The Kimble Museum is a hidden gem to those not from the Dallas/Ft. Worth area or the art world. The museum has long term deep-pocket patrons allowing them to purchase pieces which are the envy of larger museums. The permanent collection includes 350 pieces, including Claude Monet’s Weeping Willow. The philosophy is quality, not quantity, very refined collection with the most important pieces.
The Vision of the Founders
The Kimbell Art Museum officially opened on October 4, 1972. The Kimbell Art Foundation, which owns and operates the Museum, had been established in 1936 by Kay and Velma Kimbell, together with Kay’s sister and her husband, Dr. and Mrs. Coleman Carter. Early on, the Foundation collected mostly British and French portraits of the eighteenth and nineteenth centuries. By the time Mr. Kimbell died in April 1964, the collection had grown to 260 paintings and 86 other works of art, including such singular paintings as Hals’s Rommel-Pot Player, Gainsborough’s Portrait of a Woman, Vigée Le Brun’s Self-Portrait, and Leighton’s Portrait of May Sartoris. Motivated by his wish “to encourage art in Fort Worth and Texas,” Mr. Kimbell left his estate to the Foundation, charging it with the creation of a museum. Mr. Kimbell had made clear his desire that the future museum be “of the first class,” and to further that aim, within a week of his death, his widow, Velma, contributed her share of the community property to the Foundation.
With the appointment in 1965 of Richard F. Brown, then director of the Los Angeles County Museum of Art, as the Museum’s first director, the Foundation began planning for the future museum and development of the collection, both of which would fulfill the aspirations of Mr. Kimbell. To that end, under the leadership of its President, Mr. A. L. Scott, and in consultation with Ric Brown, the nine-member Board of Directors of the Foundation—consisting of Mrs. Kimbell; Dr. Carter; his daughter and her husband, Mr. and Mrs. Ben J. Fortson; Mr. C. Binkley Smith; Mr. P. A. Norris, Jr.; Mr. J. C. Pace, Jr.; and attorney Mr. Benjamin L. Bird—adopted a policy statement for the future museum in June 1966, outlining its purpose, scope, and program, among other things. That statement remains to this day the operative guide for the Museum. In accordance with that policy, the Foundation acquires and retains works of so-called “definitive excellence”—works that may be said to define an artist or type regardless of medium, period, or school of origin. The aim of the Kimbell is not historical completeness but the acquisition of individual objects of “the highest possible aesthetic quality” as determined by condition, rarity, importance, suitability, and communicative powers. The rationale is that a single work of outstanding merit and significance is more effective as an educational tool than a larger number of representative example
Two aspects of the 1966 policy in particular would have the greatest impact on changing the Kimbell collection: an expansion of vision to encompass world history and a new focus on building through acquisition and refinement a small collection of key objects of surpassing quality. The Kimbell collection today consists of about 350 works that not only epitomize their periods and movements but also touch individual high points of aesthetic beauty and historical importance.
FORT WORTH, TEXAS (June 4, 2019)— The Kimbell Art Museum is pleased to announce the acquisition of a 17th-century giltwood frame for Claude Monet’s Weeping Willow,the inspiration for the internationally acclaimed special exhibition Monet: The Late Years, opening at the Kimbell on June 16. The acquisition was made possible by a generous grant from the Bank of America Art Conservation Project.
A short train ride outside of Paris you will find The Palace Versailles Chateau Rive Gauche. This is a must see, the experience is like no other. The museum compares to the top museums in Paris. The gardens are magnificent and perfectly manicured, beautiful waterfall statues are strategically placed. This is before you enter The Palace. Enjoy! Melinda
Discover the Estate
The Palace of Versailles, whose origins date back to the seventeenth century, was successively a hunting lodge, a seat of power and , from the nineteenth century , a museum. With the gardens and the Palaces of Trianon, the park of the Château de Versailles spreads over 800 hectares.
« It’s not a palace, it’s an entire city. Superb in its size, superb in its matter.»
