California as Muse: The Art of Arthur & Lucia Mathews at Oakland Museum of California - A Retospective Exhibition

California as Muse 

The Art of Arthur & Lucia Mathews

Oakland Museum of California

October 28, 2006 – March 25, 2007

The Oakland Museum of California presents California as Muse: The Art of Arthur & Lucia Mathews, a major retrospective of the signature artworks, furnishings, and decorative objects by the couple considered among the outstanding California artists of the twentieth century.

Organized by Harvey L. Jones, senior curator of art, California as Muse includes nearly 150 works by Arthur Frank Mathews and Lucia Kleinhans Mathews, creators of what has come to be known as the California Decorative Style, a unique fusion of artistic European influences at the turn of the last century and the ideals of the International Arts and Crafts movement— in a California setting.

The exhibition includes the Mathewses’ light-filled landscapes, murals, and stained glass, carved frames and furniture, graphic design and illustrations, and decorative pieces. More than two-thirds of the objects are from the museum’s collection.

“Arthur and Lucia Mathews are among the most important rediscoveries from a long list of neglected California artists,” said Harvey L. Jones, “a result of (belated) attention from scholars and collectors to the art history of California. It has become the privilege of the Oakland Museum of California to maintain the artists’ visibility.”

Arthur Mathews (1860-1945) was born in Wisconsin; Lucia Mathews (1870-1955) was a native San Franciscan. The couple met in 1893 at the Mark Hopkins Institute of Art, in San Francisco, where Arthur served as director and teacher. Lucia was enrolled in his women’s life class. Arthur was by then an established artist who had studied in Paris, where in 1886 he won the first Grand Gold Medal to be awarded at the Académie Julian in several years. Lucia had spent a year at Mills College before coming to the Institute. They married in 1894 and toured Europe in 1898-99, returning to San Francisco so Arthur could resume his teaching duties.

The 1906 earthquake marked a turning point for the Mathewses. In keeping with the philosophy of the Arts and Crafts movement, they sought to help rebuild San Francisco, incorporating aesthetic standards in the design and production of practical necessities. Gathering around them a loosely defined circle of like-minded artisans, architects, city planners, and dreamers, they threw themselves into the re-conceptualization of San Francisco.

With local entrepreneur John Zeile Jr., they established the Furniture Shop, which produced their designs along with commissioned work. Built on Zeile family land, at 1717 California St., the Furniture Shop was the first artists’ studio to open for business after the Great Fire. For 15 years the Mathewses successfully combined their art with commerce, serving commercial and residential clients.

The Furniture Shop was also home to Philopolis Press, which published the monthly magazine Philopolis (“published for those who care”) and books and ephemera (note cards, calendars, bookmarks) designed by Arthur and Lucia that are prized as collectors’ items.

Although the Mathewses did occasionally collaborate and shared a love of the rich, nuanced tones in nature, each had a distinctive style. Arthur was a traditionalist and man of his time, but also made many contributions to modern California art. His paintings and murals often drew on classical references, with mythological figures placed in idyllic California settings, dancing or admiring the bountiful land and vistas. His skills and prodigious output as an architectural designer, graphic designer, and painter defy categorization.

From the foundation of Arthur’s vision Lucia Mathews developed her own personal style and philosophy. Her work centered on images of children, botanicals, and landscapes. Lucia’s work may have proved more enduring vis-à-vis popular appeal and contemporary art sensibilities. Her portraits, painted screens, and floral studies seem remarkably fresh today.

An authority on the Mathewses’ lives and work, Harvey Jones has presented two previous exhibitions of their work at the museum, in 1972 and 1985. For California as Muse, Jones has published a companion book, The Art of Arthur & Lucia Mathews (Pomegranate, 2006), with a foreword by Kenneth Starr and an essay by Kenneth R. Trapp.

OAKLAND MUSEUM OF CALIFORNIA

10th & Oak Streets, Oakland, CA 94607

www.museumca.org

Sculpture by Bruce Beasley: A 45-Year Retrospective at Oakland Museum of California

Sculpture by Bruce Beasley: A 45-Year Retrospective

Oakland Museum of California

April 16 – July 31, 2005 

One of the first things visitors notice as they enter the Oakland Museum of California from 10th Street is a clear polygon rising from the open-air koi pond. This is Tragamon, a cast-acrylic sculpture by Oakland abstract artist Bruce Beasley, created and installed in 1972. On sunny mornings the sculpture acts as a prism, refracting the light up the museum steps in bright bands of color.

The Oakland Museum of California presents Sculpture by Bruce Beasley: A 45-Year Retrospective, the first retrospective survey of his work. The exhibition covers more than four decades of Beasley’s sculpture, and includes approximately 75 works in aluminum and acrylic, cast and fabricated bronze, stainless steel, iron, granite, and wood. A tableau of the artist’s studio, with his tools and examples of his collection of animal skulls and other source material, are also on display.

“ The museum decided to offer a retrospective of Bruce’s work now to mark this milestone year in his career and to pay tribute to the completion of Vitality, his 37-foot bronze commissioned by the city of Oakland for the Frank Ogawa Plaza,” said Philip Linhares, chief curator of art at the museum. “We’ve long admired Bruce’s thoughtful, analytical work, and its unexpected emotional content.”

