Passion for Art: 100 Treasures 100 Years

October 12, 2003–March 14, 2004

100

passion for ar t

treasures

100 years

Great works of ar t, literature, and music ar e often expr essions of our most pr ofound attempts to understand the natur e of the world and our place within it. Inspir ed by these achievements, Passion for Ar t: 100 Treasures 100 Years presents one hundr ed of the Dallas Museum of Ar t’s greatest treasures in a car efully choreographed sequence of universal themes: landscape, symmetr y, masks, body, machine, luxur y, home, music and dance, mortality, transcendence, and cosmos.

This journey through time, space, and cultur es begins with the ear th and nature. We then encounter ourselves—and humanity in a br oader sense—through a clustering of culturally diverse works of ar t in the galleries dev oted to symmetr y, masks, body , machine, luxury, home, and music and dance. Unexpected groupings inspire us to see and think in new ways and to realize how uniquely we have expressed the human experience.

The exhibition reaches a crescendo with a triad of themes—mortality, transcendence, and cosmos. The works in these galleries ha ve tremendous physical presence yet are by far the most abstract and philosophical. Our journey begins w ith our feet planted on the earth and ends amidst the celestial spher es.

The installation, designed by Rober t Anderson of Montr eal, Canada, dr amatizes the ideas with eloquent f orm and colors. Through labels, a v ariety of v oices, including curators, educators, and members of the community , serve as guides to understanding works of ar t. This grand exhibition honors the centennial of this museum as w ell as the passion, energy, and wisdom of the man y people who ha ve helped to build it and its collections over the past one hundred years.

Dr. Dorothy Kosinski, Senior Curator of Painting and Sculpture and The Barbara Thomas Lemmon Curator of European Art

Landscape. Is it a vision of natur e pure and real, or imagined and constructed? Landscapes can be pow erful vessels for memory. They can express deep longing for real places made distant in space and over time. The landscape may represent mountains dreamed of but never visited, or classical ruins, or long-demolished childhood homes. Nature can, moreover, be rendered so stylized as to become an abstr act pattern.

Landscapes often have a symbolic resonance. Amid the trees, a ceremonial hunt provides sacrificial victims in ancient Peru.

Sheaves of wheat radiate goodness. A vast rice field illustrates traditional Indonesian beliefs.

The human mind seems irresistibly drawn to uncover the underlying patterns in the apparent chaos of the natural world. The plans for gardens, streets, and buildings are often based on repeated sequences and symmetry. Music and architecture depend on predictability and repetition. These are all expressions of our desire for order, a basic need for control, our aspiration for perfection. An Inca tunic mirrors the geometry of architecture. Squares in a quilt are joined to form a pattern of memories. Through a huge LED grid, w e can explore repetition and order in relation to time. Ar tistic expression, however, can often be a self-conscious defiance of rule, a set of intentional impr ovisations similar to that in boogie-woogie music. Artists sometimes test and challenge order and perfection.

When you put on a mask, what does it do to y ou? Masks for Halloween, masquerades, and Carnivale are all experiences of transformation, magic, and freedom through anonymity.

These masks were made for different purposes. Some are funerary masks worn by the deceased in the tomb. Others were used during festivals, enhancing the dialogue between humans and the natural and supernatural world. Some masks are symbols of the power and prestige of the chief or king. In psychological terms, our own face is the mask of our inner self , disguised from the outside world. Who am I? How do I look?

The body is our house or temple of w ell-being and physical strength, the outer structure of our spirit. In non-Western cultures, the human figure is a recurring artistic theme that often represents the ancestral presence. In Western culture, the enduring touchstone remains the idealized physical beauty of Greek and Roman statues. Later, and especially in the 20th century, artists play with that very ideal. A female torso may seem more erotic than idealized. Why render the human form as a series of intersecting planes or mechanical fragments? Perhaps today it is difficult to cr eate an image of ourselves in the face of the psy chological complexities of modern life.

