#PaintingSetFree Post by our Instagram friend angerval.blue from her recent visit to the de Young.
All about the light. Detail of Northern Castle, Sunrise. #JMWTurner #exhibition #paintingsetfree #Cow @deyoungmuseum by angerval.blue http://bit.ly/1KluNhz
i know i’m not going to do anything with these photos but i thought it was really beautiful how the young girl (jordan) was looking up at the statue and making eye contact with her as though she was having a connection with this strong, beautiful and heroic woman that she she was in awe of and wanted to grow up to be one day, and then bowing her head as if in respect. idk it was a really interesting and beautiful thing to look at, like a really poetic moment i’m glad i managed to catch
The DeYoung Museum in San Francisco is featuring an exhibition called “The Art of Bulgari: La Dolce Vita and Beyond, 1950-1990” and it’s a good one. The exhibit obviously includes jewelry, but it also includes nice multimedia with photo slide shows of Anita Ekberg, Elizabeth Taylor, and many other actresses wearing Bulgari. The Bulgari studio was not far from the Cinecittà studio where Fellini worked, so the La Dolce Vita reference is justified. If you’re in the Bay Area, go check it out. The exhibit lasts to February 17, 2014.
SAN FRANCISCO — At 76, David Hockney is in one of his primes, and apparently he knows it. Not for nothing is his exuberant, immersive survey at the de Young Museum here cheekily titled “David Hockney: A Bigger Exhibition.”
This sprawling romp through more than 300 works in several mediums and technologies fills 10 often large galleries and yet primarily covers work from the last decade of Mr. Hockney’s 60-year career. It is dominated by radiant landscapes — some the size of murals — of the fields and woods in different seasons of East Yorkshire in Britain, near where Mr. Hockney was born and grew up.
Canvases like “The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven)” argue convincingly that early modernist styles from Post Impressionism to Fauvism and beyond are grounds for further development. Synthesizing aspects of Munch, Klimt, Derain, Cézanne, van Gogh and late Bonnard, these works are alluringly modern for their startling colors — roads of light magenta, tree trunks of purple or orange, along with quantities of different greens and yellows — their notably nonprecious, dashed-off tactility of surface, their welcoming spaciousness and bold internal scale, and their often Abstract Expressionist size.
With an emphasis on bucolic farmland that seems very British, they nonetheless convey the grandeur of nature, still the mother of us all, and of all art. And they also confirm Mr. Hockney’s theory that representational painting can tell you more about reality and perception than either photography or the human eye, which is one reason it can still thrill.