San Antonio Museum of Art

Thank you, Ruben C. Cordoba, for the thorough review of “Ángel Rodríguez-Díaz’s: The Goddess Triptych Reunited” for Glasstire. The exhibition is on view through January 26, 2025. https://lnkd.in/grEA_7wW

This Juneteenth, we honor and commemorate the emancipation of enslaved Black Americans. Although the Emancipation Proclamation was issued in 1863, it was not enforced in Confederate-controlled territory until June 19, 1865 at the end of the American Civil War. The holiday’s name is a combination of the words “June” and “nineteenth.” Today the Museum is celebrating the work of Black American artist Edward Mitchell Bannister. In “After the Bath,” Bannister expertly depicts a pastoral scene in the Barbizon style: a group of geese leave their bath and walk into a barn, observed by a man and woman. Bannister’s work was driven by the desire to demonstrate Black excellence in painting, which some critics alleged was impossible. He was successful: in 1876, he became the first Black artist to receive a national award. Bannister’s skill is a testament to the importance of celebrating the legacy of Black arts and culture today. __ Edward Mitchell Bannister, American, 1828–1901, “After the Bath,” ca. 1891, Oil on canvas, 36 x 49 in. (91.4 x 124.5 cm), San Antonio Museum of Art, Gift of Harmon and Harriet Kelley, 94.61.

To celebrate #WaterMW, we are featuring “Ghosts of the Old Mississippi: Dismal Swamp/Northern Lights” by San Antonio artist Liz Ward. Water is the foundation of all life, and this work demonstrates the often-fraught relationship between water sources and humans. By using a variety of materials and deep, earth-tone colors, Ward highlights the changes that industry and geoengineering have visited upon the Mississippi River at the same time as she investigates cultural and familial ties to it. Liz Ward, American, born 1959, “Ghosts of the Old Mississippi: Dismal Swamp/Northern Lights,” 2015, Watercolor, gesso, silverpoint, pastel, and collage on paper , 71 5/8 × 31 7/8 in., San Antonio Musuem of Art, purchased with The Brown Foundation Contemporary Art Acquisition Fund and funds provided by Dr. Katherine Moore McAllen, Dr. Dacia Napier, Edward E. (Sonny) Collins III, and The Sheerin Family, 2021.7. © Liz Ward #museumweek #sanantoniomuseumofart

The Museum is rich in history, and the nature surrounding it is equally significant. For #UrbanNatureMW, we want to highlight our beautiful outdoor spaces. From the Sculpture Garden to the Taihu Rock, our outdoor areas provide a serene environment to connect with nature. Stroll through the Sculpture Garden, where you’ll encounter the ancient heritage oak. Believed to have sprouted around 1715, this oak predates the construction of the Lone Star Brewery complex by 180 years, which began in 1895. #MuseumWeek #SanAntonioMuseumofArt #UrbanGardens

Join us in celebrating the diversity of life on our planet for #WorldEnvironmentDay and #BiodiversityMW! Artists are consistently interested in depicting how we relate to nature. “Still Life with Parrot” demonstrates this interest through adapting a traditionally European genre of painting to the context of daily life in Puebla, Mexico during the nineteenth-century. Sitting among a variety of fruits is a Yellow-Headed Amazon, a parrot native to Mexico and Central America which is currently endangered. As endangered status and biodiversity loss continue to threaten many species, it’s critical to foster #EcoAwareness and celebrate #LifeOnEarth! “Still Life with Parrot,” 19th century, Oil on canvas, 21 1/2 x 29 1/2 in., San Antonio Museum of Art, The Nelson A. Rockefeller Mexican Folk Art Collection, 85.98.97. #MuseumWeek #SanAntonioMuseumofArt