– CHARLES PERRAULT, LE SIÈCLE DE LOUIS LE GRAND, 1687
With 60,000 artworks, collections of Versailles illustrate 5 centuries of French History. This set reflects the dual vocation of the Palace once inhabited by the sovereigns and then a museum dedicated “to all the glories of France” inaugurated by Louis-Philippe in 1837.
Water features of all kinds are an important part of French gardens, even more so than plant designs and groves. At Versailles, they include waterfalls in some of the groves, spurts of water in the fountains, and the calm surface of the water reflecting the sky and sun in the Water Parterre or the Grand Canal.
Visitors looking through the central window in the Hall of Mirrors will see the Grande Perspective stretching away towards the horizon from the Water Parterre. This unique east-west perspective originally dates from before the reign of Louis XIV, but it was developed and extended by the gardener André Le Nôtre, who widened the Royal Way and dug the Grand Canal.
In 1661 Louis XIV entrusted André Le Nôtre with the creation and renovation of the gardens of Versailles, which he considered just as important as the Palace. Work on the gardens was started at the same time as the work on the palace and lasted for 40 or so years. During this time André Le Nôtre collaborated with the likes of Jean-Baptiste Colbert, Superintendant of Buildings to the King from 1664 to 1683, who managed the project, and Charles Le Brun, who was made First Painter to the King in January 1664 and provided the drawings for a large number of the statues and fountains. Last but not least, each project was reviewed by the King himself, who was keen to see “every detail”. Not long after, the architect Jules Hardouin-Mansart, having been made First Architect to the King and Superintendant of Buildings, built the Orangery and simplified the outlines of the Park, in particular by modifying or opening up some of the groves.
These two large rectangular pools reflect the sun’s rays and light up the outside wall of the Hall of Mirrors. Le Nôtre considered light as an element of decoration in the same way as plant life, and his designs combined a harmonious balance of light and shade.
The Gallery of Great Battles is the largest room in the Palace (120 metres long and 13 metres wide). It covers almost the entire first floor of the South Wing. It was designed in 1833 and construction started the same year. It was solemnly inaugurated on 10 June 1837, constituting the highlight of the visit of the Museum of the History of France.
The Hall of Mirrors, the most famous room in the Palace, was built to replace a large terrace designed by the architect Louis Le Vau, which opened onto the garden. The terrace originally stood between the King’s Apartments to the north and the Queen’s to the south, but was awkward and above all exposed to bad weather, and it was not long before the decision was made to demolish it. Le Vau’s successor, Jules Hardouin-Mansart, produced a more suitable design that replaced the terrace with a large gallery. Work started in 1678 and ended in 1684.
This prestigious series of seven rooms were parade apartments, used for hosting the sovereign’s official acts. For this reason, it was bedecked with lavish Italian-style decoration, much admired by the king at the time, composed of marble panelling and painted ceilings. During the day, the State Apartments were open to all who wished to see the king and the royal family passing through on their way to the chapel. During the reign of Louis XIV, evening gatherings were held here several times a week.
Containing over 60,000 works, the collections of the Palace of Versailles span a very broad period. The collections reflect the dual identity of the Palace, as both a palace occupied by the kings of France and the royal court, and later a museum “dedicated to the glories of France,” inaugurated by Louis-Philippe in 1837.
The Musée d’Orsay wishes to express its deep sorrow at the tragedy that has struck Notre-Dame de Paris Cathedral.
We would also like to extend our gratitude to those men and women who fought to save this emblem of our capital and this monument that belongs to the heritage of humanity.
The President of the French Republic has announced the launch of a national and international public appeal to rebuild the cathedral.
In order to help raise money for this reconstruction, the Government has put in place a shared portal www.rebatirnotredame.gouv.fr that regroups four charitable establishments and foundations authorised to raise funds via donations:
These structures work to collect as many donations as possible from France and abroad while honouring certain commitments: full payment of all funds raised, secure payment and guaranteed transparency regarding fund-raising procedures.
