Tag: US Trip

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Gullscape by Roy Lichtenstein)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Gullscape by Roy Lichtenstein)

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    I’ll try not to get too distracted and write hundreds of posts about artworks at the Virginia Museum of Fine Arts, which means that I might have to limit myself somewhat given the number of photos that I took. Roy Lichtenstein is one of the defining American artists in my limited knowledge of this sort of thing, although he himself has said that he didn’t like his work being defined as American, he thought that it was more industrial.

    This artwork was painted in 1964 and as the gallery says, it all questions where the lines are drawn between advertising and art. I liked the heritage of this as well, acquired by Sydney and Frances Lewis in 1980 as part of their collection before they donated it to the gallery in 1985. The couple built up an enormous set of artworks as they exchanged items from their mail order catalogue to up and coming artists, a rather clever tactic.

    I won’t offer any more analysis than that as it would just sound trite, but this felt like being in an American gallery looking at a proper piece of American art. As for the value of this, I have no idea and I can’t imagine that it would ever be sold, but in 2017, ‘Masterpiece’ by the artist sold for $165 million.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Pontiac in a Deserted Lot by John Salt)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Pontiac in a Deserted Lot by John Salt)

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    And continuing with my theme of my favourite artworks in the Virginia Museum of Fine Arts, this is a painting by John Salt who I have to confess that I hadn’t heard of. Born in 1937, he died in December 2021 and has a pub named after him in London which is something that I’m very impressed about. He was an English artist and his works are based around photo-realism and I had to get close to this before I realised that it wasn’t a photograph.

    Salt went to Baltimore to study in 1967 and although he intended to return at the end of his course, he remained in the United States until 1978 when he came back to the UK and settled in Shropshire. I’ll use the gallery’s text about this artwork as it’s better than anything that I could write:

    “Although bathed in strong California sunlight, this scene could be from almost anywhere in America. While Salt clearly delights in the play of light on glass and metal, the directness of the image addresses classic themes of waste, destruction, and even mortality, as the abandoned car, in human terms, has finished its life span.”

    The gallery bought this artwork in 1971 after it was painted, funded by a grant from Sydney and Frances Lewis. It’s another example of an artwork that just shouted American at me, which felt extra appropriate from an English artist. It’s also got something of a haunting feel, a car left to be scrapped and no longer of use.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Irises by the Pond by Claude Monet)

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    One thing that interests me about artworks in galleries, especially those which have no relation to the artist or where they painted it, is just how it got there. This artwork in the Virginia Museum of Fine Arts is by Claude Monet and is from sometime between 1914 and 1917, one of many that he painted at his home and gardens at Giverny in France, which is now open to the public as a museum and gallery.

    Monet’s paintings are scattered around the world and at a quick count I noticed they are in over 150 different galleries, including major institutions and some are in odd little places (which I won’t name as I don’t want to be blacklisted by the people who reside in what I might have called an odd place). This painting is here in Richmond because of Paul Mellon who had inherited much of his money, and then gave it away as one of the country’s leading philanthropists, being a wealthy man and donating tens of artworks to the gallery. And he lived in the area because it’s where his wife, Rachel (or Bunny), was brought up in Virginia and never quite entirely moved away.

    This painting has been displayed at galleries all over the world, including Padua (Italy), Nashville, Pittsburgh, Cleveland, New Orleans, St.Louis (United States), Copenhagen (Denmark), Basel (Switzerland) and Madrid (Spain). I was rather more taken with just how many people in so many cities have seen this artwork than the painting itself, not least because there’s nothing much I can say about Monet’s works, other than how clumpy the paint is and I accept that I’m not going to be employed as an art critic with that kind of commentary.

