Monthly Archives: July 2018

San Antonio Riverwalk Views

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Summer’s pretty pleasant here in the not-so-hot reaches of Illinois. Up in the sky.
And down toward the ground, where strange critters lurk.
So pleasant that I’m taking a week off from work and posting. Back on August 5.

Both of the places I visited in San Antonio recently were near the San Antonio River and thus the Riverwalk. So I took a few minutes each time to go down to the river.

Near the King William District, the walk was almost deserted.
Temps were in the 90s, of course, which might have contributed to it, but I suspect not many people come this way anyway.

A few do. Here’s a view of the Arsenal Street Bridge.

A view from the Arsenal Street Bridge, looking north toward downtown San Antonio.
The building poking over the trees, with the flag, is the Tower Life Building, though I’ll always think of it has the Smith-Young Tower, completed in 1929. One of the city’s finest office buildings. I understand that once upon a time, my civil engineer grandfather had an office there.

After visiting the Briscoe Museum, I walked over to the Riverwalk — it’s only a short distance away — at one of its more touristed spots.

This is the Arneson River Theatre.
The stage is on the north side of the river, while 13 rows of grass are on the south side for seating. Just another idea of the Father of the Riverwalk, H.H. Hugman, finally realized as the WPA built the Riverwalk in the late ’30s. Arneson was the WPA engineer who was to have been in charge of building the Riverwalk, but he died before the project really got under way.

The San Antonio Museum of Art

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Besides the Briscoe, last Tuesday I visited the San Antonio Museum of Art, which is just north of downtown and also happens to be no charge in the late afternoon and early evening every Tuesday.
The SAMA complex is a major adaptive reuse project from the 1980s. The former Lone Star Brewery, whose solid brick buildings dated from the late 19th and early 20th centuries, was transformed into the museum, complete with neon-decorated skybridge on the fourth floor. Sounds Vegas-like, but it isn’t garish.

The museum has a sizable collection befitting its location in a sizable city, including ancient Egyptian, Greek and Roman art, North American, Latin American and Spanish colonial pieces, collections representing Japan, Korea, and India, three galleries of Chinese works from early times to later dynasties, Near Eastern art, an Oceania gallery and more.

I decided to focus on two of the museum’s strengths — art from Antiquity, especially Rome, and Latin American folk art — though I did spend some time looking at American paintings and Texas artwork.

Here’s something that gets your attention, or ought to, right when you enter SAMA’s commodious Roman art gallery.
A second-century CE statue known as the Landsdowne Marcus Aurelius. Wonder what the original colors looked like.

“Begun by Gavin Hamilton (1723-98), one of the most prominent British explorers of classical sites of the eighteenth century, the Lansdowne Collection came to hold more than one hundred stellar examples of classical statuary, displayed in a specially designed gallery in Lansdowne House in London,” says a blurb for Reconstructing the Landsdowne Collection of Classical Marbles.

“The collection, however, was dispersed in the years after 1930, and its works are now scattered across the globe.”

This particular one wound up at SAMA, a donation of the 20th-century American owner of the piece, a rich fellow I’ve run across before: Gilbert Denman Jr. In fact, he left his collection of ancient art to the museum, making the gallery possible.
Another Denman bequest: the Lansdowne Trajan. The Romans were clearly not shy about official nudity.
A beat-up portrait of Hadrian.

Here’s something you don’t see every day: Etruscan art.
In this case, a lid from a sarcophagus. Considerably worn, with an unsettling face that looks at us from across 25 centuries or so. As historical peoples go, the Etruscans are a half-remembered fragment of a haruspical dream.

I also spent time at the Latin American Folk Art gallery, which is part of the Nelson A. Rockefeller Center for Latin American Art. Rockefeller had his hobbies, and one of them was collecting Latin American folk art.

As the NYT reported when the center opened about 20 years ago: “When Nelson A. Rockefeller made his final trip to Mexico in 1978, several months before his death, his eye was drawn to a small hacienda surrounded by a picket fence along a rural road in Oaxaca. Atop each picket was a tall, strangely striking figurine made of rough pottery.

