A number of artists featured in the special exhibition Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums are represented in the collection of the Milwaukee Art Museum. This is the first in a series of blog posts that will highlight Milwaukee’s paintings during the run of the exhibition.
Antonio Balestra (Italian, 1666–1740), The Meeting of Telemachus and Calypso, ca. 1700. Oil on canvas. Milwaukee Art Museum, bequest of Eliza Eliot Fitch M1955.3. Photo credit: Larry Sanders.
Active in the very end of the 17th century and the first part of the 18th century, Antonio Balestra was an Italian painter of the “late Baroque.”
What does that mean? Well, it means that he worked during a time of transition between the theatrical narratives and dramatic light and shadow of the high Baroque (think Caravaggio) and the bright, elegant style called Rococo (think Tiepolo). Continue reading
Filming commences in Windhover Hall. Photo by Melissa Marchese
When I told my Alverno College advanced media and journalism instructor that I was looking for an internship, she wasted no time connecting me with Chelsea Kelly, the Milwaukee Art Museum’s Manager of Digital Learning. I am not an Art Major or Education Major, but I knew immediately that I wanted to be Chelsea’s digital learning intern. I quickly learned that my CMT (Communication, Management and Technology) Major would definitely guide me for the tasks she had in mind.
I am interning for Chelsea while she is building a MOOC (Massive Open Online Course). These courses are available to anyone online, and the Museum received a special grant to develop a course. This one in particular was about getting to look at art in a different way. I know this must be shocking to hear from a Milwaukee Art Museum intern, but growing up my favorite form of art wasn’t actually paintings, sculptures or photography–it was dance. I had very little knowledge of art or its history, which actually made me the perfect candidate for interning for this MOOC: I love museums, but I never knew how to interpret it. Working on this MOOC has made me look at art differently. Continue reading
Edgar Degas (French, 1834–1917), Dancer Holding Her Right Foot in Her Right Hand [Danseuse tenant son pied droit dans la main droit], ca. 1904; cast 1919–20. Bronze. Purchase, Bradley Conservation Endowment Fund M1984.70. Photo credit: John R. Glembin.
Though many of his formal principles are similar, Edgar Degas (1834–1917) stands out from the other major Impressionists because of his decision to depict urban spaces and the people that inhabit them, rather than natural landscapes. Arguably Degas’ most famous subject is the Parisian Opéra and its ballet dancers
. Continue reading
The Satellite High School Program Teens, 2013-14. Photo by Front Room Photography
In my previous two posts
in this Reflective Evaluation series, I detailed all the ways we found and evaluated data to show teen participants in the Satellite program became more reflective. So: did the interviews, exit slips, readability tests, and final projects all add up to a full image of the impact that a year’s worth of reflective practice can have on students? Continue reading
Jules Bastien-Lepage (French, 1848–1884), Le Père Jacques (Woodgatherer), 1881. Oil on canvas. Miwlaukee Art Museum, Layton Art Collection, Gift of Mrs. E. P. Allis and her daughters in memory of Edward Phelps Allis L102. Photo credit: John R. Glembin.
One of the things that I enjoy about being a curator is that I am always learning something. Here is one example.
In the middle of August, the Cornish American Heritage Society held their “Gathering of the Cornish Cousins” in Milwaukee. The event offered talks and workshops on all things Cornish, and one of the organizers had asked me to do a presentation on the artists of the Newlyn School.
I knew a little about Cornwall from visits to the southwestern part of Wisconsin, plus I loved pasties, but I knew nothing about art in Cornwall. A quick search told me that they were a group of artists that, in the 1880s, formed an art colony in a Cornish fishing village called Newlyn. So, I said, sure, why not?
And now, after a year of reading about the Newlyn artists and looking closely at the artwork produced by them, I’m so glad that I did!