Haggin Museum Docent Council

The mission of The Haggin Museum is to advance the understanding and appreciation of the fine arts and regional history for the education and enjoyment of the widest possible audience. This is accomplished through the expansion, preservation, interpretation, and presentation of its collection.

Tuesday, November 29, 2011

Van Gogh, The Life: A Book Review


Splendor in the Stars















“Self-Portrait With Straw Hat” from “Van Gogh: The Life” (August/September 1887).



Letter sketches of churches at Petersham and Turnham Green from "Van Gogh: The Life" (November 1876).

By DEBORAH SOLOMON
Published: November 25, 2011
Vincent VAN GOGH tends to be remembered as an art saint whose radiant paintings of sunflowers and starry skies seem somehow imbued with moral valor. He identified with the poor and marginalized, and looked upon art as a humanitarian calling. He died unknown, at age 37, and you suspect he will always be a shining hero not only to people who worship art but to those who feel their own talents remain insufficiently acknowledged by their peers — meaning, most everyone.

On the other hand, is it possible that we have him entirely wrong, that he was just a creep and selfish user who felt that a life in art basically meant never having to say “Thank you”? Such is the portrait that emerges from Steven Naifeh and Gregory White Smith’s energetic, hulking and negatively skewed “Van Gogh: The Life.” The artist, as they see him, was bitter and manipulative, more of a perpetrator than a victim. The eldest child of a minister in the Dutch Reformed Church, he grew up in a rural corner of Holland and was not exactly an easy son. For part of his adulthood, we are told, in “a campaign that seemed intended to mortify and embarrass his parents,” he moved into their parsonage in Nuenen and shocked the congregation by swearing, smoking a pipe, drinking ­Cognac from a flask, dismissing the locals as “clodhoppers” and loudly proclaiming his atheism. . .



[Book by Steven Naifeh and Gregory White Smith, Illustrated, 953 pp. Random House $40.] To read more, see below. This link does not work normally, so it's necessary to copy it and then paste it into your browser line then enter. Reminder Ctrl+C to COPY then Ctrl+V to PASTE.


http://www.nytimes.com/2011/11/27/books/review/van-gogh-the-life-by-steven-naifeh-and-gregory-white-smith-book-review.html?scp=1&sq=Van Gogh The Life&st=cse
Posted by Haggin Museum Docent Council at 1:55 PM No comments:

Friday, November 11, 2011

The Wonder, Mystery of Keith--friend of John Muir, co-founder of the Sierra Club


Stinson Beach, oil on board, late 1870s or early 1880s



In 1908, Brother Fidelis Cornelius Braeg, a Swiss-born art professor and mountain climber who later joined the faculty at St. Mary's College in Moraga, called on John Muir at the great naturalist's Martinez home. That's where he first saw the majestic Sierra panoramas and pastoral Bay Area landscapes of Muir's close friend William Keith, the celebrated California painter whose spiritually imbued pictures thrilled him.

"I found them nearest to expressing the quality, mystery and wonder of any paintings I had ever scene," wrote Brother Cornelius, who began collecting the paintings that form the core of St. Mary's peerless Keith collection, and would write the definitive biography of the prolific Scottish-born artist who helped found the Sierra Club.

More than 80 of the paintings Brother Cornelius acquired are on view in "The Comprehensive Keith: A Centennial Tribute," a rich retrospective at the recently expanded St. Mary's College Museum of Art, formerly called the Hearst Art Gallery. It features 106 paintings by the masterly colorist whose precisely rendered landscapes of the late 1860s and '70s - which were encouraged by Muir and influenced by the dramatic Hudson River School painter Albert Bierstadt - gave way to moodier, subjective and more abstract images that reflect Keith's love of French Barbizon painting and his embrace of the spiritual teachings of Emanuel Swedenborg.

"Keith came to the conclusion that no artist could ever re-create what a Supreme Being had made, so the artist should try to suggest how nature made him or her feel," says Heidi Donner, St. Mary's resident Keith expert. The museum's education and publicity manager, she organized this show, which was designed and installed by museum Director Carrie Brewster.