“The former Vice President stopped the car, walked to the door and discovered the shop of a family of potters. Each statue on the fence had been damaged somehow in the making and just perched on the fence to help advertise the shop. They were evocative pieces spanning many years, left to bake in the Mexican sun. Rockefeller bought them all.”

These fellows greet you at the gallery.
Molds for papier mache figures, ca. 1930, artist unknown, from Celaya, Mexico.

The work of another unknown artist.
A Parachico Mask (Mascara de Parachico) from Chiapas, Mexico. Polychromed wood, glass, ribbon and cactus fiber. Ca. 1970 and about as funky as can be.

By contrast, the artist of these delightful creations is well known.

They’re painted earthenware by Candelario Medrano, a Mexican artist who died in 1988. “Medrano began his career by producing toy whistles, mermaids, roosters, and other animals,” the museum says. “Later, he placed them on airplanes, boats, towers, merry-do-rounds and trucks, thereby creating delightful and colorful scenes of fantasy.”

As usual, the museum isn’t selling postcards based on artwork that would make unusual cards, like this.

“The Psychoanalyst (El Psicoanalista),” ca. 1994 by Jose Francisco Borges of Brazil.

The Amy & V.H. McNutt Sculpture Garden

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Just outside the Briscoe Western Art Museum in downtown San Antonio is the Amy & V.H. McNutt Sculpture Garden. It’s shady, so even on a hot day it was pleasant for a short visit.
V.H. McNutt was a mining engineer who made a fortune in potash in New Mexico in the 1920s. Later he and his wife owned a large ranch near San Antonio. The McNutt Foundation is in San Antonio even now.

Many of the sculptures involve Native American themes. Such as “Strength of the Maker” (1990) by Denny Haskew.
“Bird Woman” (2001) by Richard Greeves.
“Rainmaker” (1998) by John Coleman.
“Dance of the Eagle” (1986) by Allan Houser.

“Crow Brave with Fan” (1985) by Doug Hyde. Unlike most of the other pieces in the courtyard, a work in granite.

“Chief Quanah Parker” by Jim Reno. No date noted that I could see, but I suppose before 2008, since the artist died that year.
Quanah Parker had a prominent place at the small museum at Palo Dura Canyon State Park that I visited earlier this year. He was one of the leaders the last of the Comanches’ big raids, the Battle of Adobe Walls, in 1874.

The statue’s a good one, and he certainly looks like a Comanche war chief, though it would be more interesting if Quanah Parker’s statue looked like this.

This is “Thank You Lord” (2011) by Harold Holden.

And a detail from “El Caporal” (2015) by Enrique Guerra.
Detail because he appears to be driving some bronze cattle, not pictured here, ahead of him.

The Briscoe Western Art Museum

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On Tuesdays, the Briscoe Western Art Museum in downtown San Antonio — in full, the Dolph and Janey Briscoe Western Art Museum — offers free admission from 4 to 9 p.m., so after wrapping up my work that day last week, I decided to visit within that window of discount opportunity. It’s still a fairly new museum, open only since 2013, so I’d never been.

The building, which is on W. Market St., is not new. It was the main city library from 1930 to 1968, so I don’t remember it as that, though my mother and grandparents would have known it.

The lobby is striking. This image was taken before the installation of a reception desk toward the back, and a large bronze, John Coleman’s “Visions of Change.” A lot of restoration apparently went into bringing the interior roughly back to its library-era look.

For some decades after the library moved, the building housed the Hertzberg Circus Collection, an enormous array of circus artifacts that the library used to own. That I remember. Vaguely. I know I went once as a kid. Around the beginning of the 21st century, the Witte Museum acquired the collection and plans were laid for the current museum.

