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Art Beyond Isms: Masterworks from El Greco to Picasso in the Phillips Collection Paperback – 1 January 2006
by
Elizabeth E. Rathbone
(Author)
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- LanguageEnglish
- PublisherThird Millennium Publishing; Phillips Collection
- Publication date1 January 2006
- ISBN-10190394208X
- ISBN-13978-1903942086
Product details
- ASIN : B007RC090U
- Publisher : Third Millennium Publishing; Phillips Collection; First Edition (1 January 2006)
- Language : English
- ISBN-10 : 190394208X
- ISBN-13 : 978-1903942086
- Customer Reviews:
Customer reviews
3.6 out of 5 stars
3.6 out of 5
4 global ratings
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Top reviews from other countries

Mrs. Gadget
5.0 out of 5 stars
Fantastic book at a wonderful price
Reviewed in the United States on 26 March 2015Verified Purchase
Fantastic book at a wonderful price. I bought this as a gift -- My own copy came from the gift shop at Cleveland Museum of Art, where MANY of the paintings were exhibited in this very special event. If you can find a copy, buy it NOW to enjoy the artworks and the commentary with each piece.

Dr R
5.0 out of 5 stars
Informative and beautifully reproduced
Reviewed in the United Kingdom on 24 September 2013Verified Purchase
The collection acquired by Duncan Phillips, 1886-1966, and which was hung at his home in Washington, D.C., is now generally considered to be the first museum of modern art in the United States. It was based primarily on French and American artists of the 19th and 20th century, but Phillips sought out works by earlier artists who he considered had significantly influenced the development of modern art.
Phillips' father died in 1916, followed a year later by his brother with whom he shared a passion for art and an interest in collecting. He and his mother responded by founding the museum, originally called the Phillips Memorial Art Gallery. After his marriage in 1921, Phillips and his wife, Marjorie, worked closely together acquiring the collection. The Gallery was renamed `The Phillips Gallery' in 1948 and, in 1961, it took on its current title, `The Phillips Collection'.
The book, published alongside a touring exhibition of the same name that visited The Museum of Fine Arts in Houston; Phoenix Art Museum; Albright-Knox Art Gallery, Buffalo, New York; Denver Art Museum and the Frist Center for the Visual Arts, Nashville, Tennessee, between September, 2002, and May, 2004.
In a Preface, Jay Gates, the Director of the Collection, describes the publicity attending the Phillips' acquisition in 1923 of Renoir's "Luncheon of the Boating Party", 1880-81, the picture that, for many, is synonymous with The Phillips Collection. In opening their home to share the collection with the public, the couple wanted to encourage visitors to appreciate modern art, to `see beautifully, as true artists see' and benefit from `joy-giving' and `life-enhancing' experiences. This theme is amplified by Eliza E. Rathbone in an essay, `Seeing Beautifully: A Vision of the Whole'. The catalogue also contains a Chronology, Exhibition Checklist, list of References and an Index.
60 Works are illustrated in colour, each complemented by scholarly, but very readable, texts, written by Johanna Halford-MacLeod, that describe the work, its position in the artist's development and aesthetic, and providing brief biographical information.
More than most, this exhibition reflects the enthusiasms and knowledge of its collectors; these qualities are described by Rathbone in a text illustrated with 9 b/w photographs, some of which show the Phillips' home (in one they sit in front of the Renoir as one might do today, in front of a Vettriano poster). By hanging pictures from various schools and centuries close together, Phillips discovered associations, which he called `conversations', between them. Chardin, El Greco and Goya were amongst the earlier artists whose work he bought. Providing the result was what he wanted, Phillips was ready to part with one work to gain another.
Rathbone emphasizes that the artist was driven by an intense response to colour, which led him to acquire a group of works by Bonnard, including "Woman with Dog", 1922, and "The Palm", 1926, that remain unrivalled in America. He felt similarly about Morris Prendergast's work when, in the 1930s, he began to pick up works by modern American artists, such as Dove, O'Keeffe and Avery, relatively inexpensively. In a similar manner, in the 1950s he purchased works by artists including de Stäel, Soulages, de Kooning, Tobey and Rothko.
The earlier works in the exhibition are Chardin's luminous "A Bowl of Plums", c. 1728, and "The Repentant St Peter", painted by both El Greco, c. 1600-05 or later, and Goya, c. 1820-24. Phillips saw a connection between the former, whom he regarded as an expressionist because his work revealed his inner state, and Cézanne, who was also connected with Goya, because the latter artist anticipated Cézanne's `modeling by modulations, also his weight and grandeur'. Constable's "On the River Stour", c. 1834-37, Corot's "Civita Castellana", 1826 or 1827, and two other works, Delacroix's "Paganini", 1831, and Ingres' "The Small Bather", 1826, are the other works from the first half of the 19th century.
All the great European artists of the 1850s-1950s are represented, except for Pissarro, and the emphasis on colour is evident in paintings like "The Round Table", 1929, by Braque, that shares the quiet reserved quality of works by Chardin; "The Garden at Les Lauves", c. 1906, by Cézanne; "Dancers at the Bar", c. 1900, by Degas, whose stress on line reminded Phillips of Holbein and Botticelli; "The Artist's Studio", 1935, by Dufy, which shows the artist's homage to Claude Lorrain; "The Ham", 1889, by Gauguin; "Autumn II", 1912, by Kandinsky; "Picture Album", 1937, by Klee; "Deer in the Forest", 1913, by Marc; "Interior with Egyptian Curtain", 1948, by Matisse; "Val-Saint-Nicolas, near Dieppe (Morning)", 1897, by Monet; "Two Girls", c. 1894, by Berthe Morisot, whose work was informed by Boucher; "Bull Fight", 1934, by Picasso; "Mystery" c. 1910, by Redon; "House at Auvers", 1890, and "Entrance to the Public Gardens in Arles",1888, by van Gogh, a detail of the latter being illustrated on the front cover.
