Art Drawing of Dances With the Lions by Michael Collins 78

The Dallas Museum of Art'south collection contains over 23,000 works of art from all cultures and time periods spanning v,000 years of man creativity. The collection is dynamic; new acquisitions are being added all the time and the galleries are constantly changing. Below is a option of highlights from the Museum's encyclopedic collection currently on view.

Genesis, The Gift of Life , 1954
Miguel Covarrubias
Glass
144 ten 720 in.
City of Dallas, Gift of Peter and Waldo Stewart and the Stewart Visitor, 1992

Dallasites Peter and Waldo Stewart, who spent their childhoods in United mexican states, commissioned this enormous mosaic from the noted artist Miguel Covarrubias to enliven their visitor's building. It is among the masterpieces of postwar Mexican art. Covarrubias designed a colorful representation of the four elements—water, earth, fire, and air—and innovatively sited it to be seen by drivers on Dallas's first major superhighway, Fundamental Expressway. Now installed exterior the DMA'south Primary Entrance, the bright colors, poetic temper, and scale of the entire wall make it a treasured Dallas landmark.
Dallas Museum of Fine art Main Archway

Skyway , 1964

Robert Rauschenberg
Oil and silkscreen on canvass
216 x 192 in.
Dallas Museum of Art, The Roberta Coke Campsite Fund, The 500, Inc., Mr. and Mrs. Marker Shepherd, Jr., and General Acquisitions Fund
© Rauschenberg Estate/Licensed past VAGA, New York, NY

By using popular culture images and commonplace materials and processes, Robert Rauschenberg captures the complex weather condition of gimmicky American life. In Skyway, which hung on the outside of the U.S. pavilion at the 1964 World'southward Fair in New York, the creative person juxtaposes a number of disparate images that related to the recent tragedy of John F. Kennedy's bump-off likewise as the vitality and hope of the NASA infinite program and expanding physical infrastructure of the American mural.

This work is the largest of Rauschenberg'south silkscreen paintings. Like pop artists who followed him, Rauschenberg was interested in responding to the existential claims of his abstract expressionist predecessors and turned to pictures found in the popular arena for his subjects, marking a decisive shift in aesthetic sources from nature to culture.
Level 1, Atrium

Portrait and a Dream , 1953
Jackson Pollock
Oil and enamel on canvas
Overall: 58 i/2 10 134 3/four in.
Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated
© Pollock-Krasner Foundation/Artists Rights Club (ARS), New York

The image on the correct side of the canvas has been interpreted as Jackson Pollock'south self-portrait, perhaps partially obscured by some kind of mask. A similar face appeared in numerous drawings Pollock created over the years, which many critics have suggested relates to his experiences with Jungian analysis, a branch of psychiatry that regards some symbols equally universally nowadays in the human being subconscious. On the left, an image of a sketchily painted reclining female effigy may embody the "dream" of the painting'southward championship. Baring his self in a way few other American artists did, Pollock redefined the very grapheme of what it meant to be an artist and to make art in the years just later on Earth State of war 2 and beyond.
Non currently on view

Ascent two , 1970
Bridget Riley
Acrylic on canvas
Overall: 65 1/four ten 126 3/iv ten 2 1/viii in.
Dallas Museum of Fine art, Foundation for the Arts Collection, gift of Mr. and Mrs. James H. Clark
© 1970 Bridget Riley

Bridget Riley is one of the foremost leaders of op art, artwork associated with sensations of movement and color that induce visceral reactions from viewers. Riley and her peers responded to the perceived need in the 1960s for greater audience participation, which Riley answered through psychedelic visual compositions. Inspired by a particular date or location (for case, Riley'south hometown in the south of France), Riley titles and designs the limerick, which is so executed by her administration.
Not currently on view

Dancing Knuckles , 1974
John Chamberlain
Steel and F200paint
Overall: 52 × 53 × 31 in.
Dallas Museum of Art, souvenir of Dr. and Mrs. Harold J. Joseph in honor of Mr. and Mrs. Max Walen
© John Chamberlain/Artists Rights Society (ARS), New York

Throughout his long career, John Chamberlain has transformed a mass-produced commodity—metal used to make cars—into works of art. While visiting a friend, the artist Larry Rivers, in 1957, Chamberlain stripped an quondam 1929 Ford, gathered similar fabric from a nearby junkyard, and created his showtime sculpture. The colors and shapes of the automobile parts tin can be seen equally having the gesture of a three-dimensional brushstroke, simply they project themselves forcefully and undeniably into space as full-on sculpture.
Not currently on view

To Corfu , 1976
Brice Marden
Oil and wax on sail
Overall: 84 10 72 1/2 in.
Dallas Museum of Fine art, Foundation for the Arts Drove, anonymous souvenir
© Brice Marden/Artists Rights Society (ARS), New York

