the Discovery Pack

t h e p h i l l i p s d i s c ov e ry Pac k
Find the paintings
illustrated on these cards
There is no particular order to the cards,
so start with your favorite! Use a visitor
guide and the map inside to find your way
through the museum.
Explore the works
of art together
Your ideas and opinions about the works
of art can create conversations with your
family and friends. Use your imagination
and have fun!
Help us protect the
paintings for the future
Please stay about two feet from them at all
times. Be careful not to touch the paintings,
as oils from your hands may damage them.
Pierre-Auguste Renoir (1841–1919). Luncheon of the Boating Party, 1880 –1881. Oil on canvas;
51 1/4 x 69 1/8 in. The Phillips Collection, Washington, D.C. Acquired 1923.
The title of this painting is Way to the Citadel.
A citadel is a building that is used as a fortress
and is usually taller than the buildings around it.
Do you think the citadel is in the painting? If so,
where? If not, where do you think it might be?
Where do you think the red arrows would
lead you? Why do you think Klee included the
arrows in his painting?
Paul Klee (1879 –1940). The Way to the Citadel, 1937, 137. Oil on canvas mounted on cardboard;
26 3/8 x 22 3/8 in. The Phillps Collection, Washington, D.C. Acquired 1940.
© 2009 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
Horace Pippin (1888 –1946). Domino Players, 1943. Oil on composition board; 12 3/4 x 22 in.
The Phillips Collection, Washington, D.C. Acquired 1943.
Jacob Lawrence (1917–2002). The Migration Series, Panel no. 1: During World War I there was a great
migration north by southern African Americans, 1940 –1941. Casein tempera on hardboard; 12 x 18 in.
The Phillips Collection, Washington, D.C. Acquired 1942.
hope
fear
happiness
danger
peace
sadness
love
adjectives
nouns
verbs
ex: BIG
ex: TREE
ex: FLY
1.
1.
1.
2.
2.
2.
3.
3.
3.
Now use the word bank that you created to write a few sentences that could
describe this painting for someone who has never seen it before.
Franz Marc (1880 –1916). Deer in the Forest I, 1913. Oil on canvas; 39 3/4 x 41 1/4 in.
The Phillips Collection, Washington, D.C. Gift from the estate of Katherine S. Dreier, 1953.
Arthur G. Dove (1880 –1946). Red Sun, 1935. Oil on canvas; 20 1/4 x 28 in.
The Phillips Collection, Washington, D.C. Acquired 1935. Courtesy of and copyright,
The Estate of Arthur G. Dove.
William Merritt Chase (1849 –1916). Hide and Seek, 1923. Oil on canvas; 27 5/8 x 35 7/8 in.
The Phillips Collection, Washington, D.C. Acquired 1923.
F r a n c i s c o J o s é d e G oya & e l g r e c o
The Repentant
St. Peter
These two paintings are among the oldest at the Phillips.
They are important because the museum’s founder, Duncan
Phillips, hoped that paintings from the past would inspire
visiting artists. Both El Greco and Goya depicted Saint
Peter, an important figure in the Christian religion. El Greco
painted many pictures of the saint, but this was an unusual
subject for Goya, who generally painted landscapes,
portraits, and patriotic scenes.
F r a n c i s c o J o s é d e G oya & e l g r e c o
The Repentant
St. Peter
Look closely at the two paintings and describe
them below. How are they the same? How are
they different?
El Greco
E l G r e c o G oya
G oya
Colors
Expression
Facial features
(eyes, nose, mouth)
Gesture
Clothes
Background
Why do you think Duncan Phillips would
have wanted two paintings of the same
person in his collection?
As you walk through the museum, compare your
impressions of these two paintings to other depictions of
people that you see. What similarities can you find in the
way the artists painted the pictures?
Francisco José de Goya (1746 –1828). The Repentant St. Peter, circa 1820 –1824. Oil on canvas;
28 3/4 x 25 1/4 in. The Phillips Collection, Washington, D.C. Acquired 1936.
El Greco (1541–1614). The Repentant St. Peter, 1600 –1605 or later. Oil on canvas; 36 7/8 x 29 5/8 in.
The Phillips Collection, Washington, D.C. Acquired 1922.
BARBAR A HEPWORTH
DUAL FORM
E L L S W O R T H K E L LY
UNTITLED
Dual Form by English sculptor Barbara Hepworth greets
visitors near the front of the courtyard. American artist
Ellsworth Kelly specifically created Untitled for the back wall
of the courtyard. He believes that “pictures should be on
the wall…[they] should meet the eye.” Both are made with
bronze, yet Kelly’s sculpture arches and reaches towards the
sky while Hepworth’s piece remains solidly grounded to the
courtyard floor. This comparison is one of many to discover
as the conversation between these two works of art unfolds.
Please help us keep our visitors and sculptures safe
by staying at least two feet away from the artwork.
BARBAR A HEPWORTH
DUAL FORM
E L L S W O R T H K E L LY
UNTITLED
Move around Hepworth’s sculpture and discover how
your view changes at each angle. Crouch down and
peer through the holes. What do you see from this
perspective? Curl your body into the shape of the hole.
How does it feel to be this part of the sculpture? Stretch
your body and arms into the shape of the outside form.
How does this feel compared to the shape of the hole?
Move towards Kelly’s sculpture. What do you notice?
Bend your body into the shape of the sculpture. Notice
how it appears to be moving up. Stretch your body up as
high as you can and imagine the sculpture peeking over
the courtyard wall. What would you see? Imagine if the
sculpture came alive. Act out how it would walk. Act out
how it would dance. If it had wings, how would it fly?
Barbara Hepworth (1903–1975), Dual Form, 1965, cast in 1966. Bronze; 72 in. high. The Phillips
Collection, Washington, D.C. Acquired with the Dreier Fund for Acquisitions and additional funds
from Natalie R. Abrams, Alan and Irene Wurtzel, and a bequest from Nathan and Jeanette Miller, 2006.
Ellsworth Kelly (b. 1923), Untitled, 2004. Bronze; 63 3/8 x 117 1/8 x 21 7/8 in. Edition: 1 of 2 (EK 927)
The Phillips Collection, Washington, D.C. Commissioned in honor of Alice and Pamela Creighton,
beloved daughters of Margaret Stuart Hunter, 2006. © Ellsworth Kelly