The Oakland Museum of California organized the Beasley retrospective and produced the exhibition catalog. Published by Wilsted & Taylor, Oakland, the catalog includes a foreword by Linhares; essays by Albert Elsen, noted professor of art history at Stanford University, and Los Angeles critic Peter Frank; a personal statement by the artist; an illustrated chronology; and photography by M. Lee Fatherree.

In his essay, Peter Frank notes, “Beasley hews to modernism’s formalist position, the art-for-art’s-sake strain that has constituted the bedrock of modernist practice for a century and a half. Being a good modernist, however, he has always been engaged in and influenced by innovation, not novelty, but true inventiveness. What makes Beasley the artist he is is the integrity of the art he makes.”

BRUCE BEASLEY - BIOGRAPHY

Born in Los Angles in 1939, Bruce Beasley is recognized as one of the most noteworthy and innovative sculptors on the West Coast. He began his art studies at Dartmouth College before transferring to the University of California, Berkeley art department in 1959. His timing was excellent: Berkeley was the epicenter of a revival in sculpture in the late 1950s. Beasley was exposed to distinguished sculptors Sidney Gordin, Richard O’Hanlon, Harold Paris and, most importantly, Peter Voulkos. Beasley joined Voulkos, Paris, and foundryman Donald Haskin to build the Garbanzo Works, a foundry in west Berkeley where they created major works in cast bronze and aluminum.

Even as a student Beasley’s dynamic and space-enveloping sculptures generated interest: his work Chorus was acquired by New York’s Museum of Modern Art, making him the youngest artist at the time to be included in its permanent collection. After graduation, he was one of 11 sculptors to represent the U.S. at the Biennale de Paris in 1963. His piece Icarus was acquired by Minister of Culture Andre Malraux for the French National Collection. This led to acquisitions by Le Musée d’Art Modern in Paris, the Solomon R. Guggenheim Museum, and prominent private collections.

Bruce Beasley bought a run-down warehouse complex in west Oakland in 1964 and turned it into a foundry and living quarters. His early works from the 1960s used iron from industrial scrap he found at junkyards and cast aluminum. By mid-decade Beasley’s work was characterized by his forthright interest in technical experiments and new technology and by his involvement in the arrangement of elementary structures, especially crystals. By the end of the 1960s he had turned to a new medium—cast, clear acrylic, an untried material with daunting technical hazards.

Bruce Beasley approached the DuPont Corporation in 1968 for technical and financial support to produce a monumental cast-acrylic sculpture commissioned by the state. DuPont instead donated a generous amount of acrylic material and Beasley began his casting experiments. In 1969 he made a major breakthrough in casting technology, creating a process that enabled him to produce Apolymon, the 13,000-pound commissioned work. This technology also made possible the creation of an all-transparent bathysphere in 1976 for underwater exploration and the large clear walls in today’s aquariums. His innovation was awarded a commendation by NASA and was the subject of a television program produced by the Smithsonian Institution in 1991.

After a decade of prolific production in cast acrylic, Bruce Beasley turned to large-scale metal sculpture. In 1978 he created three large metal pieces, for the Miami International Airport, a state office building in San Bernadino, and the San Francisco International Airport. In 1983 Beasley created Arristus, a 14-foot stainless steel piece for the Djerassi Foundation, in Woodside, California. That same year Stanford University purchased his 28-foot stainless steel sculpture Vanguard. He created a 32-foot piece, Artemon, for the 1984 Los Angeles Olympic Games.

In 1988 Bruce Beasley began conceiving his pieces on a computer, and was one of the first artists to use computer-assisted design (CAD) technology. He learned and modified a three-dimensional computer solid-modeling system to visualize complex geometric relationships prior to construction. His progress was interrupted by the 1989 Loma Prieta earthquake; his studio, only blocks from the collapsed Cypress Freeway, was damaged. Within a year he resolved his technical problems associated with the precision of his new style and created Pillars of Cypress, cast from the freeway’s crushed rebar steel.

Bruce Beasley has traveled to Japan, Mexico, China, Hong Kong, Germany, Alaska, and Spain to lecture and attend exhibits and installations of his work. In 1998 he visited Egypt for the Cairo Biennale; the Egyptian government purchased his sculpture, Ally II, for its national collection. His travels to the prehistoric caves of France and Spain and his collection of Oceanic and Alaskan art and artifacts have served as important source material.

A self-described “unrepentant modernist,” Bruce Beasley advanced the idea of sculpture with formal structures that could be simultaneously observed in multiple views, and in changing and reflecting light, as in Tragamon (the gift of Dr. and Mrs. Frederick Novy). The museum’s retrospective of his work demonstrates the artist’s growth, range, and ingenuity over the past four decades. Never static, Bruce Beasley continues to work from his West Oakland compound, using new materials and new technologies.

OAKLAND MUSEUM OF CALIFORNIA

10th & Oak Streets, Oakland, CA 94607

www.museumca.org