    But there’s something fascinating to me of wondering about a painting’s journey and I’m pleased that the gallery has made so much information available about their artworks, and that’s the main point behind these witterings.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Roman Glass)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Roman Glass)

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    The latest post in my “stuff I like in the Virginia Museum of Fine Arts” (and don’t worry anyone, I’ve nearly finished) is this piece of Roman glassware dating to the third or fourth century. It (the one in the middle of the photo, above the number 32) was made in Rhineland, which was one of the first centres of Roman glass making in the empire outside of what is now Italy, with the limitations being the raw materials that were needed by the industry.

    It’s a bottle, or apparently it’s technically called a stamnium, but I think the former is a better word here and it’s one that I can spell. I don’t know what was in it, probably olive oil or something (and there’s a glass Roman bottle in Naples which still has the olive oil in it), but I like to think that it was beer. The Germanic people did brew beer in this period, although Tacitus complained about the quality of it, but we’ve all been there with our commentary on that.

    As an aside, the bottle on the left above the number 31, is Byzantine and was made between the fifth and seventh centuries. There’s a little more knowledge about this one as it has Christian motifs, meaning that it could have been used by a pilgrim to carry either water or oil. I like the idea of someone taking part in a pilgrimage carrying that as I went on my own little pilgrimage to a brewery today in Chicago (this blog is being written a little retrospectively at the moment) and rejected the free glass I was offered and instead was given several branded plastic glasses which have rather less chance of breaking. But, I digress.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Canaletto not on Display)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Canaletto not on Display)

    Image released by Virginia Museum of Fine Arts via Creative Commons CC-BY-NC

    I didn’t see this artwork by Canaletto at the Virginia Museum of Fine Arts, the only artist that I routinely hunt out at every gallery I go to, but that’s primarily because it’s not on display. Painted between 1746 and 1755, it’s the interior of King’s College Chapel in Cambridge and it was given to the gallery by Elizabeth Golsan Schneider, in memory of her mother, Florence Ramage Golsan.

    This painting was once owned by Horace Walpole, the son of the first Prime Minister, Sir Robert Walpole and was displayed at his Strawberry Hill House at Twickenham (which is part of the Borough of Richmond, relevant as that’s where this city in Virginia is named after). The Lewis Walpole Library of Yale University has managed to ascertain that this painting was being displayed in the breakfast room of the house in 1774 and in the waiting room in 1784. It was sold at auction on 17 May 1842 and then it got a bit lost to the record, but it was given to this gallery in 2002. As a little aside, that sale was because George Waldegrave, 7th Earl Waldegrave, has spent all the family money and they had to flog everything off, and one of his distant relatives was the far more capable William Waldegrave, the former Conservative Cabinet Minister.

    It’s a great shame that this artwork isn’t on display and there’s an argument that I keep reading about just how much stuff is in the collections of museums and galleries that the public can’t see. I know some galleries will make artworks available on request, but I can’t imagine that many do given the complexity of shunting stuff about. Perhaps this painting will make an appearance on display in the future, but it’s a shame that it can’t be despatched somewhere else that could display it, particularly if it was in Cambridge. I also find it slightly sad that someone has donated an artwork to a gallery in memory of someone else and it’s just stuck in a backroom somewhere and not on display. On the positive side, there is a huge expansion of the gallery planned which will give them more space, so this might alleviate some of the limitations they have.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Grand Canal: The Rialto Bridge from the South by Canaletto)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Grand Canal: The Rialto Bridge from the South by Canaletto)

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    This will have to be the last post about individual artworks in the Virginia Museum of Fine Arts or I’ll never catch up on this American trip blog. But, I do like to note Canaletto paintings and so I can’t miss this one out. It was painted in either the late 1720s or the early 1730s using the camera ottica technique which allowed a projection of the image to be used as a basis for the artwork. I very much like the detail in these paintings, they’re near photo realism as far as I’m concerned and the quality of them shines through. The artworks are also so accurate that they can be used to measure climate change over the centuries.

    This artwork and around 80 others, are on loan from the Jordan and Thomas A. Saunders III Collection, although I don’t know how long they’ll be here for. A very similar artwork by Canaletto was for auction a few months ago, with an estimated price of $3 to $5 million, slightly beyond my art purchasing budget (which to be fair is zero).

