Lincoln, the Statue, and the Man
By David S. Traub
Junto Staff Writer
The two-year bicentennial celebration of Abraham Lincoln’s birth on February 12, 1809 has come and gone. But all the while a little statue of Lincoln has been sitting and will continue to sit, hidden away out of the public view, in a building at the University of the Sciences in West Philadelphia.
The statue is the work of the famous American sculptor, Daniel Chester French (1866-1924), but remains virtually unknown to most Philadelphians. No more than 33-inches height, it is a bronze replica of the working model for the larger marble statue of Lincoln by French to be seen inside the Lincoln Memorial in Washington.
The statue did make a brief appearance on Independence Mall last Fourth of July for the Lincoln 200 Festival.
Curious to see the statue in its permanent home, I traveled to the University where the statue is in the entry lobby of Griffith Hall.
Griffith Hall, the main building of the former College of Pharmacy, is itself worth a visit with an exhibit space, murals depicting the history of pharmacy, and a display of antique apothecary jars and instruments all embraced by a fine example of interior architecture in the classical style. The statue itself was a gift from Josiah K. Lilly of the well-known pharmaceutical family and a graduate of the college.
Confronting the Lincoln statue, depicting him in a contemplative mood, I was prompted to contemplate the actual man and what I consider the evolution of an understanding of him that has occurred over the span of the bicentennial celebration.
For these last several years I have immersed myself in Lincoln studies, working on a fictional work about him and on several articles, one published in this paper last February 12th. I have read scores of books, magazine and newspaper articles, watched innumerable television programs, visited many exhibits all grappling with the many issues that swirl around the enigmatic man. So many speculations and theories about Lincoln have been set forth that sometimes I feel I know less about him than I did before I started my researches.
Though he was much criticized and even hated by many during his presidency, immediately after his assassination on Good Friday in 1865, he was apotheosized, transformed into a beloved mythic figure. That level of admiration has largely endured to this day, but, with the close scrutiny impelled by the Bicentennial, I have detected a bit more realistic view of him that has emerged without detracting from an accepted conception of his greatness.
Much of the criticism of Lincoln during his presidency, lingering to this day, and now coming out into the open, centered around what many considered the extreme measures he took in pursuing the Union cause. He suspended the Writ of Habeas Corpus, he severely restricted the freedom of the press, and he drafted thousands of young men only to be killed in the most brutal battles known to history. What caused a man dedicated to peace and democracy to take these measures?
More recently, he has been accused of being a racist, and not without some justification, as he stated in at least one speech “The blacks cannot be the social and political equals of whites.”
The African- American community that once revered Lincoln, now takes a more cautious view of him, and their sentiments indeed also came out into the open these last two years. Lincoln’s racial views can only strike one as being inconsistent with the mythic ideal of him. But though Lincoln’s racial views were in a process of change until the end of his life, there can be no question that he disliked that “peculiar institution,” slavery, and that he believed the blacks should be free, and equal in the sense of being able to enjoy the opportunities of our free enterprise system. His thinking in that regard was always motivated by the words of the Declaration of Independence, “we hold these truths to be self-evident that all men are created equal.”
He realized though that that is an ideal which we may never completely attain, but toward which we must always strive. Lincoln awoke politically in his fight against slavery in the 1850s, speaking out against it repeatedly and seeking to prevent its spreading into the new territories. Nevertheless, during his presidency, the abolitionists, who backed his war efforts, criticized him for not moving faster in ending slavery. The Emancipation Proclamation of 1863 freed the slaves in the Deep South where obviously they could not be freed, while maintaining slavery in the North where they could have been freed. Only the 13th Amendment of 1865 freed all of the slaves everywhere. The process by which he freed the slaves was a slow and incremental one, guided by the political considerations that prevailed.
In pondering Lincoln’s dedication to preserving the Union, remember that in 1861 at the time of the secession of the southern states, the United States, counting from the ratification of the Constitution in 1787, was only seventy four years old! In Lincoln’s mind, given the nation’s infancy, the failure of the radical experiment in democracy and of a federation of separate states was unthinkable. Now in the context of our own time, 223 years later, our thinking might be different, but still for us, the idea of secession, of even one state, would be a matter of grave concern.
At the beginning of the Gettysburg Address he says, “Four Score and Seven Years Ago …, that is eighty seven years ago, the time of the signing of the Declaration of Independence. He refers back, not to the Constitution creating the United States of America, but rather to the Declaration of eleven years earlier. Thus he sees that moment of realization in 1776 with its unprecedented vision of a free society as the touchstone of his beliefs which must not be violated by the prospect of a new nation cast asunder with the likely result that the oppressive system of slavery would be maintained. Perhaps that is why he felt the need to take such extreme measures to save the Union.
These last two years Lincoln has been carefully examined from all vantage points. Every aspect of his being, his possible chronic diseases, his mental state, his sexual orientation, his racial views, his military prowess as Commander In Chief, his reputed honesty, his friends, his marriage, everything conceivable about him has been combed over. To a certain extent, he has emerged from his mythic cloak. Still as the eminent Lincoln biographer, David Herbert Donald said, “the central figure in the American experience, Abraham Lincoln, is also the most elusive.”
In a hundred years from now at the Tercentennial celebration of Lincoln’s birth, people will walk into Griffith Hall and stand before that diminutive statue.
By then, undoubtedly, a new understanding of Lincoln will have taken shape. Scholars will have gathered new information, letters hidden away in attics will be found, undiscovered photographs of him will appear and more bold speculations will be promoted. But there in that lobby, Lincoln’s statue will sit in the bronze chair, looking out at them with that undecipherable expression. `
It will be as if the statue were telling them: you will never have a complete understanding of the mind of that mysterious and marvelous man.
The Lincoln statue can be seen in the lobby of Griffith Hall, at the University of the Sciences,
on 43rd Street across from Clark Park in West Philadelphia.
Celebrating The PJ's 50th Year as a Charivari of the Lit'ry Life | WritersClearinghouse@yahoo.com | Richard Carreño, Editor | No. 276 October 2026| Meeting @ Philadelphia © MMXXVI WritersClearinghouse. | See us @ "PJ" via Facebook. Donations via PayPal. Dedicated to the memory of Ralph J. Carreño. Nothing herein may be published in any other media without the permission of the Editor. Est. 1976 in Fabyan, Connecticut
Celebrating ....
CELEBRATING The PJ's 50th YEAR! * www.junto.blogspot.com * Dr Franklin's Diary * Home of the Philly Cheapskate*Contact @ WritersClearinghouse@yahoo.com * Join WritersClearinghouse at Facebook, Instagram, etc. *Meeting @ Philadelphia * Empowered by WritersClearinghouse.
Monday, 1 March 2010
At PMA, Everyone's a Critic
The Philadelphia Museum's new Pablo Picasso show, 'Picasso and the Avant-Garde,' which opened last week, has been getting the critical once-over from almost from every quarter. From Olympian pronuciamentos (The Inquirer), to Delphic academic-speak (BroadStreetReview.com), to the simply boring (think the weeklies).