Over the years, Keith's poetic landscapes - many painted in his San Francisco studio from sketches he made in the Sierra, around the Bay Area, in the Pacific Northwest and Alaska - have been displayed in small thematic shows in the Keith Room of the Spanish-style gallery, which was built in 1977 with funding from the Hearst Foundation. The current retrospective


Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/11/09/DD711LQRPV.DTL#ixzz1dQ7WGnt6
Posted by Haggin Museum Docent Council at 9:47 AM No comments:

Thursday, November 10, 2011

Some History Museums Face Problems


Lake George, N.Y. -- Robert Flacke Sr. can remember the days when Fort William Henry's multimedia exhibit consisted of two Kodak carousel-style color slide projectors that kept breaking down.

The history-heavy tourist attraction on the southern end of Lake George upgraded years ago to a video display, an improvement that looks positively futuristic amid all the aging, dusty exhibits sprinkled throughout the privately owned reconstructed French and Indian War fort and museum. Many of the displays look like they haven't changed since the place was built more than a half century ago.

In an effort to boost numbers of visitors, museum and historical sites around the country are searching for new ways to update old exhibits amid a time of economic uncertainty and declining support for museums in general and history museums in particular.

"History is tough to sell," said Flacke, president of the Fort William Henry Corp.

Updating exhibits often is one way to attract more visitors, but it's expensive, especially for smaller museums and lesser-known historic sites.

"A lot of smaller institutions are getting off the treadmill of trying to change things every few months," said Anne Ackerson, director of the Museum Association of New York. "This history museum world is kind of scratching its head, trying to find out how to make themselves relevant, bring in audiences and engage those audiences on resources that they simply don't have."

History hit hard

The problem is particularly felt by history-related museums, which make up about 40 percent of the nation's 17,500 museums of all genres. Some 850 million visits are made to American museums each year, part of the $192 billion spent annually on cultural tourism in the United States. Even with all those visitors and all that money being spent, many history museums are struggling.

"It's tough for all museums everywhere," said Ford Bell, president of the American Association of Museums, which represents nearly 3,000 nationwide. The Washington, D.C., association's annual survey of a cross-section of museums found that more than 70 percent were experiencing some type of economic distress, he said.

To keep costs down, many museums are holding off on renting traveling exhibits and instead delving into their own collections to present new displays, Ackerson said. Others are looking at innovative ways to boost funding and give their museums a fresh look.

The Wright Museum ties black history to other cultural events, including recent performances by the Dance Theatre of Harlem, subject of a featured exhibit and the highlight of a September gala that raised more than $400,000 for the museum, spokesman Ted Canaday said.

"You can't just say, 'We're a history museum' and only push the historic aspect," he said. "You have to show people how the history impacts people right now, how it impacts the choices they make, and one of the best ways to do that is through the arts."


Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/11/08/DDV81LRALT.DTL#ixzz1dLIqsfLh
Posted by Haggin Museum Docent Council at 2:01 PM No comments:

Thursday, November 3, 2011

Who Are These Personalities? Test Yourself.

Here are some noteworthy persons. Can you name them? Answers listed below.
















































































































































































































































1. Georgia Okeeffe
2. Frida Kahlo
3. Gustav Mahler
4. Toulouse Lautrec
5. Samuel Beckett
6. Gertrude Stein
7. T. S. Eliot
8. Amelia Earhart
9. Marie Curie
10. Frido Kahlo
11. Isaac Newton
12. Annie Leibovitz
13. Louis Pasteur
14. Georgia Okeeffe
15. Camille Paglia
16. Rosa Bonheur
17. Barbara Hepworth
18. Susan Sontag
Posted by Haggin Museum Docent Council at 1:20 PM No comments:
Labels: 8.

Wednesday, November 2, 2011

Cinema This Fall

Holiday Movies

It’s Gods vs. Mortals, and It Isn’t Pretty




In one scene, the Gods look down at the Earth from Olympus.

