Kimbell Art Museum

Did you know the hair and beard style of a mummy mask can help us date it?

That is certainly the case for our “Mummy Mask,” which was created c. A.D. 120-170.

The style of the mask’s facial hair follows Roman imperial trends. In this case, they are typical of second-century Rome, made fashionable by the emperor Hadrian and the Antonine dynasty.

Masks like this one were usually cast in a clay mold, with individualized features such as the hair and beard worked in plaster with a spatula and the ears added separately.

They were also often painted—on this mask, traces of pigment remain visible on the lips, patches of gold leaf appear on the beard and hair, and the eyes are inlaid in glass.

at this mask on view in the south gallery of the Kahn Building.
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“Mummy Mask,” Roman, c. A.D. 120-170. Kimbell Art Museum

No one creates dramatic light effects quite like J. M. W. Turner.

Born on this day in 1775, Turner sought to go beyond mere observations of nature by including momentous events from the past within his landscapes as moral lessons.

"Glaucus and Scylla” addresses an episode from Ovid’s “Metamorphoses” in which the sea god Glaucus hopes for the favor of the beautiful ocean nymph Scylla. Turner depicts her fleeing from the outstretched arms of her would-be lover, whose hopes have been dashed by the jealous and vengeful Circe, daughter of the Sun, who loves Glaucus.

To frighten Scylla away from him, Circe turned Glaucus into a sea monster. Circe will later transform Scylla into a rock, and Turner probably alludes to this with the two red outcroppings aglow on the distant horizon.

See this painting on view in the south gallery of the Kahn Building.
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Joseph Mallord William Turner, “Glaucus and Scylla,” 1841. Kimbell Art Museum

Earth, water, fire, or air: Which element of nature do you most enjoy seeing depicted in art?

Happy Earth Day!
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Claude Monet, “Weeping Willow,” 1918–19; Jacob van Ruisdael, “Rough Sea at a Jetty,” 1650s; Gerrit Dou, “Dentist by Candlelight,” c. 1660–65; François Boucher, “Boreas Abducting Oreithyia," 1769

Do you consider yourself creative or innovative?

Today is World Creativity and Innovation Day! This day was designated by the United Nations to raise awareness of the roles of creative industries, including audiovisual, design, new media, performing arts, publishing, and visual arts.

While these industries pave the way to create more opportunities and inspiration, it’s up to you to seek ways to add more creativity and innovation to your life. What better place to start than at the museum?

It’s always free to visit the Kimbell’s permanent collection, where you can learn more about artists who pushed the boundaries of art to expand various movements and techniques across centuries.

Plan your next visit: https://kimbellart.org/visit
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Photography by Chad Redmon, Kimbell Art Museum

Which visual medium of Joan Miró’s do you prefer: painting or sculpture?

Born on this day in 1893, Miró was a Spanish artist who created abstract and Surrealist art.

Early in his career, Miró presented “Portrait of Heriberto Casany” at a group show in 1918. The subject’s spindly fingers and the folds in his tweed suit jacket resemble those of the robes worn by saints depicted in medieval Catalan frescoes with gold backgrounds. However, the disconcerting green, yellow, and violet shadows and the vivid and cartoonish features are undeniably modern.

Post-World War II, the artist started to fashion little statuettes of whimsical figures. He began to develop his ideas as sculpture at full scale in the 1950s and 1960s, embarking on a second career as a sculptor expressly interested in art for public spaces.

The female creature with arms outspread was his favorite sculptural subject, and “Woman Addressing the Public” is his grandest and ultimate statement of the theme.

See these works on view in the south gallery and the east entrance of the Kahn Building.
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Joan Miró, “Portrait of Heriberto Casany,” 1918; “Woman Addressing the Public: Project for a Monument,” 1980–81. Kimbell Art Museum

Here’s one more thing to look forward to at the end of the week: Kimbell Casual Fridays!