Not surprising. The retrospective, wonderfully crafted by modern art curator Michael Taylor, highlighting Picasso's ante-bellum oeuvre, deserves as much attention as it can get.
I gave it my full attention, in differing assessments, in this space, at Junto.blogspot.com, and the BroadStreetReview. My critique looked at the show from its institutional perspective, as well from its artistic merits. And I, too, gave it high marks.
But the PMA isn't just relying on the Establishment commentariat to drive ticket sales.
It's a world, of course, wherein everyone's a critic. And without fear or favor -- the museum needs to be congratulated for this -- it has opened up its website to give any attendee a voice. And a shout. Or rant.
And it's not all praise.
'It was too crowded!' said one observer. "Very congested, difficult to move around and impossible to enjoy the exhibit.'
Mediocre at best,' said another public critic. "I walked away with a feeling that Picasso is way over-exposed and that the true [hero] of the exhibit was Braque.' Further, 'the eminence cries of this exhibit is not Michael Taylor, but A.E. Gallatin, whose own art and collection form the highlight of the exhibit.'
Another critic complained that he didn't actually enter the show until 11:30 AM, though he possessed an 11 AM timed-ticket. Tut. Tut.
'Would have loved to have seen the show end with Guernica,' groused another.
Bellyaching wasn't actually representative -- but it's always good to have an alternative viewpoint.
More common were the kudos -- and the like observations.
Not surprising. The retrospective, wonderfully crafted by modern art curator Michael Taylor, highlighting Picasso's ante-bellum oeuvre, deserves as much attention as it can get.
I gave it my full attention, in differing assessments, in this space, at Junto.blogspot.com, and the BroadStreetReview. My critique looked at the show from its institutional perspective, as well from its artistic merits. And I, too, gave it high marks.
But the PMA isn't just relying on the Establishment commentariat to drive ticket sales.
It's a world, of course, wherein everyone's a critic. And without fear or favor -- the museum needs to be congratulated for this -- it has opened up its website to give any attendee a voice. And a shout. Or rant.
And it's not all praise.
'It was too crowded!' said one observer. "Very congested, difficult to move around and impossible to enjoy the exhibit.'
Mediocre at best,' said another public critic. "I walked away with a feeling that Picasso is way over-exposed and that the true [hero] of the exhibit was Braque.' Further, 'the eminence cries of this exhibit is not Michael Taylor, but A.E. Gallatin, whose own art and collection form the highlight of the exhibit.'
Another critic complained that he didn't actually enter the show until 11:30 AM, though he possessed an 11 AM timed-ticket. Tut. Tut.
'Would have loved to have seen the show end with Guernica,' groused another.
Bellyaching wasn't actually representative -- but it's always good to have an alternative viewpoint.
More common were the kudos -- and the like observations.
- 'Amazing exhibition. I will go again before it ends.'
- ''Splendid exhibit. So much to see, and fortunately not too big a crowd when I was there.'
- 'Sick dude.'
- 'Wonderful! Marvellous! Bravo!'
- It was really great. But why am I so sleepy?'
Saturday, 27 February 2010
Medical News
Your Primary Care Doc
What to expect. What you need to do. Peter Frishauf, Junto's medical reporter, discusses your relationship with your primary-care physician on this video. Click here --> http://vimeo.com/9736516.
What to expect. What you need to do. Peter Frishauf, Junto's medical reporter, discusses your relationship with your primary-care physician on this video. Click here --> http://vimeo.com/9736516.
Friday, 26 February 2010
The Philadelphia Junto : No. 73 March MMX
Meeting @ Philadelphia No. 73 March 2010
A Charivari of the Li'try Life
Thursday, 25 February 2010
PAFA
Landscape Architect Selected
for PAFA's Lenfest Plaza
With City Council having passed legislation approving the closure of Cherry Street between North Broad and Carlisle Streets, the Pennsylvania Academy of the Fine Arts (PAFA) has selected the internationally renowned landscape architecture firm OLIN to design the public plaza that will be developed immediately on that site.
Named Lenfest Plaza in recognition of the $2-million pledged in 2003 by H.F. Gerry Lenfest and his wife, Marguerite, who is on PAFA's Board of Trustees, PAFA will unveil its plaza in the spring of 2011, which coincides with the opening of the newly expanded Pennsylvania Convention Center.
Unifying PAFA's campus, the pedestrian court will stand between the Academy's Historic Landmark and Samuel M.V. Hamilton Buildings. With the Convention Center to host 1.5 million visitors annually after its expansion, PAFA will serve as a cultural gateway for the city and the starting point of Philadelphia's celebrated Museum Mile.
"Connecting the two buildings with an attractive and functional plaza is a great idea that will now happen," said Lenfest. "The Academy has a long tradition and ongoing excellence in the art world. The Plaza will make it more visible to both Philadelphians and visitors. Gerry and I are pleased to take part in this."
Open to the public 24-hours a day, PAFA's Lenfest Plaza will offer outdoor seating in an urbane setting. An upscale restaurant will look out onto the plaza from the ground level of the Hamilton Building. A major work of art is being commissioned by a renowned sculptor and rotating works of emerging and established artists will be continually on display, making this an exciting and inviting civic space.
OLIN, recipient of the 2008 Cooper-Hewitt National Design Award, is internationally recognized for design excellence in landscape architecture, urban design, and planning. Their award-winning projects range in scale from master plans for entire urban districts, to the design of public parks and plazas, to intimate garden spaces and residences.
Projects and clients include the sculpture garden at the National Gallery of Art in Washington; the Art Institute of Chicago; the J. Paul Getty Trust; the Museum of Modern Art; the Los Angeles County Museum of Art; and New York City Parks and Recreation. In Philadelphia, OLIN's clients include the Philadelphia Museum of Art, Comcast, and the Barnes Foundation.
for PAFA's Lenfest Plaza
With City Council having passed legislation approving the closure of Cherry Street between North Broad and Carlisle Streets, the Pennsylvania Academy of the Fine Arts (PAFA) has selected the internationally renowned landscape architecture firm OLIN to design the public plaza that will be developed immediately on that site.
Named Lenfest Plaza in recognition of the $2-million pledged in 2003 by H.F. Gerry Lenfest and his wife, Marguerite, who is on PAFA's Board of Trustees, PAFA will unveil its plaza in the spring of 2011, which coincides with the opening of the newly expanded Pennsylvania Convention Center.
Unifying PAFA's campus, the pedestrian court will stand between the Academy's Historic Landmark and Samuel M.V. Hamilton Buildings. With the Convention Center to host 1.5 million visitors annually after its expansion, PAFA will serve as a cultural gateway for the city and the starting point of Philadelphia's celebrated Museum Mile.
"Connecting the two buildings with an attractive and functional plaza is a great idea that will now happen," said Lenfest. "The Academy has a long tradition and ongoing excellence in the art world. The Plaza will make it more visible to both Philadelphians and visitors. Gerry and I are pleased to take part in this."