The film, one of a bevy of pictures with the memorable release date 11-11-11, is the latest from Tarsem Singh, the director behind the psychological thriller “The Cell” (2000) and the stylized adventure fantasy “The Fall” (2006).

“Immortals” tells the story of Hyperion (Mickey Rourke), an evil king who wreaks havoc throughout Greece in his search for the Epirus Bow, a weapon that would help him defeat the gods of Olympus and reign over humankind. He is challenged by Theseus (Henry Cavill), a stonemason who leads a small group of warriors in an uprising.

Two of the producers, Mark Canton and Gianni Nunnari, served the same role on “300” (directed by Zack Snyder), the historical action yarn with which “Immortals” is most likely to draw comparisons. While they are certainly hoping to mirror the box-office success of “300” ($456 million worldwide), they sought to give “Immortals” a look distinct from that film by bringing in Mr. Singh.

He has used contemporary style to pay homage to bygone eras before, whether for music videos (R.E.M.) or commercials (Pepsi). This time Mr. Singh channeled the fine arts for “Immortals.”

“Everyone is making comic strips, basically,” Mr. Singh said, referring to the style of many large-budget action films. “I was wondering what it would look like if I took ideas from paintings instead. I thought if I looked at Renaissance paintings, I could use that as the inspiration as opposed to a comic strip.” He pointed to the work of Caravaggio as a particular inspiration. That artist’s use of individuals arranged in tableau inspired some of the battle scenes.

Similarly, with the film’s landscape shots, including an image of the gods looking down from Olympus, Mr. Singh wanted to reinterpret historical artworks and make them the basis for the backgrounds. This led to a look that was more hyper-real than photorealistic. To read more: (Ctrl+C to copy, Ctrl+V to paste)
[Parental Advisory: Film contains lots of violence, gore and blood.]

http://www.nytimes.com/2011/10/30/movies/heads-are-exploding-in-tarsem-singhs-immortals.html?scp=1&sq=Immortals&st=cse
Posted by Haggin Museum Docent Council at 3:27 PM No comments:

Saturday, October 29, 2011

A School That Does Not Compute

A Silicon Valley School That Doesn’t Compute


Grading the Digital School

Blackboards, Not Laptops

Articles in this series are looking at the intersection of education, technology and business as schools embrace digital learning.


Jim Wilson/The New York Times

The Waldorf School in Los Altos, Calif., eschews technology. Here, Bryn Perry reads on a desktop.

By MATT RICHTEL

LOS ALTOS, Calif. — The chief technology officer of eBay sends his children to a nine-classroom school here. So do employees of Silicon Valley giants like Google, Apple, Yahoo and Hewlett-Packard.




Cathy Waheed helps Shira Zeev, a fifth grader. Waldorf parents are happy to delay their children's engagement with technology.

But the school’s chief teaching tools are anything but high-tech: pens and paper, knitting needles and, occasionally, mud. Not a computer to be found. No screens at all. They are not allowed in the classroom, and the school even frowns on their use at home.

Schools nationwide have rushed to supply their classrooms with computers, and many policy makers say it is foolish to do otherwise. But the contrarian point of view can be found at the epicenter of the tech economy, where some parents and educators have a message: computers and schools don’t mix.

This is the Waldorf School of the Peninsula, one of around 160 Waldorf schools in the country that subscribe to a teaching philosophy focused on physical activity and learning through creative, hands-on tasks. Those who endorse this approach say computers inhibit creative thinking, movement, human interaction and attention spans.

The Waldorf method is nearly a century old, but its foothold here among the digerati puts into sharp relief an intensifying debate about the role of computers in education.

“I fundamentally reject the notion you need technology aids in grammar school,” said Alan Eagle, 50, whose daughter, Andie, is one of the 196 children at the Waldorf elementary school; his son William, 13, is at the nearby middle school. “The idea that an app on an iPad can better teach my kids to read or do arithmetic, that’s ridiculous.”

