December 10, 2015 § 2 Comments
By JEROME TARSHIS
The New Fillmore
Like California itself, like the fair of which it was a part, the art exhibited at the Panama-Pacific Exposition of 1915 looked two ways.
In principle the fair celebrated recent accomplishments made possible by big money and entrepreneurship: the completion of the Panama Canal and the rapid rebuilding of the city after the earthquake and fire of 1906. From the time of the Gold Rush, San Francisco had been a place where people could make a lot of money very quickly by exploiting the latest technology. Taking the edge off that reality, the city cultivated an image of Mediterranean charm, offering food, wine and art — in addition to venture capital.
The artistic aspects of the fair also looked two ways. Its buildings were in soothing pastel colors; the architecture looked back to a tranquil agrarian past; but many of the exhibits were devoted to the high-speed wonders made possible by machines and electricity and gasoline if not yet by silicon.
The De Young Museum’s “Jewel City” show reflects both aspects of the fair. From all accounts, the more than 11,000 artworks exhibited at the fair must have included vast swaths of instantly forgettable art, and the 200-odd works exhibited at the De Young certainly offer many soporific moments.
Among all the academic genteelism and quickly pleasing Impressionism, however, there are more than a few pleasant surprises. Here a portrait by Oskar Kokoschka, there a provocation by Edvard Munch, and even among the usual suspects as they would have been listed in 1915, strong work by Cecilia Beaux and John Singer Sargent, among others.
The gallery devoted to pictorialist photography looks tranquil enough. By way of a surprise, the exhibition offers the earliest known work of Ansel Adams, a soft-focus print made when he was 13 years old. His father, far from keeping the boy’s nose to the grindstone, gave him a PPIE pass and ordered him to go to the fair every day instead of wasting his time in high school.
“Prints of the Fair,” a supplementary exhibition on the main floor of the De Young, is worth more than a passing glance. Predictably, it offers high-quality work by Whistler and other artists who were influenced by Japanese art and design. Less predictably, it offers a far less tranquil section of prints addressing the urbanization and mechanization of America.
The exhibition ends with a gallery of avant-garde art that pushes a bit farther than New York’s Armory Show did in 1913. Almost as if to echo the high-tech aspects of the fair in general, the art shown at the Palace of Fine Arts included a large selection of Italian Futurist work, as the Armory Show did not.
James A. Ganz, the principal curator of the show, says he intended that contrast to shake up visitors to the De Young. “They’ll experience that surprise, that same shock, that visitors did in 1915,” he says, “when having been soothed by the harmonious color scheme of the Jewel City and French Impressionism, they found themselves in a raucous roomful of paintings by Boccioni, Russolo and Severini.”
The passage of time has made the respectable art seem less worthy of automatic acceptance and made the perversity of the avant-garde seem less novel, but the sense of surprise and discomfort is still there.
November 17, 2015 § 2 Comments
LOVE LETTER to a beautiful place — Paris just last week. It will again be a city of light and love.
June 15, 2015 § Leave a comment
“I LIKE SPEED, I like buildings, I like cars,” says painter Veerakeat Tongpaiboon. “It’s all art.”
March 9, 2015 § 1 Comment
ANYONE WHOSE APPETITE for painting has gone cold will find it inflamed again by “Botticelli to Braque: Masterpieces From the National Galleries of Scotland,” a spectacular exhibition at the de Young Museum in San Francisco.
Read more: “Scotland’s stupendous stash”
January 31, 2015 § Leave a comment
FIRST PERSON | DOUGLAS G. STINSON
Like many people, I had been active in church life from childhood into early adolescence. Then, confronting what my teenaged mind saw as cowardice and hypocrisy within my church, I swore off religion.
In college I became aware of the writings of the 18th century scientist and Christian mystic Emmanuel Swedenborg and, as a scientist, was drawn to his insistence that the teachings of faith and reason must conform. But I had no interest in being part of any organized religion.
Until I walked into the San Francisco Swedenborgian Church.
I was awestruck by the building’s humble strength and simple beauty. Everything breathed a spiritual essence. I knew I wanted to be a part of it.
By 2012, the condition of the stained glass windows that had graced the Swedenborgian church at the corner of Lyon and Washington Streets for more than 100 years had deteriorated. We learned that if action were not taken, the beautiful windows — an integral part of the National Historic Landmark — could be lost forever.
October 21, 2014 § 1 Comment
A HIGH SCHOOL art class stopped by to visit Sandy Ostrau’s exhibition. They had a few questions.
October 8, 2014 § Leave a comment
FOR THE FIRST TIME in his long and storied career as a painter of florals, master watercolorist Gary Bukovnik paints roses.
June 6, 2014 § Leave a comment
THE RENOWNED PAINTER Ken Auster takes his plein-air workshop to a favorite park in San Francisco.
October 12, 2013 § Leave a comment
FRANCIS LIVINGSTON (above) on three decades of painting roller coasters and Ferris wheels. Below, a walk with the artist through his Fall 2013 exhibition, “The Color of Light.”
June 26, 2013 § Leave a comment
WHEN HE WAS only 26 years old, in the summer of 1948, Richard Diebenkorn had his first solo museum exhibition at the Legion of Honor in San Francisco, located not far from the home where he grew up in the city’s Ingleside district. He went on to an internationally successful career and became perhaps the best known and most respected of all California artists.
Now he comes home. “Richard Diebenkorn: The Berkeley Years,” at San Francisco’s de Young Museum, chronicles his work from 1953 through 1966 when he lived in Berkeley and moved from the abstraction of the Berkeley series through his great figurative period. Below, take a video walk through the exhibition with the curators.
Richard Diebenkorn’s Berkeley Years: New Perspectives
September 7, 2013
Portrait of a Friendship: Richard Diebenkorn, David Park
and Bay Area Figurative Art
Painters Looking at Paintings: Henri Matisse, Richard Diebenkorn,
Wayne Thiebaud and Robert Bechtle
Interior Landscapes: Figuration and Abstraction in Post War Photography
Timothy Anglin Burgard
Richard Diebenkorn: Known and Unknown
Richard Diebenkorn Working: Video from Crown Point Press