I’d never been to the de Young Museum, a AAA GEM attraction, so when a recent San Francisco sojourn coincided with the special exhibition “Van Gogh, Gauguin, Cézanne and Beyond,” it seemed like the perfect opportunity for my first visit. Subtitled “Post-Impressionist Masterpieces from the Musèe D’Orsay,” it’s been bringing in hordes of art lovers since opening in late September. I purchased my timed entry ticket for a Tuesday at noon, figuring a non-holiday weekday would be a good time to avoid crowds.
Wrong. This comprehensive collection of Late Impressionist paintings is rarely seen outside France, and the de Young is the only museum in North America hosting the traveling exhibition. Art aficionados were out in force, and it was the one down side to viewing the outstanding art on display: having to negotiate among the slowly shuffling masses. Mental note to self: Just go with the flow, slow down, take your time and enjoy.

The exhibit is arranged primarily by artistic movement. A couple of works by Impressionist master Claude Monet set the stage for one of the major Neo-Impressionist movements, pointillism. Works by Georges Seurat, Camille Pissarro and Paul Signac exemplified the distinctive technique of applying small dots of pure color in patterns that form an image. Stand close and focus on the technique; stand farther back to appreciate the work as a whole.

A room was devoted to paintings by Vincent Van Gogh, including “Starry Night Over the Rhone” (not “The Starry Night,” one of the artist’s best-known works, which hangs in New York’s Museum of Modern Art). This depiction of a starry night is similar in theme, however. Two figures huddle in the foreground, enveloped by dark, vaguely foreboding colors punctuated with bursts of yellow starlight—all rendered in Van Gogh’s characteristic bold brushstrokes. There’s also one of the artist’s many self portraits, “Portrait of the Artist, 1887.” It’s amazing that Van Gogh produced his entire artistic output in just 10 years (1880-90).

I’m a big fan of Paul Gauguin. The artist’s paintings of Tahitian scenes, like “Tahitian Women,” are characterized by exaggerated body proportions, rich colors and geometric designs that convey a primitive power. Everything looks exotic and foreign. Gauguin was a big influence on Pablo Picasso, and his work clearly foreshadows modern art. 

Although Van Gogh, Cézanne and Gauguin are the “big three” in this exhibit, many other well-known artists are represented, including Pierre Auguste Renoir and Toulouse-Lautrec. Two paintings by Henri Rousseau had a stylistic similarity to Gauguin’s work. Rousseau is best known for his jungle scenes, and “The Snake Charmer” is a cool example—a mysterious black figure plays a flutelike instrument in a setting brimming over with highly stylized flora and fauna. I also liked “The White Cat” by Pierre Bonnard; the titular feline has no neck and curiously elongated legs.

The ceaseless crowds finally got on my nerves, so I escaped to the de Young’s permanent collection, which was almost devoid of visitors. The high-ceilinged galleries are spacious and airy, and I like the fact that sculpture, furniture and decorative arts are integrated among the paintings. The Art of New Guinea on the Upper Galley level—shields, ceremonial masks, carved wooden figures—is fascinating and beautifully displayed. Also on this level is Art in America to the 20th Century, with works by the usual suspects (John Singer Sargent, Frederic Edwin Church, Marsden Hartley) along with a nice display of Hudson River School paintings. “Petunias,” by Georgia O’Keeffe, is small but explodes with vibrant shades of purple.

Whenever I visit an art museum I always look to see if there’s a Bierstadt. Landscape painter Albert Bierstadt is one of my favorites, and I found two of his evocative canvases. “California Spring” portrays a peacefully bucolic scene—cows grazing in a field—that contrasts with the building fury of an approaching thunderstorm. “Sunlight and Shadow,” a painting of the chapel at the Löwenburg royal castle near Kassel, Germany, beautifully evokes the title.

It was a little chilly to spend much time in the outdoor Osher Sculpture Garden, but do include a stop to check out the strange little grouping of apples. I also recommend taking the elevator to the indoor observation deck at the top of the Hamon Tower. The floor-to-ceiling glass walls from this ninth-floor perspective offer great views, including a peek at San Francisco Bay and the Golden Gate Bridge. And you can access the tower without paying the museum admission; just follow the signs from the main entrance on the concourse level.

There’s still time to catch the special exhibition; it runs through Jan. 18, 2011.

The de Young Museum is in Golden Gate Park on Hagiwara Tea Garden Drive, across the Music Concourse from The California Academy of Sciences. Limited street parking is available in the park; the museum also is accessible via Muni lines 44, 5 and the N-Judah. Advance tickets to “Van Gogh, Gauguin, Cézanne and Beyond” are strongly encouraged and can be purchased at deyoungmuseum.org.

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The AAA GEM® Designation - While AAA does not rate attractions, we do evaluate them for AAA Approval. The inspectors that perform the evaluations may recommend a GEM designation for attractions of exceptional interest that greatly exceed requirements. A AAA GEM® attraction offers a Great Experience for Members. See AAA GEM attraction information in AAA TourBook guides or view a list of AAA GEM attractions by state.       GEM_attractions_by_state_province_Aug10.pdf (1.06 mb)