Yes, It was donated!!!! I saw it there and at The Met when MoMA lent it to them for a Vinnie exhibition.
When I was living in MA a bank I worked for sponsored the Hammer Collection when it came to Holyoke. Now that guy knew his art.
The Armand Hammer Collection consists primarily of paintings and works on paper by French nineteenth-century masters, including Jean-Baptiste-Camille Corot, Paul Gauguin, Edouard Manet, Claude Monet, and Camille Pissarro. It provides an impressive overview of the major movements of nineteenth-century French art, with significant examples of realism, orientalism, the Barbizon school, impressionism, postimpressionism, pointillism, and symbolism. Portraiture and landscape both figure prominently in this collection, and several artists are represented by more than one work. The five paintings by Corot range from his small Study of Medieval Ruins (c. 1829–34), an early oil sketch made directly from nature, to his highly finished, large-scale romantic landscape Pleasures of Evening (c. 1875; fig. 2). There are two major paintings by French symbolist Gustave Moreau, including the sublime and evocative Salome Dancing before Herod (1876; fig. 4), considered the masterwork of the artist’s career. In contrast to the monumental scale of Moreau’s work, two still lifes by Henri Fantin-Latour (see fig. 3) are examples of a more intimate genre that found less critical success but had a favorable commercial market.
Four paintings by Vincent van Gogh offer insight into his artistic development during his relatively brief career. The somber tonalities of Garden of the Rectory at Neunen (1885) are typical of works produced in his native Holland. The bright palette and irregular brushstrokes of Lilacs (1887) and The Sower (c. 1888), both painted after he moved to Paris, show the influence of contemporary French art. Hospital at Saint-Rémy (1889; front cover) depicts the view from the garden of the private asylum van Gogh entered the year before his death. The rhythmic, flamelike brushstrokes of this work are characteristic of a number of paintings he produced during this important period.
A small but wide-ranging group of European old master paintings includes works by Jean-Honoré Fragonard, Francisco de Goya y Lucientes, Rembrandt van Rijn, Peter Paul Rubens, Tintoretto, and Titian. An early work by Rembrandt, Portrait of a Man Holding a Black Hat (c.1637), dates from the period when he was a successful portrait painter in Amsterdam. The centerpiece of the old master collection is Rembrandt’s Juno (c. 1662–65; back cover). The opulently dressed goddess–wearing a crown and holding a golden scepter and accompanied by her traditional attribute, a peacock–is rendered in the subtle golden tones and spontaneous brushwork characteristic of the artist’s later works.
Works by American artists form a significant part of the Hammer collection, which includes representative examples by eighteenth- to twentieth-century artists, among them George Bellows, Mary Cassatt, John Singer Sargent, Gilbert Stuart, and Andrew Wyeth. Sargent’s Dr. Pozzi at Home (1881; fig. 1) portrays the prominent Parisian gynecologist and art collector wearing a long red dressing gown. The informality of the portrait represents a departure from typical contemporary portraits of men in their studies or surrounded by references to their professions. Dr. Pozzi and other full-length portraits of the period helped establish Sargent as one of the most important portrait painters in Europe and America during the late nineteenth century.
The Armand Hammer Daumier and Contemporaries Collect-ion, which is also part of the Hammer Museum’s permanent collection, focuses on the well-known nineteenth-century French caricaturist Honoré Daumier. Comprising more than seventy-five hundred works, this is one of the most extensive groups of the artist’s paintings, drawings, sculptures, and lithographs in the world. It also includes satirical drawings and prints by Daumier’s contemporaries. These works humorously convey a great deal about nineteenth-century French politics, culture, and social life. Two smaller groups of prints by Théodore Gericault and American George Bellows also attest to Hammer’s interest in prints, particularly lithographs, and help to contextualize the graphic work of Daumier. Gericault was at the vanguard of artistic use of the new medium of lithography in the early nineteenth century. He worked on a number of lithographic series throughout his career, representing various urban subjects, horses, and scenes of the Napoleonic Wars. Bellows’s lithographs are dominated by scenes of prizefighters, war, and contemporary American urban life.
Both the Armand Hammer and the Armand Hammer Daumier and Contemporaries Collections traveled internationally throughout the 1980s. In November of 1990 Hammer opened the current museum to house his collections. His commitment to sharing his collections with the public continues today with ongoing exhibitions from the collection at the Hammer Museum as well as frequent loans from the collections to other international museums.
Text by Cynthia Burlingham, deputy director of collections, and Carolyn Peter, assistant curator.
Notes
1. Armand Hammer gave a large collection of works on paper to the National Gallery in Washington, D.C., in 1987. See also John Walker, ed., The Armand Hammer Collection (New York: Harry N. Abrams, 1980), and Honoré Daumier, 1808–1879: Armand Hammer Daumier Collection (Los Angeles: Armand Hammer Foundation, 1981).
Writings on the Wall
This fall, the Museum is pleased to inaugurate “Writings on the Wall,” a series of extended wall labels for selected works in the collection. We invite you to rediscover your favorite paintings through the eyes of contributors Ricky Jay, Diane Keaton, Steve Martin, Martin Mull, Mary Woronov, and Bruce Yonemoto, whose short, personal, and insightful essays accompany their selections. Guest curator for this project is Victoria Dailey.
Describing James Ensor’s Flowers in the Sunlight, Mull writes, “this painting exists from the picture-plane outward. … What is astounding is that despite the fact that the painting was necessarily created over a period of time, the excitement of that initial split-second vision has not only been maintained but heightened. It is a picture of the instant examined.”
Above: John Singer Sargent, Dr. Pozzi at Home, 1881, oil on canvas. Detail. The Armand Hammer Collection, Gift of the Armand Hammer Foundation. Inset: Vincent van Gogh, Hospital at Saint-Remy, 1889, oil on canvas. Detail. The Armand Hammer Collection. Gift of the Armand Hammer Foundation.Current Exhibitions
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