frick fine arts

Jean Auguste Dominique Ingres (1780-1867)
“Portrait of Comtesse d'Haussonville”
Oil on canvas
Neoclassical
Located in the Frick Collection, New York City, New York, United States

(click to de-blur + zoom in)

wip 3 - I’m doing a slightly different painting style than usual on this peice - I’m actually blocking everything out first before I begin to add details =w= It’s a bit of a pain in the ass in places, but I think it’s actually gonna help out a ton in the long run!

I have been trying to stream, buuut it’s a large file and my laptop’s barely limping along - so, as to not lose any more work, I’m afraid that’s out of the picture (picture, geddit? huhuhu)

3

Students from Mike Morrill’s Painting Studio: Projects class spent the semester practicing and learning painting techniques while working on a major project. We invited them to share their images and a brief description of their process, thoughts, and final product.

Sarah Krause

“My work centers on animal cruelty in the meat, egg, fishing, and dairy industries.  At the societal level, these industries systemically exploit, torture, and murder millions of animals each day for the purpose of maximizing profits.  At the individual level, this system of violence and brutality is perpetuated by individual people through the choices they make about what food goes on their plate.  My work explores the systemic, mechanized nature of these industries through the repetition of motifs such as eggs, cow udders, and fish hooks that are used to exploit these animals and deprive them of their individuality.  The choice made by individuals to renounce animals products is represented by the dissipation of the motif as it crosses over the animal.  By refusing to participate in the unethical and inhumane treatment of animals by leaving them off our plates, we can end this unnecessary suffering.” 

Asian Art Curated Browsing part 2

In this series, students from Introduction to Asian Art respond to texts on Asian art, exploring specific works, representation, changing perspectives, provenance, and their own process of learning about Asian art history.

Today we hear from students who focused on particular topics within the texts they studied.

Focus on specific topics

“As a fashion designer I have always taken great inspiration from Asian art and fashion, and this book has opened up my eyes to a litany of new sources. From my previous research it seems the me that this book has an accurate and wholesome account of Asian artwork. The author and production team involved with this work did an amazing job sourcing high quality photos of all the pieces discussed. This helped me get a better grasp on the culture and history behind the works.” - Matthew Hyre

“In this book, there are many significant spiritual figures. For example, there is a picture of Fudo, a guardian of the faith in Vajrayana Buddhism, a form of Japanese Buddhism. Similarly, there is a picture of the Buddhist Kannon, a deity of compassion in Buddhism, adding to an overall theme of Buddhism throughout the book. There are many military figures in the book as well; particularly in the section on Japan. For example, there is a picture of the Yoshishisa Matachino, a Japanese warrior. He has a unique armor design of scales and bright colored braids.” - Yosef Small

“Coming into this workshop, I had very little knowledge of Asian art and its evolution throughout time. This is not a preface for some sort of eventual enlightenment in regards to a passion for art history. However, what this workshop enabled me to do was appreciate Asian art and culture for its intricate and expansive nature. This text allowed me to understand how certain forms of art came about in Asia and why particular mediums were utilized to produce what we deem as art. I believe that Asian art has evolved concomitantly with sociopolitical conditions and religion. These two cultural factors constantly changed the way art was produced in Asia. For example, when Buddhism became prominent in China, circa 4 CE, we start to see an explosion in Buddhist art – an explosion that continued for the greater part of 1400 years. Also, as Mughal influence spread across India in the 15th and 16th centuries, India art started to adopt Persian and Muslin techniques and principles.” Eishan Ashwat

“Buddhism, Hinduism, and Daoism are prominent in countries that are undeniably considered ‘Asia’ by these textbooks, whereas Middle Eastern counties are currently comprised mostly of Muslims, Christians, and Jews, and many of these texts do not define the Middle East as ‘Asia’. Since the main religions in the Middle East are more Western, perhaps the textbook authors are unable to view these countries as ‘Asian’. It seems as if more recent studies of Asian art has included Indonesia, the Middle East, and Southeast Asia in their discussion, which represents a more accurate description. However, this representation could be enhanced through awareness of how our study of religious influences on art from this region impacts our view. La Plante was concerned with Buddhist art, leading to his failure to discuss Asian countries there were not largely Buddhist. It is important to maintain a holistic view of the varying religions in this region and how they impact the art.” - Sarah Krause

Asian Art Curated Browsing part 3

In this series, students from Introduction to Asian Art respond to texts on Asian art, exploring specific works, representation, changing perspectives, provenance, and their own process of learning about Asian art history.

Today, students reflect on the limited representation of all Asian countries within these Asian Art textbooks.

