Monday at LACMA

Monday was a good day to roam around the Los Angeles County Museum of Art as it was a lower attendance day and just nice to set and enjoy my lunch and then take off in a direction of my choosing to see favorite art and some that I had perhaps neglected on my previous visits.

Here is what caught my eye on Monday:

"Armchair," 1944 by Charles Eames, U.S. 1907-1978 and Ray Eames, U.S. 1912-1988 both active Los Angeles, Molded Plywood, maple and ash.

"Double Circle," 1950 by Charles Howard, U.S. 1899-1978, oil on canvas.

"The Herwigs," 1928 by Edouard Antonin Vysekal, Bohenia, 1890-1939, active U.S., oil on canvas.

"Projection No. 3 ( Eye in the Sky)," 1936 by Emil Bisttram, Hungary, 1895-1976, active U.S., oil on canvas.

"The Embrace," 1942 by Charles White, U.S., 1918-1979, egg tempera on masonite.

"Broadway  (Longest Street)," 1966 by Gen'ichiro Inokuma, Japan, 1902-1993, active U.S., acrylic on canvas.

"Cliff Dwellers," 1913 by George Bellows, U.S. 1882-1925, oil on canvas.  "George Bellows was the best of the Ashcan school, a group of artists who painted unidealized views of New York."

"Watts Towers I," 1960's by Gloria Stuart, U.S. 1910-2010, oil on canvas.

"Carmel Valley Pumpkins," 1907 by Evelyn McCormick, U.S. 1862-1948, oil on canvas.

"Barracks - Tule Lake," 1945 by Taneyuki (Dan) Harada, U. S. b. 1923 oil on canvas.  "Tule Lake, in northermost California, was the site of the largest (in terms of population) Japanese American internment camp."

"Laughing Child," 1620-25 by Frans Hals, Northern Netherlands, 1582/83-1666, oil on wood.

"Landscape with Peasants Playing Bowls outside and Inn," 1660 by David Teniers the Younger, Southern Netherlands, 1610-1690, oil on canvas.

 I then attended a docent presentation on the Assyrian Reliefs from Nimrud.  "This splendid series of five reliefs once decorated the interior walls of the palace of Ashurnasirpal II (reigned 883-859 BC).  This area now in Iraq is currently under control of the ISIS forces.

 "This relief represents and eagle-headed demon engaged in a ritual to expel sickness and evil spirits from the house."

These reliefs were "designed as corner panels, forming a stylized sacred tree."  

This panel "shows a winged human-headed genie wearing a double bull horn miter that may be a supernatural projection of the king; he holds a conical fruit that he presumable has dipped into the bucket of pollen held in preparation for fertilization of the Tree of Life.

This panel "depicts the king holding his libation bowl and his bow; he is accompanied by a winged human-headed genie carrying a bucket."