Texas Impressionism: Branding with Brushstroke and Color, 1885-1935
Art Museum of Southeast Texas
September 26 - January 15, 2014
East Texas ART EVENTS
We Recommend
Ongoing
Mexican Folk Art from the Boeckman Collection
September 19 through December 29, 2013
Mexican folk art spans a period of over five hundred years. This exhibition showcases approximately 60 pieces of Mexican Folk Art collected over the last two decades from every state in Mexico. The collection, one of the nation’s largest, was given to the Tyler Museum of Art by Laura and Dan Boeckman of Dallas. Funding support comes from the City of Corpus Christi Arts and Cultural Commission; Humanities Texas, the state affiliate of the National Endowment for the Humanities; and from CITGO.
Texas Impressionism: Branding with Brushstroke and Color, 1885-1935
September 26, 2013 through January 15, 2014
The Art Museum of Southeast Texas presents Texas Impressionism: Branding with Brushstroke and Color, 1885-1935, a group exhibition organized by the Panhandle-Plains Historical Museum showcasing Texas artists who contributed to American Impressionism.
Recents Posts
Mexico City…por primera vez
Mexico City…for the first time. While I didn’t party as hard as this guy, I did find myself in a place even more amazing than [...]
![O louco [The Madman], 1971 (detail)](http://glasstire.com/wp-content/themes/glasstire/library/extensions/tim-thumb/timthumb.php?src=http://glasstire.com/wp-content/uploads/2013/12/louco.jpg&w=140&h=140&q=100)
Things to Be Looked At (But Not Touched or Felt): Waltercio Caldas at the Blanton
Guest-curated by Gabriel Pérez-Barreiro, The Nearest Air: A Survey of Works by Waltercio Caldas at the Blanton Museum of Art defies a chronological reading of [...]
Not Your Typical History Lesson: Color! American Photography Transformed at The Amon Carter
Color greets visitors into the Amon Carter’s latest photography exhibition. Color! American Photography Transformed brings to Texas 75 works by some of the most recognizable [...]
Wols: A Misinterpretation
When I walked out of Toby Kamp’s exhaustively researched exhibition Wols at the Menil, I felt as if I’d just walked out of a church. [...]