Open to the public 24-hours a day, PAFA's Lenfest Plaza will offer outdoor seating in an urbane setting. An upscale restaurant will look out onto the plaza from the ground level of the Hamilton Building. A major work of art is being commissioned by a renowned sculptor and rotating works of emerging and established artists will be continually on display, making this an exciting and inviting civic space.
OLIN, recipient of the 2008 Cooper-Hewitt National Design Award, is internationally recognized for design excellence in landscape architecture, urban design, and planning. Their award-winning projects range in scale from master plans for entire urban districts, to the design of public parks and plazas, to intimate garden spaces and residences.
Projects and clients include the sculpture garden at the National Gallery of Art in Washington; the Art Institute of Chicago; the J. Paul Getty Trust; the Museum of Modern Art; the Los Angeles County Museum of Art; and New York City Parks and Recreation. In Philadelphia, OLIN's clients include the Philadelphia Museum of Art, Comcast, and the Barnes Foundation.
Tuesday, 23 February 2010
At the National Portrait Gallery
Dreams of My Grandfather
By David Houston
Junto Staff Writer Bio
Now treading the last waters of consciousness, the figures from
Dreamland poised around me like players in a game of Red light Green
light, ready to resume, waiting for my attention to shift a little more.
On a silent cue, we all exhale and take up the Play again. I am in a
theatre, or club. It looks like a fancy house from the 1840's that has
seen better days, slightly frayed red damask walls, gas light fixtures.
Upstairs everything is smaller, the ceiling only as high as a man can
reach, like in early times. I am expected somewhere downstairs, but I'm
not sure where, I am not familiar with this place, still discovering it.
There is a sense of foreboding, anticipation. I go out onto a balcony
that wraps around three stories of the lobby. There is light, activity,
I hears voices. I go down. There, around a long table sits my Grandfather
and, on his right, Ben Franklin, and then James Madison, and perhaps eight
or nine others.
I'm so distracted trying to keep acting normally and process "Ben Franklin"? "People from a different centuries?" I don't register who the rest are. My Grandfather welcomes me very warmly
like a much favored grandchild. I feel about eight years old in his company. I am a little taken back because I never knew him in this life; he died before I was born.
There is a large document on the table, parchment, they are planning something. There is one of those moments where it is silently and quickly translated from unknown to known, but only the vague outlines. I'm asked what I think.
"Yes, yes" I silently ascent, although I have no clear idea to what. Inside I am busy on two
tracks. One, that we might still be involved with this world, even planning new things for this world after we die It hardly seems worth it, to call it dying, that I am so warmly favoured by my Grandfather, really that he even knows me.
He was always reported to be formidable, distant from my Father, who in turn was reserved, distant from me. I just assumed that I would never be accepted into the fold on that side of the family.
This dream, this encounter really, was a right of passage for me, a rite of acceptance. Rather shaky ground to base this on I know but my only other contact was putting a cotton beard
on his portrait at Christmastime.
When we went to see the painting on a trip back to Washington with the family, something told me it was venturing too far into the past, or was untoward to move the memory of his painting to such a public place. I couldn't really tell, and anyway couldn't see the harm. We finally located where the painting was hung, it was in the National Portrait Gallery. It was done when he was Secretary of Agriculture in President Wilson's Cabinet.
Anyway when we located the gallery and turned the corner, there we were met by an entire blank wall of milky plastic taped off all around, floor walls and ceiling. The gallery was undergoing
renovation. In the Art of Memory, the technique for remembering things by placing them in a familiar place or temple, it is perhaps untoward or at least disruptive to go back and see that the skeleton of your memories is completely reordered.
I had the same feeling when I went back near my college, and was opening lots of old doors. Well, again, what's the harm, when was I going to be back again anyway now that I live in California? I headed over. Half way there the road was completely blocked by a pile of dirt ten feet high. I think they must have taken out the bridge, or something to go to such measures. I turned
back, I didn't go around the other way.
Washington is great for places that stay the same year in and year out. The National Gallery, where it is always the same temperature and humidity as well, hit me full force, seeming to neatly
gather up all the visits going back to when I was 12, and in such a way that I was re-seeing everything with eyes of a now 40-year-old.
At 12, it was "my" collection and I took it for granted that like the movies that came to town two months after they opened in New York, a little behind. Now there were Masterpieces looming from every wall. I got Stendhal Syndrome. Embarrassing, I thought it was fictive, an
affectation or an artifact from a more refined time of fainting couches and smelling salts.
Stendhal Syndrome, overcome by an excess of beauty, turns out to be about as much fun as car sickness. Like a carnival ride going too fast my stomach got queasy and the power started to drain from every limb. I had to get out of there, fast. Literally shielding my eyes from an entire roomful of Velasquez on the way, I found my way to a side door and sat down. There beside me was the date the building was erected. MCMXL, 1940, only seven years older than I.
By David Houston
Junto Staff Writer Bio
Now treading the last waters of consciousness, the figures from
Dreamland poised around me like players in a game of Red light Green
light, ready to resume, waiting for my attention to shift a little more.
On a silent cue, we all exhale and take up the Play again. I am in a
theatre, or club. It looks like a fancy house from the 1840's that has
seen better days, slightly frayed red damask walls, gas light fixtures.
Upstairs everything is smaller, the ceiling only as high as a man can
reach, like in early times. I am expected somewhere downstairs, but I'm
not sure where, I am not familiar with this place, still discovering it.
There is a sense of foreboding, anticipation. I go out onto a balcony
that wraps around three stories of the lobby. There is light, activity,
I hears voices. I go down. There, around a long table sits my Grandfather
and, on his right, Ben Franklin, and then James Madison, and perhaps eight
or nine others.
I'm so distracted trying to keep acting normally and process "Ben Franklin"? "People from a different centuries?" I don't register who the rest are. My Grandfather welcomes me very warmly
like a much favored grandchild. I feel about eight years old in his company. I am a little taken back because I never knew him in this life; he died before I was born.
There is a large document on the table, parchment, they are planning something. There is one of those moments where it is silently and quickly translated from unknown to known, but only the vague outlines. I'm asked what I think.
"Yes, yes" I silently ascent, although I have no clear idea to what. Inside I am busy on two
tracks. One, that we might still be involved with this world, even planning new things for this world after we die It hardly seems worth it, to call it dying, that I am so warmly favoured by my Grandfather, really that he even knows me.
He was always reported to be formidable, distant from my Father, who in turn was reserved, distant from me. I just assumed that I would never be accepted into the fold on that side of the family.
This dream, this encounter really, was a right of passage for me, a rite of acceptance. Rather shaky ground to base this on I know but my only other contact was putting a cotton beard
on his portrait at Christmastime.
When we went to see the painting on a trip back to Washington with the family, something told me it was venturing too far into the past, or was untoward to move the memory of his painting to such a public place. I couldn't really tell, and anyway couldn't see the harm. We finally located where the painting was hung, it was in the National Portrait Gallery. It was done when he was Secretary of Agriculture in President Wilson's Cabinet.
