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Photo of the Week: Twilight

It's that time here in Fort Worth when, once again, the heat drives us indoors until sundown. It's that sense of relief from soaring temperatures and glaring sun that makes twilight my favorite time of day, especially during the summer.

Here are four interpretations of twilight in different media from the Carter's photography collection.

Michael H. Marvins, Chisos Moonrise, ink jet print, 2008-2009
Michael H. Marvins (b.1941), Chisos Moonrise, ink jet print, 2008-2009, Gift of the artist, ©2008 Michael H. Marvins

Karl Struss, At the Window, palladium print, 1921
Karl Struss (1886-1981), At the Window - Twlight, palladium print, 1921, ©1983 Amon Carter Museum of American Art

Edward Steichen, Road into the Valley-Moonrise, photogravure, 1906
Edward Steichen (1879-1973), Road into the Valley -- Moonrise, hand-toned photogravure, 1906


Luther Smith (b.1950), Trinity River at Northside Drive, Fort Worth, Texas, December 1, 1987 from the series Trinity River, gelatin silver print, 1987, Gift of Dale A. Ellison, © 1987 Luther Smith

Carter Painting in Denver...and NY Times

You may notice one of the Carter's 19th century paintings missing from the galleries - Charles Deas's Indian Group is now on view in the exhibition Charles Deas & 1840s America at the Denver Art Museum. It also shows up in the New York Times's coverage of the show: article here and slideshow here.

Charles Deas, Indian Group, oil on canvas, 1845
Charles Deas (1818-1867), Indian Group, oil on canvas, 1845

Charles Deas & 1840s America will be on view in Denver through November 28.

Double Rainbow!

For all you fans of the Double Rainbow internet meme. This watercolor from the Carter's works on paper collection proves that we were asking what does it mean even in the 1820s.

William Constable, The Great Falls of the Mohawk, circa 1825-1830
William Constable (1783-1861), The Great Falls of the Mohawk, watercolor and graphite on paper, ca. 1825-1830, Gift of Mr. J. A. Curran

Photo of the Week: Road Trip

With a new school year rapidly approaching, there are just a few days left this summer for that all-American vacation, the road trip.

Here are four photographs from the Carter's permanent collection, all taken from the road.

Terry Falke, Roadside Sunset, Northern Arizona, 1995
Terry Falke (b. 1950), Roadside Sunset, Northern Arizona, dye coupler print, 1995, Gift of Dominic Lam, ©1995 Terry Falke

Peter Brown, Cake Palace, Tahoka, Texas, 1994
Peter Brown (b. 1948), Cake Palace, Tahoka, Texas, dye coupler print, 1994, ©1994 Peter Brown

Frank Gohlke, Grain elevator and lightning flash, Lamesa, Texas, 1975
Frank Gohlke (b. 1942), Grain elevator and lightning flash, Lamesa, Texas, gelatin silver print, 1975, ©Frank Gohlke

Carol Burton Cohen, Prairie City Dallas, 1984
Carol Cohen Burton (b. 1945), Prairie City. Dallas, dye destruction print, 1984, Gift of the Texas Historical Foundation with support from a major grant from the DuPont Company and Conoco, its energy subsidiary, and assistance from the Texas Commission on the Arts and the National Endowment for the Arts, © 1984 Carol Cohen Burton

It Works on Paper: Audubon's Animals

The discovery of John James Audubon’s very first print, made in 1824 and until now known only from his journal entries, seems like a good reason to show off some of the Carter’s own Audubon prints, which were digitized under the auspices of our NEA digitization grant. While Audubon’s first print depicted a heath hen, a now-extinct bird native to the far eastern United States, he also created images of birds and mammals that you may see here in Texas.

All works by John James Audubon (1785-1851).


Vulpes velox, Say. Swift Fox. Natural Size. Male., lithograph with applied color, 1844
The swift fox, possibly the most adorable animal in North America, is native to the prairies of the Midwest, from the Texas panhandle up to the Canadian grasslands.

John James Audubon, Virginia Opossum, lithograph, 1845
Didelphis virginiana, Pennant. Virginian Opossum. Female & Young Male, 7 Months Old. Natural Size, lithograph with applied watercolor, 1845
The virginia opossum is the only marsupial native to North America.

John James Audubon, Texian Hare, lithograph, 1848
Lepus texianus, Aud. & Bach. Texian Hare, Male. Natural Size. , lithograph with applied watercolor, 1848
With his long ears and long legs, the jackrabbit is actually a hare, which can be found in the deserts and prairies of Texas.

