🎨 ‘Absolutely transformative’: #WillemDeKooning #exhibition uncovers raw intensity of early work
A #PrincetonUniversityArtMuseum show captures the urgent power of the iconic abstract expressionist’s 1945-50 breakthrough years
#Art #Painting
www.theguardian.com/artanddesign...
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#DavidAdjaye’s Fifty Shades of Gray: #MarkHewitt on the #Architect’s new #PrincetonUniversityArtMuseum. bit.ly/49yOwwa
Lost in an infinite crowd of reflections. The mesmerizing display of form, light, and illusion at the Princeton University Art Museum.
#BWagsphotography #princetonuniversityartmuseum #InfiniteReflections
Currently on display at the Guggenheim Museum in New York, this self-portrait was painted soon after German artist Gabriele Münter with her romantic partner and artistic mentor/collaborator Wassily Kandinsky discovered the Bavarian village of Murnau. It proclaims her identity as a modern professional artist. The light-skinned woman in her early thirties faces us head-on, cropped at the torso. She wears a wide straw hat banded in green and crowned with white daisies, its brim casting shadow over blue-grey eyes and flushed cheeks. Dark hair peeks out in loose waves, framing a serious, slightly tired gaze and thin gentle mouth. A cream dress and beige wrap fall in broad planes of color, broken only by a gold chain with a vivid red pendant on her chest. At the lower edge, a brown palette with loaded brushes tilts toward us while more brushes rise in a vase to the left. To the right, the slanted edge of a canvas and easel slices the frame. Thick, visible strokes of rosy pink, orange, and green churn across the background to make her still, upright figure read unmistakably as that of a working painter at her station. Münter, already a leader in the Munich avant-garde and later a founding member of the Expressionist group Der Blaue Reiter, pushed against limits placed on women’s training and careers. Here, she quietly overturns those rules as the big flowered hat signals bourgeois femininity, yet the palette and easel claim the traditionally masculine space of the studio. Her steady, unsmiling gaze suggests both fatigue and resolve, as if meeting the reflection she paints while also confronting any who might doubt her seriousness. The compressed space, tilted tools, and non-naturalistic pinks and greens foreshadow the bold color and simplified forms that would define German Expressionism. The painting stands as a declaration that Münter is not merely Kandinsky’s companion but an artist whose vision shapes modern art in her own right.
Selbstbildnis vor der Staffelei (Self-Portrait in Front of an Easel) by Gabriele Münter (German) - Oil on canvas / c 1908–09 - Princeton University Art Museum (New Jersey) #WomenInArt #GabrieleMünter #Münter #PrincetonUniversityArtMuseum #artText #GabrieleMunter #WomensArt #WomanArtist #WomenArtists
"v2661 (Self-Portrait, Princeton University Art Museum)"; inkjet print. #art #artist #photo #photography #photographer #blackandwhitephotography #artphotography #selfie #selfportrait #princetonuniversityartmuseum #artmuseum
@princetonartmuseum.bsky.social April 4, 2010
Wish I remembered who the artist was!
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“Ben’s Beach, Peru, August 24, 1973.” Minor White (American; 1908–1976). Gelatin silver print. Princeton University Art Museum, Princeton, New Jersey. © Trustees of Princeton University.
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“St. Nicholas and His Elves.” Randolph Caldecott (British; 1846–1886). Watercolor, pen, and black ink, over graphite. Princeton University Art Museum, Princeton, New Jersey.
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“San Pedro Point, California, October 12, 1947.” Minor White (American; 1908–1976). Gelatin silver print. Princeton University Art Museum, Princeton, New Jersey. © Trustees of Princeton University.
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“Man and Pole” — from the portfolio “Beach” (1978). Charles Traub (American; b. 1945). Gelatin silver print. Princeton University Art Museum, Princeton, New Jersey.
#charlestraub
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“Seacoast Landscape.” Lawren S. Harris (Canadian; 1885–1970). Oil on wood panel, ca. 1920s–30s. Princeton University Art Museum, Princeton, New Jersey.
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“Buildings on Shore, Selkirk.” Homer Dodge Martin (American; 1836–1897). Soft pencil, white ink additions, 1875. Princeton University Art Museum, Princeton, New Jersey.
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“Buildings on Shore, Selkirk.” Homer Dodge Martin (American; 1836–1897). Soft pencil, white ink additions, 1875. Princeton University Art Museum, Princeton, New Jersey.
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“Seacoast Landscape.” Lawren S. Harris (Canadian; 1885–1970). Oil on wood panel, ca. 1920s–30s. Princeton University Art Museum, Princeton, New Jersey.
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“The Riviera.” Arthur Bowen Davies (American; 1862–1928). Gouache and blue crayon on blue laid paper, ca. 1925. Princeton University Art Museum, Princeton, New Jersey.
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Person making a picture on the beach, 1966. Minor White; (American, 1908–1976). Gelatin silver print. Princeton University Art Museum, Princeton, New Jersey. © Trustees of Princeton University.
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“The Beach at Trouville.” Eugène Boudin (French; 1824–1898). Oil on canvas, 1865. Princeton University Art Museum, Princeton, New Jersey.
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“Taylor’s Point, Newport, Rhode Island.” William Trost Richards (American; 1833–1905). Watercolor on gray wove paper, 1874. Princeton University Art Museum, Princeton, New Jersey.
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“Sestri — on the Beach.” Wassily Kandinsky (Russian; 1866–1944). Oil on cardboard, 1905. Princeton University Art Museum, Princeton, New Jersey.
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“Men Standing on Beach” | from the portfolio “Beach.” Charles Traub (American; b. 1945). Gelatin silver print, 1978. Princeton University Art Museum, Princeton, New Jersey.
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“Girl Digging in Sand” | from the portfolio “Beach.” Charles Traub (American; b. 1945). Gelatin silver print, 1978 . Princeton University Art Museum, Princeton, New Jersey.
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“Sunbathers on Blanket” | from the portfolio “Beach.” 1978. Charles H. Traub (American; b. 1945). Gelatin silver print. Princeton University Art Museum, Princeton, New Jersey.
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