Written by Sheryl Nonnenberg / Palo Alto weekly
Posted: Thursday, July 14, 2022, 2:31 pm With gas prices on the rise and air travel less exciting, it might be a good time to consider traditional offerings closer to home. The Stanford campus is home to two world-class museums and if COVID-19 has prevented you from visiting recently, you may be pleasantly surprised by the variety of – and thought-provoking – exhibits currently on view. A recent visit to both the Anderson Collection and the Cantor Art Center revealed both old favorites and new acquisitions that cater to all ages and tastes. Start at the Anderson Collection, the famous museum with the extraordinary collection of Harry W. “Hunk” and Mary Margaret “Moo” Anderson. As a result of the beneficial relationship between the local couple and the university, Anderson holds a world-renowned collection of post-World War II American art that once graced the halls of the Saga Corporation, (Harry Anderson was one of founders) and later, the Quadrus office building on Sand Hill Road in Menlo Park. For those unfamiliar with the origins of this collection and how it came to Stanford, it’s worth a visit to the cozy library named after it. Here, the Andersons’ personal library of art books (used to help with their collection) and a video interview with the couple are available. The second floor is where the initial 2014 gift of 121 paintings and sculptures is installed, as well as recent acquisitions. The museum is closed until 2021 for building renovations; It was also an opportunity to re-install the permanent collection. A curated gallery of pieces grouped by theme (California Funk, Bay Area Figure, Abstract Expressionism, etc.) reflects how the Andersons lived with art. the rumor of their house. Abstract large-scale paintings sat comfortably next to English antiques and sculptures by California artists such as Robert Arneson and David Gilhooly. Yes, one of the most famous examples of Jackson Pollock’s “fluid period”, “Lucifer,” is still in the main gallery, but now it has been added to recent gifts from the Andersons and others. “Totem Lesson I” (also by Pollock) and “Gansevoort Street” by Willem de Kooning were given by Mary Margaret. Anderson before her death. Another important gift to Anderson was the prints and a wonderful marble bust, “Makida III” by Manuel Neri. These and other contemporary works like Mary Weatherford’s 2017 “Black Painting,” which features a stream of neon tubes on top of the canvas, ensure that the museum remains a lively educational experience, no matter how often one visits. visit. While it’s always interesting to see what’s new, it’s also fun to see familiar works in new places. A bright and soaring painting, “The Beaubourg” by Sam Francis, hung in the basement. Now looking at the top, it boasts a large wall space. Not far away is a unique grouping of works by Stanford alumnus Richard Diebenkorn. The Andersons were good friends with the artist and the works on display here reflect his ability to capture light and landscape in a new and abstract way. “Ocean Park #60” is beautiful, blue and quiet – perhaps like the neighborhood of Southern California that inspired it. This painting alone is worth a visit. Back on the ground floor of the temporary exhibit, “American Progress,” a thoughtful exhibit of prints and artwork by Wendy Red Star, addresses the impact of western expansion on the d Indigenous and environmental factors. A small but extraordinary museum, no one can help, but I was amazed at how Andersons people were art collectors – and how fortunate we were that this important collection did not end up anywhere else. and en cyclopedic museum, it is a good idea to take a map and plan a visit course. The regular collection consists of everything from African art and crafts to European painting to modern works, and seeing all this can take hours. I focused on the temporary shows that are now on display and found a lot to give me by looking and thinking. For those looking for a historical foundation for the museum, the exhibition “Melancholy Museum” provides an amazing guide to how Jane Stanford wanted to create a lasting reward for her son, Leland Jr., himself an emerging archeologist. In this show, there are three masks for the death of Jane, Leland and their son who are charming, if macabre, start before walking around the corner to see the newly opened show “The Faces of Ruth Asawa.” Unlike the mask of death, these faces of friends, family and friends are a happy reward. Made of clay and brown, tan, yellow and white, the faces are, for the most part, smiling. The museum has found 233 of the masks, which were created over a period of thirteen years. Asawa, often referred to as a wire-spinning artist, wore masks to capture the faces of the time. A new work exhibition from the Marmor collection focuses on the use of black and white in the print and work styles of renowned artists Richard Serra, Ellsworth Kelly, Bruce Nauman and Sam Francis. Original gift of 200 prints, mostly made by Gemini G.E.L . in Los Angeles studios, is designed to show “the importance of paper in moderation.” There are several new museum purchases: “Country City” and “Great Sucker” by Sacramento’s Wayne Thiebaud. They are bright, beautifully presented and reflect on two of his favorite artist subjects, the San Francisco Streets and Oral Dining. Upstairs, wear your sunglasses to enjoy the small, well-decorated portraits by LJ Roberts. They brilliantly detailed the art award ist his colleagues in the queer and trans community of New York City. Presented in a white plexiglass structure, it is possible to see the back of each piece and marvel at the time (up to one year each) and the attention paid to their creation. Visitors who have discovered that they have worked out a craving for food at this museum Travel can stop at a new addition to Cantor, Tootsie’s Café on the ground floor of the museum. Opened five months ago, it consists of seasonal salads, sandwiches and pasta. Or, those who may have brought lunch can grab an outdoor chair and enjoy one of the museum’s most famous features: a large collection of bronze art by Auguste Rodin. Individual units are located on the ground level, while the promotion and construction of “Gates of Hell” has a unique platform. There are two other notable outdoor stops that visitors want to do: Andy Goldsworthy’s local sandstone serpentine art has become part of the terra firma in the nearby arboretum. A few steps away, a new addition to the university’s public arts space is a work by photographer Beverly Pepper. Consists of four, 40 foot high steel pillars of these and serves as a representative of the Stanford Arts District, “Stanford Columns” is bold, impressive and encourages visitors to wander – and wonder – the art experience right on our doorstep. .Both the Anderson Collection Center and the Cantor Arts Center are free to the public with advance reservations. For the Cantor Art Center, visit museum.stanford.edu and the Anderson Collection, visit anderson.stanford.edu.
