Item of the Week: Picasso Guitars 1912-1914

New to the Chrysler library this week is "Picasso Guitars 1912-1914." Published in conjunction with the exhibition by the same name at the MoMA, the book features photographs of the sculpture along with essays detailing the historical and technical background of the series.

"Sometime between October and December 1912, Pablo Picasso made a guitat," curator Anne Umland writes in the preface. "Cobbled together from cardboard, paper, string and wire, materials he cut, folded threaded and glued, Picasso's purely visual instrument resembled no structure ever seen before."

So unlike sculptures of the past, Picasso's guitars would not look out of place amongst children's art work, cobbled together together with recycled newspaper and cardboard. But, as the book reminds us, Picasso's work was evolutionary. The exhibit traces the history of Picasso's guitars - from their turn as human figure to musical staff to art tool kit.

Some theorize that Picasso's guitars were stand-ins for his own body. Others believe their curvaceous figures were more reminiscent of Picasso's love interests at the time.

By echoing the shape of a music staff, a guitar's strings provide both a literal and figurative space for music to be created. Picasso frequently confuses the two ideas in his art.

Straight lines, curves, circles and a variety of textures make guitars the perfect pre-loaded art tool kit for any cubist. Picasso could easily pull these pieces apart, playing with their shape and function.

Umland summarizes best: "As humble in its subject as in its materials and mode of realization, it irrevocably changed the way we think - not only about what might constitute sculpture but about what can be defined as art."

Picture from our past: Famous visitors to the Chrysler

Recognize this famous face?  It's Friday the 13th, and whether or not you suffer from Triskaidekaphobia you're likely to know this famous actor and art collector from one of his films.  In 1979,  Vincent Price visited the Chrysler Museum and posed with Bernini's Bust of the Savior (71.2043 ).  

Price is perhaps best known for his roles in horror films such as House of Wax (1953)  and  House on Haunted Hill (1959). He also starred in numerous radio shows including The Saint (1944-1951) on NBC radio.  You might also know him from  Edward Scissorhands (1990), or from voice work on Micheal Jackson's Thriller (1982).

What you may not know, however, is that he was also an avid art collector.  From 1962 to 1971, Sears Roebuck  offered the "Vincent Price Collection of Fine Art", to the general public. Around 50,000 works of art were eventually sold through the collection. Price's personal art collection, along with works collected by his wife Mary, became the core of the Vincent Price Art Museum at East Los Angeles College in California. 

Price's visit to the Chrysler Museum was purely for pleasure. You too can enjoy  Bernini's Bust of the Savior - it's currently on view in our Renaissance and Baroque Galleries (Gallery 218).  Happy Friday the 13th!

Item of the Week: "British Textiles: 1700 to the Present"

New at the Jean Outland Art Library this week is the book “British Textiles: 1700 to the Present.” A collection of textile prints from the Victoria and Albert Museum, the book details the evolution of the textile in England, discussing both technological and artistic innovation through the centuries. The book contains fascinating essays about each period in textile history, with interesting facts you probably never knew about textiles. Here’s a sampling of fun facts I’ve learned so far:




From 1805, a sample from a silk weaver’s pattern book. As technology advanced, artisans utilized new materials, including metallics.



1787. By William Kilburn, designer and calico printer. Flowers on ground covered with leaves.

We often judge a piece of art on how lifelike it is in comparison to the real thing, but in the 1830s, how real something looked was not necessarily a good thing. Henry Cole, the head of London’s first School of Design, “railed against the fashion for ultra-realism in floral patterns, singling out in particular a number of printed furnishing cottons that he criticized for their ‘Direct Imitation of Nature.”

1893, “Crocus” printed fabric.

Textile 5: 1941, ‘Victory V’ dress fabric, produced by the Calico Printers’ Association, Manchester. The border of the design, illustrating three dots and a dash, represents the Morse code for ‘victory.’

 ‘Clandon’ furnishing fabric, roller-printed cotton. 1977.

Like the patronage system of the Italian Renaissance, the “Old Masters” of the textile world had close relationships with the drapers who sold their good. Financial dependence upon these drapers created a symbiotic relationship necessary for the busy industry.

Textile 6: ‘Jupiter’ furnishing fabric, 1967.

Though the textiles are true works of art, few can be attributed to one specific artisan. Few pattern drawers had their names printed on the textiles they designed, so it’s difficult to give credit to particular artists.

1977, ‘Soup Can,’ dress fabric.

‘Shrine’ hanging, painted spun silk. 1997.

Like the modern fashion world, the French were known world-wide for their trends. Designers drew inspiration from the French. “The French lead the taste and we follow them,” said Joseph Lockett, a textile engraver. “I go to Paris three or four times a year for no other purpose than to buy designs and see what the French are doing.”

Our own Moses Myers collection contains several textile samples, believed to be from Jamaica.

 - C.D.

Happy Children's Book Week!

This week is National Children's Book Week, and in honor of the holiday, we've gone through our collection, grabbed our favorites and created a cool timeline! Run your mouse over each entry for more information on the books. Check it out....