Monday, December 26, 2016

American history on tour at the National Gallery of Art


 Childe Hassam (1859-1935), Allies Day - May, 1917, National Gallery of Art, Washington, D.C.

One of several scheduled docent-led tours at the National Gallery of Art is a quick (less than an hour) study in American history which, last Friday, touched on colonial America and ended with the beginning of America's role in World War I and the painting, Allies Day, May 1917 by Childe Hassam (1859-1935). (Gallery 70)
Docent Jill Brett at Childe Hassam (1859-1935), Allies Day - May, 1917, National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

At that last stop on the tour conducted in the West Building, docent Jill Brett mentioned the place in the painting (Fifth Avenue at East 52nd Street in New York City; methinks President-Elect Donald J. Trump would approve!), comparing it to a similar work by the French artist, Claude Monet, which she displayed from a large guide book she carried around during her talk.  

Hassam's may be considered America's version of Impressionism, under whose spell, Hassam fell. (I don't know which came first: Hassam's or Monet's, but I would bet Monet's. Here is a link to his complete works, if you can find it which would have the year. Hassam painted his in 1917.)
 Docent Jill Brett at Charles Willson Peale (1741-1827), John Beale Bordley, 1770, National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

Ms. Brett briefly talked about America's colonial period, and the portraiture in 1770 of John Beale Bordley by Charles Willson Peale (1741-1827). Bordley was a politician and the artist's close friend and benefactor who sent Peale to London in 1766 for training. 

In this work found in Gallery 62, Peale highlights America's and Bordley's successful agricultural pursuits and the tyranny Britain imposed on its young upstart which the painting warns will not endure. Crumbled at Bordley's feet is a British document of civil rights, which the Mother Country chose to ignore in its settlement across the sea.
John Singleton Copley (1738-1815), Watson and the Shark, 1778, National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

Watson and the Shark, 1778 by John Singleton Copley (1738-1815) in Gallery 60B would make any less-than-art enthusiast take a second look at Copley's interpretation of a true tale about a 14-year-old lad, Brook Watson, attacked by a shark while swimming off the coast of Cuba and losing either:
1. His right foot (National Gallery's description) or 
2. His right leg below the knee (Ms. Brett's description. I suppose they could be the same thing because if you lose your right leg first, you put your right foot in and you shake it all about, you do the shark escape and scream for help, that's what t'was all about.

At the time of the artist's rendering, few had ever seen such violence depicted on canvas. Ms. Brett pointed out that it was a first for a shark with lips, and whatever Mr. Watson lost, the peg leg he wore for the remainder of his life supported his stature as a British merchant and politician.  Mr. Copley was a totally self-taught artist.
Docent Jill Brett contrasts Presidents John Adams (left) and Thomas Jefferson, both by Gilbert Stuart (1755-1828) at the National Gallery of Art, Washington, D.C./Photo, Patricia Leslie


In Gallery 60A at the trio of American presidents by Gilbert Stuart (1755-1828), Ms. Brett talked chiefly about the contrast between President John Adams (1735-1826), a vain man (Stuart dressed him accordingly), who was born poor and died rich, and President Thomas Jefferson (1743-1826), who was born rich and died poor. (Those of us in Washington, D.C. are reminded daily of  Jefferson's accomplishments which are not necessary to cite here, and of Adams, I shall only say neither he nor his son were elected to a second term, unlike Jefferson who was. Is there a John Adams Memorial in town? Enough said.) 
 A trio of presidents, all painted by Gilbert Stuart (1755-1828) at the National Gallery of Art, Washington, D.C. From left are Presidents George Washington, John Adams, and Thomas Jefferson, all admiring their brief biographies as told by Docent Jill Brett/Photo, Patricia Leslie


Stuart's George Washington (1732-1799) is one of four owned by the National Gallery and one of 100 or so likenesses Stuart made of our first president, drawn so the artist could make a lot of money which "he spent faster than he made," Ms. Brett said.
 Docent Jill Brett talks about the allegory, Autumn - On the Hudson River, 1860 by Jasper Francis Cropsey (1823-1900) at the National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

Next on the tour (Gallery 64) was an allegory, Autumn - On the Hudson River, 1860, by Jasper Francis Cropsey (1823-1900) who drew the evolution of nature and emerging urbanity, beginning a roll from the left to the right and center of the canvas.  Cropsey painted it from memory in his London studio, and Ms. Brett said Queen Victoria saw it at the Royal Academy.

