Flashback no. 1: The J. Paul Getty Museum, Los Angeles (5 March 2017)

There are many reasons to visit the Getty Centre, which is nestled in the hills overlooking West Los Angeles. The first is probably its unique architecture, one of Richard Meier's most visionary and iconic achievements. The second is the oddly serene view that can be enjoyed from the beautifully landscaped gardens. The museum's collection is also quite impressive, and it was it difficult to pick just one work for this post.

Then I remembered being struck by this delightful Degas. I love the discreet intimacy of the scene, the way he captured the mood of the milliners, almost spying from above on the apparent indifference between them. These women are tired, probably overworked and in no mood for chit chat. Look at those unrolled ribbons on the table, there is still so much sewing to be done.

But it's the unusual composition that sets this picture apart. Those towering hat stands in the foreground, which Degas painted so sketchily they almost look unfinished, create a sort of barrier between the viewer and the milliners. The women are isolated in their world of repetitive labour, and Degas draws attention to the one the left as she stares into space looking decidedly exhausted.

With the exception of the bright ribbons, I find that the muted palette really conveys the gloominess of the space around them. This is an overall very sympathetic depiction of one of Degas' favourite subjects, which I much prefer to the dancers and bathers.

#degas #impressionism #gettymuseum #art #artlovers #artblog #artblogger #beyondthecanvasblog

Edward Degas, The Milliners (about 1882-before 1905), The J.Paul Getty Museum.

Photos all mine (including the selfie with my darling friend Alice May).

Spring in art part 8: the day van Gogh comes to Fulham

Today is the most awaited day of my year. The hopeful and feverish monitoring of the evolution of the buds on my beloved pear tree culminates and ends on the day I wake up to find buds have turned into flowers.

That day is today. White, fragile, ephemeral, beautiful and moving, trembling in the breeze against the clear blue sky. Today I’m feeling a little bit like Vincent in Arles. I also choose to live this day in contemplation and in awe of nature.

This yearly gift is immense. In the spring of 2020, a year we are unlikely to forget, it carries all the weight of our hopes and the courage of our dreams.

#spring #nature #blossom #art #artblog #artblogger #beyondthecanvasblog

Spring in art part 7: Steichen does a van Gogh

Luxembourg-born Edward Steichen is one of the most influential photographers of the 20th century. He was one of the founders of the Photo-Secession, a movement that promoted the idea that photography was not just about accurately reproducing the world, but also about creating artistic imagery. Steichen and his peers adopted a more 'painterly' approach to photography using filters and soft focus to express their creativity and manipulate their images.

Steichen, who had trained as a painter, had spent years in Paris working and hanging out with other artists. There is no doubt in my mind that when he took this photo he was thinking of van Gogh's Almond Blossom. And it doesn't matter too much that this is a sepia print, a technique he often used to add drama to his iconic fashion and celebrity portraits, the similarities are obvious and the works share the same explosive vision of spring. Steichen wanted to reinvent photography so that it looked like painting, and that he most certainly achieved.

#edwardsteichen #vangogh #photography #spring #art #artblog #artblogger #beyondthecanvasblog

Edward Steichen, Apple Blossoms (c.1935). Photo credit Art Institute Chicago

Vincent van Gogh, Almond Blossom (1890). Photo credit Van Gogh Museum