To quote America's "Sister Golden Hair," I've been one poor correspondent as of late, but I have a good reason. Last week I was in Pennsylvania doing research for an upcoming retrospective on Peter Hurd and Henriette Wyeth, co-curated with the James A. Michener Art Museum, so my priorities were with archival research. Keep your eyes peeled in 2018 for this one, it's going to be beautiful.
On Saturday though, I made a point of going to Philadelphia to see the American watercolor show at the PMA, and while I was in town I visited the Barnes Foundation. Knowing its controversial backstory I was initially hesitant to see it, but I decided in favor of it, and I'm glad I did. The private collection of Dr. Albert Barnes, it's an eclectic mixture of modernism, folk art, northern Renaissance, and more, all arranged in ensembles that reflected Barnes distinctive interpretation of world visual culture. Its display is notable for mixing fine art with examples of so-called decorative arts and functional objects, one of which caught my attention.
This steeplecock dates from the 18th century, and is probably American or French. Seeing it on the wall reminded me of all the marvelous weathervanes at Shelburne Museum, so naturally I had to draw it.
On Saturday though, I made a point of going to Philadelphia to see the American watercolor show at the PMA, and while I was in town I visited the Barnes Foundation. Knowing its controversial backstory I was initially hesitant to see it, but I decided in favor of it, and I'm glad I did. The private collection of Dr. Albert Barnes, it's an eclectic mixture of modernism, folk art, northern Renaissance, and more, all arranged in ensembles that reflected Barnes distinctive interpretation of world visual culture. Its display is notable for mixing fine art with examples of so-called decorative arts and functional objects, one of which caught my attention.
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