I had the opportunity to visit England in 1990, we stayed in the countryside but I did get three days in London. The Tate Museum was on the top of my list. They have thousands of artworks in the permanentcollection, this is a sampling. Melinda
Tate Britain (known from 1897 to 1932 as the National Gallery of British Art and from 1932 to 2000 as the Tate Gallery) is an art museum on Millbank in the City of Westminster in London. It is part of the Tate network of galleries in England, with Tate Modern, Tate Liverpool and Tate St Ives. It is the oldest gallery in the network, having opened in 1897. It houses a substantial collection of the art of the United Kingdom since Tudor times, and in particular has large holdings of the works of J. M. W. Turner, who bequeathed all his own collection to the nation. It is one of the largest museums in the country.
Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst. The lighting artwork incorporated in the pier’s structure is by Angela Bulloch.
Van Gogh came to Britain at the age of 20. He worked as an art dealer and was transferred by his employer to London for business. He spent three years in the city, walking its streets, crossing its bridges and gaining inspiration from the surroundings. His time in Britain was a life-changing experience, influencing the art he would begin making four years later. Here are seven things to know about Van Gogh’s time in Britain.
1) HE WAS A YOUNG IMMIGRANT
Before the foundation of the European Union enabled free movement across its borders, Van Gogh travelled to Britain as an immigrant. The chance to live and work in a new country was an opportunity Van Gogh was grateful for. To the people of Victorian London, he was a foreigner. He was happy in London. Britain offered him prosperity. At the age of 20, he was earning more than his father.
He worked in Covent Garden as a dealer in art photography and prints. He lived in South London, first in Brixton and then in Oval. London was twenty times the size of any town that Van Gogh had known. He enjoyed walking its streets, taking his usual route over Westminster Bridge for a scenic commute to work. Later he would write to his brother, fondly remembering these walks over Westminster Bridge. Van Gogh thought Gustave Doré’s The Houses of Parliament by Night captured the magic of London. In Starry Night Over the Rhone 1888 he would seek to replicate the spectacle of a city river at night.
2) HE WAS INSPIRED BY BRITISH REFORM
At the time of Van Gogh’s arrival in London in 1873, social reform was beginning to find power in parliament. The ideals of the time were changing, with publications like J S Mill’s On Liberty circulating heavily in the public domain. For a young man working in London to survive, Van Gogh was invested in how Britain was changing and how that would impact him.
Having grown up in a middle-class home, Van Gogh was shocked by the poverty on the streets of London. He began questioning capitalism and vowed to live a meaningful life. When he did decide to become an artist, he wished only to create art ‘for the people’. Prisoners Exercising was based on a print of Newgate Prison in London. It shows the misery and entrapment of the prisoners, while their superiors, a prison guard and two upper-class men in top hats watch on. This image stayed with Van Gogh for many years, finally painting Prisoners Exercising in 1890. It is clear Van Gogh felt a kinship with the behaviour and social position of these prisoners. Van Gogh never profited from his paintings during his lifetime, living in poverty for the majority of his life.
3) HE FELL IN LOVE WITH VICTORIAN CULTURE
London presented Van Gogh with a stark new reality to his rural hometown. He was impressed by the city’s modernism, advanced technology and transport. London was a city lit by streetlights, a city powered by electricity and a city that relied on industrial power. It was impressive in all its accomplishments.
The traditions of Victorian England also inspired Van Gogh. When he first came to London, he purchased a top hat, a symbol of the successful Victorian middle-class. He enjoyed Christmas. Modern ideas of Christmas, full of presents, Christmas trees and Thanksgiving style dinners, all came into trend during the Victorian period. There was a novelty to it that appealed to Van Gogh. Similarly, English pastimes such as gardening and rowing on the Thames were a form of enjoyment for him. Van Gogh submerged himself in the culture of his new home.
4) HE ENJOYED ENGLISH LITERATURE
The idea of this Victorian Christmas was fuelled by Van Gogh’s love for Charles Dickens. He enjoyed re-reading Dickens’s Christmas Stories every year. They can even be seen in the foreground of L’Arlésienne.
English Literature was a great love of his. He continued to read Dickens until his death. In his letters, Van Gogh mentions over one hundred books by British authors. Writers like George Eliot, with her social realism novel Middlemarch, influenced Van Gogh’s understanding of social reform. The idea to create ‘art for the people’ was inspired by Eliot’s socialist prose.