Speed, instant communication, tall buildings, mass pr oduction, moving images, dizzying flights, engineering wonders— during the 19th and 20th centuries the W estern world was, for better or worse, profoundly and quickly transformed by the machine. The quiet pace and solitude of the village was overwhelmed by the cacophony and intensity of the urban environment. How did ar tists react to this avalanche of the new? These artists embrace the machine and idealize its sleek beauty and streamlined form in the precision moving parts of a watch; the simple, compact shapes of a silv er and plastic tea set; and a pow erful image of a hydroelectric turbine. They reinvent subject, form, material, and technique, using stainless steel, photocopiers, and fluor escent lights.

Gold, silver, mother-of-pearl, ebony, ivory, marble, bronze, mahogany, and tortoiseshell are some of the materials of opulence. These works are symbols of wealth, power, dominance, and even exploitation. The luxury of materials, the voluptuous forms and shapes, and the extr avagant techniques and workmanship supersede practical necessity. Conspicuous display has occurred everywhere in the world: objects of personal adornment from ancient Greece and Africa, regal gold beakers from ancient Peru, a grand 17th-century Spanish colonial cabinet, and an ornate silv er dressing table from England. Objects of luxury are designed to make us gasp in awe at the sheer beauty of the ar tist’s mastery.

We fill our homes with objects of practical necessity: a wardrobe for our clothes, a door, a desk to write on, a candleholder, a couch or stool to sit upon, a v ase for flowers.

What makes these functional objects ar t is our irrepressible urge to decorate, to embellish, to transform the useful into something pleasing, ornate, astonishing, meaningful, beautiful, or provocative, reflecting our taste or the v alues and fashions of the age in which w e live.

Music and dance, song and performance are elemental expressions of the human spirit. They accompany us in mourning, in celebration, through essential passages in life, and into death. Music and dance can be sacr ed; they are outpourings of our most fundamental y earnings and soaring aspirations. An Indian sculpture of Shiva as Lord of the Dance can transport us to a spiritual world. On the other hand, some of these works of ar t reveal a less exalted, more secular aspect: the dance hall, the oper a stage, the ballet per formance, the stylized movement of the flamenco. These are expressions of delight and of the desir e to come together as a community and par ticipate in spectacle. We even value some musical instruments as works of ar t, such as the car ved wood drum and ivory trumpet from Africa.

Our journey through life inevitably encompasses our own mortality. We mourn family members and y earn to establish a “dialogue� with them through our religions, our rituals, and our art. These objects embody the community ’s continuity with its past and future. Some confront us with the reality of death; others are ancestor figures, meant to protect and guide, assuring us of their enduring pr esence. Many of these images are intended to console us in our vulner ability. We, as humans, ultimately stand face to face with our tenuous hold on life, fragile like the flame of a candle.

All of these great objects embody the power of transcendence.

They carry us beyond the limits of ordinary experience, beyond the bounds of the merely human. A Hindu deity dr amatically saves humanity and restores order to the universe. Some figures play the role of intercessor to the supernatural. Nails thrust into an African sculpture fill it with spirit f orce, giving it the power to resolve disputes. Others are the symbolic presence of the divine to whom w e may offer sacrifice, prayer, or homage. Ancient Americans made sacrifices to a r ain god who could assure plentitude and health or bring dr ought and floods. Royal figures are seen as both human and divine. These works are imbued with extraordinary power to mediate between our world and the realm of the spirit.

Our intuition is that we are part of a grander structure, part of the unseen, enduring order of the cosmos. The great cycles of the universe, of the seasons, of lif e, death, and rebirth embrace us. How does the ar tist give expression to these powerful and abstract ideas? Is it through the smooth oval shape of the elemental egg, a symbol of new lif e? Or through the image of a crocodilian canoe bearing the deceased First Father of the ancient Maya to be reborn as the Maize God? Perhaps it is through a joyfully colored abstract image that simultaneously conjures up the womb and a v ortex. It may be in the dramatic sexual embrace of a Buddhist deity, transcending duality and flames with the r adiance of enlightenment.

