From the Collection–Francisco de Zurbarán’s Saint Francis of Assisi in His Tomb

Francisco de Zurbarán (Spanish, 1598–1664). Saint Francis of Assisi in His Tomb, 1630/34. Oil on canvas. Milwaukee Art Museum, Purchase. Photo credit John R. Glembin

Francisco de Zurbarán (Spanish, 1598–1664). Saint Francis of Assisi in His Tomb, 1630/34. Oil on canvas. Milwaukee Art Museum, Purchase. Photo credit John R. Glembin

The Milwaukee Art Museum’s painting by Francisco de Zurbarán (Spanish, 1598–1664), Saint Francis of Assisi in His Tomb, has been popular with museum goers since it entered the collection in 1958. This is probably not surprising, since Zurbarán’s work is infused with a humanity that connects instantly with viewers.

Some of this power derives from the fact that Zurbarán based his painting style on traditional polychrome sculptures found in Spanish churches. Just like his better-known contemporary, Diego Velazquez (Spanish, 1599–1660), Zurbarán’s hyper-realistic paintings helped to inspire devotion in seventeenth-century Catholic Spain. In this post, we’ll take a closer look at how Zurbarán inspired devotion not only in seventeenth-century Spain, but also how he does it today. Continue reading

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From the Collection– Preparations for the Wedding Banquet of Cupid and Psyche by Diana Mantuana

The current exhibition in the European works on paper rotation space (on view until July 30) is Alluring Artifice: Mannerism in the Sixteenth Century. The show features 30 prints that explore Mannerism, a movement that emerged in European art around 1510-20 and lasted until about 1600. Characterized by densely packed compositions and a focus on the human form, the style resulted in images that are deliberately challenging in both design and technique. One of the prints featured in the show is Preparations for the Wedding Banquet of Cupid and Psyche, an important recent acquisition by the Italian female engraver Diana Mantuana (ca. 1547–1612), who is sometimes referred to as Diana Scultori. 

Diana Mantuana (Italian, ca. 1547–1612), after Giulio Romano (Italian, probably 1499–1546). Preparations for the Wedding Banquet of Cupid and Psyche, 1575. Engraving. Plate and sheet: 14 13/16 × 44 1/8 in. (37.62 × 112.08 cm). Milwaukee Art Museum, Gift of the DASS Fund M2013.34. Photo credit: John R. Glembin.

Diana Mantuana (Italian, ca. 1547–1612), after Giulio Romano (Italian, probably 1499–1546). Preparations for the Wedding Banquet of Cupid and Psyche, 1575. Engraving. Plate and sheet: 14 13/16 × 44 1/8 in. (37.62 × 112.08 cm). Milwaukee Art Museum, Gift of the DASS Fund M2013.34. Photo credit: John R. Glembin.

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John Rieben’s Homage to Josef Müller-Brockmann

John Rieben (American, b. 1935), Chicago Has Two Great Zoos, 1965–1966. Photolithograph. 50 × 35 in. (127 × 88.9 cm). Lent by John Rieben.

John Rieben (American, b. 1935), Chicago Has Two Great Zoos, 1965–1966. Photolithograph. 50 × 35 in. (127 × 88.9 cm). Lent by John Rieben.

The exhibition currently on view in the Milwaukee Art Museum’s Bradley Family Gallery (through June 25) is How Posters Work. On Thursday, April 6, 2017, the museum hosted a program in conjunction with the exhibition called Local Luminaries: Poster Provocation. This gallery tour welcomed luminaries from the Milwaukee area to share their unique perspectives about the works in the show.

 John Rieben, graphic designer and professor emeritus from the University of Wisconsin–Madison, could not be present for the program due to inclement weather. We are happy to share his thoughts below:

I would like to spend a few minutes talking about my design hero and inspiration, Josef Müller-Brockmann. I think the greatest of the poster makers were [Toulouse] Lautrec, Cassandre, and Müller-Brockmann. Müller-Brockman, however, was more than a poster maker. He was the leading protagonist of a new way of visual communication, which became a worldwide movement that affected virtually every designer in the profession and every commercial message. It became known as Swiss Design.

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From the Collection–Porcelain Tankards

Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1995.2. Photo: John  Glembin

Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1995.2. Photo: John Glembin

[Last month, the Milwaukee Art Museum put on view three important Meissen tankards. Learn more about two of them with this re-posted entry from 2014.]