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts)

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    I’ve already posted a few of my favourite things from this gallery in Richmond, which are:

    Grand Canal: The Rialto Bridge from the South by Canaletto
    Canaletto not on Display
    Roman Glass
    Irises by the Pond by Claude Monet
    Pontiac in a Deserted Lot by John Salt
    Gullscape by Roy Lichtenstein

    But, in more general terms, this was a really quite wonderful gallery. There’s no admission charge and it feels very well funded with a $190 million expansion currently taking place, which isn’t a bad little sum to play with although two thirds of that is being provided by the Commonwealth of Virginia. The gallery is also open every day of the year, including Christmas Day, which is some commitment to accessibility for the communities which it serves. The staff and volunteers were pro-active, friendly and engaging, so it all felt well managed and professionally run. They’re also working through their inclusion and diversity programmes which seem sensible and inclusive.

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    It’s already an enormous building with plenty of space in the galleries, so they feel uncluttered and not overcrowded.

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    I spent a couple of hours at the gallery, but could have happily spent all day if I didn’t have other things that I wanted to see in Richmond in the limited time that I had.

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    The stone used in the galleries has plenty of prehistoric remnants in it.

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    It’s also clear from walking around the building where entrances have become a little redundant because new grand extensions have been added on. This was once the main entrance and is now tucked away to one side of the gallery.

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    This large space is now the main entrance to the gallery and where the shop, cafe and baggage storage (which is free and was very handy for me) is located.

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    There’s also a fine dining restaurant in addition to the cafe.

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    There are many exhibits that I would have liked to have written about, but I’m going to run out of time. This is one of the gallery’s collection of Faberge eggs.

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    This was one of my favourite things in the gallery, a Faberge polar bear which was made in the 1890s and donated by Lillian Thomas Pratt. I think it’s really quite lovely.

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    There are also Roman galleries, as well as East Asian art, English silver, African and South Asian art to mention just a few.

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    I wonder if anyone actually ever counts….

    Some other things amused me about my visit, not least that there are some automated sensors which tell visitors to stand back if they’re getting a bit close to displays. A number of visitors, who were mostly elderly and struggling with eyesight, had been trying to peer at the information card and a couple of them got quite angry. One woman stomped off to find a gallery assistant to tell her that she hadn’t been too close, which was rather unnecessarily drawing attention to herself.

    As I mentioned, there’s a large expansion which starts in 2023 and is the fifth expansion since they opened in 1936. There’s more information about that at https://vmfa.museum/about/building-expansion-renovation-project/ and perhaps I’ll come back in a few years to see how it all went.

  • 2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Chloe)

    2022 US Trip – Day 7 (Virginia Museum of Fine Arts – Chloe)

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    I accept that I did say that I had finished writing about the Virginia Museum of Fine Arts, but I forgot this sculpture outside. But this will be the last post…..

    Chloe was cast in one piece, which is in itself quite staggering given that it’s 24 feet in height, designed by the Spanish artist Jaume Plensa (1955-). It’s designed to always have a calm expression from whichever angle it is viewed from, giving the onlooker a feeling of peace and tranquility. Plensa is also the designer of the Crown Fountain in Chicago, which I might go and visit if I remember. The artist and the gallery gave great thought on where to place the artwork, settling on this spot as having the best light and location. Its size certainly makes it noticeable and at least it’s clear what it is, not some odd piece of rock which is meant to represent something that it looks nothing like.

  • 2022 US Trip – Day 6 (Moynihan Train Hall at Penn Station)

    2022 US Trip – Day 6 (Moynihan Train Hall at Penn Station)

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    I’ve departed from Penn station in New York on Amtrak services before, but this is the first time that I’ve used Moynihan Train Hall, which opened at the beginning of 2021. I can’t say that I expected a great deal from the project, but any money put into rail in the United States should be applauded.

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    Arriving just one hour early and so cutting it fine (for me) my service was the 125 to Newport News, although I was only going as far as Richmond.