Bring friends and a sense of adventure for interactive gallery experiences that mingle different ways of looking at art through guided conversation, sketching activities, and the occasional friendly competition.

This free, 45-minute program occurs once a month during the Kimbell Café’s regular Happy Hour. No reservations necessary—just show up ready to have some fun.

Upcoming themes for this program include “Baroque & Boogie” on April 19, “’Staches & Style” on May 24, “Scents & Seasons” on June 21, “Mystery & Mayhem” on July 26, and “Cheers & Fears” on August 16.

Discover upcoming Kimbell Casual Fridays: https://kimbellart.org/calendar?series%5B0%5D=443
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Photography by Robert LaPrelle, Kimbell Art Museum

Some people may like to travel via car, plane, bike, or on foot, but this princely deity prefers to be carried on the back of a lion. ✨

at “Manjushri on a Lion,” a 12th-century gilt bronze sculpture. Of the many deities that played a role in Chinese Buddhism, Manjushri (in Chinese, “Wenshu”), the bodhisattva of wisdom, is among the most appealing.

He is usually presented as a youthful, bejeweled prince seated atop a lion, and he carries a book of truth and a sword that cuts through the darkness of ignorance.

The medium used to create this work is as exquisite as it looks. Some of the finest religious works, especially during the Song dynasty (A.D. 960–1279), were executed in bronze.

Although many paintings of Manjushri dating from the 13th to the 15th century are still in existence, sculptures—particularly gilt-bronzes of this size—are extremely rare. This work from our permanent collection is in excellent condition.

Admire this sculpture in the north gallery of the Kahn Building.
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“Manjushri on a Lion,” Chinese, c. 1150–1300. Kimbell Art Museum

Guess who’s returning to the Kimbell next week?

On Tuesday, April 23, one of the most beloved paintings in our collection will be back on view after nearly nine months on loan at the Art Institute of Chicago and the Toledo Museum of Art.

Consider this artwork detail your hint! Do you recognize this masterpiece?

“The passion for painting was innate in me. This passion has never failed, perhaps because it has always increased with time; even today, I experienced all its charm, and I hope that this divine passion ends only with my life.” – Élisabeth Louise Vigée Le Brun in her three-volume memoir, “Souvenirs”

Vigée Le Brun’s self-portrait depicts her in a favorable light. Here, she is a radiant woman with a creamy complexion, brilliant eyes, and crystal earrings. She wears a simple, yet elegant, muslin gown and her hair is delicately curled.

In this portrait, she is not an artist, but a lady of high society. She is indistinguishable from her patrons—who included, most notably, Queen Marie Antoinette.

Happy birthday to Vigée Le Brun, born on this day in 1755! See this painting on view in the south gallery of the Kahn Building.
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Élisabeth Louise Vigée Le Brun, “Self-Portrait,” c. 1781. Kimbell Art Museum

On World Art Day we want to hear from you: Who do you consider the most well-known artists in the world?

Many prolific and acclaimed artists’ works can be seen at the Kimbell, such as Henri Matisse, Isamu Noguchi, Pablo Picasso, Rembrandt, Ito Jakuchu, Michelangelo, and Caravaggio. Whether they excelled in their technique, created new styles, or redefined what “art” is, these artists impacted the world.

Happy World Art Day! Scroll through to see a selection of works represented in our collection.
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Henri Matisse, “L'Asie (Asia),” 1946; Isamu Noguchi, “Constellation (for Louis Kahn),” 1980–83; Pablo Picasso, “Man with a Pipe,” 1911; Rembrandt van Rijn, “Bust of a Young Jew,” 1663; Ito Jakuchu, “Two Gibbons Reaching for the Moon,” c. 1770; Michelangelo Buonarroti, “The Torment of Saint Anthony,” 1487; Caravaggio (Michelangelo Merisi), “The Cardsharps,” c. 1595. Kimbell Art Museum

The sky is the ultimate art gallery above us.

