Name: 畫家看畫：亨利-馬蒂斯、理查德-迪本康、韋恩-蒂波德和羅伯特-貝希特爾。 (Painters Looking at Paintings: Henri Matisse, Richard Diebenkorn, Wayne Thiebaud, and Robert Bechtle)
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our second speaker this morning is Janet Bishop, curator of painting and sculpture at the San Francisco Museum of Modern Art.

A few of her recent exhibitions include the Splendid Stein's Collect Matisse, Picasso in the Parisian avant garde 75 Years of Looking Forward, the Anniversary Show at SFMOMA and Robert Bechtel.

Janet is currently at work on two major projects.

A Matisse Steven Korn exhibition, which she's co organizing with the Baltimore Museum of Art, and a retrospective of The Work of David Park, about whom you've already heard.

But you'll hear more today during SF Moments expansion.

She's overseeing the museum's offsite exhibition program, which will include the Project Matisse from SFMOMA, an exhibition that opens at the Legion of Honor on November the ninth.

This show will present 23 paintings, works on papers and sculptures from SF Moments collection alongside for Matisse paintings and drawings from the Finance Museum's holdings this morning What Janet will speak on the subject off painters looking at paintings are a Matisse, Richard Diebenkorn, Wayne Tebow and Robert Bechtel.

Please join me in welcoming gentlemen, Bishop.

So one of the great privileges as a curator is that we can put together exhibitions of things we want to see.

And so the exhibition that that Julian mentioned that I'm currently at work on Matisse.

Steven Korn is, um you were born out of, ah of an impulse to want to, um, to put these two artists work together in the same gallery spaces.

Of course, unlike many of the references that that Tim cited in his, um, his talk demon corns debt to Matisse is it was very well known.

It's something that really anyone writing about the artist would mention you.

Demon Matisse demon was very open about his his debt, too, Matisse and and the the evidence of that is really palpable throughout his body of work.

But our plan for an exhibitionist to bring these things into the same gallery space that we can really look at them side by side.

You know about artists who, um, who were so close that they work side by side.

As as Tim mentioned the David Park Richard Diebenkorn, Elmer Bischoff, who conducted drawing sessions together, and I suspect Nancy may say more about that and her talk, but really about artists looking looking closely at other artists.

The private act of looking and studying and absorb, absorbing and then and then borrowing and really productively repurpose ing, too, to one's own ends.

Um, so I'd say that the you know, the relationship between between divan corn and Matisse is one that sort of that comes to us readily.

And it was a thrill to see this painting in the exhibition here.

And, you know, for those of us who have looked at, you know, lots and lots of our history.

Some of the examples come readily to mind.

Like like this piece here, Matisse's red studio.

And there are others that one thing's of 11 one looks at divan corns.

But it's felt really deeply in the abstract work as well.

And, um, and this is what we're you know.

We're just, uh, you know, starting to sort of assemble in thinking about what the what the exhibition might consist of.

He spent his career in France and came to the States a couple of times, making just one trip to California in 1930 when divan corn was eight and divan Corn first encountered Matisse's paintings in this house here at the home of Sara Stein, who had moved with her Great Matisse collection to Palo Alto in 1935.

Um, Sara Stein was one of the artists, most devoted collectors and friends.

It's brought him to Sarah Stein's to see her.

Matisse is now a number of them never made their way Thio to the West Coast, but her holdings still included Matisse's famous one with the hat from 1905 Ah, the tea in the Garden, now in the collection of LACMA from 1919 and ah and Bay of Niece from 1918 and you can see it hanging there on the wall between the windows in the living room.

Sara Stein's home she had, like her sister in law, Gertrude Stein, been an incredible sort of proselytizer for the artist's work, and she welcomed people to her home to see and ah, and discuss Matisse and ah, that continued when she moved from Paris to Palo Alto and in the years after her husband passed away, Michael Stein.

She loved welcoming people to her home to continue to fuel interest in the artists who had really become a lifelong passion for her.

It was rare for undergraduates Thio to be able to do this, and, ah, and Phyllis remembers wishing that she had been able to go along.

Um, and on Demon Corn spoke about this visit with with Gerald Norland, although he didn't talk about the paintings.

You know, specifically, we just know what was hanging on the walls at the time and what he would have seen on.

It's not so hard to imagine, you know, the the impact of something like the Bay of Niece, you know, years later in the, uh in the Ocean Park paintings.

Demon Corn became a really serious student of Matisse when, when he was stationed at at Quantico in 1943 necking 44.

So really, directly after this visit to to Sarah Stein's he, he mentioned that he and Phyllis would spend their weekends taking it as much art as they could in the museums on the East Coast, especially in Washington, and, ah, and said that they really just feasted on the treasures that they hanging on the walls there, Uh, this the the bone art piece that that Tim just showed.

And, ah, and case on Michelle by Matisse were incredibly important to him.

Especially this piece de been corn remembering, you know, the nude on the couch in the room, the sun out the window, you know, noting, you know, as really only he could that that was a big one for me.