The artist became so irritated with the British skeptics who doubted his accuracy of the leaves' colors (they are brighter in the U.S.), that he carried actual autumn leaves from the U.S. to the painting in Britain and put them in a vase beside his work! (Attention, Brits: Our leaves are better than your leaves, if color is any measure, and by Trump (!), I say it is!)
Docent Jill Brett talks about the Shaw Memorial, 1900, by Augustus Saint-Gaudens (1848-1907) at the National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

Ms. Brett was certainly not going to bypass the magnificent and glorious sculpture by Augustus Saint -Gaudens (1848-1907) of black soldiers from the Massachusetts regiment going off to fight in the Civil War. Half the troops died at the Battle of Ft. Wagner on July 18, 1863 outside the harbor at Charleston, S.C., including their leader, Colonel Robert Shaw, whose namesake graces "the greatest American sculpture of the 19th century." (Gallery 66)
 Right and Left, 1909 by Winslow Homer (1836-1910) at the National Gallery of Art, Washington, D.C. with Docent Jill Brett/Photo, Patricia Leslie

Two ducks plunging into a body of water was another stopping point for Ms. Brett whose short explanation about the work was welcome news to me who has wondered about its significance for many years. 

In Gallery 68 hangs Right and Left by Winslow Homer (1836-1910) who drew it in 1909, the year before he died, perhaps sensing his own imminent death.  The birds are hunters' targets (surprise!), and, much like our own, their short lives are extinguished in a flash.

Ms. Brett said the work can represent "the last moment of life, the first moment of death."  She pointed out the unusual perspective: We fly with the ducks, which is a fitting place to end this description.  Carpe diem!
 A nice place to meet up for an art history tour! The Grand Rotunda, West Building, National Gallery of Art, Washington, D.C./Photo, Patricia Leslie

If you take the tour and are so lucky to have Ms. Brett as your guide, you will find a knowledgeable, sincere, and down-to-earth leader who invites and answers questions at the end of every stop.  

At each painting, she supplied historical background, significance, and set the stage for what drove the artist to put his brush to the canvas. Timing and context are everything when it comes to art, she said, pointing out shadowed background, and obscured parts undetected by an untrained eye. 

The Friday group of about 15 visitors, young and old, American and foreign, expanded and shrunk and grew again as the tour weaved its way in the galleries, picking up interested "passengers" along the way and dropping them off at various points.

American Stories  is one of a series of nine free, scheduled daily tours at the National Gallery which offers other tours in foreign languages, for the hard of hearing and the blind, for school groups, and for the self-guided. You will not be bored.  You will not leave "unlearned." Guaranteed, or I shall pay your next admission.

What: American Stories in Art 


When: 2:30 p.m. every day except Tuesday and Thursday. The Nati
onal Gallery of Art is open 10 a.m. to 5 p.m. daily except Sunday when it is open 11 a.m. - 6 p.m. The National Gallery is closed on New Year's Day.

Where: Meet at the Grand Rotunda, West Building, the National Gallery of Art, between Third and Ninth streets at Constitution Avenue, N.W., Washington, D.C. On the Mall.

Admission charge: No charge

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information
: 202-737-4215

patricialesli@gmail.com





Monday, December 19, 2016

'Hallelujah! Hallelujah!' at the Metropolitan AME Church, Washington, DC

The Metropolitan A.M.E. Church, 1518 M Street, Washington, D.C./Photo from its website

The experience listening to Handel's Messiah sung by the United Voices of the Metropolitan African Methodist Episcopal Church with four guest artists and the Metropolitan Chamber Orchestra was an unforgettable event, ethereal and captivating in every sense, leaving audience members (this was the 40th anniversary of the performance) enthralled by the magnificence of the quality and sound, the combination of voices and orchestra, and deeply moved, appreciative of the wealth of musical offerings in our nation's capital, and this one open to the public for free.

The United Voices of the Metropolitan A.M.E. Church sing Handel's Messiah/Photo by Patricia Leslie

Under the direction of Roland Carter, the 47 members of the choir beautifully conveyed the Messiah message in the most spectacular way, spellbinding those in the pews who listened intently, some joining the choir in "Hallelujahs!"  

During the movements, For Unto Us a Child is Born and Rejoice Greatly, O Daughter of Zion,  a member of the audience  on the orchestra level stood and, waving her hands and arms back and forth, sang out loudly several times "Thank you, Lord!" which the audience applauded, joined by some in the choir.
Tenor Devin Scott Mercer sings the movement, Comfort Ye My People, at the Metropolitan A.M.E. Church's performance of   Handel's Messiah/Photo by Patricia Leslie
The United Voices of the Metropolitan A.M.E. Church sing Handel's Messiah/ Photo by Patricia Leslie

Bass-baritone Andrew Smith sings the movement, Thus Saith the Lord from Handel's Messiah at the Metropolitan A.M.E. Church/Photo by Patricia Leslie
Mezzo-soprano Brittany Johnson on left and soprano Brandie Sutton wait to sing their solos at the presentation of Handel's Messiah at the Metropolitan A.M.E. Church. The program listed the Metropolitan Chamber Orchestra's horn players, Joshua Miller, Christian Atkins, Johnathan Neal, and Christopher Steele/Photo by Patricia Leslie

Edmond Charles, organist, was accompanied by 20+ members of the Chamber Orchestra, including the eloquent 
Sais Kamalidiin on the flute, and trumpeters Christian Atkins and Johnathan Neal whose performance in the Trumpet Shall Sound movement, I can still hear.