On this Look Up at the Sky Day, celebrated annually on April 14, we encourage you to admire the sky wherever you are. Then, look at the skies displayed so poignantly in these paintings from our collection!

➡️ “Edge of a Forest with a Grainfield” by Jacob van Ruisdael captures the grandeur of a blue sky filled with billowing clouds and distant, high-flying birds.

➡️ Paul Cézanne’s hallmark manner of applying color in short parallel strokes creates density in the sky shown in “Maison Maria with a View of Château Noir.”

➡️ In Thomas Gainsborough’s “Suffolk Landscape,” the sunset provides a colorful gradient across the sky above the English countryside.

➡️ Storm clouds roll in over the beach in “La Pointe de la Hève at Low Tide” by Claude Monet. A bit of blue sky peeks through in the center of the composition.

Which sky in the Kimbell’s collection is your favorite?
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Jacob van Ruisdael, “Edge of a Forest with a Grainfield,” c. 1656; Paul Cézanne, “Maison Maria with a View of Château Noir,” c. 1895; Thomas Gainsborough, “Suffolk Landscape,” mid-1750s; Claude Monet, “La Pointe de la Hève at Low Tide,” 1865. Kimbell Art Museum

How much time do you take to look at a work of art when you visit a museum? Thirty seconds? Two minutes? Five minutes?

Today, museums and galleries around the world celebrate Slow Art Day, a day where you, the visitors, are invited to look slowly at art.

Participating is easy! Whether you try slow looking today or during your next museum visit, we recommend choosing 3 to 5 works for this exercise. Challenge yourself to look at each one for 5 to 10 minutes.

Here are a few guiding questions you can answer while looking:

1. How do the color(s) or material(s) in this composition support the theme or subject?

2. How does this work make me feel? What aspects of the work make me feel this way?

3. What personal experiences might have driven the artist to create this? Do I relate to these experiences?

4. What details do I find most interesting, charming, or impressive?

However you choose to take it slow, we hope you’ll feel the transformative power of stopping to take a longer look. Plan your next visit: https://kimbellart.org/visit
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Photography by Chad Redmon, Kimbell Art Museum

How might your pet be represented in art? Furry, feathered, and scaly companions can be found in works of art across time and genre in our collection.

Happy National Pet Day! Swipe through to see just a handful of our more domesticated animals.
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Ferdinand Georg Waldmüller, “Dog Guarding a Basket of Grapes” (detail), 1836; “Rooster” (detail), Roman, c. A.D. 400; George Stubbs, “Lord Grosvenor's Arabian Stallion with a Groom,” c. 1765; Jacques de Gheyn II, “Vase of Flowers with a Curtain” (detail), 1615; Thomas Gainsborough, “Suffolk Landscape” (detail), mid-1750s; Jacopo Bassano (Jacopo dal Ponte), “The Supper at Emmaus” (detail), c. 1538; “Horse and Rider,” Chinese, 2nd–1st century B.C.; Giovanni Bellini, “Christ Blessing” (detail), c. 1500; Louis-Léopold Boilly, “Portrait of Monsieur G. Giving his Daughter a Geography Lesson,” 1812. Kimbell Art Museum

If you lived in Kyoto in the 13th century, you would have visited a temple to pray to a sculpted representation of the bodhisattva Nyoirin Kannon for your wishes to be granted.

Because of the boundless love he offered to all beings, this was the most popular of all the Buddhist deities throughout Asia.

at this work of art to appreciate the divine details.

This gracious image shows the deity seated in a pose of royal ease. One hand touches the cheek, with a left arm braced against the lotus pedestal (now missing).

Of the other four arms, one of the right hands holds the jewel, and one of the left hands holds a lotus. The raised left arm would originally have had a wheel balanced on the upright finger, and the lowered right arm would have held a rosary.