With gas prices on the rise and air travel not as exciting, it may be a good time to consider traditional produce closer to home. The Stanford campus is home to two world-class museums and if COVID-19 has prevented you from visiting recently, you may be pleasantly surprised by the variety of – and thought-provoking – exhibits currently on view. A recent visit to both the Anderson Collection and the Cantor Art Center revealed both favorites and new acquisitions that cater to all ages and tastes.
Start at the Anderson Collection, an interactive museum featuring the extraordinary collection of Harry W. “Hunk” and Mary Margaret “Moo” Anderson. As a result of the beneficial relationship between the local couple and the university, Anderson holds a world-renowned collection of post-World War II American art that once graced the halls of the Saga Corporation, (Harry Anderson was one of founders) and later, the Quadrus office building on Sand Hill Road in Menlo Park. For those unfamiliar with the origins of this collection and how it came to Stanford, it’s worth a visit to the cozy library named after it. Here, the Andersons’ personal library of art books (used to help with their collection) and a video interview with the couple are available. The second floor is where the previous 2014 gift of 121 paintings and sculptures is installed, as well as the latest acquisitions.
The museum is closed until 2021 while the building is being renovated; It was also an opportunity to re-install the permanent collection. A functional arrangement of pieces that gathers objects by theme (California Funk, Bay Area Photography, Abstract Expressionism, etc.) The current installation is a joyful collection of similar and different works of art.
In other words, this placement is a reflection of how Andersons lived with the art in their home. Unconventional and extensive paintings were comfortably housed in the presence of British archaeologists and California artists such as Robert Arneson and David Gilhooly. Yes, one of Jackson Pollock’s most famous examples of “liquid season”, “Lucifer,” is still in the main gallery, but now it has been added with recent gifts from Andersons and others. “Totem Lesson I” (also written by Pollock) and “Gansevoort Street” by Willem de Kooning were provided by Mary Margaret. Anderson before her death. Another important gift for Anderson was the wonderful prints and occasional bus, “Makida III” by Manuel Neri. For these and other modern works such as Mary Weatherford’s 2017 “Black Painting,” which has a neon tube on the surface of the sail, make sure the museum is still an active learning experience, no matter how often the person visiting.
While it is always interesting to see new ones, it is also interesting to see familiar places in new places. The brightly painted painting, “The Beaubourg” by Sam Francis, was locked in the basement. Now looking at the top, it has a boast with a big wall. Not far away is the special grouping of works written by Stanford alumnus Richard Diebenkorn. The Andersons were good friends with the artist and the works here reflect his ability to capture light and appearance in a new and unobtrusive way. “Ocean Park # 60” is beautiful, blue and quiet – perhaps as inspired by Southern California. Only this painting is worth a visit.
Back on the ground floor of the interim exhibition, “American Progress,” a thought-provoking presentation of publications and art by Wendy Red Star, addresses the Western expansion impact on Indigenous peoples and the environment.
Leaving this small but unique museum, no one can help, but I was amazed at how well-known and sophisticated Andersons were as collectors of art – and how fortunate we were that this important collection did not fall elsewhere.
Walking to the next door to Cantor, a huge encyclopedic museum, is a good idea to take a map and plan a visit course. The regular collection consists of everything from African art and craftsmanship to European painting to contemporary works, when all of them can take hours. I focused on the temporary exhibitions that are now on display and found a lot to keep me looking and thinking.
For those looking for a historical foundation for the museum, the exhibition “The Melancholy Museum” provides an amazing guide to how Jane Stanford wanted to create a lasting award for her son, Leland Jr., himself an archaeologist. In this show, there are three masks for the death of Jane, Leland and their son who are charming, if macabre, start before walking around the corner to see the newly opened show “The Faces of Ruth Asawa.” Unlike the mask of death, these faces of friends, family and friends are a happy reward. Made of clay and brown, tan, yellow and white, the faces are, for the most part, smiling. The museum has found 233 of the masks, which were created over a period of thirteen years. Asawa, who is often known for her wire-twisted art, made the mask a way to capture her face in time.
