Renoir to Remington: Impressionism to the American West
September 21, 2014 – February 1, 2015
Woody and Gayle Hunt Family Gallery
Organized by the El Paso Museum of Art in partnership with
Tacoma Art Museum, Tacoma, Washington
Pierre-Auguste Renoir (French,1841-1919) Heads of Two Young Girls
[Têtes de deux jeunes filles], 1890
Oil on canvas
12 3/4 x 16 1/4 inches
Tacoma Art Museum,
Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.35
Frederic Remington (1861-1909) The Mystery [A Sign of Friendship] (1909) oil on canvas, 27 1/8 x 40 1/8" El Paso Museum of Art,
Gift of El Paso Art
Museum Association Members` Guild
Camille Jacob Pissarro (French, 1830-1903) Darse de peche, Dieppe, matin, temps gris
[The Fishing Port, Dieppe, Morning, Overcast Sky], 1902
Oil on canvas, 25 5/8 x 32 inches.
Tacoma Art Museum,
Gift of Mr. and Mrs. W. Hilding Lindberg, 1983.1.29
In fall 2014 the El Paso Museum of Art presents Renoir to Remington: Impressionism to the American West, the first comprehensive exhibition investigating the impact of French Impressionism on the direction of art of the American West and Southwest. Bringing together over one hundred works, the exhibition juxtaposes French Impressionist, pre-Impressionist, and related works from the Tacoma Art Museum in Washington state with Western American examples from the El Paso Museum of Art, the collection of Jack and Carroll Maxon, and four other local collections. Renoir to Remington includes artists such as Frederic Remington who pictured diverse regions of the American West, but the primary focus is Southwestern artists working through the course of the twentieth century. Exploring how many artists of the American Southwest have responded to Impressionism, the exhibition outlines the multiple forms and degrees of Impressionist influence on these artists as they sought and found the means to translate the distinct atmosphere, light, and color of the Southwest’s unique landscape, life, and culture.
Artists represented from Tacoma include the French Impressionist masters Pierre-Auguste Renoir, Camille Pissarro, and Edgar Degas; leading pre-Impressionists Eugène Boudin, Camille Corot, and Johan Barthold Jongkind; and American Impressionists like John Singer Sargent and Ernest Lawson. Southwest works include pictures by the early masters Julian Onderdonk and his father, Robert Jenkins Onderdonk, along with later practitioners such as Fremont Ellis and the celebrated “Texas bluebonnet painter” Porfirio Salinas. Two notable groups represented include several members of the Taos Society of Artists founded in 1915, and many early and later El Paso area artists, including Elmer L. Boone, Fern and Eugene Thurston, Earline Barnes, and Tom Lea.
As the works in the exhibition reveal, some Southwest painters embrace both the high-keyed palette and broad sketchy brushwork of classic Impressionism, while others combine a more finished style with the brighter colors initiated by the Impressionists. Still others investigate Impressionism alongside other approaches, or move toward styles that evolved from or responded to Impressionism, such as Neo-Impressionism and Post-Impressionism. The exhibition includes sculptural comparisons between the dancers of Degas and the cowboys and horses of sculptors like Harry Jackson. Inspired by the light, atmosphere, and action of the Southwest, the artists of this region discovered in Impressionism diverse elements of color, handling, and naturalism that aided them in their desire to represent the special light, atmosphere, landscape, and figures of the Southwest. Ultimately, Renoir to Remington enriches our understanding of Southwestern art by situating it within a broader context, and brings new relief to the lasting appeal and influence of the revolutionary movement Impressionism.
