Today on Museum Quick Bites we’re tripping the light fantastic beneath a star-studded sky. On display at the Detroit Institute of Arts, Lajos Mack’s posh ceramic vase (c1900) features a cast of fashionable ladies-with-an-attitude striking a pose.
Today on Museum Quick Bites we're heading back into the great outdoors. Please enjoy this Reboot of Comfort Outside originally posted on April 3, 2020.
Dear Readers -- We’re getting our fringe on today at Museum Quick Bites with a whimsical piece created by Harry Bertoia (1915-1978). On display at the Milwaukee Art Museum, Bertoia’s untitled sculpture (1970) is a shimmery delight.
And we’re back! Today dear readers we’re popping a tent and extending our holiday a wee bit longer with a staycation along the shores of the Delaware River, circa 1924. Daniel Garber’s, Junior Camp (c1924), on display at the San Diego Museum of Art, captures an idyllic summer day.
Today on Museum Quick Bites we’re taking a stroll with Alberto Giacometti’s, Three Men Walking II (1948-1949), on display at the Art Institute of Chicago. Gaunt and gangly, Giacometti crafted a series of these bronze figures to symbolize the physical and emotional trauma he and others were experiencing after World War II.
Today on Museum Quick Bites we’re celebrating our furry friends with a look at Bartolomeo Passarotti’s, Portrait of a Man with a Dog (c1585-1592) on display at Musei Capitolini in Rome, Italy.
Today on Museum Quick Bites we’re digging into Salvador Dalí’s, Inventions of Monsters (1937). This eerie, desolate dreamscape portrays a world gone mad. Which seems especially relevant given our current events. Dalí’s surrealist paintings are heavy on symbolism and filled with bizarre juxtapositions, and Inventions of Monsters does not disappoint.
Today on Museum Quick Bites we’re getting squeaky clean the Renaissance way.
Today on Museum Quick Bites we’re indulging in some forest bathing with a deep dive into Herman Herzog’s, Sketching on Beaver’s Creek (c1880-1885).
Today on Museum Quick Bites we’re taking a closer look at Ernst Barlach’s, The Avenger (1922), a bronzed beauty that bristles with intensity. Bent at the hip and balancing on one foot with a sword clasped in his hands, The Avenger lunges toward an unseen foe. His flowy robes resemble those of a whirling dervish. If it wasn’t for the sword, The Avenger would appear to be skating or executing a tricky yoga pose. Aside from his pursed lips, his expression appears blank. Is he numb to the task?
