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He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.
This book is both a survey of the major European and American works in The Phillips Collection in Washington, D.C., and a guide to the museum's holdings and significance. A study of the history of taste in twentieth-century America, it documents the evolution of modernism as well as the pivotal role played by Duncan Phillips (1886-1966) as a critic and collector.
This selection of the art writings of Duncan Phillips (1886-1966), the early twentieth-century art critic, collector, and patron, is the first gathering of these texts into a publication devoted exclusively to this essential side of the man who founded The Phillips Collection in Washington, D.C. In late 1918, Phillips took a leap of faith when he conceived a unique private art museum in the nation's capital at the end of World War I as a setting for a dialogue between the art of the past and the present with an emphasis on defining what is modern from a distinctively personal perspective. Phillips's extensive writings were the primary instruments through which he expressed and shared his views alongside the artworks he regularly acquired and exhibited in curated installations that were regularly renewed in fresh rearrangements. This book is not a comprehensive assembly of Phillips's art writings but a representative compendium of his views over the course of his lifetime. The selection includes examples from his early efforts while a student at Yale University (class of 1908) to his thoughts in 1964, two years before his death, on the artist Mark Rothko (1903-70), whose work is inextricably linked to the Phillips Collection through the Rothko Room, the first such dedicated space (est. 1960) for the artist's work in a museum.