Um, so, you know, eventually we'd see this very legible influence of Matisse in pictures like the interior with doorway.

Um, now at the Pennsylvania Academy of Fine Arts that were made a couple of decades after this visual encounter, I would say that these, you know, these images become part of his reservoir, you know, his mental reservoir.

And in some cases, he had the occasion to see them again and again, as he would have shortly before, making this Orban a picture.

In 1952 the great Matisse retrospective that was organized by Alfred Barr for MoMA traveled after it's sort of official tour that brought it from New York, a couple of other places, including SFMOMA.

It then went down to the Element Municipal Art Galleries, where, where divan corn saw it in in the summer of 1952.

There were 75 paintings, including the works that he had seen at Sarah Stein's house, which had since gone on to other collections, Um, and on many works in sculpture and on paper as well.

So it kind of reinforcing what he'd seen and loved about it.

And, Ah, and while the kind of resonance in something like the Interior with Doorways is very, you know, it's it's very kind of easy to see with his fascination of interior and exterior light and the structure and the, um, and the palette, you know, you see it, you know, to me there's a very, you know, a close connection in between Matisse and what he was doing in er Banna, where it feels to me like he really starts to to, um, to embrace the palette in structure and learned so much from divan corns example even, um, you know, with that sort of patch of of pale blue at the upper right of the cabana picture.

He also would have seen the great group of paintings from the Museum of Modern Art in New York, including goldfish and palate from 1914 and inner band of the Archer.

I wouldn't even begin to suggest that that demon cornice incorporating goldfish into his composition, but he is activating his his peace with those flecks of color that that bright orange sort of persimmon red there with the with the cream in the blue and the black.

So, um, you know s oh, this this trip that the demon corn took Thio Thio to Russia as part of the State Department cultural Exchange program in 1964 could not have been more profound for him.

They went to many European countries, spent a month in France is they were waiting their paperwork for their trip thio to Moscow and then Leningrad.

And he had the occasion to see this extraordinary group of paintings, many of which had been collected by by Shuqing had been one of the Stynes great rival early collectors in the in the first decade of Matisse's career.

Um, and as Steven Korn describes it, you know, the trip was a riel marker, just a great trip.

It came at a time when his work was in flux.

When, to you know, to his mind, the representational thing, the figure thing was kind of running its course.

So recollect recollections of a visit to Leningrad, which Tim shared with you, made shortly after after his return is, is really, I think, the most overt homage to Matisse that you see over the course of his career, where he makes this use of this, these incredible arabesques of the of the wallpaper in.

And then these pared down spaces, the geometry of interior and exterior, um, the the the rectangular square of the window and on also in elements of Matisse's palette with that really intense blue and green that comes from, uh, you know, least that we also see in in the conversation from 1912 and even corn moved from Stanford to Santa Monica in September of 1966 and the paintings that he made both shortly before and shortly after.

The, um, the move really reflect a a kind of flattening out of space and something that the artist attributes to Matisse and his earlier figured of work.

He'd been showing much more depth, and, um and you know, he related this to the experience of Matisse.

Because, of course, the Matisse painting was much flatter in its conception than than his own representational painting had been had been.

And here, you see, um, the window and, uh and you know, the conversation that he'd seen in Russia along with the piano lesson, which which had just been presented in 1966 show at U.

And then here, you know, another piece that he saw in in Russia's or on the terrace.

You know, it's, you know, you really only have to put your thumb in front of the image of Zorro yourself toe to see how close the relationship is between what Matisse was doing.

And, uh, and what deep in corn, Um, uh, sort of gleaned from that, that work over the course of his career.

E mean really it demon core looked at Matisse again and again and again and again on Dhe, uh, and, you know, in collections in exhibitions but also in reproduction.

And Phyllis mentioned how any time there was a new a new exhibition, she was very excited because she'd get the cattle, look for it and and give it to him as a Christmas gift.

Um, and and so that two became part of what he could turn to a swell a ce the the images that he kept in his head.

So have lots more to say about this in a couple of years when we present our exhibition with the B m A.

And, uh, and if you stay tuned, um, that will happen in the summer of 2016.

So So I also wanted to look at a couple of other artists who who looks so so carefully at D been corn for whom he was, as as he has been to so many, really a great hero within within their work.

As as you know, this piece, um, is owned by Tebow and is in is in the exhibition, um, Wayne Tebow and Richard even Corner about the same age.

Wayne was born two years prior in 1920 in Mesa, Arizona, and grew up in Southern California.

And he moved in 1950 to Sacramento in order to attend.

Um, and I'd say, you know, Tebow is as open as any artist could possibly be in acknowledging the huge importance of looking another artist in his painting.

The first time I heard Tebow give a talk, I was absolutely stunned because he must have shown 200 images.

He came with two packed Paracels and not a single.

Eso It wasn't what anyone who hadn't heard him before was expecting, but but but spoke thio the importance of him.