the phillips discovery Pack
Find the paintings illustrated on these cards There is no particular order to the cards, so start with your favorite! Use a visitor guide and the map inside to find your way through the museum. Explore the works of art together Your ideas and opinions about the works of art can create conversations with your family and friends. Use your imagination and have fun! Help us protect the paintings for the future Please stay about two feet from them at all times. Be careful not to touch the paintings, as oils from your hands may damage them.
Pierre-Auguste Renoir (1841 1919). Luncheon of the Boating Party, 1880 1881. Oil on canvas; 51 1/4 x 69 1/8 in. The Phillips Collection, Washington, D.C. Acquired 1923.
The title of this painting is Way to the Citadel. A citadel is a building that is used as a fortress and is usually taller than the buildings around it. Do you think the citadel is in the painting? If so, where? If not, where do you think it might be? Where do you think the red arrows would lead you? Why do you think Klee included the arrows in his painting? Paul Klee (1879 1940). The Way to the Citadel, 1937, 137. Oil on canvas mounted on cardboard; 26 3/8 x 22 3/8 in. The Phillps Collection, Washington, D.C. Acquired 1940. 2009 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Horace Pippin (1888 1946). Domino Players, 1943. Oil on composition board; 12 3/4 x 22 in. The Phillips Collection, Washington, D.C. Acquired 1943.
Jacob Lawrence (1917 2002). The Migration Series, Panel no. 1: During World War I there was a great migration north by southern African Americans, 1940 1941. Casein tempera on hardboard; 12 x 18 in. The Phillips Collection, Washington, D.C. Acquired 1942.
hope danger fear peace love happiness sadness adjectives ex: BIG 1. nouns ex: TREE 1. verbs ex: FLY 1. 2. 2. 2. 3. 3. 3. Now use the word bank that you created to write a few sentences that could describe this painting for someone who has never seen it before. Franz Marc (1880 1916). Deer in the Forest I, 1913. Oil on canvas; 39 3/4 x 41 1/4 in. The Phillips Collection, Washington, D.C. Gift from the estate of Katherine S. Dreier, 1953.
Arthur G. Dove (1880 1946). Red Sun, 1935. Oil on canvas; 20 1/4 x 28 in. The Phillips Collection, Washington, D.C. Acquired 1935. Courtesy of and copyright, The Estate of Arthur G. Dove.
William Merritt Chase (1849 1916). Hide and Seek, 1923. Oil on canvas; 27 5/8 x 35 7/8 in. The Phillips Collection, Washington, D.C. Acquired 1923.
F r a n c i s c o J o s é d e G o y a & e l g r e c o The Repentant St. Peter These two paintings are among the oldest at the Phillips. They are important because the museum s founder, Duncan Phillips, hoped that paintings from the past would inspire visiting artists. Both El Greco and Goya depicted Saint Peter, an important figure in the Christian religion. El Greco painted many pictures of the saint, but this was an unusual subject for Goya, who generally painted landscapes, portraits, and patriotic scenes.
F r a n c i s c o J o s é d e G o y a & e l g r e c o The Repentant St. Peter Look closely at the two paintings and describe them below. How are they the same? How are they different? Colors El Greco El GrecoGoya Goya Expression Facial features (eyes, nose, mouth) Gesture Clothes Background Why do you think Duncan Phillips would have wanted two paintings of the same person in his collection? As you walk through the museum, compare your impressions of these two paintings to other depictions of people that you see. What similarities can you find in the way the artists painted the pictures? Francisco José de Goya (1746 1828). The Repentant St. Peter, circa 1820 1824. Oil on canvas; 28 3/4 x 25 1/4 in. The Phillips Collection, Washington, D.C. Acquired 1936. El Greco (1541 1614). The Repentant St. Peter, 1600 1605 or later. Oil on canvas; 36 7/8 x 29 5/8 in. The Phillips Collection, Washington, D.C. Acquired 1922.
BARBARA HEPWORTH DUAL FORM ELLSWORTH KELLY UNTITLED Dual Form by English sculptor Barbara Hepworth greets visitors near the front of the courtyard. American artist Ellsworth Kelly specifically created Untitled for the back wall of the courtyard. He believes that pictures should be on the wall [they] should meet the eye. Both are made with bronze, yet Kelly s sculpture arches and reaches towards the sky while Hepworth s piece remains solidly grounded to the courtyard floor. This comparison is one of many to discover as the conversation between these two works of art unfolds.
Please help us keep our visitors and sculptures safe by staying at least two feet away from the artwork. BARBARA HEPWORTH DUAL FORM ELLSWORTH KELLY UNTITLED Move around Hepworth s sculpture and discover how your view changes at each angle. Crouch down and peer through the holes. What do you see from this perspective? Curl your body into the shape of the hole. How does it feel to be this part of the sculpture? Stretch your body and arms into the shape of the outside form. How does this feel compared to the shape of the hole? Move towards Kelly s sculpture. What do you notice? Bend your body into the shape of the sculpture. Notice how it appears to be moving up. Stretch your body up as high as you can and imagine the sculpture peeking over the courtyard wall. What would you see? Imagine if the sculpture came alive. Act out how it would walk. Act out how it would dance. If it had wings, how would it fly? Barbara Hepworth (1903 1975), Dual Form, 1965, cast in 1966. Bronze; 72 in. high. The Phillips Collection, Washington, D.C. Acquired with the Dreier Fund for Acquisitions and additional funds from Natalie R. Abrams, Alan and Irene Wurtzel, and a bequest from Nathan and Jeanette Miller, 2006. Ellsworth Kelly (b. 1923), Untitled, 2004. Bronze; 63 3/8 x 117 1/8 x 21 7/8 in. Edition: 1 of 2 (EK 927) The Phillips Collection, Washington, D.C. Commissioned in honor of Alice and Pamela Creighton, beloved daughters of Margaret Stuart Hunter, 2006. Ellsworth Kelly