Another artist throws his body and spirit into ev ery movement of his dripping brush, his own ar tistic energy creating a celestial web of incredible resonance. Video allows the sem blance of the total obliteration of the body in a wall of fir e and a deluge of water.

passion for art: 100 treasures 100 years October 12, 2003–March 14, 2004 Landscape Claude Monet, The Seine at Lavacourt (detail), 1880, oil on canvas, Munger Fund, 1938.4.M (pictured on front) Alexandre Hogue, Drouth Stricken Area, 1934, oil on canvas, Dallas Art Association Purchase, 1945.6, © Estate of Alexandre Hogue, courtesy Cline Fine Art, New Mexico (pictured) Edward Hopper, Lighthouse Hill (detail), 1927, oil on canvas, gift of Mr. and Mrs. Maurice Purnell, 1958.9 (pictured on front) Stirrup-spout vessel with deer hunting scenes, Peru, north coast, Moche culture, Early Intermediate Period, Moche Phase IV, c. A.D. 450–550, ceramic, The Eugene and Margaret McDermott Art Fund, Inc., 1969.2.McD (pictured) Frederic Edwin Church, The Icebergs (detail), 1861, oil on canvas, anonymous gift, 1979.28 (pictured on front) Claude-Joseph Vernet, Mountain Landscape with Approaching Storm (detail), 1775, oil on canvas, Foundation for the Arts Collection, Mrs. John B. O'Har a Fund, 1983.41.FA (pictured) Sacred textile (mawa’) with fish pond and leafy plants (detail), Indonesia, South Sulawesi, Sa’dan Toraja people, probably early 20th century, cotton cloth, the Steven G. Alpert Collection of Indonesian Textiles, gift of The Eugene McDermott Foundation, 1983.114 (pictured) Vincent van Gogh, Sheaves of Wheat (detail), 1890, oil on canvas, The Wendy and Emery Reves Collection, 1985.R.80 (pictured) Maurice de Vlaminck, Bougival, c. 1905, oil on canvas, The Wendy and Emery Reves Collection, 1985.R.82 Dressing cabinet, London, England, c. 1660, paper, silk, wood, and glass, gift of Mrs. Addison L . Gardner, Jr. in memory of Richard W. and Anna L .

Sears and of Mr. and Mrs. Alfred L. Bromberg in memory of Mr. and Mrs. I. G. Bromberg by exchange, 1992 .12 Panel from a set of bed hangings, London, England, c. 1710, silk, gold thread, and embroidery, gift of Mrs. Addison L. Gardner, Jr. in memory of Richard W. and Anna L . Sears and of Mr. and Mrs. Alfred L. Bromberg in memory of Mr. and Mrs. I. G. Bromberg by exchange, 1994.35 Sigmar Polke, Clouds (Wolken) (detail), 1989, mixed media on canvas, DMA League-DMA/amfAR Benefit Auction Fund and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Cindy and Howard Rachofsky, Edward W. and Evelyn P. Rose III, Gayle and Paul Stoffel, and two anonymous donors, 2000.388, © Sigmar Polke, cour tesy of Michael Werner Gallery, New York and Cologne (pictured on front) Three-door cabinet, c. 1925, lacquered wood, mahogany, and bronze, The Patsy Lacy Griffith Collection, bequest of Patsy Lacy Griffith, 2001.222 Symmetry Henri Matisse, Ivy in Flower, 1953, colored paper, watercolor, pencil, and brown paper tape on canvas, Foundation for the Arts Collection, gift of the Alber t and Mary Lasker Foundation, 1963.68.FA