His favourite though was John Bunyan’s The Pilgrim’s Progress. It is an allegory of a man who must travel on a path filled with many obstacles that test his faith in the Christian God. Van Gogh, as an immigrant, returned to the idea of life on the road, a figure that haunted his drawings and paintings for the entirety of his career.
READ LIKE VAN GOGH
5) BRITAIN SET VAN GOGH ON A RELIGIOUS CAREER
The Pilgrim’s Progress centred heavily on a Christian message about devotion to God. During his time in London, Van Gogh became more and more religious. It was at this time that he decided he wished to pursue a career as a priest.
A year after he left London, he was volunteering as a pastor in Borinage, a mining village in Belgium. Britain’s rising socialism had influenced Van Gogh so much that he donated much of what he and the Church had to the villagers to alleviate their poverty. The Church authorities were not pleased and fired Van Gogh for harming their governance in the region.
6) BRITAIN ENCOURAGED HIS LOVE FOR ART
It was after leaving the Church that Van Gogh joined the Académie Royale des Beaux-Arts in Brussels. Van Gogh had become interested in recording the surroundings he saw while he walked and his brother, Theo, encouraged him to train as an artist.
Art had been present throughout Van Gogh’s life and career as an art dealer. In London, he enjoyed visits to the Royal Academy to view favourites like John Constable and the Pre-Raphaelitepainters. Later, Van Gogh would use English titles for some of his works, hoping that they would sell well in Britain.
In many of his letters to his brother Theo, Van Gogh speaks about his love for art and London’s galleries. At this time, he lacked confidence in his own talent. From the way he spoke about the artists whose work was being exhibited in London, it is clear they inspired him immensely.
7) HE LEFT A LEGACY
Many British artists have been influenced by Van Gogh and ensured he left a legacy in Britain. Harold Gilmanwas one of these champions. Gilman applied van Gogh’s use of bold colours and expressive brushwork to English motifs. A reproduction of Van Gogh’s portrait would hang in his studio that Gilman would salute. He would hang his paintings next to those of Van Gogh’s. The influence can be seen if you compare Gilman’s In Gloucestershire with Van Gogh’s HorseChestnut Tree in Blossom.
Even later, Francis Bacon and his peers would position Van Gogh as a painter of hope after the destruction of the Second World War. Bacon would go on to paint a study of Van Gogh, based on one of Van Gogh’s self-portraits. Van Gogh inspired a movement of British expressionist realism. Bacon’s artistic growth from earthy pictures to a more vivid, mature style, echo the works of Van Gogh.
Over a century after Van Gogh’s time in Britain, we are still aware of him and his work. He has become known in the public conscience as one of the most well-known artists to ever have lived. In our schools, he is one of the first painters taught to children. Van Gogh may have only have spent a matter of years in Britain, but he has stayed with us in the many decades after.
The Pre-Raphaelites were a secret society of young artists (and one writer), founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael.
Think you know the Pre-Raphaelites?
We take a look at some little-known facts and bust some myths about this group of Victorian painters
1. THEY STARTED OFF AS A SECRET SOCIETY
When John Everett Millais,William Holman Hunt, Dante Gabriel Rossetti and the other founders of the movement first began marking their paintings with the initials PRB in 1848, they refused to explain the mark. However by 1850 the meaning – Pre-Raphaelite Brotherhood – was leaked (possibly by Rossetti). The society members and affiliates began to explain what they meant by it, just in time for the actual brotherhood to eventually dissolve in the early 1850s.
The endeavour held in view throughout the writings on
Art will be to encourage and enforce an entire adherence to
the simplicity of nature; and also to direct attention, as an
auxiliary medium, to the comparatively few works which Art
has yet produced in this spirit.