Anyway when we located the gallery and turned the corner, there we were met by an entire blank wall of milky plastic taped off all around, floor walls and ceiling. The gallery was undergoing
renovation. In the Art of Memory, the technique for remembering things by placing them in a familiar place or temple, it is perhaps untoward or at least disruptive to go back and see that the skeleton of your memories is completely reordered.
I had the same feeling when I went back near my college, and was opening lots of old doors. Well, again, what's the harm, when was I going to be back again anyway now that I live in California? I headed over. Half way there the road was completely blocked by a pile of dirt ten feet high. I think they must have taken out the bridge, or something to go to such measures. I turned
back, I didn't go around the other way.
Washington is great for places that stay the same year in and year out. The National Gallery, where it is always the same temperature and humidity as well, hit me full force, seeming to neatly
gather up all the visits going back to when I was 12, and in such a way that I was re-seeing everything with eyes of a now 40-year-old.
At 12, it was "my" collection and I took it for granted that like the movies that came to town two months after they opened in New York, a little behind. Now there were Masterpieces looming from every wall. I got Stendhal Syndrome. Embarrassing, I thought it was fictive, an
affectation or an artifact from a more refined time of fainting couches and smelling salts.
Stendhal Syndrome, overcome by an excess of beauty, turns out to be about as much fun as car sickness. Like a carnival ride going too fast my stomach got queasy and the power started to drain from every limb. I had to get out of there, fast. Literally shielding my eyes from an entire roomful of Velasquez on the way, I found my way to a side door and sat down. There beside me was the date the building was erected. MCMXL, 1940, only seven years older than I.
Rubbed and Taylored
Pablo Picasso at the
Philadelphia Museum of Art
By Richard CarreñoJunto Staff Writer Bio
'Señor Picasso, meet Mr. Rub.' That introductory allusion to Timothy Rub, the Philadelphia Museum of Art's new director, might be the cheeky sub-theme of the new Picasso retrospective at the PMA, officially titled 'Picasso and the Avant-Garde in Paris,' and which was introduced to the public February 24.
Michael Taylor, the museum's curator of modern art, has fashioned an installation that unveils for all to see, for the first time in recent memory, the astonishing range, depth, and quality of the PMA's Picasso holdings. In other words, it's all Picasso, all PMA.
The show is the first major exhibit crafted during Rub's new directorship (he was appointed last year), and also gives Rub a foretaste of the curatorial excellence that he can expect when the museum's staff mounts a 'rilly big shew.' Such star-quality production numbers were a hallmark of Rub's predecessor, Anne d'Harnoncourt, who was among those who almost invented the genre.
Taylor's exhibition is a few bricks short of a d'Harnoncourt blockbuster. No made-to-order catalog. No plastic wrap on museum's east front 'Rocky' steps. No road-show destinations. And most significant, no loaned material. Hardly the kind of spectacle that might have been ringmistressed by d'Harnoncourt.
But, then, why? Financial considerations? Sure. This, especially, when the museum is experiencing well-known shortfalls and an endowment plunge. And despite state funding and donations by the Pew Charitable Trusts, GlaxoSmithKine, and others.
Still, Taylor -- a surprisingly masterful polymath at only 42 -- has demonstrated that the PMA can do justice to every nuance in the Picasso saga. This is a show that fully details its homage to Picasso.
Equally, we can recognize the PMA. Taylor has emptied the museum's attic, and dusted off 214 paintings, sculptures, photographs, and other artworks that even museum faithful haven't seen in decades and, undoubtedly, never in such a grouping. (Much of the artwork is drawn from the A.E. Gallatin and the Louise and Walter Arensberg collections).
The viewer traces Picasso's artistic tour de force in a gallery walk-about that's introspective, scholarly, and, yes, even academic. (Not surprisingly, Taylor also teaches at the University of Pennsylvania). And mellifluously coherent, thanks, as well, to Taylor's audio narrative. (Rub gives the overall introduction).
The story-line is linear, tracing Picasso's prodigious inventiveness from 1905 to 1945 while he lived in Paris in-self imposed exile from his native Spain, then dominated by fascism. The period is also significant in that kick-started a creativity that endured through the rest of the artist's life, until his death at 92 in 1973. It was also a 40-year period in which Picasso dominated the forefront of change, the birth of Cubism; Synthetic Cubism (involving his works in collage and papier colle); and Surrealism.
I'm always surprised that the museum's one-size-fits-all special exhibition space, the Dorrance Galleries, can always step forward to meet all-comers, and the galleries, now with freshly white-painted walls (one exception), are also serving this show well. This especially since crowds are gathering. (The day I visited, during a member viewing, a guard told he was clicking in almost 1,000 attendees per hour).
Picasso's 1906 self-portrait, the show's signature piece, has a pride of place in Gallery 1. The figure is dressed like a boxer, according to Talyor. 'Very muscular, with a mask-like quality.'
Other key pieces follow in quick succession. Man with a Guitar (1912), Three Musicians (1921), counter-pointed -- here is Taylor at his best -- by works by fellow-travellers like Georges Braque and Fernand Leger and other avant-gardistes like Marc Chagall, Jacques Lipchitz, and Man Ray, also were Parisian contemporaries.
This contextual envelope includes photographs of other Parisian notables and, separately in Gallery 5's high-ceiling space, Marcel Duchamp's iconic Nude Descending a Staircase.
The show concludes with a lightening bolt, one of Picasso's best known and heart-breaking sculptures, Man With a Lamb. The bronze, crafted from 1943 to 1944, is a bold, visually-stunning testament of Picasso's reference for peace. And all the more dramatic in that was executed when Paris was still under Nazi occupation.
Taylor, in his audio guide, called the work a 'prayer' for the liberation of Paris and for its survivors. It's now, as well, 'a memorial to the French resistance,' he said.
Some distractions?
Nude Descending is hard to see. Unlike virtually all the works in other rooms, hung at eye level, Nude Descending and several other works are raised above, out of a clear sight-line. This is further compounded by lighting that ricochets off the picture's glass case and by crowds that force a viewer to retreat to better vantage points.
The photographs also introduce some extraneous context links. I've always liked the ubiquitous photograph of F. Scott Fitzgerald in his Brooks Brother shirt. But I found it a contextual stretch, given that the portrait was probably snapped in the 1930s in Baltimore.
I also found the labeling, without canvas dimensions, disconcerting. I guessed at the size of one of my favorite urban landscapes, The City (1919) by Leger. It's about 8 feet by 10 feet. I was way off.
Further, a companion complained that no graphic rendering of Picasso's most favorite painting, Guernica, was offered as reference. This, though the iconic anti-war picture was mentioned several times in relation to Salvador Dali's Self Construction with Boiled Beans (Premonition of Civil War) (1936). Also missing: No mention of Amedeo Modigliani.
These are just small bumps in otherwise a seamless journey of pleasure, wonderment, and learning.
'Picasso and the Avant-Garde in Paris' runs through April 25.
By the way, if you haven't had your full of Picasso, the Metropolitan Museum of Art plans more. Also using only works from its collection, the Met kicks off its show April 27, running to August 1.