Non-member adults age 12+
Children age 11 and under
Active Military Personnel and their families with ID
Modern Masters Series: Highlights from the
Solomon R. Guggenheim Museum
October 3, 2014 – October 2, 2016
Peter and Margaret de Wetter Gallery
Organized by The Solomon R. Guggenheim Foundation
Paul Cézanne Still Life: Plate of Peaches(Assiette de pêches), 1879–80
Oil on canvas, 23 1/2 × 28 7/8 inches (59.7 × 73.3 cm)
Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser
Robert Delaunay Circular Forms (Formes circulaires), 1930
Oil on canvas, 50 ¾ x 76 ¾ inches (128.9 x 194.9 cm)
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection
Franz Marc White Bull (Der Stier), 1911
Oil on canvas, 39 3/8 x 53 ¼ inches (100 x 135.2 cm)
Solomon R. Guggenheim Museum, New York
The El Paso Museum of Art is pleased to announce the Modern Masters Series: Highlights from the Solomon R.Guggenheim Museum organized by The Solomon R. Guggenheim at the El Paso Museum of Art opening October 5, 2014 and closing on October 2, 2016 in the Peter and Margaret de Wetter Gallery. Ten masterpieces by seven artists will be shown in a consecutive series of six presentations organized by the Solomon R. Guggenheim Museum and Foundation. The series includes: Birth of Cubism featuring two stunning icons by Pablo Picasso and Paul Cézanne; Expressionism and Der Blau Reiter featuring two masterpieces by Vasily Kandinsky and Franz Marc; Orphism and the School of Paris features the genius of Robert Delaunay and Albert Gleizes; the fourth installment is a monumental work by Marc Chagall, The Green Violinist; Kandinsky and the Bauhaus features two masterworks by Vasily Kandinsky; and closing out the series is Pablo Picasso’s epic still life Pitcher and Bowl of Fruit. All works on exhibit are canvases painted between 1879 and 1931 and are universally recognized as classic works by these world-renowned artists.
Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, said, “The Solomon R. Guggenheim Foundation is very pleased to embark on this collaboration with the El Paso Museum of Art. While the Guggenheim welcomes over a million visitors a year to the museum in New York and reaches an increasingly diverse audience of over 6 million visitors through its website, it is particularly gratifying to bring some of the most iconic works in the Guggenheim’s collection to El Paso and the Southwest.”
Mr. Armstrong continued, “I’d like to thank the El Paso Museum of Art Director Michael A. Tomor for this promising collaboration and for the opportunity to share some of the Guggenheim’s most beloved treasures with the people of El Paso and the region.”
The collaboration between the El Paso Museum of Art and the Solomon R. Guggenheim Museum and Foundation addresses the particular interests of the communities served in El Paso. It is of special significance to the El Paso community to be introduced to some of the most noteworthy artworks by European Modernists found in the world`s most admired permanent collections. To that end, and in the spirit of educating the public with masterpieces held in great esteem by scholars across the globe, the El Paso Museum of Art has been given this exceptional opportunity to work with the Guggenheim Museum. In turn, the Guggenheim Museum has an opportunity to reach directly beyond its audiences in New York City, Venice, and Bilbao by building a program for a community clearly dedicated to extremely high quality-of-life programs.
Michael Tomor, Director of the El Paso Museum of Art, shared, “The El Paso Museum of Art is honored to collaborate with the Solomon R. Guggenheim Museum and Foundation to launch its first masterpiece program. Richard Armstrong is to be seen as a shining example of reaching across the profession and the United States to better serve a mission of excellence in art and arts programming in communities more geographically isolated from major metropolitan regions of the eastern seaboard. The citizens of El Paso and Juárez have never had an opportunity to experience in their own community original canvases by Picasso, Kandinsky, Delaunay, Gleizes, or Marc, or to see iconic paintings by Chagall or Cézanne. The Guggenheim has afforded this opportunity to El Paso and we are forever grateful to their staff and board.”
The individual masterpiece installation or exhibition is gaining momentum across the United States and Europe. As exhibition leasing, shipping, and insurance fees continue to increase and the public and the museum profession tire of the sensationalism of the “blockbuster” exhibition, directors and curators are revisiting the mission of education and excellence in programming; the unique or multiple masterpiece exhibition provides an alternative. The El Paso Museum of Art is projecting 24 months of consecutive exhibition programs and 54 unique education programs, not including the creation of new art classes dedicated to the featured artists’ style, iconography, and choice of subject. The Museum is in the midst of discussions with nine performing arts and academic community partners to offer additional programs related to the cultural context out of which these artists emerged.
Other recent examples of the Masterpiece Series include the December 6, 2013 opening of the three-month installation of the New York Frick Collection portrait by Francisco de Goya y Lucientes at the Norton Simon Museum in Pasadena. The Prado at the Meadows was the result of a three-year collaboration between the Prado Museum of Madrid and the Meadows Museum of Southern Methodist University in Dallas to bring El Greco, Ribera, and Velázquez to the Dallas-Fort Worth communities. That series ran from 2011 through 2013. And in May of 2011, the Speed Art Museum in Louisville, Kentucky, exhibited Caravaggio’s The Fortune Teller on loan from the Capitoline Museums in Rome.