Previously, we demystified tin-glazed earthenware while putting it into a historical context. In this post, we’ll figure out the magic behind the material that tin-glazed earthenware attempted to fill in for: porcelain.

Introduced to Europe from China in the fourteenth century, porcelain was the most elegant and fascinating of materials. It was pristine, white yet translucent, and although it was thin and light-weight, it was also amazingly strong and durable. In other words, it was everything that tin-glazed earthenware and stoneware was not. Continue reading

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#ASocialEventArchive Opens!

Paul Druecke: A Social Event Archive, 1997-2007
Herzfeld Center for Photography and Media Arts
May 12 – August 13, 2017

In 1997, Milwaukee native Paul Druecke (American, b. 1964) initiated A Social Event Archive by going door to door, inviting residents to contribute their personal snapshots of a “social occasion, public or private, current or historical” to his Archive. After ten years, he had 731 pictures. Drawn from disparate family albums and shoeboxes, the photographs in the Archive—removed from their original contexts and stripped of any personal associations—suggest universal stories and a larger narrative about cultural modes of socializing. A picture from a daughter’s birthday or a cousin’s wedding has become an example of a social gathering in Midwestern America at the end of the twentieth century. Through Druecke’s democratic system of participation, individuals freely chose which pictures to contribute, but while helping construct the collective, the images were at the same time subsumed by it, revealing the inherently complicated and dissonant nature of an archive.

Guidelines for contributing:
One photo contribution per person.
The photos should be no larger than 4×6”—b&w or color snapshots.
The photos must document a social occasion, public or private, and can be current or historical.
Inclusion of Title, Date, and Contributor’s name is encouraged.
The photos are archived in the order received.
The photos will not be returned.
Submission indicates agreement to participate in all presentations of the Archive.

With A Social Event Archive, Druecke sought to create a sociological typology that might capture how social interactions are collectively photographed, shared, and commemorated. The project, marking its twentieth anniversary, predates Instagram and Facebook but predicted the blurring of private and public that such social media platforms allow. Our performances for the camera—congregating, posing, and smiling—have since become practiced and conditioned by the knowledge of a wider audience. The advent of digital photography has also changed the way we interact with pictures: no longer primarily physical objects, they are now more often encountered on-screen in a public context than as prints in private albums. Druecke’s project encapsulates an American past just before this dramatic cultural shift.

In the exhibition catalogue, critic Lori Waxman notes, “Those are other people’s families and friends and events. That they seem to look so much like mine gives me pause.” On the occasion of this exhibition, we are examining how social occasion photographs and their circulation online have evolved over time.

— Lisa  J. Sutcliffe, Curator of Photography and Media Arts

In celebration of the exhibition, we’re inviting you to share the first image you uploaded to a public site: Flickr, Facebook, Instagram, MySpace, etc. Please share on the platform of your choice using #ASocialEventArchive @MilwaukeeArt.
 
In the comments please describe why you originally posted this picture, what event it captures, and how it is different from what you might share now.  Below are examples.  

@ljssf       189720_1002817663623_9081_n.jpg

My first Facebook profile pic from 2008 is a stark contrast to the red square I use today. When I first joined Facebook, I shared personal posts (like this picture taken after a picnic in Point Reyes, California) with friends. Now that I am more aware of how much the personal and professional intersect online, I’m hesitant to post private information. I almost never share pictures of myself and would never post something so spontaneous now.   – Lisa Sutcliffe, Curator of Photography and Media Art

 

  @anyway_pate   16835_100969106599737_4629633_n (1).jpg

First profile pic after a friend gifted me a Facebook account for Christmas in 2009. I was really uncomfortable with having an online presence, and likely googled “cool pattern” to find a stand-in image to use… I just reverse image searched it, and it’s actually a screenprint by a New Zealand artist, Richard Killeen, “Tropical Pattern” 1978—info I’d include nowadays if I was reposting someone else’s artwork!

 

@thegreengallery  image1 (1) (1).JPG

This pic was posted on Myspace, probably taken on a digital camera around 2000. I don’t think any planning went into this pic. The keyboard and headset are plugged into my backpack for good social media luck and digital longevity down the long meandering web road.

 

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