Happy #PrideMonth! Join us throughout June as we celebrate the extraordinary contributions of the LGBTQIA+ community to art. This marble head belonged to an over-life-size statue of the emperor Hadrian’s companion Antinous. A favorite of the emperor, the two remained close companions until Antinous’ untimely death in 130 AD, when he tragically drowned in the Nile. While some ancient sources suggest his death was an accident, others speculate that Antinous either volunteered or was forced, to sacrifice himself on Hadrian’s behalf. Hadrian elevated the deceased youth to divine status and named a new city in Egypt “Antinoopolis” in his honor, and he commissioned many portrait statues of Antinous. The worship of the new god spread rapidly throughout the eastern provinces of the Roman Empire. Festivals were held in Antinous’s honor, and his likeness appeared on the coins of more than thirty cities. The cult of Antinous continued into the fourth century AD, nearly two hundred years after his death. To the present day, Antinous has continued to inspire a diverse array of artists and writers, and he remains an evocative figure for the LGBTQIA+ community and even an object of worship for some. #SanAntonioMuseumofArt #History

For the first day of #MuseumWeek, we are highlighting what happens #BehindTheScenesMW at the museum! One key aspect of behind-the-scenes curatorial research at SAMA is provenance research, which focuses on the history of an artwork’s acquisition by various collectors, auction houses, and museums. Provenance research can reveal the previously unknown context of artworks. “The Suspension Bridge” was first purchased by Dr. Paul Gachet, who is famous for providing care to and encouraging the work of Vincent van Gogh at the end of his life. Dr. Gachet developed close relationships with many impressionist artists at this same time, including Pissarro, Cézanne, and Guillamin, from whom he purchased the painting. After Dr. Gachet’s death, his children auctioned the painting to Wildenstein & Co., Inc., where it was purchased by Gilbert Denman, longtime friend of the museum, in 1959. Finally, in 2005, the work was given to SAMA in Denman’s will. Does added context to a painting’s history make you experience it differently? Armand Guillamin, French, 1841-1927, “The Suspension Bridge,” ca. 1873, Oil on canvas, 12 1/2 x 18 1/4 in., San Antonio Museum of Art, Bequest of Gilbert M. Denman, Jr., 2005.1.174.

Come Curious, Leave Inspired: Become a Docent at SAMA! Ready to embark on a journey of discovery? Become a docent at the San Antonio Museum of Art, and dive into the vibrant world of art, culture, and education. As a docent, you’ll share your love for learning with visitors from all walks of life. No formal experience in art or history is necessary—just bring your eagerness to learn and to explore! Being a docent at SAMA involves leading tour groups through our Museum’s galleries and sparking meaningful conversations about the artworks on display. Whether engaging with schoolchildren or adult learners, your enthusiasm and dedication will inspire curiosity and foster a deeper appreciation for the arts. Docents commit to at least three years of service, including comprehensive training sessions during the academic year. After completing the training, you’ll have the opportunity to lead tours and share your knowledge with our visitors weekly. SAMA is seeking both English and bilingual Spanish speakers. Ready to take the first step? Apply online from our volunteer page by July 31 and let your journey as a SAMA docent begin. Learn more: https://lnkd.in/gpfW8Cjb

The "Lovers & Fighters: Prints by Latino Artists in the SAMA Collection" exhibition has been featured in this week's Glasstire Top 5! Have you had a chance to see it yet? https://lnkd.in/gaC58Jn7

This 1929 bowl was designed by Japanese American artist Kataro Shirayamadani, a prolific designer and painter for Cincinnati-based Rookwood Pottery Company. During his decades-long career, he painted vessels with delicate pictures of the natural world. He created more designs for the company than any other artist—including this whimsical “three elephant” compote bowl in our collection. Shirayamadani’s particular artistic vision helped shape the aesthetic of American art pottery and art nouveau. In celebration of #AAPIheritagemonth, we are highlighting artworks from our permanent collection throughout May. Kataro Shirayamadani (Japanese, 1865 - 1948), "Three Elephants" Bowl, Rookwood Pottery, Cincinnati, Ohio (1880 - 1967), Cincinnati, Ohio, United States, North and Central America, Japanese American, 1929, Glazed ceramic, 10 7/8 in. (27.6 cm) diam, San Antonio Museum of Art, Bequest of Maryelle "Skip" Dodds Scritchfield, 2001.53.7, Rookwood Stamp on bottom with "XXIX", beneath Rookwood stamp is "6062".