Pablo Picasso (1881-1973)
Carafe, Jug and Fruit Bowl, (Carafon, pot et compotier)
Horta de Ebro, summer 1909
Oil on canvas, 28 ¼ x 25 3/8 inches (71.8 x 64.6 cm)
Solomon R. Guggenheim Museum, New York
Solomon R. Guggenheim Foundation Collection, By gift 37.536
The exhibition of Paul Cézanne and Pablo Picasso: Birth of Cubism marks the beginning of the Modern Masters Series: Highlights from the Solomon R. Guggenheim Museum, a project made possible by a two-year-long collaboration between the EPMA and the Solomon R. Guggenheim Museum and Foundation. The series includes ten masterpieces by seven artists to be featured in a consecutive series of six installations in the EPMA’s Peter and Margaret de Wetter Gallery. This exceptional presentation offers the citizens of El Paso and Juárez an opportunity to explore iconic European works by modern masters, while allowing the Guggenheim Foundation to reach beyond its audiences in New York, Venice, and Bilbao, displaying collection works in El Paso and the Southwest. Each “masterpiece-in-focus” installation presents the modernist works in their art historical and cultural contexts and is accompanied by a wide array of related lectures, musical and other performances, educational programs, and community partnerships designed to bring the art to life and to engage as many visitors as possible.
Following the initial Birth of Cubism installation of “Two Masterpieces – One Exhibition”, subsequent shows in the Modern Masters Series: Highlights from the Solomon R. GuggenheimMuseum, feature major modernists and their seminal styles. These presentations focus on works by Vasily Kandinsky and Franz Marc, the visionaries involved with The Blue Rider (Der Blaue Reiter) and German Expressionism; Robert Delaunay, an artists associated with the origins of Orphism in Paris in 1912; and Marc Chagall, the painter who forged his own remarkable style by melding Cubist forms and Orphic colors with his inherent lyricism, love of Paris, and nostalgia for his native town of Vitebsk, Russia.
Paul Cézanne and Pablo Picasso: Birth of Cubism
October 3, 2014 – February 1, 2015
Peter and Margaret de Wetter Gallery
Admission is Free
“Two Masterpieces – One Exhibition”
Modern Masters Series: Highlights from the Solomon R. Guggenheim Museum
Organized by the Solomon R. Guggenheim Foundation
As the first installation in the series, Birth of Cubism highlights a pair of powerful works by Paul Cézanne and Pablo Picasso. Both artists have frequently been described as crucial figures in the development of modern art due to their own innovations as well as their influence on the art of others throughout the twentieth century.
Cubism began in France at the end of the first decade with the works of Spanish genius Picasso in tandem with French painter Georges Braque. Through a close study of Cézanne’s Still Life: Plate of Peaches (Assiette de pêches, 1879–80) and Picasso’s Carafe, Jug, and Fruit Bowl (Carafon, pot et compotier, 1909) we are able to learn more about the creational and cultural context of the two works. Additionally, these works allow us to better understand the transition from atmospheric Impressionism of the 1870s to Cézanne’s more structural, color-constructed Post-Impressionism to Picasso’s first ventures into Cubism that break down the pictorial composition.
BBVA Compass Bank
City of El Paso
El Paso Museum of Art Foundation
Mrs. Robert M. Graham, Sr.
Travis and Annabelle Johnson
Kirk and Judy Robison
Shari and Stuart R. Schwartz
Robert and Sara Shiloff
Texas Commission on the Arts
United Bank of El Paso del Norte
Mithoff Burton Parners
Susan Eisen Fine Jewelry and Watches
Mexican Devotion on Tin and Copper:
Selections from the McKnight Collection
November 30, 2014 – May 3, 2015
Dorrance and Olga Roderick Gallery: Retablo Niche
Anonymous (Mexico, mid 19th C) Saint Julian, Martyr(mid 19th C) Oil on tin, 8 ½ x 5 5/8” Gift of Dr. Steven McKnight in honor of Frank and Sara McKnight Collection of El Paso Museum of Art
For over twenty years Sara and Frank McKnight collected retablos from Northwestern Mexico which they later sold in their El Paso art gallery. Fortunately the McKnight’s retained some of their favorites and in 2007 their collection of seventy-one retablos was generously gifted to the El Paso Museum of Art by their children, Dr. Steven McKnight, Elizabeth McKnight Manning and Nancy McKnight Howell. The children simultaneously set up the McKnight Family Fund in the El Paso Museum of Art Foundation. Including paintings of saints, the Virgin and Christ, martyrs, apostles, angels, the Pieta and ex-votos from the 17th through the 19th centuries this exhibition recognizes and highlights a selection from the diverse collection they assembled. Some retablos are signed by known masters, while others are included to reveal the large variety of perspectives. Mostly influenced by religious paintings from Europe, many of the indigenous artists were not academically trained and therefore used their imaginations and local knowledge to fulfill the wide demand for these artworks throughout provincial Mexico.