Limited Representation in Textbooks

“Upon reading just the title and seeing how massive the textbook was, I had assumed it was going to represent every Eastern Asian country. What was represented, however, was only India, China, Korea (North and South), Japan, Cambodia, and Indonesia. This was surprising to me, to see what was chosen to be represented in this book as ‘far eastern art’ and what was not. But, what was shown of China and Japan demonstrates different periods and dynasties, and how the art had slowly changed over time, though continental representation was not complete. Maybe it just comes down to what is defined Far Eastern and what is not?” - Joseph Decoto

“Going through this catalogue, I saw many different forms of art. There were sculptures, paintings, scrolls, a tabernacle, old artifacts, and tapestries. Each image gave the reader insight into the country and time period, accompanied by a brief history. The artwork was spread out into three sections, starting with artwork from China and Central Asia, then India and Southeast Asia, and lastly, Japan and Korea. It is difficult and inefficient to try to obtain art from every country in Asia and I believe the authors did their best to represent artwork from countries from each major region.” - Christina Ortiz

“Why are some countries represented more in art research than others? My first postulation to this questions would be that these countries, Japan, India, and China are studied more often than any other country in Asia. These are the three richest countries in Asia – and therefore of most interest to collectors and historians in terms of history, because with riches some power, and with power comes an interesting historical narrative. These countries have also existed for a long time, whereas other countries may have changed borders and names several times, especially the smaller ones. I think this narrow focus is changing in art history based on my short experience with this class and other in college which point towards a more global view of history rather than a national one, but I’m sure these three are still studied the most, even today.” - Grant Birdsong

“Because this is a book on specific museum collections, it tends to focus on smaller items and other types of media such as statues, bronze work, wood art, etc., while other important aspects of Asian art history are not shown in this book such as architecture (tombs, etc.), and the art attached, such as murals. The text also contains fewer paintings than I expected. Paintings are the most common form of art I think of, perhaps these items were included in previous issues of the collection introduction.” - Jane Kong

“It was the binding that first drew me to this book above all the others – and evergreen spine and a cover with a delicate pink pattern. What is Japanese art? The first images that came to mind were of temples and a wave that may or may not be relevant. While other students were analyzing photos of Asian art for the assignment, I began to read the introduction to my picture-less text. I learned that the eastern hemisphere is responsible for its own artistic progression, independent from European thought, regardless of potential similarities. And Okakura, a man who could be called the premier Asian art historian of his time, takes a unique approach to the central topic of his work, namely that it is Japan that sees the culmination of Asian artistic though. By no mean is this work a comprehensive look at all Asian art, but it also does not pretend to be; Okakura uses his native Japan as a template to trace back the ideals of Asian art and their independent progression through time and history.” - Olivia Gonsalves

Asian Art Curated Browsing part 1

Students from Introduction to Asian Art visited the Frick Fine Arts Library this summer to examine textbooks, exhibition catalogs, and accession catalogs on Asian art. These books varied in publication date from 1904 with Okakura Kakuzo’s Ideals of the East to 2015 with a newly released Pearson Education Asian Art textbook. Each student selected a book and examined the types of artworks represented along with their provenance. In the following responses, students reflect of how the Curated Browsing workshop impacted their view of Asian art history. They discussed how the views of Asian art history shifted through time and considered why certain regions of Asia remain underrepresented in contemporary scholarship even today.

Today we’re hearing from students who left this session with a new perspective or understanding of Asian Art.

New Perspectives & Understanding of Asian Art

“I was surprised to see that my book included images of Asian gardens. I did not originally consider a garden to be art, but after further analysis, I realize that gardens are a facet of the various types of architecture portrayed in this book and invoke a feeling of serenity and retreat, so they can be considered artworks.” - Tori Bonidie

“I was pleasantly surprised to have my horizons broadened by this portfolio of art. In this collection was a very diverse selection from a wide variety of countries; the art ranged from prints and paintings to statues and vessels. These pieces were made from mediums such as wood and stone to glass and metals like bronze, or silver. This text was a great resource for actually looking at the art since it was a portfolio, and offered large images to look at; it also had small descriptions to accompany each image.” - Mason Boy

“In this book, John Clark wrote about how Asian artworks were impacted by the society from the 1930s – 1980s and became what is now modern Asian art. I find this book intriguing because the author managed to combine history, politics, art, and other aspects all together into an interpretable text which we can easily comprehend. This book includes various forms of art; I did not expect to find group photos, copies of old newspapers, manga pages, and posters within. To some of us these might just be ‘old ways of entertainment’ or ‘objects that have historical significance’, the subjectivity of art justifies why these items are categorized as art by the author.” - Biying Zhang

“There are numerous works of art that are mentioned in this book, such as Chinese hand scrolls, Japanese armor, and Korean pottery. Almost all the museums in the book have at least 10 different categories of East Asiatic collections. Inside the book, however, there are no pictures, possibly due to the early publication date. I was surprised to find that there were many Chinese printed books regarding ancient technologies (like papermaking and typography) collected in European museums because I had not considered such books to be works of art in the same way that a print or painting is.” - Haoqi Gu