Piet Mondrian, Place de la Concorde, 1938–1943, oil on canvas, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.22.FA, © 2003 Mondrian/Holtzman Trust, c/o hcr@hcrinternational.com (pictured) Tunic with checkerboard pattern with stepped yoke, Peru, Inca culture, 1476–1534, camelid fiber, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Carol Robbins, 1995.32.McD (pictured) Album quilt, Mary E. Gray, Baltimore, Maryland, 1851, cotton and silk, anonymous gift, 1998.204 Tatsuo Miyajima, Counter Ground, 1998–2000, LED, IC, electric wiring, and wooden panel, gift of the Friends of Contemporary Art, 1999.118, © Tatsuo Miyajima, Ibaraki, Japan (pictured) Panel with rectangles of blue and yellow featherwork, Peru, far south coast, Ocoña Valley, Huari culture, Middle Horizon, c. A.D. 600–800, feathers (blue and gold macaw), cotton cloth, and camelid fiber cloth, Textile Purchase Fund, 2001.262 Robert Smithson, Mirrors and Shelly Sand (detail), 1969–1970, fifty 12-inch x 48-inch mirrors and beach sand with shells or pebbles, gift of an anonymous donor; the Vin and Caren Prothro Foundation; an anonymous donor in memory of Vin Prothro and in honor of his cher ished grandchildren, Lillian Lee Clark and Annabel Caren Clark; The Eugene McDermott Foundation; Dr. and Mrs. Mark L. Lemmon; American Consolidated Media; Bear/Hunter; and donors to the C . Vincent Prothro Memorial Fund, 2002.3.a–yy, © Estate of Robert Smithson/Licensed by VAGA, New York, NY (pictured on front) Masks Mask, Mexico, state of Tabasco, Arroyo Pesquero, Gulf Coast Olmec culture, Middle Formative period, 900–500 B.C., jadeite, gift of Mr. and Mrs. Eugene McDermott and The Eugene McDermott Foundation and Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1973.17 Ceremonial mask, Colombia, Calima region, Ilama period, c. 500–1 B.C., gold and paint, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, and Mr. and Mrs. John D. Murchison, 1976.W.321 (pictured) Mask with seal or sea otter spirit, Alaska, Yukon River area, Yup'ik Eskimo people, late 19th centur y, wood, paint, fiber, gut cord, and feathers, gift of Elizabeth H. Penn, 1976.50 Coffin of Horankh, Egyptian, c. 700 B.C., wood, gesso, paint, obsidian, calcite, and bronze, Cecil and Ida Green Acquisition Fund, 1994.184 (pictured) Mouth mask depicting the head of a bird, Indonesia, Southeast Moluccas, Leti Island, Luhuleli village, 19th century, wood, boars’ tusks, clamshell, mother-of-pearl, buffalo horn, resinous material, and pigment, The Eugene and Margaret McDermott Art Fund, Inc., 1997.141.McD (pictured) Mask (Mukyeem), Democratic Republic of the Congo, Kuba people, mid- 20th century, raffia, wood, cowrie shells, beads, parrot feathers, and goat hair, gift in honor of Peter Hanszen L ynch and Cristina Martha Frances Lynch, 1998.11

Dressing set (casket), attributed to Charles Gouyn (designer), St. James’s Factory (maker), London, England, c. 1755, silver, silvergilt, porcelain with enamel decoration, glass, garnets, and velvet, The Esther and Karl Hoblitzelle Collection, gift of the Hoblitzelle Foundation by exchange, 1995. 22.1.a–i

L. Levy, Mrs. John W. O'Boyle, and Dr. Joanne Stroud, 1976.1, © Jasper Johns/ Licensed by VAGA, New York, NY (pictured on front)

Body

Charles Sheeler, Suspended Power (detail), 1939, oil on canvas, gift of Edmund J. Kahn, 1985.143 (pictured)