2. THE PRB WERE RADICAL IN THEIR TIME, AND NOT EVERYONE LIKED IT
In fact most of the establishment couldn’t bear it. These young artists aimed to overturn everything artists were being taught at the Royal Academy School. These teachings held up the Renaissance painter Raphael as the pinnacle of artistic achievement, but that the PRB saw as formulaic and backward looking. By going back ‘Pre-Raphael’ to medieval and early Renaissance painters, they planned to recapture what they saw as simplicity and truth in art. Inspired by the flat compositions and minute detail of these early paintings, particularly frescoes, they rejected any hierarchy of symbols in their paintings (giving equal weight to the figures and the environment surrounding them). They painted directly on to white grounds making their colours startlingly bright, and gave their forms sharp outlines with little shadow.
In 1850, Charles Dickens described Millais’s depiction of the Virgin Mary in Christ in the House of His Parents as a degenerate type, one who was ‘horrible in her ugliness’.
3. PEOPLE REALLY LIKE THEM NOW, THOUGH
John Everett Millais’ Ophelia 1851–2 and Dante Gabriel Rossetti’s The Beloved 1865–6 have been on an international tour over the last year, to the US, Russia, Japan and Italy where they were collectively seen by over 1.1 million people. Opheliaconsistently tops the bill as the most looked at art work on the Tate website and the the most popular postcard in the shop.
4. JOHN EVERETT MILLAIS WAS A CHILD PRODIGY
Growing up in Jersey, Millais was apparently expelled from his nursery aged four. However, his growing talent for drawing was noticed, not only by his mother and drawing master in St Helier, but also by prominent visitors to the island who suggested the young Millais be taken to the Royal Academy Schools in London. The family moved to London when Millias was nine, and by 11 he was admitted to the Royal Academy, as their youngest ever student.
5. THEY WERE THE FIRST ‘HIGH DEFINITION’ PAINTERS
When TV and film began to be filmed in digital HD, it caused a major headache for set dressers and props makers. Film’s forgiving grain and the relatively narrow depth of field, could be relied on to cast a warm glow over a painted backdrop or a hastily-amended costume, and not draw too much attention away from the action. Digital HD, however, suddenly brought absolutely everything in shot into horrifying focus. Truth was in all the tiny details. And so it was for the Pre-Raphaelites. They were accused of using the new technology of photography to paint from, though in fact they did not, always painting form the true natural source, often outdoors. Their paintings do, however, have what Tate curator Alison Smith calls ‘a discordant quality of focus – rather like a high definition film, where the whole depth of field is sharp’. This does make it hard for the eye to read quickly: do you focus on Ophelia’s face, her hands, her dress, the flowers? But it also means that these paintings don’t give up their secrets too easily – they benefit from a long look.
6. LIZZIE SIDDAL DIDN’T DIE FROM POSING IN THE BATH FOR OPHELIA
Though it probably didn’t do her any favours. Millais had her in the bath from December 1851 until the end of March 1852, and they normally kept the water warm by placing oil lamps placed below. On one occasion, the lamps went out. Millais didn’t notice, and Siddal didn’t mention it. She caught a cold which cost her father £50 (over £3000 today) in doctor’s bills – he sent the bills to Millais.
Siddal was in truth, Rossetti’s muse, though she sat for others of the PRB. Their relationship continued over a decade, from the early 1850s to their unhappy marriage in 1860, and to her eventual death (possibly suicide) from an overdose of laudanum, an opium derivative. It was this addiction that killed her, whether by accident or design. Rossetti’s final homage to her, Beata Beatrix, shows a dove bringing Beatrix (Lizzie) a poppy, of course the source of the drug caused her death.
7. DANTE GABRIEL ROSSETTI KEPT A MINI ZOO AT CHELSEA
In 1862 Rossetti moved to 16 Cheyne Walk in Chelsea, a house with a large garden that he turned into a miniature zoo. Rossetti had kangaroos and wallabies, armadillos, a racoon, a Canadian woodchuck and a Japanese salamander, as well as larger animals like a zebu. He even discussed the purchase of an African elephant with the wild animal supplier, Charles Jamrach. His favourite animal however, was a wombat named Top. Rossetti loved visiting the wombats at London Zoo, and had purchased two as pets from Jamrach. Unfortunately Top did not care of the change of scenery, lasting only a couple of months. Rossetti had him stuffed and displayed him in the entrance to the house.
