Although I had a whole laundry list of things I should have done (including laundry) I decided to spend the last day of 2009 doing something enjoyable and meaningful. I took the bus up to LACMA (the Los Angeles County Museum of Art) and spent several hours looking at art—about the most enjoyable and meaningful activity I can think of!When I first heard about the exhibit Luis Meléndez: Master of the Spanish Still Life way back in September, I did what I often do when there is an art exhibit I especially want to see: I procrastinated. So once again I managed to squeak in under the wire with only three days to spare (better than some exhibits I’ve seen on the very last day!). So, I am sad to say, this review is after the fact as Señor Meléndez left LACMA on January 3.
I have to admit I am not a big fan of the still life genre, but when I saw a reproduction of Melendez’ work in the LACMA newsletter, I knew I had to see it in person. I was not disappointed. I arrived a half or so earlier than the official docent tour of the exhibit was scheduled so I could get a sense of the paintings on my own without any outside influence.
Luis Meléndez lived from 1716–1780 and, according to the LACMA website, “was the greatest still life painter of eighteenth-century Spain and ranks as one of the greatest painters of the genre in all Europe.” If you ever have the chance to see his paintings, you will realize this is not hyperbole.
Obviously, before the advent of the camera, it was necessary to turn to “realistic” painters to capture likenesses of people, places, and objects. It is indeed tempting to throw Meléndez into this category. However, my impression of his paintings is that they are so much more than merely a mirror of how things really looked. His paintings have a life of their own.
His work has been described as photographic, but no camera ever captured a cauliflower, grape, or loaf of bread as he painted them. The tomatoes look like they could sprout legs and walk off at any moment. The aubergines have a jewel-like quality and I could imagine them in a showcase at Tiffany’s. Especially delightful are the landscapes—where you might expect to see a patron on his horse, instead Meléndez has made the fruits and vegetables the center of attention.
This exhibition was well attended and by the time the docent arrived quite a crowd had gathered. In fact, I was surprised to see so many people all over the museum on the last day of the year.
Serendipitously (if that wasn’t a word before, it is now), shortly after the Meléndez tour, a docent tour of the ceramics in the Pavilion for Japanese Art was scheduled (with a very enthusiastic docent obviously in love with the subject). I don’t know how often this particular tour specifically highlighting the ceramics is offered but I have not seen it on the calendar before or since. Those of us lucky enough to be in attendance were treated to a history of Japanese ceramic art from the coil-built Neolithic period through the contemporary work of current artists. I was especially intrigued by the early eighteenth century Plates of the Twelve Lunar Months. Although these are plates with rims, they do look like tiles, don’t they… could that be why I’m so attracted to them?Before leaving the museum I stopped by the Art of the Pacific exhibit. It was interesting but I was little irritated with the lack of title cards for each piece. Instead the visitor is expected to carry an information card around. No biggie, I just prefer having each item labeled in place.
As I was standing at the bus stop I realized I had missed A Tale of Two Persian Rugs. Oh well, back to LACMA before January 18th!
(Luis Meléndez, Still Life with Artichokes and Tomatoes in a Landscape, circa 1771–74, oil on canvas, 24 1/2 x 32 1/2 in., Mrs. Lila Shickman, image © The Metropolitan Museum of Art.)
(Plates of the Twelve Lunar Months, Ogata Kenzan (Japan, Kyoto, 1663 - 1743) early 18th century. Copyright Los Angeles County Museum of Art.)
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