Something like the Eiteljorg Museum in Indianapolis, the Briscoe focuses on art from both the Indian and non-Indian populations of the West, but it also has a lot of artifacts. In nine galleries on three levels, that includes paintings, sculptures, guns and other weapons, such as a fancy sword owned by Santa Anna, saddles — Pancho Villa’s and Roy Rogers’ — jewelry, Mexican santos and retablos, a chuck wagon, a replica stage coach, and a collection of spurs that takes up an entire wall.

There are some Texas touches, such as a windmill in motion. Other Western states have them, but windmills have a special place in the history of Texas.

There’s a de facto shrine to Dolf and Janey Briscoe in the form of Dolf’s desk and some other items. As you’d expect, the Briscoes donated art and ponied up money to make the museum possible.
Good old Dolf. I think of him as a mellow governor, as befitting his ’70s time in office. I’m sure that’s nonsense, though: you don’t get to be a successful politico, much less governor of a large state, by being mellow. Not even if you start out as one of the richest men in the state. Rich in a traditional Texas way, too: a vast ranching operation. None of this microchip or cyber-fortune wealth for Dolf (well, maybe he branched into all that before he died in 2010).

My own favorite item in the museum: a large diorama behind glass walls depicting the storming of the Alamo. Carelessly, I didn’t check to see who created it, though it might be the work of one Tom Feeley. The museum’s web site is unhelpful in telling me. But whoever it was did a first-rate job.

The diorama includes all of the walls standing at the time of the siege, plus the buildings, and thousands of two- or so inch figures — armed Mexicans and Texians, horses, cannons — all done with incredible attention to detail. It captures the moment when the defenders, surrounded on all four sides by masses of Mexican soldiers, are about to be overwhelmed; but they’re still fighting.

Headphones are attached to a low wall below the glass, and you can listen to short items about various participants in the battle — the big three of Travis, Crockett and Bowie, of course, but also Susanna Dickinson, Joe (Travis’ slave), Gen. Cos and Santa Anna.

Near the diorama is a life-sized bronze of Travis, “Col. Travis — The Line” by James Muir, who specializes in heroic and allegorical work. That is, it depicts Travis drawing his famed line in the sand. A se non è vero, è ben trovato sort of story if there ever was one.

The artists in the museum’s temporary exhibit were a little unexpected: Andy Warhol and Billy Schenck. The Warhol part of the exhibit is very late Warhol (he died the next year): his 1986 Cowboys & Indians series. The artist gave his colorful and instantly recognizable treatment to the likes of John Wayne, Annie Oakley, George Custer, Geronimo and TR, among others.

Warhol might have been at risk, in earlier decades, of being a hopelessly dated artist, one whose reputation is forever stuck in the 1960s. Somehow he seems to have avoided that.

I’m less familar with Billy Schenck, who, unlike Warhol, is still alive and working. He’s “Warhol of the West,” according to the museum, and there are some similarities, especially in his generous displays of color. On the whole, he’s a match for Warhol. His work on exhibit at the Briscoe includes a number of the pieces in the slideshow at his web site.

The King William District in July

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Just back from eight days in San Antonio. Most of the time I visited with family or worked, since my kind of work is mobile. Also, temps in the high 90s and sometimes over 100 degrees F. discouraged me from too much wandering around during the day.

Even so, last Sunday toward the late afternoon I drove down to the King William District, which is leafy this time of year and so not quite unbearably hot, and took a few short walks.

“The district encompasses land that was once irrigated farm land belonging to the Mission San Antonio de Valero, commonly known as the Alamo,” the City of San Antonio says. “When the mission was secularized in 1793, the lands were divided among the resident Indian families from the mission or sold at public auction. In the 1860s the area was subdivided into lots and laid out with the present streets.

“In the mid-nineteenth century… a great many Germans, who had immigrated to Texas in the 1840s, began to settle in this area… The area developed into an idyllic neighborhood of large, impressive houses designed in the Greek Revival, Victorian, and Italianate styles.

“The main street into the neighborhood was given the name King William in honor of King Wilhelm I, King of Prussia in the 1870s. During World War I, when America was at war with Germany, the name was changed to Pershing Avenue. A few years after the war ended the King William name was restored.”