In 1988 I had an opportunity to travel to Madrid, Spain with a small group from a popular radio station. The morning DJ took the trip with us, to some it was like traveling with a celebrity. That would not be me. This was my first trip to Spain and sitting at the hotel was not my idea of fun.
I walked to Toledo, a famous city with the magnificent Castle of San Servando.
Evidence exists of an ancient monastery attached to a basilica of the same name, possibly founded in the 7th century. In 1080, Cardinal Richard of St. Victor, a monk of the ancient Abbey of St. Victor in Marseille, was sent as the legate of Pope Gregory VII to the Council of Burgos held that year. One of his mandates was to ensure the adoption of the Roman Rite, replacing the ancient Mozarabic Rite used by the Christians of Iberia for centuries. He carried specific instructions for the restoration of San Servando and its adoption of Roman liturgical practice.
As you cross the bridge over the Tagus River you can see where cannonballs hit the Huge gates and surrounding walls protecting the Castle.
The most famous museum in Madrid, Spain is the Prado.
Eugenio Lucas Velázquez – The Second of May 1808
Roger van der Wevden Descent from the Cross
Spain is known for many handmade collectibles. Ladro porcelain is exquisite and my journey to Toledo was a search for a special piece of Ladro for my grandmother. The delicate flowers blow my mind. How could any person’s hand create the delicate flowers?
Thank you for reading, I welcome all your comments.
It is strange that most of Camille Pissarro’s artwork I don’t care for. Landscapes, people working in fields, there all very nice but don’t have as much interest as Boulivorde Martmontre Avenue at Night, 1897.
This piece draws me into all the different brush strokes, nothing clearly defined yet perfectly understand. I can feel the excitement of people bustling around on a brisk night. His use of reflections is the icing on the cake.
Thank you for coming by to see on my favorite Impressionist/Post Impressionist artist Camille Pissarro.
(July 10, 1830 – November 13, 1903)
Camille Pissarro (July 10, 1830 – November 13, 1903) was a French Impressionist painter. His importance resides not only in his visual contributions to Impressionism and Post-Impressionism, but also in his patriarchal standing among his colleagues, particularly Paul Cezanne and Paul Gauguin.
Jacob-Abraham-Camille Pissarro was born in Charlotte Amalie, St. Thomas, to Abraham Gabriel Pissarro, a Portuguese Sephardic Jew, and Rachel Manzana-Pomie, from the Dominican Republic. Pissarro lived in St. Thomas until age 12, when he went to a boarding school in Paris. He returned to St. Thomas where he drew in his free time. Pissarro was attracted to political anarchy, an attraction that may have originated during his years in St. Thomas.
To start the day with humor, I searched the WP feee photo library, here is Van Go.
It’s hard to pin down my top five favorite pieces of art, no doubt you feel the same. I do have two close to my heart and I’ll share one with you today. M
Edourardo Manet painted one of my favorites, His last work was called A Bar at the Folies-Bergère, which was displayed at the Salon, in 1882. She pulls me into the painting. The Barmaid is beautiful but the painting doesn’t give me the feeling of her posing.
Prior to that year, he received a special award from the French Government, which was the Légion d’honneur. It was one of the highest form of recognition that he has received throughout his life.
His last work was called A Bar at the Folies-Bergère, which was displayed at the Salon, in 1882. Prior to that year, he received a special award from the French Government, which was the Légion d’honneur. It was one of the highest form of recognition that he has received throughout his life.
The Folies-Bergère was one of the most elaborate variety-show venues in Paris, showcasing entertainment ranging from ballets to circus acts. Another attraction was the barmaids, who were assumed by many contemporary observers to be available as clandestine prostitutes. By depicting one of these women and her male customer on an imposing scale, Manet brazenly introduced a morally suspect, contemporary subject into the realm of high art. By treating the topic with deadpan seriousness and painterly brilliance, Manet staked his claim to be remembered as the heroic “painter of modern life” envisaged by critics like Charles Baudelaire.
Everything is mere appearance, the pleasures of a passing hour, a midsummer night’s dream. Only painting, the reflection of a reflection – but the reflection, too, of eternity – can record some of the glitter of this mirage.” – Édouard Manet