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    Now, I think this is bloody lovely. This was the James A Farley building which was a Post Office, but requirements change and it’s now Amtrak’s main facility for the city. It’s named after Daniel Patrick Moynihan, a politician who had championed this idea for some time.

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    From a different angle, but I very much like all that brightness flooding onto the concourse.

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    So much colour and so much clarity.

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    A plan of the railway station, with the platforms below ground, then the main concourse and then there’s a floor above which is partly still used as a Post Office.

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    The luggage carousel where they’ve made something of a feature wall of the station’s history. Note the quote from Moynihan which reads:

    “In the old time, you arrived at Pennsylvania Station at the train platform. You went up the stairs to heaven. Make that Manhattan. And we shall have to again. Praise all”.

    And the people of New York do have it all again, the destruction of everything above the platform level at Pennsylvania Station was a disaster, but this Amtrak station has clearly rectified many of the wrongs. This is a good time to requote Vincent Scurry as it’s in the same vein:

    “One entered the city like a god; one scuttles in now like a rat”.

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    There’s a lovely waiting area at the rear, with everything being clearly signed.

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    And here it is, although you have to show your train ticket to get in. Lots of comfortable seats, power points and wi-fi, it has an air of calm about it. Indeed, so does the entire railway station which now has a food court with plenty of seats, information points and a shininess about it which should make passengers want to use trains. It reminds me of how calm Helsinki airport feels and to achieve that with a railway station in the middle of New York is what I consider to be a design miracle. For those reading between the lines of this post, they may gather that I like this railway station and it is far better than anything I can think of in London. The design of St. Pancras is impressive, although that’s mostly down to the Victorians, but they’ve crammed so much retail into it that there’s rarely sufficient seating available. And they might as well knock Euston down, a dreadful station.

    I’ve digressed into complaining again though, so let’s get back on track (see the pun there?). After charging my devices ready for my train journey, an announcement was then made to go down to Track 13.

  • 2022 US Trip – Day 6 (Morning Walk Along the High Line in New York Part One)

    2022 US Trip – Day 6 (Morning Walk Along the High Line in New York Part One)

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    I took this photo with suitable care, but I spent a lot of time during my few days in New York looking at street views like this and waiting to be able to cross the road. At first I waited patiently for the green man, but New Yorkers don’t do that and I got to understand the flow of traffic on the city’s grid system and jaywalking like the locals. I find street views like this inspirational and they would be even more so without all the traffic, but that’s just the walker in me saying that.

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    Einstein loves New York apparently.

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    I’ve walked along the High Line before, but it’s such an inspirational idea for walkers and so well delivered that it seemed a useful way to spend the time before my Amtrak train departed the city. In short, the High Line is a former elevated railway line which had started to fall out of use by the late 1970s. Nearly demolished in the 1980s, it was saved and some visionaries arranged for some sections to be turned into an elevated park.

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    Some odd things happen in this elevated park, but they’re exciting, as crime is very low and misdemeanours much lower than in other city parks. It is also though very well funded compared to other parks, it’s got something of a charm and talking point nature that isn’t easily replicated.

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    A sign handily showing the scope of the walkways and that new bit in darker green towards the top is new to me (which is an excuse for a separate post), so I wanted to have a walk to there. There’s a handy “you are here” sign on the map to show where I was, so towards the southern end.

    Anyway, enough text, now I have lots of photos….

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    And this is now the Hudson Yards development that I wrote about earlier on during the week, with the Vessel building just in short towards the right of the photo. It is a really quite invigorating walk and there’s talk of creating a 1.2 kilometre version in London between Camden Town and King’s Cross. For anyone interested there’s more about that project at https://www.camdenhighline.com/, but all credit to them for wading through the amount of documentation they need to read and produce, some of which are explained in the technical feasibility study section.

    There’s more of the High Line now open which bends around the left in the above photo, and so that means yet another post is coming soon. Woooo!