See this depiction of the Nyoirin Kannon on view in the north gallery of the Kahn Building.
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“Seated Nyoirin Kannon,” Japanese, c. 1230–50. Kimbell Art Museum

🎶 A total eclipse of the art 🎶

Here in Fort Worth, Texas, we’re preparing to observe the total solar eclipse. This is the first total eclipse in nearly 146 years—the last one took place over our city in 1878!

As the moon passes over the sun, viewers may feel an eerie energy as everything becomes darker and more still. This feeling is also captured in Edvard Munch’s “Girls on the Pier” (c. 1904).

Exaggerating line and color to create haunting, even ominous, moods, Munch portrays a world charged with anxiety. It is the setting, rather than the girls’ poses and expressions, that suggests they may be brooding about their identities or desires.

They appear absorbed, like the painter, in their observations of the water, the pier, and the nearby Grand Hotel.

The nearest girl turns away from her friends toward the viewer, but her face is blank, mirroring the full moon hovering in the sky.

See this work on view in the south gallery of the Kahn Building.
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Edvard Munch, “Girls on the Pier,” c. 1904. Kimbell Art Museum

The tooth-puller is a frequently depicted subject in Dutch and Flemish art from the 17th century.

In “Dentist by Candlelight,” Gerrit Dou displays his legendary virtuosity in rendering still-life objects, the effects of artificial light, and the nuances of emotional states.

All the scene’s familiar components are incorporated in Dou’s work, including the long-suffering patient and concerned onlooker, here his wife.

The anxious, open-mouthed patient rolls his eyes upward to see the sharp-toothed crocodile suspended above him. The crocodile is not a result of artistic license, but rather a display often seen on the premises of barber-surgeons during this period.

Celebrate Dou’s 411th birthday today by scrolling to admire the details of this work. Please note that this painting is not currently on view.
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Gerrit Dou, “Dentist by Candlelight,” c. 1660–65. Kimbell Art Museum

The legend of Saint Ursula recounts how the virtuous daughter of a British Christian king, having reached Cologne on her return from a pilgrimage to Rome, was slaughtered by Huns along with her entourage of eleven thousand companions.

Take note of the thrusting diagonals in this composition. Peter Paul Rubens orchestrated the throng of figures––maidens, soldiers, and angels––to bridge heaven and earth.

At the calm center is Saint Ursula, portrayed as a princess with her tiara and pearl necklace. She stands on the brink of martyrdom, as her tormenters prepare to impale her with spear and sword.

Above, a flight of angels dispenses wreaths and palms as Ursula prepares to be united with the Madonna and Child in heaven.

See this painting on view in the south gallery of the Kahn Building.
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Peter Paul Rubens, “The Martyrdom of Saint Ursula and the Eleven Thousand Maidens,” c. 1615–20. Kimbell Art Museum

Jean-Honoré Fragonard was the last and perhaps the greatest of the French Rococo painters. But did you know he also painted works inspired by 17th-century Dutch landscapes?

These landscapes, such as “The Pond” from our permanent collection, were created to appease his clientele who appreciated the simpler, more naturalistic style of the Dutch School.

For this work, he was directly inspired by Jacob van Ruisdael’s “Wooded Landscape with a Pond,” which can now be seen at the Museum of Fine Arts, Houston.

From Ruisdael’s painting, he borrowed the sandy road, disposition of the trees, and open expanse of blue sky. Fragonard added his own colorful notes to the composition, including a barking dog and two women who appear to be fishing for crayfish.

Happy birthday to Fragonard, born on this day in 1732!

Please note that this work is not currently on view. Learn more: https://kimbellart.org/collection/ap-196803
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Jean-Honoré Fragonard, “The Pond,” c. 1761–65. Kimbell Art Museum

Happy Qingming!

Also sometimes called Tomb Sweeping Day, this Chinese holiday is over 2,500 years old and is dedicated to remembering and honoring the deceased. This is a time to clean and decorate tombs, burn incense, and make food offerings to ancestors.

In honor of Qingming, let’s take a closer look at this ceramic tomb guardian from the Tang Dynasty.