The soloists were stellar in their interpretations, proof of the wonderful cadre of Washington's music assemblage: tenor Devin Scott Mercer of Baltimore, bass-baritone Andrew Smith of the Duke Ellington School of the Arts, soprano Brandie Sutton who sings around the world, and mezzo-soprano Brittany Johnson, an elementary school music teacher, who, it seemed to me, is worthy of a continuous presence on opera's stages.
At the presentation of Handel's Messiah at the Metropolitan A.M.E. Church, the program listed Christopher Steele, trombonist, Christian Atkins and Johnathan Neal, trumpeters, and Joshua Miller, horn player/Photo by Patricia Leslie

The Metropolitan AME Church has its own special history told in the program and on its website: The denomination was founded in 1787 as a protest against segregated worship in Philadelphia which lay the groundwork for Metropolitan's beginnings in Washington in 1838

Known as the "National Cathedral of African Methodism," the church was constructed between 1880 and 1886 on what has become the oldest continuously black-owned property of the original ten-mile parcel of the District of Columbia.

From anti-slavery efforts and harboring runaway slaves during the Civil War, the church's outreach includes voter registration and literacy improvements, including the recognition of literary talent. 

Some notable preachers and visitors have included Frederick Douglas, Paul Laurence Dunbar,  Mary McLeod Bethune, Eleanor Roosevelt, James Clyburn, Jesse Jackson, Bishop Desmond Tutu, Vice Presidents Hubert Humphrey and Al Gore, and Presidents Jimmy Carter, Bill Clinton, and Barack Obama and his family.

The national funeral service for Rosa Parks was held at Metropolitan on October 31, 2005, after her body lay in state at the U.S. Capitol, the first woman and the first American non-governmental official to be so honored.

A church receptionist said the annual Messiah performance is almost always hosted on the first Sunday in December which would be next December 3 under a full moon! Do you have your 2017 calendar marked?  I have marked mine.

Dr. Marty Austin Lamar is director of music at the church, and the pastor is William Lamar IV.

I am grateful to my friends, Niki and Eugenia, who told me about the concert at the church.  

patricialesli@gmail.com




 




Tuesday, December 6, 2016

Free Christmas choral concert, Dec. 7, St. John's, Lafayette Square

The Madrigal Singers from St. Albans and National Cathedral schools will sing music of the season in a free noon concert on Wednesday, Dec. 7, at St. John's Episcopal Church, Lafayette Square.

The program is to include sacred and secular music of the season.

The Madrigal Singers have been featured on NPR and have toured the world presenting concerts on four continents.

Brandon Straub, organist and choir director for St. John's and the director of choral music at both schools which are affiliated with the Washington National Cathedral, will direct the 40 singers who are enrolled in grades 10 through 12.
St. John's Episcopal Church, Lafayette Square, Washington, D.C./Photo by Patricia Leslie

The presentation is one of St. John's First Wednesday Concerts, always performed without charge and lasting about 35 minutes.

St. John's was founded in 1815 and is known to Washington residents as the yellow church at Lafayette Square. It's often called the “Church of the Presidents” since beginning with James Madison who was president from 1809 to 1817, every president has attended services there. A plaque at the rear of St. John's designates the pew where President Abraham Lincoln often sat when he stopped by the church during the Civil War.

First Wednesday concerts begin at 12:10 p.m. and last about 35 

minutes. Food trucks are located at Farragut Square, two blocks away.
 

Who: The Madrigal Singers from National Cathedral and St. Albans singing seasonal music

What: First Wednesday Concerts

When: 12:10 p.m., December 7, 2016

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16th, Washington, D.C. 20005

How much: No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square (White House exit), Farragut North, or Farragut West

For more information: 202-347-8766

Upcoming dates and artists of the First Wednesday Concerts are:


January 4, 2017: Concert organist Janet Yieh will play works by Mendelssohn, Messiaen, and the "Beatles" Toccata

February 1
: Jazz vocalist Sara Jones will sing a Winter Escape, accompanied by the Dan Dufford Ensemble

April 5: Soloists from St. John's Choir will sing

May 3: Thomas Smith, the director of music at Christ Church, Georgetown, will play A Journey to Merrie Olde England - A Recital of English Organ Music

June 7: Bach's Brandenburg Concerto No. 2 will be played by the U.S. Air Force Strings with trumpeter Mary Bowden


patricialesli@gmail.com