Saturday Supplement: Exhibits about Real Monument Men on Display in DC

Each Saturday we offer online articles not originally published in The Prices Do DC which are of interest to both Washington area residents and visitors.

At The Washington Post, the critical response to the new George Clooney-directed film The Monuments Men has been mixed, inspiring a halfhearted embrace from reviewer Ann Hornaday and outright loathing from art critic Philip Kennicott. The fact-based drama was inspired by the World War II exploits of a group of art experts recruited by the Allies under the banner of the military’s Monuments, Fine Arts and Archives section to rescue art treasures from the Nazis. Whether you love it or hate it, the movie may be intriguing enough in its details to inspire curiosity about the real-life Monuments Men, as these art nerds in uniform became known.

A good place to learn more is the Lawrence A. Fleischman Gallery, where the Smithsonian’s Archives of American Art is displaying a collection of photographs, letters and other documents laying out what AAA director Kate Haw calls “the story behind the story.” In conjunction with other Monuments Men-themed programming at the National Gallery of Art and the National Archives, the exhibition “Monuments Men: On the Frontline to Save Europe’s Art, 1942-1946” offers a fascinating glimpse of the history that inspired Hollywood. According to Haw, Clooney’s production team visited the Smithsonian’s archives to study some of the very material that is in this show.

To continue reading this story which originally appeared in The Washington Post, click here.

Yes, No, Maybe @The National Gallery

Keith by Chuck Close

When we view a piece of art, we usually see a completed work. But that isn't the case with the exhibition Yes, No, Maybe: Artists Working with Crown Point Press now on display at the National Gallery of Art.  There you can examine the artistic process as a sequence of decisions rather than a single inspired vision.

"This gets to the issue of hard work ... of revising, and adding, and subtracting," says gallery lecturer Diane Arkin. "It's a rethinking of inspiration as the only way an artist works."

While the works of more than 25 print creators are on display, the focus is on three of the most significant 20th Century artists to work at Crown Point - Chuck Close, Richard Diekenkorn, and John Cage. Each of those artists approached their work with a much differing style. For Close, it was all about solving self-imposed challenges. Diekenkorn wanted to test possibilities, while Cage, who primarily considered himself as a composer not a visual artist, relied on randomness and chance.

Close, who used friends and himself as subjects for his works, "regarded the face as a landscape or topography," Arkin said. "He would create problems and try to solve them."

Diekenkorn used "his creative eye to figure out when something was done," Arkin said. "Sometimes, he was making and unmaking at the same time. I think the beauty of this exhibit is that you get to see the process the artist goes through. With Diekenkorn, by moving something up or down just half an inch he gets visually satisfied."

Arkin called Cage"an accidental artist" who relied on chance and the Zen idea of the I Ching for his art decisions. "Basically you're shifting the responsibility to choose to the responsibility to ask. He felt that mirrored the way nature works. He would sometimes draw with his eyes closed and consult the I Ching about how long he should draw."

Kiki Smith's print "Home"

Close, Diekenkorn, and Cage each have their own rooms in the exhibition, which is scheduled to close on Jan. 5. Two other rooms are devoted to the other 22 artists and part of the challenge of the show is trying to figure out which of the three processes for creation those artists followed. One of the most intriguing works displayed is "Home" by Kiki Smith. Can you determine what the home is by looking at the picture?

Screaming for Edvard Munch's 150th

The distorted, disturbing figure is one of the most familiar in modern art. If you haven't viewed one of the 4 original versions of the painting (one of which recently sold for $119 million at auction), you have seen the inflatable doll, or the posters, or the cartoons, or the T-shirts, or the coffee cups, or the key chains. In fact, Edvard Munch's iconic image in "The Scream" may be the most used visual to represent the anxiety, the anguish, and the alienation inherent in our contemporary age.

But what exactly was the Norwegian artist, born 150 years in 1863, trying to say with the work considered by many to be his masterpiece?

In a talk at the National Gallery, senior lecturer David Garriff shared Munch's own explanation of his piece.

Munch suffered from severe agoraphobia (among a host of other crippling fears). He found himself unable to be around any type of crowds. To even walk up a street, the artist kept a building on his right shoulder so he couldn't be surrounded by others.

"The Scream"

 "Most people think this is a crazy expressionistic painting that Munch pulled out of his imagination,"  Garriff said. "But it was a fairly accurate recreation of a panic attack he had. He was walking across a fjiord with his friends when it struck. He says 'I felt a huge unending scream.' Notice he doesn't say I heard; he says I felt. The great thing is he was able to elevate that away from his own personal experience and turn it into the universal."

Garriff's engaging, informative talk was part of the National Gallery's current exhibition Edvard Munch: A 150th Anniversary Tribute, which includes more than 20 of Munch's works from the Gallery's collections. Although there isn't a painting of "The Scream," there is an original Munch print of the work, which is actually entitled Geschrei (German for scream).

The lecturer said that Munch consistently used events in his own life to fuel his art. "He makes no apologies that his art is based on his life," Garriff explained. "Without the events in his personal life, his art wouldn't have existed in the first place. He always said 'I don't paint what I see, I paint what I saw.' For better or worse Munch opened the door for personal art. It can be powerful or it can be self-indulgent and abused."

Munch's life was filled with trauma, death, and disease, all of which found their way directly into his art. His Father made sure the young Munch was steeped in the evils of sin and the power of God to punish. Both Munch's beloved mother and a devoted sister died from tuberculosis. Another sister spent her life in mental institutions. "He ruminated on illness and death and it inculcated with his fears and phobias," Garriff said.

During his life as an artist, Munch associated with 2 groups. The 1st were Bohemian thinkers in Oslo who pledged to commit suicide as the ultimate rejection of the false society they saw surrounding them. The 2nd was a Berlin-based group led by Swedish writer and painter August Strinberg. That group greatly shaped Munch's views about love, sex, and relationships.  "Munch had a fatalistic, if not downright morbid view of life," Garriff said.

Munch's Madonna

Much of the discussion of Munch's work centers around his view of women. "His feelings about women haunted him throughout his life.  He was a male artist who feared the growing power of women. He felt they had the ultimate courage. They give birth. But to him they were a source of suffering. He thought they would make him lose his individual identity," Garriff said.

Several prints of Munch's twisted takes on women are in the Gallery's exhibition. They include "The Vampyre," where a predatory woman appears to literally be sucking the life blood from a man, "Man's Head in Woman's Hair," where the hair resembles the tentacles of a beast or monster trying to ensnare the man, "Madonna," which plays with the image of both the virgin and the whore and includes an unholy fetus creature and spermatazoa on its frame, and "Puberty," a young girl having her 1st period.

Tales, Tidbits, and Tips
You still have time to see the Munch exhibit. It is scheduled to run until July 28. Garriff will be giving 2 Sunday lectures on the artist. The Art of Edvard Munch: The Early Work will be offered on Aug. 18 and The Art of Edvard Munch: The Late Work on Aug. 25.