Printemps Pissarro: Idyllic Springtime Beauty

Camille Pissarro (French 1830-1903) Pommiers en Fleur, 1870, oil on canvas. Gift of Herman Levy, Esq., O.B.E., 1984. McMaster Museum of Art Collection

Back in February, the groundhog said something about an early spring and, whatever you may think of rodential predictions, Wiarton Willie was certainly right this time.  A nice way to get yourself in the green-time mood is to take a look at the fantastic example of early Impressionism that is the MMA’s Pissarro painting, Pommiers en Fleur.

Pissarro was a stalwart Impressionist.  He was the only artist to exhibit in all eight of the Impressionist’s shows.  He was described by many as a “fatherly” type, encouraging, peaceful, a superb teacher.

He moved with his family to Louveciennes (a western suburb of Paris) in 1869, and began to paint in an entirely Impressionist style.  The early 1870s is regarded as his most stylistically successful, and the MMA is lucky to have a work from this period.

Pissarro thoroughly enjoyed his time in Louveciennes.  This place was quiet, peaceful, and ideal.  His feelings towards his home can be seen in Pommiers en Fleur.  Swaths of joyful, lively green coat the work; you’re invited in along the path, and happily so.  Above your head is a soft blue sky, surrounding you is a gentle breeze, and there to greet you are two figures, enjoying a sit beneath a very tall apple tree in blossom.

Visit Pissarro’s springtime oil painting Pommiers en Fleur in the 125 & 45 exhibition, currently on display at the MMA.

- Teresa Gregorio, Museum Monitor / Information Officer, McMaster Museum of Art

Claude Monet’s Room with a View of Waterloo Bridge

Claude Monet (French 1840-1926) Waterloo Bridge, Effet de Soleil, 1903, oil on canvas. Gift of Herman Levy, Esq., O.B.E., 1984. Collection of McMaster Museum of Art, McMaster University.

When Claude Monet visited London, he stayed at the Savoy Hotel in a room overlooking the Thames, its bridges and buildings of Westminster. From his balcony, he painted over 100 canvases, captivated by the fog, the factory smoke and the changing light effects.

McMaster is proud to have one of these paintings, Monet’s Waterloo Bridge in its collection. This much loved and requested painting is featured in our current exhibition 125 & 45: an interrogative spirit until August 25, 2012.

Several years ago, McMaster University Art History Professor Dr. Paul Walton added some historical, topographical research to the Museum’s files about the work. His annotated maps and images provide a fascinating look at the topography of 1903, and the changes in the city of London and the bridge itself between 1903 and today.

Coincidentally, one of Monet’s pastel drawings of Waterloo Bridge returned to the very room of its origins and was exhibited in the Monet Suite at the Savoy late last year. More on that.

A recent photograph of Waterloo Bridge. Photo ©wallyg on Flickr http://www.flickr.com/photos/wallyg/302722361/

Exhibition Celebrates 125th & 45th Anniversaries

George Agnew Reid (Canadian 1860-1947), The Call to Dinner, 1886-1887, oil on canvas, Presented to the Students of Moulton College by Mr. and Mrs. J.H.L. Patterson, 1930. Gift of Moulton College, 1954. Photo: John Tamblyn

In 1887, while Canadian artist George Agnew Reid (1860-1947) was adding the final brushstrokes to his iconic Ontario genre painting, The Call to Dinner (shown above); and English photographer Eadweard Muybridge (1830-1904) was bridging science and art with his freeze-frame photography of human and animal motion; McMaster University was founded.

The McMaster Museum of Art (MMA) now celebrates both the 125th anniversary of McMaster University and the 45th anniversary of the Museum with an exhibition, 125 & 45: an interrogative spirit. This exhibition highlights some of the key donors and benefactors who have contributed to the development of the art collection interweaving landmark moments in the histories of the University and Museum.

125 and 45: an interrogative spirit presents more than fifty works of art from McMaster’s collection. In addition to Reid and Muybridge, works by Carl Beam, Gustave Caillebotte, Otto Dix, Elisabeth Frink, Naum Gabo, Natalia Goncharova, Betty Goodwin, Hortense Gordon, Alexej Jawlensky, Arnaud Maggs, Claude Monet, Camille Pissaro, Robert Rauschenberg, Gerhard Richter, Pauta Saila, Egon Schiele, Chaim Soutine, Andy Warhol, and Joyce Wieland and many others, are on view.

This two part exhibition is on view in the MMA’s Tomlinson Gallery, January  20 – August 4, and Levy Gallery, January  27 – May 5, 2012. See full list of works by gallery.

Below are some installation views of the Tomlinson Gallery, now open. Levy Gallery images coming soon.

Installation view of 125 & 45: An Interrogative Spirit,Tomlinson Gallery, McMaster Museum of Art

Installation view of 125 & 45: An Interrogative Spirit, Tomlinson Gallery, McMaster Museum of Art

McMaster Museum of Art posters

Do you have a poster of the Monet? Yes we do!! At last.

Two beautiful posters featuring art from McMaster’s permanent collection have just been published as a complement to our summer exhibition, Oil Cloth Lunch, and other reasons to be cheerful.  The bridge is the theme of one poster (Claude Monet’s Waterloo Bridge 1903 and Ando Hiroshige’s Ohashi Bridge 1857) and food is the theme of the other (Tony Scherman’s Oil Cloth Lunch 1977, a promised gift of the artist; and Philips Breughel’s 17^th century Still life with pike, barbel and vegetables.)

The 21 x 36 inch posters are available for $2 at the Museum while supplies last. They were designed by Branka Vidovic of Neographics, Hamilton.

McMaster Museum of Art

Backstage Pass

Claude Monet, Waterloo Bridge 1903, Gift of Herman Levy Esq., O.B.E., McMaster University Collection, photo: Isaac Applebaum

One question we are often asked here at the Museum is, “where did the Monet go?” Most of you are so used to seeing it on the blue wall in the Herman H. Levy Gallery, all nicely lit and beautiful, that when it disappears you get a bit panicky. Never fear, the Monet is simply taking a much needed break in the darkness of the vaults. This is a necessary precaution as light damage is cumulative and can irreversibly fade paintings. (more on this from the Canadian Conservation Institute)

Although the MMA is responsible for keeping its wonderful collection protected and preserved, the fact that a work of art is in storage does not mean it is entirely off-limits. We strive to allow visitors access to the collections, even for works not currently on display. This service is free; however, visitors must make an appointment to see works in storage rather than just dropping in. To make an appointment/consultation request call 905.525.9140 extension 27576.

Nicole Knibb, Education Co-ordinator, McMaster Museum of Art