These days there’s a Pershing Ave. in San Antonio, but it’s further north, fittingly not far from Fort Sam Houston. By the mid-20th century, the King William District was run down. By the late 20th century, restoration was under way.

One of my short walks took me along King William St., which is an important street in the district, but hardly the only one. The array of houses made me think of the East End Historic District in Galveston. In King William, there are large and historic houses such as the Villa Finale.
The Steves Homested. One of these days, I’ll take the tour.Edward Steves was a successful businessman in lumber in San Antonio in the 19th century, and Steves & Sons, which makes doors, is still around. I went to high school with a girl who was descended from Steves on her mother’s side.

There are plenty of other large and not-so-large houses on the street, most of which are worth a look.
That last one is the Alfred Giles House. One the architect of that name designed for himself. He’s thought to have done the Steves Homestead, and he certainly designed a lot of buildings in Texas, including some county courthouses (such for Goliad County and Presidio County) and even some in Monterrey, Mexico.

High Summer Misc.

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Time for a high summer break. Back to posting around July 22.

Last night around midnight I spent a few pleasant minutes on my deck. Temps were neither hot nor cold, the noise from traffic was subdued, and Mars hung above the garage, a pretty orange point of light. The suburban haze dimmed it some, of course, but not enough to obscure the planet as a object of contemplation.

We, as in human beings, could go to Mars if we really wanted to. So far we don’t. The people who will go there might not be born yet, but I think they will go.

Closer to home, I visited a mall recently and decided to document something that might not be around much longer.

The same retailer has a location in Chicago — a neighborhood store, smaller than the suburban locations, that I drive by sometimes — that’s closing. Or maybe it has already. I wouldn’t mind documenting it either, but it would be a pain in the butt to find parking, and then a vantage to get a good shot.

In another store, an actual bookstore that sells other things, I saw these recently.

I know there are a lot of variations on Monopoly, but Deadpool Monopoly? Walking Dead Monopoly? Golden Girls Monopoly?

Somewhere out there is a collector of Monopoly editions. Must be hard to keep up. Or maybe the Smithsonian, or the Library of Congress, has tasked itself to preserve a copy of every edition. Maybe not. Maybe Golden Girls Monopoly will be highly prized for its rarity by collectors during the Monopoly craze of the 2160s.

Finally, a picture of Independence Day fireworks here in suburban Chicago.

Not a great picture. But not bad for a phone camera.

Grandpa Tom

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Learned today that a high school friend of mine, Tom — another Tom, not the one we visited Mexico City with, but rather the one in this picture — has lately become a grandfather.

He’s about six months older than I am. I knew this particular Tom as far back as fourth or fifth grade, pushing 50 years ago, when we hung out a lot. Less in high school, but still a fair amount. Both of us were Class of ’79. Went to his wedding in 1986.

It’s a tempus fugit moment. Circle of life, that sort of thing. Guess it’s going happen more often in the coming years, just as there was a wave of weddings among my contemporaries beginning in the mid-80s and then a bunch of births. Congratulations to Tom and his wife Rebecca.

Oz Park

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Oz Park is a mid-sized green space on the North Side of Chicago, bounded by W. Webster Ave. on the north and W. Dickens Ave. on the south, though there’s a patch of it south of Dickens; and N. Larrabee St. on the east and N. Burling St. on the west, which is a block east of Halsted.

After strolling north on Halsted recently, I visited Oz Park. Baseball fields and tennis courts take up much of the park, and people were using them to the fullest the day I wandered by. A fair share of the park is wooded or grassy, with walking or bicycling paths snaking through. Occasionally life is a walk in the park.

Oz Park is a successful example of urban renewal. That movement gets a bad rap, and it mostly should, but there are worthwhile spots as a result.

“In the 1960s, the Lincoln Park Conservation Association approached the City of Chicago in efforts to improve the community, and the neighborhood was soon designated as the Lincoln Park Urban Renewal Area,” the Chicago Park District says.

