The Institute is glad to announce that their installation of lessons is on view at Seattle Art Museum. Three Empathics now oversee the production of transformative vapors and invite you to sit with them in Lessons from the Institute of Empathy in the Seattle Art Museum’s African Art galleries, to invigorate your mental clarity.
Better yet, you are also invited to step into their restorative pool and partake of a mosaic shower from above. A 10 minute power point given by a representative from the Institute, Aurelia Wallace, is also available to explain the lessons on view.
An ingenious interpreter of grand Western portraiture traditions, Kehinde Wiley is one of the leading American artists to emerge in the last decade. This spring, the museum acquired the artist’s most recent work.
Since ancient times the portrait has been tied to representations of power. Wiley’s paintings are highly stylized and staged, and draw attention to the interplay between a history of aristocratic representation and the portrait as a statement of power and the individual’s sense of empowerment. For this canvas—based on a Jean-Auguste-Dominique Ingres stained glass window depicting St. Anthony of Padua—Wiley asked a young man in New York to be his model. The formal pose contrasts sharply with the man’s contemporary street clothes, objects and emblems, including a Black Panther patch.
One of the most penetrating portraitists of the seventeenth century, Philippe de Champaigne brought his observations of real people into religious paintings, giving them a down-to-earth quality. Here, the central focus is the aged face of Elizabeth, as she affectionately greets her younger cousin, the Virgin Mary. According to the Gospel of Luke, both women were pregnant—Elizabeth with John the Baptist and Mary with Jesus. For Christians, their meeting symbolized the transition from the Old Law to the New Law of Christianity.
Born in Brussels, Champaigne was one of the key artists working in seventeenth-century France; in his work for Cardinal Richelieu he established a style based on rationalism and directness, qualities which also mark his celebrated portraiture. His mature paintings display an understated, cool clarity that is characteristic of the French baroque and also appeals to modern viewers. This recent acquisition makes its debut in the museum’s baroque art gallery today.
The Visitation, ca. 1643, Philippe de Champaigne, Flemish, active in France, 1602-1674, oil on canvas, 44 1/4 x 38 1/2 in., Partial and promised gift of the Barney A. Ebsworth Collection, 2011.12. Photo: Wildenstein Gallery. Now on view in the European art galleries, fourth floor, SAM downtown.
My tea and coffee sets relate to the place they are going. —John Marshall
Destined for an art museum, a home in the San Juan Islands, and a 1950s Seattle residence, a trio of recently installed tea and coffee services glory in their sculptural delight, technical virtuosity, and the promise of a festive gathering around warm stimulating beverages. Each piece, while an exquisite work of art, was designed to be used and pours properly without a drip—the artist’s impeccable touch.
Tea and coffee pots rank as seminal works in the annals of silver production— in fact, teapots are considered a benchmark for the silversmith. Representing three decades of master silversmith John Marshall’s career, these services blend traditional vocabulary—such as towering, vertical coffeepots and shorter, more horizontal teapots—with his evolution of individual expression. The service shown here was produced as a commission for the Seattle Art Museum.
In this video, Marshall talks about his work and demonstrates metalworking techniques.
“Tea and Coffee Service,” 2008-09, John Marshall, American, born 1936, sterling silver, rosewood, Argentium sterling silver (an amalgam of fine silver and germanium), and acrylic, overall: 15 ¾ x 25 x 26 in., The Guendolen Carkeek Plestcheeff Endowment for the Decorative Arts, 2009.27.1-5, Photo: jerrydavisphoto.com. Currently on view in “Here and Now,” the new acquisitions exhibition space, third floor, SAM downtown.