

The Art Institute of Chicago.

[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

[mythologypaintings]

The Return of Orestes

Artist: Anton von Maron (Austrian, 1733–1808)

Date: 1786, Italy

Medium: Oil on canvas

Collection: 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.

[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.

[7pleiades7]

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

[lionofchaeronea]

The Bonaventure Pine, Paul Signac, 1893

[quo-usque-tandem]

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

[mvckcvm]

“what is coming is better than what is gone”