Also called earth spirits, or “zhenmushou” (grave-quelling beasts), these guardians took the form of fantastic hybrid creatures composed of various animal and sometimes human elements and were placed in the tomb in pairs to ward off any malevolent beings who threatened to intrude.

This earth spirit stands in a posture of conquest as it subdues a snarling beast, its left arm entwined with a serpent. The evil it quells takes the form of a horned, hoofed beast that is trampled underfoot.

Triple horns, bulging eyes, and a bare-teethed grimace add to the spirit’s ferocious appearance. The composite elements, such as the horns, claws, fangs, and tiger stripes, possibly give it the fearsome qualities of various animals.

See this sculpture on view in the north gallery of the Kahn Building.
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“Earth Spirit,” Chinese, first half of the 8th century. Kimbell Art Museum

Pick up a Café Conversation Starter when you attend Kimbell Happy Hours!

Each card features a thought-provoking question about art. Draw one from the stack on your table, head into the galleries, and start conversations about art with friends, family members, significant others, or even yourself.

Happy Hours happen every Friday from 5 to 7 pm. Learn more: https://kimbellart.org/calendar?series%5B0%5D=344
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Photography by Chad Redmon, Kimbell Art Museum

April showers bring . . . more opportunities to connect with art at the Kimbell!

Visit kimbellart.org/calendar to see what’s happening at the museum this month.
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Photography by Chad Redmon, Kimbell Art Museum

Did you know if you say "gullible" slowly it sounds just like "orange"? Try it and let us know if you can hear the similarity.

Happy April Fools’ Day! 😉

In all seriousness, you can admire this exceptional group of oranges in “Still Life with Oranges, Jars, and Boxes of Sweets” by Spanish still-life painter Luis Meléndez.

Meléndez scrupulously rendered the textures and forms of the closely grouped fruit and containers. In 1772, he claimed it was his intention to depict “every variety of comestible which the Spanish clime produces.”
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Luis Meléndez, “Still Life with Oranges, Jars, and Boxes of Sweets” (detail), c. 1760–65. Kimbell Art Museum

How many motifs in this painting allude to the theme of Resurrection? On this Easter Sunday, let’s take a closer look at this impressive work by Italian artist Giovanni Bellini.

“Christ Blessing” vividly portrays the central mystery of the Christian faith: the incarnation, when Christ—fully human and fully divine—was sent to earth to redeem humankind.

Golden rays of light emanate from the top and sides of his head, signaling his divinity. The message of Christian compassion is conveyed by his wounds of suffering, which are lightly visible on his hand and chest.

In the landscape behind him, the withered tree with the solitary bird probably stands for the Old Covenant. The pair of rabbits signify regeneration, while the shepherd tending his flock is a reminder that Christ, himself, is the “Good Shepherd.”

The three robed figures at the right edge are the three Marys, who are hurrying to tell the disciples of the empty tomb.
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Giovanni Bellini, “Christ Blessing,” c. 1500. Kimbell Art Museum

Not just anyone can capture the composure of a matador who was said to have killed over five thousand bulls without getting injured.

at this work by master portraitist Francisco de Goya, who was unrivaled for his capacity to explore the depth and range of human passions.

In his portrait of the famous matador Pedro Romero, the finery of the subject’s costume complements his charismatic good looks. This work was painted shortly before Romero retired from the bullring and several years after Goya became deaf due to a serious illness.

Later, in 1799, Goya would go on to achieve the position of first court painter for the Spanish royal court in Madrid, where he continued to refine his portrait skills with nobility and government officials.

Happy birthday to Francisco de Goya, born on this day in 1746!
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Francisco de Goya, “Portrait of the Matador Pedro Romero,” c. 1795-98. Kimbell Art Museum

“The Stonecutters” by Jean-Baptiste-Camille Corot was first publicly displayed after the artist’s death.