Standing female figure, Democratic Republic of the Congo, Luba people, 19th–20th century, wood, leather, and beads on fiber, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.96 (pictured on front) Figure of a woman (detail), Roman, 2nd century, marble, gift of Mr. and Mrs. Cecil H. Green, 1973.11 (pictured) Figure of a young man from a funerary relief, Greek, Attic, c. 330 B.C., marble, gift of Mr. and Mrs. Cecil H. Gr een, 1966.26 Henri de Toulouse-Lautrec, Prostitutes (Femmes de maison), 1893–1895, pastel on emery cloth, The Wendy and Emery Reves Collection, 1985.R.75 John Singleton Copley, Sarah Sherburne Langdon (detail), 1767, oil on canvas, The Eugene and Margaret McDermott Art Fund, Inc., 1996.70. 2.McD (pictured) Auguste Rodin, Jean d’Aire from the Burghers of Calais (detail), by 1886, cast early 20th century, bronze, given in memory of Louie N. Bromberg and Mina Bromberg by their sister Essie Bromberg Joseph, 1981.1 (pictured on front) Alberto Giacometti, Three Men Walking (detail), 1948–1949, bronze, Foundation for the Arts Collection, gift of Mr. and Mrs. Stanley Marcus, 1975.86.FA, © Artists Rights Society (ARS), New York/ ADAGP, Paris (pictured on front) Fernand Léger, Three Women and Still Life (Dejeuner), 1920, oil on canvas, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.27.FA Standing figure, Democratic Republic of the Congo, Boma people, 19th–20th century, wood and fiber, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Mar garet McDermott, 1969.S.6 Male ancestor figure named Malabi (detail), Papua New Guinea, Middle Sepik River region, Sawos people, c. 1890–1910, wood and paint, The Eugene and Margaret McDermott Art Fund, Inc., 1974.5.McD (pictured) Naum Gabo, Constructed Head #2, 1916, reconstructed 1923–1924, celluloid, Edward S. Marcus Memorial Fund, 1981.35 René Magritte, Light of Coincidences, 1933, oil on canvas, gift of Mr. and Mrs. Jake L. Hamon, 1981.9 Machine Gerald Murphy, Watch (detail), 1925, oil on canvas, Foundation for the Arts Collection, gift of the ar tist, 1963.75.FA, © Estate of Honoria Murphy Donnelly (pictured) David Smith, Cubi XVII, 1963, polished stainless steel, The Eugene and Margaret McDermott Art Fund, Inc., 1965.32.McD Jasper Johns, Device (detail), 1961–1962, oil on canvas with wood and metal, gift of the Ar t Museum League, Margaret J. and George V. Charlton, Mr. and Mrs. James B. Fr ancis, Dr. and Mrs. Ralph Greenlee, Jr., Mr. and Mrs. James H. W. Jacks, Mr. and Mrs. Irvin

Dan Flavin, alternate diagonals of March 2, 1964 (to Don Judd), 1964, fluorescent tubing and metal, gift of Janie C . Lee, 1976.74.a–g

Tea set, or hot water jug with lid, Harold Stabler (designer), Adie Brothers, Ltd. (maker), London, England, c. 1935, silver and Bakelite, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation by exchange, 1999.303.1.a–b, .2.a–b, .3–5 (pictured) John Pomara, Deadline No. 5, 2001, oil enamel on aluminum, Texas Artists Fund, 2001.311 Luxury Centerpiece, attributed to Paulding Farnham (designer), Tiffany & Co. (maker), New York, New York, 1900, silver, gift of Michael L . Rosenberg, 1998.13 (pictured on front) Group of seven beakers, Peru, nor th coast, Lambayeque region, La Leche Valley, Batán Grande region, Sicán culture, Middle Sicán period, 900– 1100, gold, The Nora and John Wise Collection, gift of Mr. and Mrs, Jake L .

Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, and Mr. and Mrs. John D. Murchison, 1976.W.545, 1976.W.556, 1976.W.542, 1976.W.540. 1976.W.570, 1976.W.562, 1976.W.569 (pictured) Cup with cover, Paul de Lamerie, London, England, 1742, silver, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation, 1987.186.1.a–b Selection of ancient gold, Greek and Roman, 2nd century B.C., gold, Museum League Purchase Funds, The Eugene and Margaret McDermott Art Fund, Inc., and Cecil H. and Ida M. Green in honor of Virginia Lucas Nick Cabinet, India, Goa, Viceroyalty of New Spain, c. 1680–1700, mahogany, mother-of-pearl, tortoiseshell, pewter, and gilding, gift of The Eugene McDermott Foundation in honor of Carol and Richard Brettell, 1993.36 (pictured) Takenouchi no Sukune Meets the Dragon King of the Sea, Japan, Meiji period, 1875–1879, bronze, Foundation for the Arts Collection, The John R. Young Collection, gift of M. Frances and John R. Young, 1993.86.11.FA Pectoral plaque, southwestern Nigeria, Edo (Bini) people, 1 750– 1800, ivory, gift of The Eugene and Margaret McDermott Art Fund, Inc., 1994.201.McD (pictured) Vanderbilt Console, Herter Brothers, New York, New York, c. 1881–1882, oak, marble, silverplate, and bronze, gift of an anonymous donor and the Friends of the Decorative Arts, 1996.213.a–e Dressing table and stool, William C. Codman (designer), Gorham Manufacturing Co. (maker), Providence, Rhode Island, 1899, silver, glass, fabric, and ivory, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Dr. Charles L. Venable, 2000.356.a–b.McD (pictured)