The sculptures in the exhibition are by Giacometti, "Monumental Head", 1960; Renoir/Richard Guino, "Mother and Child", 1916; Rodin, "Brother and Sister", 1890, and Picasso, "The Jester", 1905.
I have yet to see a publication involving The Phillips Collection that has not been of a very high standard.
Phillips' father died in 1916, followed a year later by his brother with whom he shared a passion for art and an interest in collecting. He and his mother responded by founding the museum, originally called the Phillips Memorial Art Gallery. After his marriage in 1921, Phillips and his wife, Marjorie, worked closely together acquiring the collection. The Gallery was renamed `The Phillips Gallery' in 1948 and, in 1961, it took on its current title, `The Phillips Collection'.
The book, published alongside a touring exhibition of the same name that visited The Museum of Fine Arts in Houston; Phoenix Art Museum; Albright-Knox Art Gallery, Buffalo, New York; Denver Art Museum and the Frist Center for the Visual Arts, Nashville, Tennessee, between September, 2002, and May, 2004.
In a Preface, Jay Gates, the Director of the Collection, describes the publicity attending the Phillips' acquisition in 1923 of Renoir's "Luncheon of the Boating Party", 1880-81, the picture that, for many, is synonymous with The Phillips Collection. In opening their home to share the collection with the public, the couple wanted to encourage visitors to appreciate modern art, to `see beautifully, as true artists see' and benefit from `joy-giving' and `life-enhancing' experiences. This theme is amplified by Eliza E. Rathbone in an essay, `Seeing Beautifully: A Vision of the Whole'. The catalogue also contains a Chronology, Exhibition Checklist, list of References and an Index.
60 Works are illustrated in colour, each complemented by scholarly, but very readable, texts, written by Johanna Halford-MacLeod, that describe the work, its position in the artist's development and aesthetic, and providing brief biographical information.
More than most, this exhibition reflects the enthusiasms and knowledge of its collectors; these qualities are described by Rathbone in a text illustrated with 9 b/w photographs, some of which show the Phillips' home (in one they sit in front of the Renoir as one might do today, in front of a Vettriano poster). By hanging pictures from various schools and centuries close together, Phillips discovered associations, which he called `conversations', between them. Chardin, El Greco and Goya were amongst the earlier artists whose work he bought. Providing the result was what he wanted, Phillips was ready to part with one work to gain another.
Rathbone emphasizes that the artist was driven by an intense response to colour, which led him to acquire a group of works by Bonnard, including "Woman with Dog", 1922, and "The Palm", 1926, that remain unrivalled in America. He felt similarly about Morris Prendergast's work when, in the 1930s, he began to pick up works by modern American artists, such as Dove, O'Keeffe and Avery, relatively inexpensively. In a similar manner, in the 1950s he purchased works by artists including de Stäel, Soulages, de Kooning, Tobey and Rothko.
The earlier works in the exhibition are Chardin's luminous "A Bowl of Plums", c. 1728, and "The Repentant St Peter", painted by both El Greco, c. 1600-05 or later, and Goya, c. 1820-24. Phillips saw a connection between the former, whom he regarded as an expressionist because his work revealed his inner state, and Cézanne, who was also connected with Goya, because the latter artist anticipated Cézanne's `modeling by modulations, also his weight and grandeur'. Constable's "On the River Stour", c. 1834-37, Corot's "Civita Castellana", 1826 or 1827, and two other works, Delacroix's "Paganini", 1831, and Ingres' "The Small Bather", 1826, are the other works from the first half of the 19th century.
All the great European artists of the 1850s-1950s are represented, except for Pissarro, and the emphasis on colour is evident in paintings like "The Round Table", 1929, by Braque, that shares the quiet reserved quality of works by Chardin; "The Garden at Les Lauves", c. 1906, by Cézanne; "Dancers at the Bar", c. 1900, by Degas, whose stress on line reminded Phillips of Holbein and Botticelli; "The Artist's Studio", 1935, by Dufy, which shows the artist's homage to Claude Lorrain; "The Ham", 1889, by Gauguin; "Autumn II", 1912, by Kandinsky; "Picture Album", 1937, by Klee; "Deer in the Forest", 1913, by Marc; "Interior with Egyptian Curtain", 1948, by Matisse; "Val-Saint-Nicolas, near Dieppe (Morning)", 1897, by Monet; "Two Girls", c. 1894, by Berthe Morisot, whose work was informed by Boucher; "Bull Fight", 1934, by Picasso; "Mystery" c. 1910, by Redon; "House at Auvers", 1890, and "Entrance to the Public Gardens in Arles",1888, by van Gogh, a detail of the latter being illustrated on the front cover.
The sculptures in the exhibition are by Giacometti, "Monumental Head", 1960; Renoir/Richard Guino, "Mother and Child", 1916; Rodin, "Brother and Sister", 1890, and Picasso, "The Jester", 1905.
I have yet to see a publication involving The Phillips Collection that has not been of a very high standard.
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