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@BlantonMuseum
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#ElsworthKelly
#BriceDailyPhoto

Painted in 1940, when Texas was being remade by oil wealth, roadside commerce, and Depression-era dislocation. American artist Jerry Bywaters, then in his mid-thirties, had already become a central figure in Texas regionalism. Rather than romanticizing the state, he shows its contradictions: opportunity beside exploitation, faith beside commerce, plus heat and smoke beside cosmetics and poise. The sitters’ identities are not known, but their anonymous presence becomes part of the painting’s power. They stand for the human cost and human nerve required to move through a world where modern industry promises escape even as it scorches the land around them. Two women stand at the edge of a West Texas road with a tense, almost theatrical presence. One wears a fitted black dress, black heels, a necklace, and a feathered black hat over blond hair. Her posture is upright and self-possessed, as she looks into the distance. Beside her, a second woman wears a white blouse, yellow skirt, red belt, and tall western boots as she holds a white hat. A suitcase and round hatbox rest near their feet. Their cheeks and lips are brightly painted, their legs elongated, and their clothing sharply outlined. Behind them stretch signs, poles, a garage, scattered tires, roadside advertisements, and oil fires that stain the sky with smoke. The women are often read as sex workers waiting for a ride into the oil fields, yet the picture resists easy judgment. Bywaters called the image a “sympathetic caricature,” and their stylization does not flatten them into mockery, but heightens their force, danger, glamour, fatigue, and will. The road curves forward past Joe’s Garage, a Jax beer sign, “Hattie’s Hut,” and the unsettling contrast between a “666” sign and nearly hidden “Jesus Saves” tag to set up a visual argument about boomtown desire, moral anxiety, and survival in a landscape transformed by the oil industry. The women are not passive victims. They appear monumental, alert, and determined.

“Oil Field Girls” by Jerry Bywaters (American) - Oil on board / 1940 - Blanton Museum of Art (Austin, Texas) #WomenInArt #JerryBywaters #Bywaters #BlantonMuseum #TexasArt #AmericanArt #art #artText #BlueskyArt #UTA #BlantonMuseumOfArt #AmericanArtist #1940sArt #OilFields #arte #AmericanRegionalism

#cuadrodeldía Diana cazadora, 1642 (Michel Dorigny 1616/17-1665) Museo de Arte Blanton #BlantonMuseum Austin, Texas #art Francés, alumno y yerno de Simon Vouet, muy centrado en temas mitológicos y religiosos. No se le conocen apenas paisajes ni bodegones #FelizMartes

Original post on c.im

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https://blantonmuseum.org/exhibition/spirit-splendor/

I went to this exhibition of baroque art from Spain and Latin America on Saturday evening.

Just under sixty works from New York's Hispanic Society Museum & Library are on display at the UT-Austin's Blanton Museum.

The Blanton is open […]

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📸 Diego Rodríguez de Silva y Velázquez, Portrait of a Little Girl, ca. 1638–42.
The Hispanic Society of America, New York.

#SpiritAndSplendor #BlantonMuseum #BaroqueArt

Quick black conte charcoal sketch on white paper of 8 simplified tulip flower cone shaped shade art installation. Loosely depicted in the left background is a sketch of the Texas Capitol with a flag in the center background and a large star in the right background

View of Redistricting Center from Courtyard of Art Museum, conte sketch #sketch #sketchbook #drawing #austinart #blantonmuseum #art #austin

#blantonmuseum #museumofart #artmuseum #artmuseums #museum #museums #art #artist #artists #unclaimedsuperiority #pleiasbians #pleiadestalukder #great #greatness #awesome #awesomeness #fantastic #terrific #cool #good #goodness #lol

View of the Blanton Museum’s iconic “petals” with the Texas State Capitol in the background.

The Blanton’s entrance space is home to two large-scale art installations. Stacked Waters, created by Teresita Fernández in 2009, consists of 3,100 square feet of custom cast acrylic covering the walls in a series of horizontal blue bands. Siphonophora (2016), a sculpture by Thomas Glassford that was inspired by marine organisms, hangs in the middle of the room.

Ellsworth Kelly, Austin—exterior (2015)

Ellsworth Kelly, Austin-interior stained glass window (2015)

This afternoon, I made my first trip to @blantonmuseum.bsky.social. It will probably take some time to sort through all the photos from my visit, but here are a few highlights…

#BlantonMuseum #TexasMuseums #ATXMuseums #AustinMuseums #Austin #ATX #ArtInAustin #Art #ContemporaryArt 🎨

Today was a last half day in #Austin - the #blantonmuseum is one of my new favorites. Rather subversive main exhibit on collaboration across friendship, generations, and time as represented by 3 pairs of artists and ways of being American - native peoples, immigrants, interned Japanese Americans

I am in love with these structures!
#blantonmuseum #museumsky

Even museums do housework. #blantonmuseum #austintexas

Sketch detail version of Guercino's "Personification of Astrology", c. 1650 - 1655

Sketch version of Guercino's "Personification of Astrology", c. 1650 - 1655

“Personification of Astrology”
Guercino (Il Guercino/Giovan [Giovanni] Francesco Barbieri); c. 1650-1655
Blanton Museum of Art, Austin/Texas, United States
8.25 x 5 in (21,5 x 12,7 cm)
Ink marker and watercolor on plain 70 G/M² sketchbook paper
01/19/25
#pandemicmasters #guercino #BlantonMuseum