El Greco in the National Gallery of Art and Washington-Area Collections: A 400th Anniversary Celebration

Where: National Gallery of Art

When:  through February 16, 2015

This year is the 400th anniversary of El Greco's death, and the National Gallery has decided to mark the occasion by displaying several of their own El Greco paintings, along with three from other local collections.

The exhibit takes up only one room, so I had plenty of time to examine each work in detail.  I've decided that El Greco is a sort of bridge between the Mannerist artists of the 1500s and the abstract painters of the 20th century, especially Picasso.  His elongated figures, who often seem to be in tortured poses, remind me of the exaggerated people of the Mannerists, but also of Picasso's early work.  It's not that El Greco's figures are completely abstract, but they're not completely realistic either.

If you like religious art, you'll find much to enjoy here; he lived during the Counter-Reformation in Spain, and his work reflects the religious fervor of the times.

Verdict: An interesting small show, nothing like as large as the El Greco retrospective I remember from 1982.  You can see this and the lovely holiday decorations in the Rotunda in a lunch hour.

Richard Estes' Realism

Where: American Art Museum

When: through February 8, 2015

It's easy to get so caught up in the realism of Richard Estes' work that you miss the artistry in his pieces.  You could easily mistake almost every painting for a photograph - they're that crisp and detailed and "real" looking.  Once you've marveled at how paint can look so much like toner, however, look again and see what else is going on.

In every piece, you can see the theme of repetition and multiplicity.  Whether it's the arches in his Roman bridge, the stacks of books in the National Gallery of Art library or the telephone booths outside a diner (pictured here), you see the same element repeated over and over again.  In one piece, he deliberately repeats his painting through the use of a mirror effect.  As much as we want to believe that we are unique individuals (special little snow flakes, as I like to say), Estes shows us that the world in which we live is made up of similar, if not identical, pieces.

Another theme that you see in many of his works is that of travel, especially travel over water.  He incorporates bridges as well as boats, showing people moving from one side of the water to the other.  Some of them are commuters on their way to work; others are on vacation, headed for an island destination.  Movement, no matter the purpose, is what he portrays - both the movement of the water and of the people on the water.

Motion and multiplicity are what you see, if you can stop marveling at his technique long enough to appreciate them.

Verdict: The show is well laid out, in a large space.  Because there are only a few paintings in each area, you can make your way through quickly, leaving you time to stop and admire the craftsmanship.

First 3-D Printed Presidential Life Mask and Bust

Where: Smithsonian Castle

When: through December 31, 2014

This is a great time of year to visit the Castle - it's decorated for the holidays with a big tree and other greenery, festive without being overwhelming.   Another reason to wander over is to see a bust and life mask of President Obama - the first president to have these made using 3-D printing technology.

Staff from the National Portrait Gallery used some really cutting-edge tools to scan the President for the bust and life mask - both banks of LED lights and handheld devices.  The results are on display this month at the far end of the Castle, where the exhibit of items from various Smithsonian museums are located.

Along with President Obama, two 3-D printed versions of the life masks of President Lincoln are also on display.  When you think about how uncomfortable and time-consuming it must have been in the 1800s to have plaster put all over your face to create a life mask, you realize that the 21st century's version - a few seconds sitting in a chair - is a vast improvement.

The idea is that the 3-D printer creates an objective picture of reality, as opposed to paintings or sculptures, which are inherently non-objective.  Of course, the same case has been made for photography, and I've seen more than one exhibit demonstrating that the camera certainly does lie.  Whether the same is true of the 3-D printer, I think we'll have to wait to see.

If you're interested in learning more about the process of making the images, see this short video at the Smithsonian Magazine website: http://www.smithsonianmag.com/smithsonian-institution/president-obama-now-first-president-to-be-3D-scanned-printed-180951784/?utm_source=gosmithsoniannewsletter&no-ist

Verdict: If you're heading over to the Castle, make sure to have a look.  I'm sure this technology will be commonplace some day, but it's still pretty exciting today.

From Neoclassicism to Futurism: Italian Prints and Drawings, 1800–1925

Where: National Gallery of Art

 When: February 1, 2015

It's been a while since I saw this show - I wasn't very impressed with it, so it was hard to summon up the energy to write a blog post, especially since I had holiday-related activities to occupy my time.