Saturday, 20 February 2010
Quail Could've Been Crispier
Our Critic Raves About Bibou
By Liliane L. Clever
Junto Staff Writer Bio
Bibou is located at 1009 South 8th Street, between Carpenter Street and Washington Avenue. Sunday four-course dinners are $45 per person. Otherwise dinners run betwee $24 and $33. Starters come in between $9 and $15. Bibou is cash only.
By Liliane L. Clever
Junto Staff Writer Bio
I made it to Bibou! Ever since Craig LaBan in the Inky gave this French resto three resounding bells back in August, it's been on my get-to list. But it was one thing after another. From scheduling conflicts to bouts of the seasonal flu, it looked like Mission Impossible. Finally did it, and in style!
My dining partner and I a big bash at Bibou for a friend's surprise birthday party last week. Her husband organized a private affair so we had the whole place to ourselves. Well, the whole place is actually rather small. You can almost picture your own dining room. Warm and cozy, a venue that was perfect for an intimate dinner with good friends on a very snowy evening.
Bibou is owned and managed by a young French couple Pierre and Charlotte Calmels. Pierre is the executive chef, and Charlotte 'runs the front,' as they say. Charlotte is engaging and friendly, but also quite efficient. Dinner was promptly served as soon as we were all seated.
What we encountered was one of Chef Pierre's eight-course tasting menus. We started with:
Hot mushroom and barley soup, veal boudin blanc fricassee
Guinea Hen ballotine, golden beet salad
Sauteed scallop, Brussel sprouts and dried cranberries in a Bergamot emulsion
Seared grouper, cauliflower puree, Cippolini onions, shaved baby carrots in a tomato emulsion
At this point we took a break. My friend's husband made a toast and gave a little speech. The speech had a good friends/good fare theme which could not have been more appropriate. We were all in a super mood.
The staff waited politely and patiently before serving us the remaining courses:
Roasted stuffed quail with Basmati rice, sautéed arugula, quail jus
L.I. duck breast, braised fennels with almonds, black trumpet fricassee, duck sauce
A plate of cheese (assiette de fromages), and a made-for-the-occasion birthday cake completed the meal. The cake was light and fluffy and just sweet enough.
Coffee and tea were served with homemade vanilla meringues.
The meal was absolutely delicious, with each course well executed and a great presentation.
My dining partner and I a big bash at Bibou for a friend's surprise birthday party last week. Her husband organized a private affair so we had the whole place to ourselves. Well, the whole place is actually rather small. You can almost picture your own dining room. Warm and cozy, a venue that was perfect for an intimate dinner with good friends on a very snowy evening.
Bibou is owned and managed by a young French couple Pierre and Charlotte Calmels. Pierre is the executive chef, and Charlotte 'runs the front,' as they say. Charlotte is engaging and friendly, but also quite efficient. Dinner was promptly served as soon as we were all seated.
What we encountered was one of Chef Pierre's eight-course tasting menus. We started with:
Hot mushroom and barley soup, veal boudin blanc fricassee
Guinea Hen ballotine, golden beet salad
Sauteed scallop, Brussel sprouts and dried cranberries in a Bergamot emulsion
Seared grouper, cauliflower puree, Cippolini onions, shaved baby carrots in a tomato emulsion
At this point we took a break. My friend's husband made a toast and gave a little speech. The speech had a good friends/good fare theme which could not have been more appropriate. We were all in a super mood.
The staff waited politely and patiently before serving us the remaining courses:
Roasted stuffed quail with Basmati rice, sautéed arugula, quail jus
L.I. duck breast, braised fennels with almonds, black trumpet fricassee, duck sauce
A plate of cheese (assiette de fromages), and a made-for-the-occasion birthday cake completed the meal. The cake was light and fluffy and just sweet enough.
Coffee and tea were served with homemade vanilla meringues.
The meal was absolutely delicious, with each course well executed and a great presentation.
My only criticism is that the quail was not hot and crispy enough. This may have been due to the mid-dinner speech, rather than due to kitchen timing.
The service was excellent and very discreet. Even though the evening seemed to go on, and it was snowing outside, at no point did we feel any pressure to rush and be on our way.
Bibou is a BYOB, which for us is always a huge plus. My friend's husband is a wine aficionado, and he had carefully picked a different wine to pair with each course.
Chef Pierre came out of the kitchen so we had a chance to thank and congratulate him. The whole affair was a complete success and an absolute feast.
We walked home in the snow back to Old City. The walk felt great and did us good after all the food and wine.
The service was excellent and very discreet. Even though the evening seemed to go on, and it was snowing outside, at no point did we feel any pressure to rush and be on our way.
Bibou is a BYOB, which for us is always a huge plus. My friend's husband is a wine aficionado, and he had carefully picked a different wine to pair with each course.
Chef Pierre came out of the kitchen so we had a chance to thank and congratulate him. The whole affair was a complete success and an absolute feast.
We walked home in the snow back to Old City. The walk felt great and did us good after all the food and wine.
It was almost midnight when we reached home. I hadn't realized it was that late.
I remembered to power on my phone. There was a message from my office manager telling me that the office was closed the next day, and that I should work from home. A comforting idea, and the perfect end to a perfect evening.
I am not sure how Bibou would rate on the Michelin scale. For one, it doesn't have a liquor license, and, two, the décor is too modest. But this is Philadelphia, and in that context, Craig LaBan's three bells are well deserved.
We have plans to go back to Bibou in the near future for a less extravagant meal. We want to try one of the Sunday dinners.
I am not sure how Bibou would rate on the Michelin scale. For one, it doesn't have a liquor license, and, two, the décor is too modest. But this is Philadelphia, and in that context, Craig LaBan's three bells are well deserved.
We have plans to go back to Bibou in the near future for a less extravagant meal. We want to try one of the Sunday dinners.
Bibou is located at 1009 South 8th Street, between Carpenter Street and Washington Avenue. Sunday four-course dinners are $45 per person. Otherwise dinners run betwee $24 and $33. Starters come in between $9 and $15. Bibou is cash only.
Thursday, 18 February 2010
Oops!
Writers Clearinghouse/Richard Carreno
Labels Get It Wrong
It can happen to anyone -- even Sir William Hamilton, who, in the 18th century, pioneered the potter's classical images. Josiah Wedgewood, right? Wrong! Only one 'e,'
that pesky extra 'e.' Wedgwood. Two out of three ain't bad. See the label, in picture, from new exhibit at the National Constitution Center. Worse, really unforgiveable, another label cites circa 1930 as the reference date for a gladiator helmet, loaned from the Museo della Civilita Romano, Rome. Somebody needs to be paying attention.
--RDC
At the National Constitution Center
When in America,
Do as the Romans Do
By Richard Carreno
Junto Staff Reporter Bio
Check out this well-crafted video. Fair and balanced. (Hint: Sarah Palin, Democrats, and Wall Street greed).
