December 25, 2019: Christmas in Dallas | |
December 8, 2019: The Renoir Exhibit at the Kimbell | |
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Since Prudence and Nancy and Karl were going to be here into Tuesday, they asked us if we would like to come back over to Fort Worth that morning so that we might do another museum visit with them before they headed back to San Antonio. We were happy to see them again, so we relaxed and unwound on Monday and on Tuesday morning headed back over to Fort Worth.
Getting to the Amon Carter Museum
You have probably seen our route to the Museum District in Fort Worth numerous times before (if you've been to other pages in my photoalbum that involve trips there, including the Monet Exhibition earlier this year). It is really pretty straightforward.
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Walking Through the Amon Carter Museum
We did not do a long visit this afternoon, and certainly didn't take enough pictures to make an exhaustive slideshow worthwhile (like we did for the Renoir Exhibit two days ago). I didn't even bring my camera; the pictures I did take I took with my phone. Here are the best of them.
Let's start off with a very interest work I had not seen before, hanging in the central hall of the museum. The work was about fourteen feet wide:
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Let me include here the language from the plaque nearby:
"You have just entered an environment created by Justin Favela (b. 1986). With joy and pride, he uses his art to build symbolic bridges between cultures and across time. This gallery space is a physical bridge of sorts between two buildings, which, in part, motivated the artist to name his installation "New Bridge".
Favela drew inspiration for Puento Nuevo from historical artworks in our collection, including prints by Casimiro Castro (1826-1889), a nineteenth-century Mexican artist. Castro's dazzling images of lush environments and industrial development were created in 1877 to celebrate the inauguration of the first Mexican railway line. Favela recreated these images out of the colorful tissue paper used to make pinatas. In this way, he celebrates his own Mexican-Guatemalan culture, breating new life into artworks from the past."
The Amon Carter has its roots as a museum of western art, which began with Carter's (1879-1955) unparalleled collection of the work of two major artists- Frederic Remington (1861-1909) and Charles M. Russell (1864-1926)- one of the finest collections of its kind in the country. What drew Carter to these artists was the same dynamic that captivated audiences of their times and taste for nostalgia in the face of the realities of modern life, an action-packed romanticized view of the West largely of the artists' own making.
While Remington created images of a life he did not really lead from his posh studio in New York, Russell was a cowboy on Montana ranches, more fully living the type of life depicted in his work. Despite differing paths, the two artists are celebrated by those artists and collectors, like Amon Carter, with the taste fo rromanticized ideas of the Wild West. Both artists influenced how the American West would be portrayed in movies and popular culture for generations to come.
We certainly enjoyed seeing Prudence, Nancy, and Karl again this Tuesday afternoon. Fred, though, was particularly anxious to get back to his house- having been away for exactly a month now, so we eschewed staying for dinner in Fort Worth and headed back to Dallas.
You can use the links below to continue to another photo album page.
December 25, 2019: Christmas in Dallas | |
December 8, 2019: The Renoir Exhibit at the Kimbell | |
Return to the Index for 2019 |