“The urban renewal plan identified a 13 acre-site for a new park, and in 1974, the Chicago Park District acquired the land. In 1976, the park was officially named Oz Park in honor of Lyman Frank Baum (1856-1919), the author of The Wonderful Wizard of Oz.”

Baum didn’t live in Lincoln Park, but he did live in Chicago, so close enough. Certain aspects of the park honor his work, such as the Emerald Garden.

In more recent decades, Wizard of Oz characters have come to the park, such as the Scarecrow, who’s at one of the Emerald Garden entrances.
“In the early 1990s, the Oz Park Advisory Council and the Lincoln Park Chamber of Commerce commissioned artist John Kearney to create a Tin Man sculpture, installed in October 1995, the Cowardly Lion, installed in May 2001, and the 7 ft., 800 lb. cast bronze Scarecrow, installed June 2005,” the park district says. “In Spring 2007 Dorothy & Toto joined their friends in the park.”

Being first, the Tin Man is the most prominent, standing in a highly visible spot where Larabee, Webster and Lincoln Ave. meet (Lincoln’s a diagonal that passes by the northeast corner of the park).

West of the Tin Man are Dorothy and Toto, standing back a bit in the shade.
Note the Ruby Slippers, not Silver Shoes. Artist’s prerogative, I guess.

I didn’t see the Cowardly Lion, but I figured he was elsewhere was in the park. As he is.

North Halsted, North to Dickens

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Recently while in the city I took a stroll on N. Halsted St. from North Ave. to W. Dickens Ave. It was a pleasant summer day, but a little hot, so I spent most of my walk on the east side of the street — the shady side.

Sure, the song says to direct your feet to the sunny side of the street. That might be all right some times of the year, but not so much on a clear summer day.

As I wandered along, I decided to take pictures of ordinary North Side buildings along Halsted. I didn’t keep careful notes, but anyone wanting to know exact locations can consult Google Streetview.

Here’s the corner of Halsted and Dickens. Nice building. Then I turned east on Dickens.

Just a small sample. Halsted is a long street, passing through interesting areas both north and south in the city.

The Day I Met Casper David Friedrich

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Odd what makes an impression. The Charlottenburg Palace? Good, very good. Casper David Friedrich? I was fascinated. Unfortunately, I haven’t seen that many of his paintings since — some at the Hermitage in St. Petersburg, as I recall, and maybe one at the Met and one at the Louvre that I’m not sure I saw. Most of them are still in Germany.

July 8, 1983

Breakfast and then on the bus around 9. The wrong bus. But we found the right one before long and soon were downtown, heading our separate ways. I found the U-bahn and went out to the 1936 Olympic Stadium, still complete with fascist sculpture, which reminded me some of archaic Greek statuettes with their smiles. Saw the pool where The Festival of Beauty diving sequences were filmed.

Took the U-bahn and then walked to Schloss Charlottenburg. First I wandered the expansive grounds and saw the busts of the 12 Caesars and their wives. Went into the palace for a tour. Wore woolies over our shoes and looked at the fine old furniture and the vast collection of porcelain, among other things.

Back on the U-bahn. Met Steve, who had had his hair cut (part of the experience of visiting Berlin, he said), and we went to the National Gallery. Impressive collection, Neoclassical, Romantic, Impressionist, some early Modern, took in Monets, Renoirs, some Picassos. Especially taken with Renoir’s “Im Sommer.” Hard not to be.

Then I saw an entire wall of Casper David Friedrich. I didn’t remember ever seeing anything of his, or knowing much other than the name. Wow. I spent some time with them. Especially “Mann und Frau in Betrachtung des Mondes” and “Eichbaum im Schnee.”

The gallery wasn’t that large, which was a virtue, and later we headed for the Reichstag to catch a bus. En route we passed as close to the Brandenburg Gate as you can without getting shot at.

Back in West Berlin we ate some fish for dinner and Steve returned to the hostel. I walked some more and discovered a glittering shopping center off Budapester Straße. Then I went back to the hostel, tired.