Hands On: Crafting Sustainable Furniture From Tree to Table
When the fireplace gets hot enough in Martin Goebel’s parents’ house, you can smell the sap from the white-pine plank dining table. It’s the smell that once occupied the backyard. Goebel’s grandfather planted the pines in the ’60s. After a recent ice storm, the pines had to come down. Goebel, founder of Goebel & Co. Furniture, a three-year-old artisan furniture company in St. Louis, repurposed the pines by building the table for his parents. Now when his parents’ friends come over to have fondue dinners or to talk of old times, the heat activates the sap. And the sap activates aromas and memories for Goebel and his parents. Quietly, in the background of the conversation, Goebel’s mind is flooded with thoughts of his grandfather.
“It is different for everybody, but there is a nostalgic reaction that people have with furniture. It gives an experience that is not just visual. There are smells and textures that remind us of something – sometimes it is the way a rough edge feels or the story behind a scratch. Furniture is more than an elevated surface,” Goebel says.
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Figure to Field: Mark Rothko in the 1940s
June 23, 2013 – September 29, 2013
Mark Rothko in the 1940s traces the development of Rothko’s work during the most critical decade of his career. In the early ’40s, Rothko rejected realism and began a series of abstract works meant to evoke classical myth; in the late ’40s he created his first color field paintings, the works on which his stature as one of the most famous American painters of the post-war period rests. The exhibition also includes paintings by other celebrated abstract expressionists such as Robert Motherwell, Clyfford Still, and Jackson Pollock, who shared Rothko’s search toward total abstraction.
Figure to Field: Mark Rothko in the 1940s will be on view through September 29, 2013.
More Mark Rothko Content:
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Canaletto Masterwork Restored
Following nearly one year of conservation treatment, an Italian masterwork discovered in the Denver Art Museum storage is on view. Since spring 2012, we have been writing updates about behind-the-scenes discoveries and decisions related to the restoration.
In November 2011, the DAM was awarded a grant from The European Fine Art Fair (TEFAF) Foundation to restore a painting in its collection that had recently been attributed to 18th century Venetian painter Giovanni Antonio Canal, called il Canaletto.
The painting, Venice: The Molo from the Bacino di S. Marco, was bequeathed to the DAM by Charles Edwin M. Stanton and accessioned into the collection in 2009. Prior to Mr. Stanton’s purchase of the work in London, the provenance of the painting is not known. It is not recorded in any catalogues as a work by Canaletto. Research led Canaletto scholar Charles Beddington to accept the work as an early work by the painter.
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