From the beginning of his career in the mid-1960s into the early 1980s, Brice Marden practical a mixture of oil pigment and wax to unproblematic panels of canvas, which were generally joined in groups of ii or more. These paintings, like To Corfu, accept at times been referred to every bit "minimalist," a word that can imply a certain clinical coldness or lack of sensory pleasure. Upon sustained scrutiny, however, Marden's paintings reveal their lively, lush nature; they resonate with interior calorie-free that may summon associations far outside the realm of their purely abstract course. In the four-console To Corfu, Marden references colors associated with the land and water of a Greek island in the Aegean Sea, where he painted the work. Tones of blue and green recall the natural palette of h2o and sky distilled in a repose nevertheless deliberate manner.
Not currently on view

Untitled, 1982–1983
Ellsworth Kelly
Stainless steel
Overall: 120 x 228 x 204 in.
Dallas Museum of Art, commission fabricated possible through funds donated by Michael J. Collins and matching grants from The 500, Inc., and the 1982 Tiffany & Company benefit opening
© 1983 Ellsworth Kelly

Ellsworth Kelly created this imposing however playful sculpture specifically for the 1984 opening of the DMA's Edward Larrabee Barnes Building. The sculpture's curves play with the viewer's perception by swinging outward into space and and so back once again in a graceful juxtaposition. Kelly exploits the manner static shapes seem to motion in space; the result is a beautifully proportioned, refined, and endlessly challenging work of fine art.
Sculpture Garden

Wittgenstein Vitrine (for the 1908 Kunstschau), 1908
Wiener Werkstätte (Vienna Workshops), Vienna, Austria, 1903-1932
Carl Otto Czeschka, Austrian, 1878-1960, designer
Silver, moonstone, opal, lapis lazuli, mother-of-pearl, baroque pearls, onyx, ivory, enamel, glass, and ebony veneers (replaced)
Overall: 66 1/4 ten 24 x 12 five/eight in..
Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Standing over v feet tall, this vitrine, or display case, is the largest and about lavish known example of the silverwork of the Wiener Werkstätte (Vienna Workshops) and a masterpiece of early 20th-century blueprint. Of solid silver encrusted with enamel, pearls, opal, and other stones, the vitrine was intended to be every bit much a work of art as any precious object that could be placed within it. Designed by Werkstätte member Carl Otto Czeschka and presented at the 1908 Vienna Kunstschau (Fine art Bear witness), this vitrine marks the evolution of Viennese modernistic pattern.
Conservation Gallery

Huntingdon Vino Cistern, 1761–1762
Abraham Portal, English language
Silver
Overall: 22 1/2 x 39 in.
Dallas Museum of Art, souvenir of Patricia D. Beck

Weighing close to lxxx pounds, this monumental cistern was made for Frances Hastings, the 10th Earl of Huntingdon, following his appointment to the cabinet of King George III. Originally it would have held ice to chill wine in the earl'south land dwelling house as a grand display of his power and prestige. The cistern itself bears king of beasts-mask handles and both the majestic artillery and those of the Earl of Huntingdon. Hoofed legs connected by a chain form its detachable base. The size of this cistern and the likelihood that such a large slice would accept been melted down as tastes changed make this a especially rare object.
Not currently on view

Eros earrings, tardily 14th century B.C.
Greek
Gold
Overall: 2 1/8 x vii/8 in. (diam.)
Dallas Museum of Art, Cecil and Ida Dark-green Acquisition Fund

This pair of refined, charming earrings demonstrates how classical Greek jewelry was frequently closely tied to sculpture. Carefully modeled torsos create miniature versions of much larger Eros statues. Eros, the god of desire and the child of Aphrodite, was a popular motif on women's earrings, as he promised success in love and attainment of beauty.
Level 2, Ancient Mediterranean Art Galleries

The Light of Coincidences , 1933
René Magritte
Oil on sheet
Overall: 23 five/8 x 28 3/4 10 2 1/4 in.
Dallas Museum of Art, souvenir of Mr. and Mrs. Jake L. Hamon
© C. Herscovici, Brussels/Artists Rights Society (ARS), New York

For René Magritte, painting was a ways of transcending reality to probe life'southward mysteries. With Low-cal of Coincidences, he questions the nature of fine art and reality. He likewise toys with the ambiguity between real space and spatial illusion by incorporating a picture of a sculpted woman's torso within the painting. In this work, Magritte responds to his questions concerning the nature of light, which he believed were only existent when received by an object.
Level 2, European Art Galleries

Identify de la Concorde , 1938–1943
Piet Mondrian
Oil on sheet
Overall: 37 x 37 3/16 in.
Dallas Museum of Art, Foundation for the Arts Drove, gift of the James H. and Lillian Clark Foundation
© 2004 Mondrian/Holtzman Trust, c/o hcr@hcrinternational.com