Mr. Eagle knows a bit about technology. He holds a computer science degree from Dartmouth and works in executive communications at Google, where he has written speeches for the chairman, Eric E. Schmidt. He uses an iPad and a smartphone. But he says his daughter, a fifth grader, “doesn’t know how to use Google,” and his son is just learning. (Starting in eighth grade, the school endorses the limited use of gadgets.)

Three-quarters of the students here have parents with a strong high-tech connection. Mr. Eagle, like other parents, sees no contradiction. Technology, he says, has its time and place: “If I worked at Miramax and made good, artsy, rated R movies, I wouldn’t want my kids to see them until they were 17.”

While other schools in the region brag about their wired classrooms, the Waldorf school embraces a simple, retro look — blackboards with colorful chalk, bookshelves with encyclopedias, wooden desks filled with workbooks and No. 2 pencils.

On a recent Tuesday, Andie Eagle and her fifth-grade classmates refreshed their knitting skills, crisscrossing wooden needles around balls of yarn, making fabric swatches. It’s an activity the school says helps develop problem-solving, patterning, math skills and coordination. The long-term goal: make socks.

Down the hall, a teacher drilled third-graders on multiplication by asking them to pretend to turn their bodies into lightning bolts. She asked them a math problem — four times five — and, in unison, they shouted “20” and zapped their fingers at the number on the blackboard. A roomful of human calculators.

In second grade, students standing in a circle learned language skills by repeating verses after the teacher, while simultaneously playing catch with bean bags. It’s an exercise aimed at synchronizing body and brain. Here, as in other classes, the day can start with a recitation or verse about God that reflects a nondenominational emphasis on the divine.

Andie’s teacher, Cathy Waheed, who is a former computer engineer, tries to make learning both irresistible and highly tactile. Last year she taught fractions by having the children cut up food — apples, quesadillas, cake — into quarters, halves and sixteenths.

“For three weeks, we ate our way through fractions,” she said. “When I made enough fractional pieces of cake to feed everyone, do you think I had their attention?”

Some education experts say that the push to equip classrooms with computers is unwarranted because studies do not clearly show that this leads to better test scores or other measurable gains.

Is learning through cake fractions and knitting any better? The Waldorf advocates make it tough to compare, partly because as private schools they administer no standardized tests in elementary grades. And they would be the first to admit that their early-grade students may not score well on such tests because, they say, they don’t drill them on a standardized math and reading curriculum.

When asked for evidence of the schools’ effectiveness, the Association of Waldorf Schools of North America points to research by an affiliated group showing that 94 percent of students graduating from Waldorf high schools in the United States between 1994 and 2004 attended college, with many heading to prestigious institutions like Oberlin, Berkeley and Vassar.

Of course, that figure may not be surprising, given that these are students from families that value education highly enough to seek out a selective private school, and usually have the means to pay for it. And it is difficult to separate the effects of the low-tech instructional methods from other factors. For example, parents of students at the Los Altos school say it attracts great teachers who go through extensive training in the Waldorf approach, creating a strong sense of mission that can be lacking in other schools.

Absent clear evidence, the debate comes down to subjectivity, parental choice and a difference of opinion over a single world: engagement. Advocates for equipping schools with technology say computers can hold students’ attention and, in fact, that young people who have been weaned on electronic devices will not tune in without them.

Ann Flynn, director of education technology for the National School Boards Association, which represents school boards nationwide, said computers were essential. “If schools have access to the tools and can afford them, but are not using the tools, they are cheating our children,” Ms. Flynn said.

Paul Thomas, a former teacher and an associate professor of education at Furman University, who has written 12 books about public educational methods, disagreed, saying that “a spare approach to technology in the classroom will always benefit learning.”

“Teaching is a human experience,” he said. “Technology is a distraction when we need literacy, numeracy and critical thinking.”

And Waldorf parents argue that real engagement comes from great teachers with interesting lesson plans.

“Engagement is about human contact, the contact with the teacher, the contact with their peers,” said Pierre Laurent, 50, who works at a high-tech start-up and formerly worked at Intel and Microsoft. He has three children in Waldorf schools, which so impressed the family that his wife, Monica, joined one as a teacher in 2006.