Do as the Romans Do
By Richard Carreno
The National Constitution Center, in Philadelphia, will tomorrow (19 February) open its new exhibit 'Ancient Rome & America,' a broad retrospective highlighted by sculptures, paintings, miniatures, and ancient artifacts that couples the birth of the United States to Classical roots.
The result is an obvious, and well-worn story, how early Americans from George Washington and Thomas Jefferson adopted Roman and Grecian mimes to underscore the new spiritual underpinnings of the emerging nation. Washington fashioned himself after the Roman citizen-soldier-general Cincinnatus. Jefferson liked to consider himself an architect manque -- in the Classical style. (Viz Monticello).
Introducing the exhibit yesterday, the center's head, David Eisner, linked the two cultures, of imperial Rome and the early United States. 'The connections between these two cultures separated by millennia and continents are startling and captivating,' he said.
Unlike past exhibits, 'Rome & America' also exhibits scholarship and an actual connection with the center's stated mission related to an understanding Constitutional values. The center's last exhibit was a bit of fluff -- though wildly popular -- that flogged the shallowness of Diana, the late Princess of Wales.
Though the show -- running to 1 August -- has been in the making for three years, the seriousness, relevance, and curatorial flair of the new installation speaks well of the debut tenure of Eisner, on the job as the center's chief executive officer and president for just two months.
Helping to curate the show, not surprisingly, were two heavy-hitters, Caroline Winterer, associate professor of history at Stanford University, and Campbell Grey, assistant professor of classical studies at the University of Pennsylvania. Winterer and Grey also appear in a short video presentation in which they discuss whether the United States could succumb to the same fate as ancient Rome -- an internal corruption and political flaccidness the signaled the end of its empire.
Admission is $20 for adults, $18 for seniors, and $12 for children aged from four to 12 years. Admission to the center's permanent exhibit and theatrical production, 'Freedom Rising,' is included. The center is located at 525 Arch Street.
Tuesday, 16 February 2010
Who Dat Fly on the Wall?
Who Dat? Don Merlot!
By Don Merlot
Junto Staff Writer
New Orleans.
Once I left New Orleans what I had accustomed myself to as normal was not normal to mainstream America. I had to learn another language, menu, and cultural origins. That is not bad, but sometimes you get tired explaining why our habits are so different to that of the rest of the "States" and why we talk funny as if we were from Boston or the Bronx.
Now that the Mardi Gras is upon us, it makes me think how much fun it is to be a New Orleanian. This year the Super Bowl winner Saints and Mardi Gras all hit within the same 10-day period and what a celebration it is.
Does one really have to dress to the occasion? Remember that the 'Fun' stops on Ash Wednesday. Lent starts that day, and the one thing one gives up is the partying mode. So when you're partying during Carnival dress for fun, eat for fun, and drink for fun.
So in New Orleans the official start of Carnival is Epiphany -- The sixth of January the day that the three kings visited the Christ Child. In the mind of the French Colonist of la Nouvelle Orleans , it was to recognize that its citizens are bidding farewell to winter and getting ready for natures renaissance. Europe did and the colonist should have it too. Social and economic levels were key as to who partied where.
It depends on how much history we took and what we remembered but the main Mardi Gras tradition started in Mobile (now Alabama). As the French settled there between Spanish Florida and northern Spanish Mexico (Texas today); and that eastern part of Louisiana that looks like the toe of the boot and western part of the panhandle from Florida were the line that divided French Louisiana northern border to the English colonies that are today the Mississippi and Alabama Gulf Coast.
They are called the "Florida Parishes" – - in Modern parlance that is where Hurricane Katrina hit. So In French Mobile the first Mardi Gras in the French American colony started. What is so popular during that yearly event from Epiphany and Mardi Gras is a celebration of dancing, drinking , and joviality. The epitome of every party is the "King Cake" that is cut at the apex of the party and a ceramic doll is hidden in the pastry of the cake at baking time and the lucky person that finds that in their piece of cake which one would drink with Champagne at the noble or high society gatherings, would have to give the next party.
Outside of Louisiana in the USA, this ceremony is not popular. Yes, in Spanish America and Portuguese America there is Carnival, but in Europe it is linked more to the Roman Catholic practices. English know it as Shrove Tuesday, the Germans as Fasching.
Mardi Gras the French for 'Fat Tuesday' is the day one has the last drink (alcohol) and certain foods for Lent, and is the day before Mardi Gras.
So when we celebrate Mardi Gras in New Orleans, we are enjoying a tradition set up by our French forefathers.
Today the King Cake is enjoyed by all revelers and it is not just washed down with Champagne. New Orleans is also famous for inventing the 'Cocktail.' Many rum punches are popular at these gatherings. Today a most favourite is the Pat O'Brien Hurricane.
With the Saints winning the SuperBbowl, the party will last until Ash Wednesday: February 17. Remember that New Orleans is now the 'Who dat? Nation.'
(Don Merlot is Ron Alonzo, who now lives in Florida).
Monday, 15 February 2010
Seeing Double
Celebrated Statues at Philly's
Art Museum are Down-sized
Junto Photos/Richard Carreño
By Richard Carreño Bio
Junto Staff Writer
Some of the statues are enlarged. Or, presented as diminutive replicas. Or, in fact, exact, full-sized copies. Many museum visitors, in Philadelphia and elsewhere, might think they're seeing double.
That's what happened to me recently when I visited the Princeton University Art Museum, and I came across a bronze cast of Diana, the Roman goddess of the hunt. Wait. Wasn't this the same iconic statue that graces the Philadelphia Museum of Art's Great Stair Hall?
Not exactly.
What I encountered was one of those serendipitous occasions when you can see a favorite artwork in a different light. More accurately, in a different dimension.
Like many artists, Augustus Saint-Gaudens (1848-1907), the American sculptor who created the Diana statue, well-known as the stairway's fixating focal piece, created different versions. In this case, two models that differ only in size. Both Dianas portray a nude huntress about to let fly a arrow from a taut bow.
As important, all the statues are originals, all cast under Saint-Gaudens supervision.
At 13 feet high, Philadelphia's Diana, once a copper weather-vane atop the second incarnation of New York's Madison Square Garden (1890-1925), is the taller version. It was also, during its time, New York's highest point, towering 300 feet and the first statue in New York lighted at night by electricity.
Since its donation by the New York Life Insurance Company in 1935, Diana has become PMA favorite as, according to the museum, a 'graceful rendering.... Her athletic fitness and elongated proportions are strikingly modern.'
Princeton's variant, and another Diana at the National Gallery of Art in Washington, are smaller by half. And gilded.
Two other notable statues, miniatures of The Thinker by Auguste Rodin (1840-1917) and Joan of Arc by Emmanuel Frémiet (1824-1910), also have some visitors to the museum doing double-takes.
The Thinker, in its monumental variant in bronze and marble, of course, is one of the world-best known works by Rodin. One reason for that is there are so many of them, at least 20 'originals' worldwide. (These were cast from Rodin's original mold during the French sculptor's lifetime).