The Museum has several examples of Piet Mondrian'due south work, including Place de la Concorde, a final summation of the artist'southward long artistic endeavour to embody universal principles in an ascetic pictorial geometry. Beginning in the tardily 1930s, and specially afterward Mondrian moved from Europe to New York in 1940, he was able to attain a new level of creative freedom, giving his afterward works a subtle dynamism and freer color rhythm that animate the restrained severity of his earlier rectilinear style. Identify de la Concorde is fully representative of this development. This linear network, neither rigid nor static, constitutes an blithe and energetic pattern with irregular sequences. Though the painting was completed in New York, its title refers to one of the busiest urban spaces of Paris, and the composition seems to drum with the free energy of the metropolis information technology celebrates.
Level ii, European Art Galleries

Sheaves of Wheat , 1890
Vincent van Gogh
Oil on canvass
Overall: 19 7/8 ten 39 3/four in.
Dallas Museum of Art, The Wendy and Emery Reves Drove

Vincent Van Gogh painted Sheaves of Wheat in midsummer 1890, not long before his suicide on July 27. By offering neither a vast panorama nor the genre elements of workers in the fields, the painting transcends the conventions of traditional landscapes. Van Gogh presents an firsthand sensual prototype that embodies, rather than symbolizes, the powerful richness of nature. With his feature energetic, elongated brushstrokes, the creative person animates the towering bundles of grain. In the powerful image, colour, paint, low-cal, and wheat become one, conjuring upwards the aroma of freshly mowed fields.
Level 3, Wendy & Emery Reves Drove

Protective effigy (jaraik) in the grade of an beast, c. 1900
Indonesia, W Sumatra, Taileleu village
Overall: 70 ten 56 i/2 x 12 in.
Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

One of the most distinctive of all Indonesian sculptures is the protective figure that hung above the archway to the innermost room of the Mentawai clan house. Important ceremonies were held in that sacred space, and women and children slept there at night. With brilliant ambiguity, the curving limbs of this sculpture can be read as the iv legs of a guardian beast, whose real monkey skull seems alert to evil forces, or every bit elements of a composition that symbolizes catholic order.
Level 3, Arts of the Pacific Islands

Kneeling female figure with bowl (olumeye), c. 1910–c. 1918
Olowe of Ise, Nigerian
Wood, pigment, and paint
Overall: 19 1/ii x 10 1/4 ten 14 ane/two in.
Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Traditionally olumeye hold kola basics offered to visitors or deities in a hospitality ritual. Unlike conventional olumeye, this i by the sculptor Olowe of Ise not only celebrates Yoruba aesthetic ideals of feminine dazzler but also focuses attention on the bowl. In addition to existence supported past the large female person figure, the bowl is elevated on the upraised hands of female caryatids kneeling along the border of the base. The dome-shaped lid is decorated with a cluster of feeding birds, and incised geometric patterns encompass the unabridged form. Except for the chapeau, Olowe carved the sculpture from a single slice of wood, as is usual in African art.
Level 3, Arts of Sub-Saharan Africa

Rock crystal ewer, Egypt, late 10th–11th century, Fatimid
Mounts by Jean-Valentin Morel, Sèvres, French republic, 1854
Rock crystal, with enameled gold mounts
Overall: 12 ane/8 in.
The Keir Drove of Islamic Art on loan to the Dallas Museum of Fine art

This impressive carved ewer, cut from a single slice of rock crystal, is considered one of the wonders of Islamic art. Only seven rock crystal ewers of this caliber from the entire medieval Islamic earth are known, and this ewer is the just one of its blazon in the Usa. Elegantly carved plant motifs and cheetahs decorate the Keir ewer. These are characteristic of Fatimid rock crystal, which is ofttimes embellished with stylized vegetal motifs—of Iraqi origin—and animals, such as birds of prey and felines. In 1854 in Sèvres, France, the Keir ewer was set with gold mounts (top, handle, and base of operations) by the renowned goldsmith Jean-Valentin Morel (1794–1860).
Level 3 Landing, entrance to Arts of the Pacific Islands, Red china, and Japan

Front doors from the Robert R. Blacker House (Pasadena, California), 1907
Designers: Charles Sumner Greene and Henry Mather Greene
Manufacturer: Peter Hall Manufacturing Company and Sturdy-Lange Art Glass Studio
Drinking glass, lead, and teak
Overall: 77 1/2 x 149 x 2 in.
Dallas Museum of Fine art, Full general Acquisitions fund with additional back up from Friends of the Decorative Arts, 20th-Century Design Fund, Dallas Symposium, Professional Members League, Decorative Arts Acquisition Fund, and Dallas Glass Club