The painting was included in a retrospective of Corot’s work held in 1875 in Paris. This was the first public homage to the fame of the deceased master, and the inclusion of this work speaks to its importance in the artist’s oeuvre.

The scene is set along the outskirts of Paris. A stonecutter is shown swinging his mallet, alongside a horse-drawn cart already full of hewn rock.

As the horses turn to carry the wagon’s heavy load of stones, the viewer might speculate that their destination is Paris—a vast urban reconstruction project carried out in the 1870s required millions of tons of stone.

See this painting on view in the south gallery of the Kahn Building.
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Jean-Baptiste-Camille Corot, “The Stonecutters,” c. 1872–74. Kimbell Art Museum

Let the Kahn Building be your reminder to practice this art affirmation!

Designed by Louis I. Kahn and opened to the public in 1972, this feat of architecture is made to wow visitors on both the inside and outside.
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Photography by Robert LaPrelle, Kimbell Art Museum

In much of Renaissance portraiture, individuals were not always as attractive as the artworks created to portray them.

This is the case with this sculpture of a woman, who may represent Isabella d’Este, Marchioness of Mantua.

The most celebrated woman of her day, Isabella cultivated one of the most illustrious courts in Renaissance Italy. She was a passionate patron who invited the most renowned artists in Italy, such as Gian Cristoforo Romano, to decorate her private quarters in the Ducal Palace.

Isabella was not as attractive as she would have liked, and often complained that her portraits were unflattering.

If this bust indeed represents Isabella, she must have been pleased, since it presents an idealized beauty that represented Isabella’s virtue.

See this sculpture on view in the south gallery of the Kahn Building.
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Attributed to Gian Cristoforo Romano, “Portrait of a Woman, Possibly Isabella d’Este,” c. 1500. Kimbell Art Museum

The north gallery of the Piano Pavilion is now reopened!

After completing routine maintenance, we’re happy to have select works from our Ancient American and African collections on view in this space once again.

Admire these works of art in person during regular museum hours. Plan your visit: https://kimbellart.org/visit
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Photography by Chad Redmon, Kimbell Art Museum

Holi, a popular Hindu festival, celebrates the triumph of good over evil. To mark the occasion, let’s take a closer look at this 13th-century bronze sculpture of Vishnu.

In the Hindu pantheon, Vishnu is the Preserver, a benevolent god who keeps the world safe from natural calamities and protects the righteous.

In his role as preserver of the universe, Vishnu conquers various personifications of evil. He is a martial deity, so his attributes are mainly weapons or objects related to battle.

His multiple arms symbolize his manifold powers. The lower right hand makes the gesture of reassurance (“abhayamudra”), and the lower left hand makes the boon-giving gesture (“ahuyavaramudra”).

The other two arms hold his attributes: a wheel-shaped discus thrown in war to cut down the opposition and a conch shell battle trumpet used to strike terror into the heart of the enemy.

We wish a colorful and joyous Holi to all who celebrate!

See this sculpture on view in the north gallery of the Kahn Building.
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“Vishnu,” Indian, 13th century. Kimbell Art Museum

The coquettish gaze of this Edo-period beauty may cause you to do a double take.

This painting of a young woman dressed in an eye-catching, boldly patterned black kimono is a rare work by the early “ukiyo-e” artist Torii Kiyonobu, the son of a kabuki actor and theatrical design painter.

Her stylized hair and facial features are typical of fashionable portraits of ladies produced during this period. Her demure pose and elegant attire capture the seductive qualities popular among patrons of the pleasure quarters.

However, Kiyonobu wanted to draw special attention to her intricate garment. The kimono features red, ocher, and blue peonies painted over the jacquard weave. Gold outlines around the flowers and the garment's edges further enhance the richness of the fabric and liveliness of the pattern.

See this hanging scroll on view in the north gallery of the Kahn Building.
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Torii Kiyonobu, “Beauty in a Black Kimono,” 1710–20. Kimbell Art Museum