One of the 20, now gleaming after recent conservation, is located in front of the PMA's nearby satellite venue, the Rodin Museum on Benjamin Franklin Parkway. What is less known is that part of the PMA's permanent collection is a studio-sized version, about 30 inches tall. Located in the first-floor the European Art (1850-1900) galleries, this smaller variant, an exact model of the full-sized statues, isn't technically an 'orginial' since it was cast by its Parisian founder in in 1926, after Rodin's death.
Joan of Arc, in gilded bronze, also comes in two sizes. And, like the other statues, more than one of one or both of the models are extant.
A smaller version, about 18 inches high and cast around 1874, is also located in the European Art gallery. Philly's full-sized Joan has been a gleaming fixture in the city since the statue was purchased by the Fairmount Park Art Association in 1890.
This Joan is located at 25th Street and Kelly Drive, hardby the museum colossus. Well, until recently that is. The statue has been temporarily removed for a periodic cleaning and conversation. But, if you're travelling, other full-sized originals can be viewed in New Orleans, Paris, and in Nancy, France.
Art Museum are Down-sized
Junto Photos/Richard Carreño
By Richard Carreño Bio
Junto Staff Writer
Some of the statues are enlarged. Or, presented as diminutive replicas. Or, in fact, exact, full-sized copies. Many museum visitors, in Philadelphia and elsewhere, might think they're seeing double.
That's what happened to me recently when I visited the Princeton University Art Museum, and I came across a bronze cast of Diana, the Roman goddess of the hunt. Wait. Wasn't this the same iconic statue that graces the Philadelphia Museum of Art's Great Stair Hall?
Not exactly.
What I encountered was one of those serendipitous occasions when you can see a favorite artwork in a different light. More accurately, in a different dimension.
Like many artists, Augustus Saint-Gaudens (1848-1907), the American sculptor who created the Diana statue, well-known as the stairway's fixating focal piece, created different versions. In this case, two models that differ only in size. Both Dianas portray a nude huntress about to let fly a arrow from a taut bow.
As important, all the statues are originals, all cast under Saint-Gaudens supervision.
At 13 feet high, Philadelphia's Diana, once a copper weather-vane atop the second incarnation of New York's Madison Square Garden (1890-1925), is the taller version. It was also, during its time, New York's highest point, towering 300 feet and the first statue in New York lighted at night by electricity.
Since its donation by the New York Life Insurance Company in 1935, Diana has become PMA favorite as, according to the museum, a 'graceful rendering.... Her athletic fitness and elongated proportions are strikingly modern.'
Princeton's variant, and another Diana at the National Gallery of Art in Washington, are smaller by half. And gilded.
Two other notable statues, miniatures of The Thinker by Auguste Rodin (1840-1917) and Joan of Arc by Emmanuel Frémiet (1824-1910), also have some visitors to the museum doing double-takes.
The Thinker, in its monumental variant in bronze and marble, of course, is one of the world-best known works by Rodin. One reason for that is there are so many of them, at least 20 'originals' worldwide. (These were cast from Rodin's original mold during the French sculptor's lifetime).
One of the 20, now gleaming after recent conservation, is located in front of the PMA's nearby satellite venue, the Rodin Museum on Benjamin Franklin Parkway. What is less known is that part of the PMA's permanent collection is a studio-sized version, about 30 inches tall. Located in the first-floor the European Art (1850-1900) galleries, this smaller variant, an exact model of the full-sized statues, isn't technically an 'orginial' since it was cast by its Parisian founder in in 1926, after Rodin's death.
Joan of Arc, in gilded bronze, also comes in two sizes. And, like the other statues, more than one of one or both of the models are extant.
A smaller version, about 18 inches high and cast around 1874, is also located in the European Art gallery. Philly's full-sized Joan has been a gleaming fixture in the city since the statue was purchased by the Fairmount Park Art Association in 1890.
This Joan is located at 25th Street and Kelly Drive, hardby the museum colossus. Well, until recently that is. The statue has been temporarily removed for a periodic cleaning and conversation. But, if you're travelling, other full-sized originals can be viewed in New Orleans, Paris, and in Nancy, France.
Wednesday, 10 February 2010
Gallery: Snowmaggden
Junto Photos|Peter Frishauf
Philly in White
Junto's New York-based photographer Peter Frishauf, on assignment here, features our city at most picturesque best.
Philly in White
Junto's New York-based photographer Peter Frishauf, on assignment here, features our city at most picturesque best.
Tuesday, 9 February 2010
Gallery: High Rise
Up, Up, and Away
These photographs, made by Junto staff photographer Richard Carreno, were taken last week (before snow storm) from the 52nd floor of the Mellon Building, Market and 18th streets.
These photographs, made by Junto staff photographer Richard Carreno, were taken last week (before snow storm) from the 52nd floor of the Mellon Building, Market and 18th streets.
Tuesday, 2 February 2010
Books Received
Another Top-Notch
Equest Title from Storey
Storey's Guide to Raising Horses, 2nd Edition
Heather Smith Thomas
528 pp
$19.95 Paper
$29.95 Hardback
Heather Smith Thomas, one of Storey's most respected livestock raising authors, has revised this edition with the most up-to-date information, reflective of new medical research and modern technology. Ever horse owner needs this comprehensive reference guide to ensure a healthy horse from birth to old age. With this book in hand, both first-time owners and veteran handlers of horses of all riding disciplines will have the information they need to be one step ahead of any problem on the horse farm.
The Philadelphia Junto Empowered by Writers Clearinghouse | S.P.Q.R.
Equest Title from Storey
Storey's Guide to Raising Horses, 2nd Edition
Heather Smith Thomas
528 pp
$19.95 Paper
$29.95 Hardback
Heather Smith Thomas, one of Storey's most respected livestock raising authors, has revised this edition with the most up-to-date information, reflective of new medical research and modern technology. Ever horse owner needs this comprehensive reference guide to ensure a healthy horse from birth to old age. With this book in hand, both first-time owners and veteran handlers of horses of all riding disciplines will have the information they need to be one step ahead of any problem on the horse farm.
The Philadelphia Junto Empowered by Writers Clearinghouse | S.P.Q.R.
Another One? Who Knew?
Diana at Princeton
-- Richard Carreño
You know that Diana statue, the one that looks a lot the one above, that stands high above the grand staircase in the Philadelphia Museum of Art? Who knew? Our golden Diana has a double at the Princeton University Art Museum. (A jewel, by the way).
Actually, there are even four more statues -- somewhere. Their locales weren't cited.
All the statues of the huntress were removed from the old Madison Square Garden building at Madison Square, New York, when the Garden moved uptown and the old venue made wayfor new building. I was surprised. Are you?
-- Richard Carreño
Monday, 1 February 2010
Other Wedgwood Show in Washington
Hamilton Krater Tops
Art Exhibit Here
Art Exhibit Here
Hamilton Krater, below
Donna Corbin, further below
Junto Photos/Richard Carreno
By Richard Carreño
Junto Staff Writer Bio
I'm fond of the 18th century English sporting artist George Stubbs, and I'm equally fond of a ceramic compotier I own that dipicts, in raised, diminutive form, one of Stubbs' horse portraits. The small cake dish is in pristine condition, and it bears the inscription, in black ink, 'Wedgwood.' A couple of years ago, the current Lord Wedgwood, Piers Wedgwood, was good enough to scrawl his name on it. 'Ah, a Stubbs!' he declared as he acceded to my request.