At Home Door, Ivory Coast (Côte d’Ivoire), Baule people, 19th–20th century, wood, metal, and fiber, The Gustave and Franyo Schindler Collection of African Sculpture, gift of the McDermott Foundation in honor of Eugene McDermott, 1974.SC.25 (pictured) Alfred Stevens, The Visit (La Visite), before 1869, oil on canvas, gift of the Pauline Allen Gill Foundation, 1997.112 Stool supported by a kneeling female figure, Democratic Republic of the Congo, Luba people, 19th–20th century, wood, beads, and metal, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.105 Vases, Louis Comfort Tiffany (designer), Tiffany Glass and Decorating Company (maker), New York, New York, 1893–1900, Favrile glass, gift of Mr. and Mrs. Nelson Waggener, 1983.27–28, .32 (pictured) Cabinet on stand, probably Pierre Gole, France, probably Paris, 1660– 1680, wood, ivory, tortoiseshell, shell, and gilt bronze, The Wendy and Emery Reves Collection, 1985.R.573.a–c Desk and bookcase, attributed to Henry Rust, Salem, Massachusetts, 1760–1780, mahogany, southern yellow pine, eastern white pine, yellow poplar, and brass, The Faith P. and Charles L. Bybee Collection, gift of the Tri Delta Charity Antiques Show, 1985.B.27.a–b (pictured)

Trumpet, Sierra Leone, Tcham, Mende people, 18th century, ivory, gift of The Eugene and Margaret McDermott Art Fund, Inc., 1994.198.McD (pictured) Orpheus Taming Wild Animals (detail), Roman, A.D. 204, mosaic, gift of David T. Owsley via the Alconda-Owsley Foundation, and two anonymous donors, in honor of Nancy B. Hamon, 1999.305 (pictured on front) Shiva Nataraja, India, c. 1100, bronze, gift of Mrs. Eugene McDermott, the Hamon Charitable Foundation, and an anonymous donor in honor of David T. Owsley, with additional funding from The Cecil and Ida Green Foundation and the Cecil and Ida Green Acquisition Fund, 2000. 377 (pictured) John Singer Sargent, Study for the Spanish Dancer, 1882, watercolor on paper, Foundation for the Arts Collection, gift of Margaret J. and George V. Charlton in memory of Eugene McDermott, 1974.1.FA (pictured) Leon Polk Smith, Homage to Victory Boogie Woogie #1 (detail), 1946, oil on canvas, DMA League Purchase Fund, 2000.391, © Leon Polk Smith/Licensed

by VAGA, New York, NY (pictured on front) Mortality

Paul Cézanne, Still Life with Apples on a Sideboard (detail), 1900–1906, watercolor, The Wendy and Emery Reves Collection, 1985.R.12 (pictured on front)

Female shrine figure (bitumba) with ritual pot and child, Democratic Republic of the Congo, Yombe group, 19th–20th century, wood and kaolin, The Clark and Frances Stillman Collection of Congo Sculpture, gift of Eugene and Margaret McDermott, 1969.S.22

Candelabrum for the Sulkowsky Service, Johann Joachim Kaendler (modeler), Meissen Porcelain Factory (maker), Meissen, Germany, 1736, porcelain and enamels, Foundation for the Arts Collection, Mrs. John B. O'Hara Fund, 1992.5.FA (pictured)

Spirit figure (deble), Ivory Coast (Côte d’Ivoire), Senufo people, 19th–20th century, wood, resin, and seeds, The Gustave and Franyo Schindler Collection of African Sculpture, gift of the McDermott Foundation in honor of Eugene McDermott, 1974.SC.15

Wardrobe, Fayette County, Texas, c. 1860, cedar and paint, The Faith P. and Charles L. Bybee Collection, gift of Faith P. Bybee, 1992.B.116 (pictured)

Gustave Courbet, Fox in the Snow, 1860, oil on canvas, Foundation for the Arts Collection, Mrs. John B. O'Hara Fund, 1979.7.FA

Henri-Théodore Fantin-Latour, Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer (detail), 1872, oil on canvas, Foundation for the Arts Collection, Mrs. John B. O'Har a Fund and gift of Mrs. Bruno Gr af by exchange, 2001.5.FA (pictured on front)

Funerary figure (tau tau), Indonesia, South Sulawesi, Toraja people, 19th century or earlier, wood, The Eugene and Margaret McDermott Art Fund, Inc., 1980.2.McD (pictured)

Bed rug, Lebanon, Connecticut, 1803, wool and linen, gift of Mrs. Addison L .