And where advocates for stocking classrooms with technology say children need computer time to compete in the modern world, Waldorf parents counter: what’s the rush, given how easy it is to pick up those skills?

“It’s supereasy. It’s like learning to use toothpaste,” Mr. Eagle said. “At Google and all these places, we make technology as brain-dead easy to use as possible. There’s no reason why kids can’t figure it out when they get older.”

There are also plenty of high-tech parents at a Waldorf school in San Francisco and just north of it at the Greenwood School in Mill Valley, which doesn’t have Waldorf accreditation but is inspired by its principles.

California has some 40 Waldorf schools, giving it a disproportionate share — perhaps because the movement is growing roots here, said Lucy Wurtz, who, along with her husband, Brad, helped found the Waldorf high school in Los Altos in 2007. Mr. Wurtz is chief executive of Power Assure, which helps computer data centers reduce their energy load.

The Waldorf experience does not come cheap: annual tuition at the Silicon Valley schools is $17,750 for kindergarten through eighth grade and $24,400 for high school, though Ms. Wurtz said financial assistance was available. She says the typical Waldorf parent, who has a range of elite private and public schools to choose from, tends to be liberal and highly educated, with strong views about education; they also have a knowledge that when they are ready to teach their children about technology they have ample access and expertise at home.

The students, meanwhile, say they don’t pine for technology, nor have they gone completely cold turkey. Andie Eagle and her fifth-grade classmates say they occasionally watch movies. One girl, whose father works as an Apple engineer, says he sometimes asks her to test games he is debugging. One boy plays with flight-simulator programs on weekends.

The students say they can become frustrated when their parents and relatives get so wrapped up in phones and other devices. Aurad Kamkar, 11, said he recently went to visit cousins and found himself sitting around with five of them playing with their gadgets, not paying attention to him or each other. He started waving his arms at them: “I said: ‘Hello guys, I’m here.’ ”

Finn Heilig, 10, whose father works at Google, says he liked learning with pen and paper — rather than on a computer — because he could monitor his progress over the years.

“You can look back and see how sloppy your handwriting was in first grade. You can’t do that with computers ’cause all the letters are the same,” Finn said. “Besides, if you learn to write on paper, you can still write if water spills on the computer or the power goes out.”

Posted by Haggin Museum Docent Council at 11:28 AM No comments:

Sunday, October 23, 2011

'Masters of Venice' show at De Young Museum


In Titian's sumptuous "Mars, Venus and Cupid" from the 1550s, the bearded war god embraces Venus' fleshy nude body as she reclines on satin cushions in a moody rural landscape. She caresses his head and kisses him as Cupid hovers above.

"There's nothing more sexy in the 16th century than a painting like this. It's amazingly sensuous," says Lynn Federle Orr, curator of European art at San Francisco's Fine Arts Museums.

The photocopy she's looking at doesn't begin to convey the luminous colors and atmospheric effects of this and other spectacular pictures by Titian, Tintoretto, Giorgione and Veronese in "Masters of Venice: Renaissance Painters of Passion and Power From the Kunsthistorisches Museum, Vienna," which opens Saturday at the M.H. de Young Memorial Museum.

The exhibition, which is only being shown in San Francisco, features 50 works by those giants of Venetian painting and lesser-known but important artists such as Palma Vecchio, Jacopo Bassano and the early Renaissance painter Andrea Mantegna. The pictures come from the 19th century Viennese museum that houses the art and other collections assembled over the centuries by emperors and dukes of the Habsburg dynasty. The works of the seminal Venetian oil painter Giovanni Bellini, who taught Titian and Giorgione, were not deemed in a condition to travel.

Living in a spectacle-loving city built on the water, the Venetian painters were acutely attuned to the colors and shifting atmospheres of their environment, the mist and fog, the light shimmering on the water.


Read more: http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/10/20/PKSF1LH4KE.DTL#ixzz1bdNeAdX5
Posted by Haggin Museum Docent Council at 12:15 PM No comments:
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