My piece of Wedgwood jasperware, in the familiar, iconic blue and white, is also of museum quality.
Like most people, owning a Stubbs oil (several are in the Philadelphia Museum of Art) would involve an impossible financial stretch. Yet, in a way, I do own a Stubbs, thanks to Wedgwood. And, yes, it would do nicely in the Art Museum, as well.
That's the thing about Wedgwood. It's accessible art -- real art -- for the masses.
My compotier was crafted about the time the legendary English pottery firm, founded by Piers Wedgwood's ancestor, Josiah Wedgwood, had been in business for about 200 years. Last year, more than fifty years later, a more modern Wedgwood firm, now part of a vast publicly-traded conglomerate known as WWRD Holdings Ltd. that also flogs Waterford crystal, Royal Doulton, and Minton china celebrated its 250th year.
It was a milestone not to be missed, most of all by Lord Wedgwood, who, known as the 'brand ambassador,' has become something of a jet-setting pitchman for the company.
Nor was it missed by two notable institutions, the Art Museum in Philadelphia and the Daughters of the American Revolution in Washington, both of which have used the occasion to mount ongoing Wedgwood installations. Of the two shows, the Washington exhibit, running at the DAR until February 27, is most expansive, with hundreds of antique and modern pieces. The Art Museum show, extended to March 14, presents just about 20 works.
But Art Museum's theme, how Josiah Wedgwood created, commercialized, and marketed, more than two centuries ago, patterns and shapes morphed from the earthenware designs of ancient Greece and Italy, is more tightly and richly focused. And, moreover, with a surprisingly, piquant relevancy to our brand-conscious times.
Though never stated by Donna Corbin, the Art Museum's associate curator of European decorative arts and the show's curator -- at least, in the installation itself -- it's hard not to walk away from the exhibit -- all beautifully preserved works from the 18th and 19th centuries -- without the notion that Josiah was something of a brand image-maker. In this case, the antique style that found quick favor with the aristocracy of the time, including George III.
Wedgwood still likes to rattle its royal associations. (Like its chief competitor Spode, Wedgwood parades its Warrant from the Queen).
Was Josiah Wedgwood, then, an ur Martha Stewart?
Ask Martha. Wedgwood Ltd. recently introduced her collection to its starting line-up.
***
That the Philadelphia Museum is taking a lead in recognizing Wedgwood's key artistic and commercial achievements in American and English decorative arts isn't surprising.
Philadelphia, Piers Wedgwood said during a recent lunch gathering at the Philadelphia Club, is 'Wedgwood country.' Actually, with four or five of the 'best' private collections in the country, he added.
Minus one.
At this point, it gets a bit complicated.
In fact, for more than 50 years, Philadelphia was not only 'Wedgwood country,' it was the Mecca of Wedgwood, boasting the world's largest collection, about 8,000 items, in private hands.
The collection had been amassed, starting in the 1930s, by Harry M. Buten of suburban Merion, and later his son, David Buten. Over time, Harry Buten became an expert in ceramics, particularly English ceramics, and most specifically Wedgwood ceramics, and, subsequently, he created in Merion the Buten Museum of Wedgwood, a one-off showcase. (In other words, Merion was home to two world-class museums, including the nearby Barnes Foundation).
Harry Buten was also the author Wedgwood ABC but not middle E, the most comprehensive primer of its kind and a volume I've consulted for this article.
Years ago, I encountered another Wedgwood collection, at the Birmingham Museum of Art in Alabama. I didn't know it at the time, but this Beeson Collection, at about 1,400 items, had been a distant second in size to the Philadelphia stash.
Interestingly, it was said there was 'little overlap' between the two collections. Furthermore, at the time of my visit to Birmingham, in 2005, the Buten Collection had already been mothballed, after David Buten closed the family museum in 1988 and loaned the works -- no one seemed to be know exactly why -- to the Nassau County Division of Museums, on Long Island, New York.
All that changed, after some legal wrangling, when the Buten Collection -- valued to at least $4 million -- was wrested away last year from the Long Island museum and donated to the Birmingham Museum. Together, with the existing Beeson Collection, the museum's Wedgwood holdings rival the inclusive Wedgwood Museum in the company town, Stoke-on-Trent.
The missing piece? Why -- what with the Buten connection to Philadelphia -- did all family Wedgwood not go the Philadelphia Museum.
'It was before my time. Water under the bridge,' Donna Corbin told me, gently closing the door on the subject.
***
The DAR installation in Washington, which I visited recently, draws heavily on pieces from Birmingham, the Smithsonian Museum of American History, and Colonial Williamsburg, and includes the Fairyland Lustre vase, circa 1920, whose owner is Whoopi Goldberg. Martha Stewart -- not only a Wedgwood designer, but also a collector, it turns out -- also helped out.
So did brand ambassador Piers Wedgwood, who, in October, presided over the exhibit's vernissage and accompanying tea. As in Washington and Philadelphia, Lord Wedgwood has become something of a fixture at company-related events. In addition, he seems to be a favorite with Wedgwood enthusiasts (major clubs are based in New York and Washington), who seemingly always get a kick from meeting a peer of the realm, all way from London and House of Lords. (Well, not exactly. Wedgwood gave up his seat in the Lords in 1999 and he actually lives in Philadelphia).
While not as expansive as the Washington show, the Philadelphia Museum's installation is remarkable for the little-known narrative it relates, how the British diplomat Sir William Hamilton popularized neo-classical design in 18th century Society.
Hamilton, of course, is best known as the cuckholded husband of Emma Hamilton, the mistress of Lord Nelson.
Less known -- while his wife was canoodling with Nelson -- was that Hamilton, then British ambassador to the Kingdom of Naples, was collecting vast quantities of antique ceramics, discovered in new excavations at Pompeii and Herculaneum. Hamilton fit the bill as a scholarly amateur, part connoisseur, antiquarian, vulcanologist -- and cataloger. Hamilton's meticulous accounting of his growing collection was published as Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. W. Hamilton. (A copy, on loan from the Rare Book Department of the Philadelphia Free Library, is displayed).
Proofs of Hamilton's catalog fell into Josiah Wedgwood's hands, and from these drawings Wedgwood recreated copies of what is now one of the most significant pieces inspired by the original Hamilton collection, now known as the Hamilton Krater Vase. The monumental krater, part of the Art Museum permanent collection, imitates the red figure painting of the ancient Greeks and Romans.
Not surprisingly, the wine vessel, manufactured in about 1790, holds a place of pride in the museum's exhibit. It, like another at Victoria and Albert Museum in London, is an 'almost exact copy' of the original, now housed at the British Museum. 'There are very few exact copies,' Donna Corbin said.
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