Gardner, Jr. in memory of Richard W. and Anna L. Sears and of Mr. and Mrs. Alfred L. Bromberg in memory of Mr. and Mrs. I. G. Bromberg by exchange, 1992.11 Marshmallow sofa, George Nelson Associates (designer), Herman Miller Manufacturing (maker), Zeeland, Michigan, designed c. 1954 –1955, steel, paint, foam, and fabric, 20th-Century Design Fund, 1995.41 (pictured) Music and Dance Drum, Ivory Coast (Côte d’Ivoire), Senufo people, 20th century, wood and hide, Foundation for the Arts Collection, gift of Mr. and Mrs. Stanley Marcus, 1981.139.FA (pictured) Edgar Degas, Aria After the Ballet, 1879, pastel, gouache, and monotype mounted on cardboard, The Wendy and Emery Reves Collection, 1985.R.26 (pictured) Pablo Picasso, The Guitarist, 1965, oil on canvas, The Art Museum League Fund, 1987.371

Pair of lokapala (heavenly guardians), China, Tang dynasty, c. 750–700 B.C., earthenware with three-color (sancai) lead glazes, The Eugene and Margaret McDermott Art Fund, Inc. in honor of Ellen and Harry S. Parker III, 1987.360.1–2.McD (pictured) Chris Burden, All the Submarines of the United States of America, 1987, cardboard, vinyl thread, and typeface, Dallas Museum of Art purchase with funds donated by the Jolesch Acquisition Fund, The 500, Inc., The National Endowment for the Arts, Bradbury Dyer III, Mr. and Mrs. Bryant M. Hanley, Jr., Mr. and Mrs. Michael C .

Mewhinney, Mr. and Mrs. Edward W. Rose, and Mr. and Mrs. William T. Solomon, 1988.81, © Chris Burden, Long Beach, California (pictured on front) Nic Nicosia, Act #9, 1995, oil on gelatin-silver print, Jackson, Walker, Winstead, Cantwell, Miller Photography Fund and Texas Artists Fund, 1998.7 Gerhard Richter, Candle (Kerze) (detail), 1988, offset lithograph on white paper, Dallas Museum of Ar t League Fund, Roberta Coke Camp Fund, General Acquisitions Fund, DMA/amfAR

Benefit Auction Fund, and the Contemporary Art Fund: Gift of Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Howard E. Rachofsky, Evelyn P. and Edward W. Rose, Gayle and Paul Stoffel, and two anonymous donors, 1999.255, © Gerhard Richter, Cologne, Germany (pictured)

© Pollock-Krasner Foundation/ Artists Rights Society (ARS), New York (pictured)

Giulio Cesare Procaccini, Ecce Homo (detail), after 1615, oil on can vas, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated, 1969.16 (pictured)

Eccentric flint depicting a crocodile canoe with passengers, Mexico or Guatemala, Maya culture, A.D. 600–900, flint, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Mrs. Alex Spence, 1983.45.McD (pictured)