The wall notes tell you that Italian art from this period (Napoleonic Era through the creation of the Italian nation up to the rise of Fascism) tends to be overlooked in favor of the art of other countries, particularly French art.  Considering that the Impressionists were working at this time, it's easy to see how other art might languish unnoticed.  On the other hand, if this selection is anything to go by, the Italians weren't really producing anything fabulous at this time, so maybe they have only themselves to blame?

The National Gallery is actively building a collection of Italian art from the 19th and early 20th centuries - let's hope that something more impressive arrives to represent the time period.

 Verdict: If you are a devotee of prints and drawings, or a scholar of Italian history, make time to see this exhibit.  Otherwise, don't let it interfere with your holiday plans.

Modern American Prints and Drawings from the Kainen Collection

Where: National Gallery of Art

When: through February 1, 2015

I make a point of going to every new exhibit at the Smithsonian and National Gallery of Art, even if I think it's something that won't appeal to me.  I've discovered some wonderful things this way, most notably Yinka Shonibare, my favorite artist.  It had been a while since I'd been pleasantly surprised by a show, and as I looked at the description of this one, I confess I was less than enthused by the idea of seeing it.

But I'm nothing if not dedicated, so over to the National Gallery I went, and what should I discover but a new artist to like!  His name is Louis Lozowick, and I fell in love with his drawings, which are in the first room of this small show.  Some of his pieces show a tremendous precision of line, including Still Life #2 and others an exuberance of subject, like Luna Park.  All of them are quite fine, and I'll be on the lookout for more of his work in other exhibits I see.

Overall, I liked the works in the first room better than the later works, on display in the second room.  Post-WWII modern works just don't do it for me.

Verdict: This is a small display, so easily combined with something else on offer.  It's a nice overview of the Kainen's collection in this area, and we can look forward to seeing more of their generous gift in exhibits to come.

Untitled: The Art of James Castle

Where: American Art Museum

When: through February 1, 2015

It's not often that I see an exhibit and really have no idea what to make of it.  I might like something or dislike something, but I can't remember the last time I went to a show and had no idea whether I liked it or not.

Here's what I do know:  James Castle was a profoundly deaf man who never learned to communicate with others in any conventional way.  He could not read lips or use sign language, nor could he read or write.  He lived in rural Idaho with his family and created many drawings.  He used paper he found around his family's home and made a kind of ink out of soot and his own saliva.  His works depict the small town and farmland that were his surroundings.

So are these works of interest to us because we're trying to figure out what he's saying?  Or are they of interest because they stand on their own merits?  Would we put them in a museum or add them to private collections even if Castle were able to communicate in ways the general populace could understand?  Are they art, or are they a curiosity?  On another level, we're assuming that Castle is trying to communicate through his art, but is this really true?  Is there something he wants us to understand or is he merely passing the time?

I left the show with more questions than answers and a sense that the questions are not capable of being answered.  The one thing I can say is that James Castle's work is the ultimate example of outsider art.

Verdict: I'm not sure I have one, which is a first since I started writing this blog.

A Room of Her Own: My Mother's Altar, an installation by Sandra Cisneros

Where: American History Museum

When: through January 12, 2015

This display is on the Second Floor, East Wing, in the American Stories area.  It is an ofrenda, or offering, something set up to honor a deceased person on the Dia de Los Muertos, or Day of the Dead.  It's a Mexican custom, which has gained popularity and spread throughout Latin America and the United States.

The author Sandra Cisneros has set up this ofrenda to her mother, who loved museums, art and culture and wanted to be an artist.  Sadly, she never was able to do this, as she was busy raising her children.  Truly, a cautionary tale.  Don't put off pursuing your dreams, or dreams are all you will have.

The display is a wild mixture of the macabre and the kitschy, with an abundance of flowers to add some natural beauty. Cisneros is quoted as saying that creating this assemblage of her mother's personal possessions and mementos was a way to transform her grief over her mother's death into a celebration of her mother's life.

I understand why the museum has put this in the American Stories exhibit, as the story of Latin America is also the story of the United States.  The problem is that this is a display that would benefit from quiet reflection and examination, and the area is noisy and busy.

Verdict: I liked both this display and the idea of honoring deceased loved ones every year.  I'm not sure I'm ready to start creating my own ofrendas, but it's a nice reminder to keep those you love in your heart, so they won't be forgotten.