A new work presentation from the Marmor Collection focuses on the use of black and white in the printing and working styles of famous artists Richard Serra, Ellsworth Kelly, Bruce Nauman and Sam Francis. The original gift of 200 prints, mostly made by Gemini G.E.L. in Los Angeles studios, is designed to show “the importance of paper in moderation.” There are several new museum purchases: “Country City” and “Great Sucker” by Sacramento’s Wayne Thiebaud. They are bright, beautifully presented and reflect on two of his favorite artist subjects, the San Francisco Streets and Oral Dining.
Upstairs, put on your glasses to enjoy the intricately woven miniatures by LJ Roberts. They are incredibly detailed tributes to the artist’s friends in New York City’s queer and trans community. Presented in a clear plexiglass frame, it is possible to see the back side of each piece and marvel at the time (up to a year each) and the care that went into their creation.
Visitors who find they’ve worked up an appetite on this museum tour can stop by Cantor’s newest addition, Tootsie’s Café on the lower level of the museum. Opened five months ago, it features seasonal salads, sandwiches and pastas. Or, those who may have brought lunch can grab a seat outside and enjoy one of the museum’s most famous features: a large collection of bronze sculptures by Auguste Rodin. The private parts are located on the ground level, while the inspiring and beautiful “Hell’s Gate” has a special platform.
There are two other notable stops outside that visitors will want to make: local artist Andy Goldsworthy’s serpentine sandstone sculpture has become part of the terra firma of the nearby arboretum. A few steps away, a new addition to the university’s public art scene is a work by artist Beverly Pepper. Comprised of four, 40-foot tall steel columns that serve as a representative of the Stanford Arts District, the “Stanford Columns” are bold, impressive and encourage guests to wander – and marvel – at an art experience right at our doorstep. . .
Both the Anderson Collection and the Cantor Art Center are free to the public by reservation. For the Cantor Art Center, visit museum.stanford.edu and the Anderson Collection, visit anderson.stanford.edu.
Author contributes to Sheryl Nonnenberg’s email [email protected]
1. Paris. Paris is the undisputed capital of the world museum, home to the arts for centuries and the world.
Where is the kiss statue located?
| Kissing | |
|---|---|
| Size | 181.5 cm × 112.5 cm × 117 cm (71.5 × 44.3 inside × 46 inches) |
| Location | Paris |
| The owner | Musée Rodin |
Who made the Kiss Statue? On the same subject : The Warhol Foundation is allocating $ 3.9 million to 50 U.S. art organizations.
What does The Kiss sculpture represent?
Kissing basically means Paolo and Francesca, two characters borrowed, again, from Dante’s divine comedy: killed by Francesca’s husband who surprised them when they exchanged the first kiss, the two lovers were sentenced to never wander about in Hell.
Where is the giant statue of the sailor kissing the nurse?
The 25-foot statue depicts sailors kissing a nurse in Times Square after World War II. It is a living and very emotional thing. It will be in Graham until April 20, 2020. This is at the McKee Botanical Gardens in Vero Beach.
How much is The Kiss statue worth?
Actor Rodin’s ‘The Kiss’ sells for $ 2. See the article : Whistleblower Group seeks to prevent reaccreditation of Detroit Institute of Arts.5 million at auction in Paris.
Where are the most famous paintings?
Learn where to find 20 popular artists. See the article : The Brooklyn Museum reopened an entire floor for the Arts and the Islamic World in September 2022, including the New South Asian Art Collection and the Islamic World Art..
- Mona Lisa – The Louvre (Paris, France)
- Last dinner – Santa Maria delle Grazie (Milan, Italy)
- Star Night – MoMA (New York City, New York)
- Guernica – The Reina Sofia (Madrid, Spain)
- Views, Sunrise – Musée Marmottan Monet (Paris, France)
What is the # 1 most popular painting in the world? Mona Lisa (da Vinci) Widely regarded as the most famous painter in the world, Mona Lisa has delighted the audience since she painted Leonardo da Vinci in the early 1500s. The painting is named after Lisa del Giocondo, a member of the wealthy Florence family.
Which museum has the most famous paintings?
The Louvre is the world’s most famous museum, including Venus de Milo and Mona Lisa.
What is the most viewed painting in the world?
1. Mona Lisa â € “10 million a year. Not surprisingly, the most visited painting in the world is also the most famous painting ever painted by Mona Lisa. Created by Leonardo da Vinci in the early 16th century, it is valued at more than $ 660 million.
What is the number 1 museum in the world?
1. Metropolitan Museum of Art New York, NY. Met â € ”as they affectionately call New Yorkersâ â“ topped the list of the top travelers in the US and the world for the third year in a row. Itâ & # x20AC; & # x2122; s one of the largest museums in the worldâ €.
What is the 2nd largest museum in the world? 2. State Hermitage Museum. The Hermitage State Museum is St Petersburg’s most famous attraction and the second largest art museum in the world.
What is the most valuable museum in the world?
The most expensive museum in the world? Churchill War Rooms topped our list of the world’s most expensive museums.