Transcendence Head of the rain god Tlaloc, Mexico, state of Oaxaca, Teotitlán del Camino, Mixtec culture, Late Postclassic period, c. 1300–1500, ceramic, tufa, stucco, and paint, gift of Mr. and Mrs. Stanley Marcus in memory of Mary Freiberg, 1967.5 (pictured) Altar depicting the first female ancestor (luli), Indonesia, western Southeast Moluccas, possibly Luang Island or Sermata Island, 19th century, wood and shell, The Eugene and Margaret McDermott Art Fund, Inc., 1999.181.McD (pictured on front) Bust of a bodhisattva, Pakistan, Gandharan region, Kushan empire, 2nd–3rd century, gray schist, gift of Margaret J. and George V. Charlton, 1973.81 Seated ruler in ritual pose, Mexico, state of Puebla, San Mar tín Texmelucan, Highland Olmec culture, Middle Formative period, c. 900– 500 B.C., serpentine and cinnabar, gift of Mrs. Eugene McDermott, The Roberta Coke Camp Fund, and The Art Museum League Fund, 1983.50 Head and upper torso of Seti I, Egyptian, c. 1303–1290 B.C., black granite, purchased in honor of Betty B. Marcus with the Ar t Museum League Funds, the Melba Davis Whatley Fund, and the General Acquisitions Fund, 1984.50 (pictured) Ancestral couple (debata idup), Indonesia, North Sumatra, Toba Batak people, 19th century or earlier, wood, The Eugene and Margaret McDermott Art Fund, Inc., 1995. 33.McD, 2000.354.McD Standing male figure (nkisi nkondi), Democratic Republic of the Congo, Lower Congo region, Chiloango River Valley, Kongo peoples, Yombe subgroup, 19th century, wood, iron, raffia, pigment of kaolin, and red camwood powder (tukula), Foundation for the Arts Collection, gift of the McDermott Foundation, 1996.184.FA (pictured) Vishnu as Varaha, India, Madhya Pradesh, 10th century, sandstone, gift of David T. Owsley via the Alvin and Lucy Owsley Foundation and the Alconda-Owsley Foundation, E. E. Fogelson and Greer Garson Fogelson Fund, General Acquisitions Fund, Wendover Fund, and gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen, 2002.25 (pictured)

Constantin Brancusi, Beginning of the World, c. 1920, marble, metal, and stone, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark, 1977.51.FA, © Artists Rights Society (ARS), New York/ADAGP, Paris (pictured)

Georgia O'Keeffe, Grey, Blue, and Black— Pink Circle, 1929, oil on canvas, gift of the Georgia O'Keeffe Foundation, 1994.54, © The Georgia O'Keeffe Foundation/Artists Rights Society (ARS), New York (pictured) The Dharmapala Vajrabhairava, Tibet, 18th century, gilt bronze, gift of the Alconda-Owsley Foundation to honor Dr. Anne R. Bromberg, 1998.87 (pictured) Bill Viola, The Crossing, 1996, videosound installation, Lay Family Acquisition Fund, General Acquisitions Fund, and gifts from an anonymous donor, Howard E. Rachofsky, Gayle Stoffel, Mr. and Mrs. William T. Solomon, Catherine and Will Rose, and Emily and Steve Summers, in honor of Deedie Rose, 1998.190, © Bill Viola, Long Beach, Calif ornia.

Photo by Kira Perov (pictured) Protective figure (jaraik) (detail) in the form of an animal, Indonesia, West Sumatra, Mentawai Islands, Siberut Island, Taileleu village, c. 1900, wood, pigment, shell, metal, rattan strips, grass fibers, and monkey skull, The Eugene and Margaret McDermott Art Fund, Inc., 2001.265.McD (pictured on front)

Passion for Art: 100 Treasures 100 Years was organized by the Dallas Museum of Ar t. The presenting sponsor is the Dallas Museum of Art League, with gifts from Nancy B. Hamon, Linda and Mitch Har t, The Eugene McDermott Foundation, and Texas Instruments.

Additional support is provided by American Airlines, The International Debutante Ball Foundation in honor of Charlene and Tom Marsh, and J.C. Penney.

Promotional support provided by The Dallas Morning News, DART, Infinity Broadcasting: KLUV, KOAI, KRLD, and KVIL, and Obie Media.

The Dallas Museum of Ar t is supported in part by the generosity of Museum members and donors and by the citizens of Dallas through the City of Dallas/Office of Cultural Affairs and the Texas Commission on the Arts.

Antenna Audio Tour Available

Kachina (tihu) depicting Palhik’ Mana (Water Drinking Girl), Arizona, Hopi people, probably 1920s, wood, paint, and wool yarn, given in memory of Congressman James M. Collins by his family, 1993.71

north harwood st dallas tx 7 5 2 0 1

Cosmos

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Jackson Pollock, Cathedral, 1947, enamel and aluminum paint on canvas, gift of Mr. and Mrs. Bernard J. Reis, 1950.87,

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