John James AUdubon, Female Wild Turkey and Young, engraving, 1827
Great American Hen & Young. Vulgo, Female Wild Turkey. Meleagris gallopavo., engraving with applied watercolor, 1827
The wild turkey is native to the eastern half of the United States, and was (jokingly) suggested by Benjamin Franklin to be our national bird.

John James Audubon, Whooping Crane, aquatint and engraving, 1834
Hooping [sic] Crane. Grusamericana. Adult Male., aquatint and engraving with applied watercolor, 1834
The whooping crane is an endangered species that winters on the Texas gulf coast.

FW Weekly on 'Constructive Spirit'...and Mad Men

Check out the FW Weekly's review of Constructive Spirit: Abstract Art in South and North America, 1920s-1950s (and Mad Men-era decor) over here.

Carter Artworks On View Around the Country

Two works from the Carter's permanent collection are on view in traveling exhibitions that opened this week:

Thomas Eakins’s Swimming is on view at the Los Angeles County Museum of Art (LACMA) through October 17 in the exhibition Manly Pursuits: The Sporting Images of Thomas Eakins.
Thomas Eakins, Swimming, oil on canvas, 1885
Thomas Eakins, Swimming, oil on canvas, 1885, Purchased by the Friends of Art, Fort Worth Art Association, 1925; acquired by the Amon Carter Museum, 1990, from the Modern Art Museum of Fort Worth through grants and donations from the Amon G. Carter Foundation, the Sid W. Richardson Foundation, the Anne Burnett and Charles Tandy Foundation, Capital Cities/ABC Foundation, Fort Worth Star-Telegram, The R. D. and Joan Dale Hubbard Foundation and the people of Fort Worth

Laura Gilpin’s photograph of art historian George Eggers is on view in New York in MOMA’s exhibition The Original Copy: Photography of Sculpture, 1839 to Today through November 1, after which it will travel to Kunsthaus Zürich in Switzerland. Eggers was director of the Denver Art Museum when Gilpin shot this photograph, and also served as director of the Worcester Art Museum and Art Institute of Chicago during his career. NY Times review of the exhibition here.
Laura Gilpin, George William Eggers, platinum print, 1926
Laura Gilpin, George William Eggers, platinum print, 1926, printed 1929, bequest of the artist, ©1979 Amon Carter Museum

Here is a quick roundup of all the other works from the Carter’s collection currently on view around the country: Georgia O’Keeffe’s Series I-No. I is included in the exhibition Georgia O’Keeffe: Abstraction at the Georgia O’Keeffe Museum in Santa Fe through September 12; several works by Charles M. Russell are in The Masterworks of Charles M. Russell: A Retrospective of Paintings and Sculpture at MFA Houston through August 29; one of Laura Gilpin’s Pike’s Peak photographs is in Home Lands: How Women Made the West at the Autry National Center in Los Angeles through August 22; and a large group of Eliot Porter photographs of Georgia O’Keeffe (as well as her painting Dark Mesa and Pink Sky) are included in the exhibition Georgia O’Keeffe and the Far Away: Nature and Image through September 6.

Amon Carter on Channel 8

Channel 8 has a review of our current traveling exhibition, Constructive Spirit: Abstract Art in South and North America, 1920s–50s, and an interview with curator Becky Lawton here.

It Works on Paper: 520 Years of Prints, Drawings, Watercolors

The digital imaging portion of the Carter's $50,000 NEA grant awarded last year is complete! That means we have thousands of new images of our prints, drawings, and watercolors to share with you on the museum's website - which is a wonderful thing because these works are rarely exhibited in order to preserve them as long as possible.

Speaking of prints that have been around a long time, here is the oldest work of art in the Carter's collection, a 15th century German woodcut of a beaver.

Helmut Conran, Bibergailn, woodcut with applied color, ca. 1487
Helmut Conran, Bibergailn, woodcut with applied color, ca. 1487

And jumping ahead about 520 years, here is the 'youngest' print in the collection, a 1998 lithograph by American artist Will Barnet, whose Self Portrait is currently on view in the Carter's galleries. You can also watch an interview with Barnet on ArtBabble.

Will Barnet, The Doorway, lithograph, 1998
Will Barnet (b.1911), The Doorway, lithograph, 1998, gift of the artist, ©1998 Will Barnet

Vote for the Amon Carter Museum!

Modern Art Notes' Tyler Green is running a week-long tournament to determine America's favorite art museum (or, more accurately, his audience's favorite art museum in America)...and we made the list! Competition starts tomorrow so check back!