The Greene brothers were preeminent West Coast architects working in the Arts and crafts way. As 1 of their most significant buildings, the Blacker House was the first and largest of a serial of "ultimate bungalows" that they designed between 1907 and 1909. It is also their nigh Asian-inspired structure. These glass doors are especially pregnant because of their complexity, size, and color.
Level 3, Decorative Arts Galleries

Shiva Nataraja, 11th century
India
Bronze
Overall: 35 x 28 x 10 in.
Dallas Museum of Fine art, 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 Light-green Conquering Fund

In the Hindu tradition, music and dance are a pathway to divinity. The Hindu god Shiva is not merely Lord of the Dance but also the deity of creation, destruction, and rebirth. In his most transcendent class equally Nataraja, the Divine Dancer, he embodies the energy of the unabridged cosmos. Shiva dances the rhythm of the universe, surrounded by flames. With his drum, he beats out the universal rhythm; in another hand he holds the flame of death. His lower hands promise release from the endless wheel of rebirth. His beautiful torso, foot raised in rhythmic dance, and his sweetly expressive face are the incarnation of ability and love.
Level 3, Arts of Southern Asia

Janus reliquary guardian figure, tardily 19th or early 20th century
Attributed to Semangoy of Zokolumga, Gabonese
Brass, copper, iron, woods, and fiber
Overall: 24 3/four x 19 three/iv ten v in.
Dallas Museum of Art, The Eugene and Margaret McDermott Fine art Fund, Inc.

Kota reliquary guardian figures are among the well-nigh abstract depictions of the human figure in African art. Carved from a piece of wood, the figures are clad with precious copper, brass, and iron, which were acquired through merchandise with Europeans. According to Kota religious belief, the extraordinary powers of influential ancestors survived after their decease and could be accessed by their descendants to assure their fertility, prosperity, and general well-beingness.
Level 3, Arts of Sub-Saharan Africa

The Icebergs , 1861
Frederic Edwin Church building
Oil on sail
Overall: 64 1/2 x 112 1/2 in.
Dallas Museum of Fine art, gift of Norma and Lamar Chase

From the moment Church completed this masterpiece, critics praised information technology as "the virtually excellent work of art that had yet been produced in the country." The Icebergs' grand scale and monumentality aptly depict the 19th-century pictorial tradition of the sublime. For the Dallas Museum of Art, The Icebergs remains now, every bit it was more than thirty years ago, an iconic masterpiece of American art and 1 of the Museum's truthful treasures.
Level 4, American Art Galleries

Sentinel , 1925
Gerald Tater
Oil on canvas
Overall: 78 1/2 ten 78 7/8 in.
Dallas Museum of Fine art, Foundation for the Arts Collection, gift of the artist
© Estate of Honoria Murphy Donnelly

The largest of Gerald Murphy'south surviving works, Lookout examines the dichotomy between the resolute predictability of time and the fragility of the mechanism for measuring it. Murphy was a member of the Lost Generation, the group of artistically minded Americans who colonized Paris between the two world wars. His exposure to modern art at gallery exhibitions—and subsequent friendships with Pablo Picasso, Fernand Léger, and Igor Stravinsky—convinced him to go a painter himself. Afterwards studying with the Russian painter and designer Natalia Goncharova, Murphy embarked upon a brusque-lived career. His oeuvre contains only fourteen works of art, of which only eight remain in existence. This painting is ane of two in the Museum'due south collection.
Level 4, American Art Galleries

Eccentric flint depicting a crocodile canoe with passengers, c. A.D. 600–900
Guatemala, Maya culture
Flint
Overall: 9 3/4 x 16 1/iv ten 3/four
Dallas Museum of Fine art, The Eugene and Margaret McDermott Fine art Fund, Inc., in honor of Mrs. Alex Spence

The ancient Maya perfected the fine art of chipping flint to create apartment blades that were deposited in caches during dedication rituals for architecture and rock monuments. This case is one of the most elaborate known. Maya fine art ofttimes shows deceased kings existence carried to the afterlife in crocodile-class canoes, paddled by gods. That is 1 interpretation of the imagery here. Others refer to the Maya story of creation, especially the rebirth of the Maize God, and to Maya astronomy, where the movements of the stars reenact the events of creation.
Level iv, Ancient Art of the Americas

Formalism mask, A.D. 900–1100
Peru, north declension, Sicàn culture
Gold, copper, and paint
Overall: 11 3/4 x 17 iii/viii x one 3/4
Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc.

Extraordinary metallurgical production distinguished the Middle Sicàn period (A.D. 900–1100), and this mask in the DMA collection is a choice example. It besides depicts the face of the most important human being figure in Sicàn art, a mythic or religious figure called the Sicàn Lord.
Level 4, Ancient Art of the Americas

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Source: https://dma.org/art/selected-highlights-dma-collection

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