Author: Bess Hormats
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 76
Book Description
Retrospective for a Critic: Duncan Phillips
Author: Bess Hormats
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 76
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 76
Book Description
The International Studio
Author:
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 582
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 582
Book Description
Catalogue of the Harvard University Fine Arts Library, The Fogg Art Museum
Author: Harvard University. Fine Arts Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 642
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 642
Book Description
Catalog of Copyright Entries. Third Series
Author: Library of Congress. Copyright Office
Publisher: Copyright Office, Library of Congress
ISBN:
Category : Copyright
Languages : en
Pages : 1602
Book Description
Publisher: Copyright Office, Library of Congress
ISBN:
Category : Copyright
Languages : en
Pages : 1602
Book Description
The Bellman
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 882
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 882
Book Description
National Union Catalog
Author:
Publisher:
ISBN:
Category : Union catalogs
Languages : en
Pages : 648
Book Description
Includes entries for maps and atlases.
Publisher:
ISBN:
Category : Union catalogs
Languages : en
Pages : 648
Book Description
Includes entries for maps and atlases.
Duncan and Marjorie Phillips and America’s First Museum of Modern Art
Author: Pamela Carter-Birken
Publisher: Vernon Press
ISBN: 1648892604
Category : Art
Languages : en
Pages : 176
Book Description
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
Publisher: Vernon Press
ISBN: 1648892604
Category : Art
Languages : en
Pages : 176
Book Description
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
Secretary's Report
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 262
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 262
Book Description
The Phillips Collection in the Making, 1920-1930
Author: Ruth W. Spiegel
Publisher:
ISBN:
Category :
Languages : en
Pages : 106
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 106
Book Description
Duncan Phillips and His Collection
Author: Marjorie Phillips
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 424
Book Description