If the arts are ever going to be a really important part of Americans’ lives, they can’t be seen as a frill, an add-on, something to do in one’s spare time. They have to be integrated with
everyday life. That’s one reason I like “Picturing America,” the National Endowment for the Humanities program I wrote about here and here, and that’s why I like a new program of the Philadelphia Museum of Art — “Adventures in Modern Art.”
Like “Picturing America” — which uses American art works to teach American history — “Adventures in Modern Art” uses paintings, made in this case between 1900 and 1950 and drawn
mostly from the Charles K. Williams II Collection, to show teachers in grades K-12 how the visual arts can help them teach their courses (beyond art). It’s part of the Philadelphia museum’s “Visual Arts as Sources for Teaching” program.
The course was developed to coincide with an exhibition of the Charles K. Williams II Collection, which includes Charles Sheeler’s Neighbors, 1951, above left, and Charles DeMuth’s Gloucester – Sails and Masts, 1919, at right. It will be on view at the Philadelphia Museum from July 12 through Sept. 13.
“Adventures in Modern Art” is in no way equivalent to “Picturing America,” which involves an extended curriculum, laminated reproductions, lesson plans, book lists, a deep website, and other resources for teachers. The Philadelphia museum is, however, relating them (smartly): it’s offering a one-week course for teachers who have the “Picturing America” materials before its own one-week “Adventures in Modern Art” course in late July.
Now about that collection/exhibit (also including Oscar Bluemner’s Composition for Color Themes, 1932, above right, and Arthur Dove’s Gear, 1922, at left). It consists of about 100 works
collected since the early 1980s by Williams, an archeologist and Director Emeritus of the Corinth Excavations of the American School of Classical Studies in Athens. He inherited his wealth, and seems to have collected wisely: Aside from those pictured here, there are said to be lots of significant works by Stieglitz Circle painters Georgia O’Keeffe, John Marin and Marsden Hartley; Precisionists Ralston Crawford and George Ault; and Philadelphia modernists Arthur B. Carles, Hugh Henry Breckenridge, and Earl Horter. It also includes Thomas Hart Benton’s The Apple of Discord and a rare landscape drawing by American Regionalist Grant Wood. Plus, there are sculptures by Elie Nadelman, John Storrs, Alberto Giacometti, and Louise Nevelson.
Williams has, according to a museum spokeswoman, given some works to the museum and he has promised a group of the most important works. He has also bequeathed the rest to the museum upon his death.
It sounds as if another trip to Philadelphia is in order — and so soon after Cezanne and Beyond.
Photo Credits: Collection of C.K. Williams, II. Images courtesy of Will Brown.