A few months ago, a accumulation of curators visited Sandy and Bram Dijkstra in their artfull Del Mar home.
They wandered around, looked at paintings and chose nine works that became the Timken Building of Art’s exhibition “Captivating Women from the Dijkstra Collection,” active through May 10.
The title’s answer — captivating, not adorable or arresting — conveys the show’s accumulation theme: women ensnared, ensnaring. Often, and in advantageous ways, both.
These paintings, which amount a few decades about the about-face of the 19th aeon and the alpha of the 20th, may be nine, but their access and contrasts of style, subject, mood, address and academy actualize exponential depth.
After their visit, the curators headed aback to campus.
These weren’t your accustomed building professionals. They weren’t alike MFA acceptance or all art history majors, but undergraduates at the University of San Diego enrolled in an constituent about the history and attitude of art accession accomplished by Derrick Cartwright, who is a assistant there and the Timken’s administrator of curatorial affairs.
The aftereffect isn’t your accustomed building exhibition. The Timken’s proportions, for one, are abnormally able-bodied ill-fitted for seeing works sourced from a clandestine collection, as the amplitude they are displayed in feels human, accessible. Quartet, not orchestra; chapel, not cathedral.
The exhibition has additionally challenged and broadcast the role and abeyant of a museum, both by involving acceptance and agreeable the accessible in means that art institutions don’t typically. Admission to “Captivating Women,” as to the absolute Timken, is free.
The students’ contributions, too, from art selections to bank blush proposals, were beginning and sometimes surprising, Cartwright said. They commutual a nude by Belle Baranceanu with a composition by Mary Oliver.
“That’s not article best bookish curators would anticipate about doing,” Cartwright said, abacus he was “really delighted” by their ideas.
The Dijkstras, he said, “are accession altered kinds of altar and putting calm a absolutely absorbing accumulating that we can apprentice from.”
“Lee,” 1928, by Belle Baranceanu
(Courtesy photo / From the Dijkstra Collection)
Julia Gonzalez, a chief belief beheld arts and art history, was herself captivated by Baranceanu’s 1928 oil of a woman in a clandestine moment.
Its “intimate ambience and the audible bristling brushwork assorted by abysmal dejected outlines” anon bent the group’s analytical eyes. “The faculty of address that Baranceanu absolute into her accountable activity about her circadian activity is one of the painting’s best arresting qualities,” she said.
Gonzalez is acquisitive for a building job back she graduates. Collaboratively curating “Captivating Women” was both “difficult” and “very rewarding.”
Sandy Dijkstra, in an account at her abode afore the works catholic to Balboa Park, was absorbed in seeing the paintings “in chat with ceremony other,” off the walls area they commonly adhere amidst by added works. They are “women abundantly from the aforementioned period, with the barring of Belle (Baranceanu) — aerial class, alive class, allegorical and real. To see that chat on the walls of the Timken, to me that’s the excitement.”
Megan Pogue, Timken Building of Art controlling director
In an article angry to the exhibition, Bram Dijkstra, an emeritus assistant of allusive abstract at UC San Diego and an art history scholar, wrote that artists’ portrayals of women became complicated in the backward 19th century: “Inevitably, by the aurora of the 20th century, men’s attempts to about-face women into goddesses of acquiescent and compliant, hyper-pure domesticity, had amorphous to abatement apart.”
Gilbert Gaul’s 1876 “Waiting” is an bare account of a calm artisan in limbo, advancing or abrogation a job. Not romanticized, this adolescent woman ability be a symbol, or she ability aloof be afraid about her tomorrow.
In Wilhelm Vita’s about 1891 “Scheherazade,” the acclaimed captive holds court. He reclines, rapt, as she spins her tale, but he has the power. One amiss artifice twist, and she’s dead.
Or does he accept the power? Bram Dijkstra said the painter conceivably fabricated a point with the way he airish Absolutist Franz Josef, casting in the role of the king. Vita ability accept been suggesting the absolutist was too focused on the mythologized “Orient” at a time back his authority bare attention.
Despite its size, or maybe because of it, this painting will accolade analysis up close. Vita assorted how abundant detail he formed into the canvas, abrogation some areas added intricate and accomplished than others.
Both paintings acquaint belief of women at work, in a sense. They assignment to absolve the air they breathe, the amplitude they booty up in the world, on the canvas — which connects them to the added women in this exhibition, whether as painters or as characters in their beheld vignettes.
Megan Pogue, the Timken’s controlling director, said the exhibition fits with the museum’s history. It was founded based on the accession practices of three sisters, Amy, Anne and Irene Putnam. The appearance ties, as well, into a ceremony of the Year of the Woman, ceremony the 100th ceremony of the 19th Amendment.
“‘Captivating Women’ embraces this affiliation by featuring the roles of women in art history and, currently, on the Timken’s walls,” she said.
When: Through May 10
Where: Timken Building of Art, 1500 El Prado, Balboa Park
Phone: (619) 239-5548
Popescu, an accessory autograph assistant at the University of San Diego, is a freelance writer.
“Salome,” 1890, by Ella Ferris Pell
(Courtesy photo / From the Dijkstra Collection)
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