Modern Stone Totems
December 2, 2014 – May 17, 2015
Mac Rogers Fine Arts Gallery
Modern Stone Totems is a new exhibition of abstract yet figuratively suggestive sculptures installed in early December in the recently named Mac Rogers Fine Arts Gallery. Variously composed of different types of granite, limestone, marble, and onyx, and dating from 1971 to 1990, the four totem-like modernist stone sculptures entered the EPMA collection as gifts or purchases from 1971 to 2011. The unique surfaces and forms of each piece invite individual study, while their installation together in the space of the Mac Rogers Fine Arts Gallery proposes a dialogue between the works’ muted colors and between their evocative silhouettes.
The first of these sculptures to enter the collection was The Eagle, carved in 1971 by the Mexican painter and sculptor Leonardo Nierman (born 1932), and gifted by the artist the same year. At first glance the work might suggest the extremely simplified profile of a standing human figure, but then we can observe the sidewise soaring eagle indicated by the title. The sleek and waxy surfaces of this delicately and naturally fissured piece might recall the purified natural forms and contours in the work of Romanian-born French modernist sculptor Brancusi, while its fragile white onyx material transmits light in subtle ways when struck by the sun’s rays through the lobby windows. The other three sculptures in this elegant ensemble were created by American sculptors with strong Texas connections: Song Bird (1963) by Ben Woitena (born 1942); Guardian (1988) by Jill Sablosky (born 1954); and Ellipse (1990) by Jesús Moroles (born 1950). Song Bird was the latest addition to the collection, gifted in 2011 by the previous EPMA director, Becky Duval Reese, and her husband. Fashioned from Georgia gray marble, Song Bird leaves angles of the original rectangular stone slab intact, which encourages us to consider how the artist liberated his forms, and also frames and underlines the compositional sense of ascendant thrust. The sculpture by Jesús Moroles, Ellipse, features Moroles’s favorite medium, granite (in this case, Italian and Texan granites), a material he poetically considers “the core and heart of the universe.” And finally, Sablosky’s multi-piece Guardian incorporates Trani marble with Indiana, Cordova, Fossil, and Leuders limestones. While the varied textures and forms of these four sculptures hint at tactile pleasures and encourage us to imagine their carving, each of them also resembles a modern totem pole, encouraging us to walk between them and consider their potential shared, separate, and suggested meanings.
Body Art: Contemporary El Paso Jewelry
December 14, 2014 – April 26, 2015
Dede Rogers Special Events Gallery
Susan Eisen (American, b. 1953) Franklin Mountain Abstract #1, 2013 Cast and fabricated 14K yellow gold, diamonds, and cultured pearls Collection of the artist
Rachelle Thiewes (American, b. 1952) Slipstream, 2011 Steel and auto paint Collection of the artist
Body Art celebrates contemporaneous local expressions of the jeweler’s art, a form with an exciting and vibrant past and present in El Paso. The principal center of jewelry production and training in the area has been and remains the University of Texas at El Paso, whose Metals Program was directed for many years by Wiltz Harrison and since then by Rachelle Thiewes, who came from Illinois in 1976 to replace Harrison at his retirement. Thiewes has subsequently become celebrated internationally for her jewelry making, and she herself has nurtured the metalsmithing talents of numerous students. Among other unique qualities, Thiewes’s designs display a creative concern with their literal and symbolic activation by the individual wearer’s body in motion.
The exhibition will include several pieces by Thiewes, along with selections from approximately ten other area jewelers, many of whom studied with Thiewes years prior or as recent UTEP graduates. Just a few of the artists represented in Body Art include Susan Eisen, who studied with both Thiewes and Harrison and has established a flourishing retail business alongside her commitment to creating original pieces; Margie Melby, a founding member of El Paso’s Las Artistas in 1970; and Helen Ellison-Dorion, a transplant from England who is today an adjunct professor of metalsmithing and jewelry design at New Mexico State University in Las Cruces. Some of the diverse currents that run through the creations of the Body Art artists are the original mixing of gem and metal types; witty expressions of multi-functionalism (such as a necklace-cum-jump rope); inspiration from local geography and culture (for instance, Eisen’s El Paso pieces incorporating gold castings of rock forms from the Franklin Mountains); and the pairing of whimsy and delicacy or melding of sheer fun with simple elegance.