The current exhibition in the European works on paper rotation space (on view until April 2) is Gods and Heroes: Classical Mythology in European Prints. The show features 21 prints that cover the Renaissance through the early twentieth century and are by artists from Germany, Holland, France, Italy, and England. Each print offers insight into why European artists used the narratives of classical mythology. This is the second in a series of posts focusing on the exhibition.
Hendrik Goudt (Dutch, 1583–1648), after Adam Elsheimer (German, 1578–1610). The Mocking of Ceres, 1610, published 1633. Milwaukee Art Museum, Gift of Friends of Art, from the collection of Philip and Dorothy Pearlstein M2000.136. Photo credit: Larry Sanders.
We’ve already seen how the ancient sculpture of Italy inspired a French Rococo artist in the four prints of the Bacchanals. In this post, we’ll explore another artist’s use of Classical mythology.
The Mocking of Ceres shows Ceres, the goddess of the earth and agriculture, taking a drink. She has been searching the world for her daughter Persephone, who was abducted by Pluto, the ruler of the underworld. Coming upon a small cottage, she asks an old woman for some water. Because Ceres is drinking quickly, a little boy mocks her for her greediness. Angry, Ceres throws her drink at the boy and turns him into a lizard.
Posted in Art, Curatorial, Exhibitions
Tagged Adam Elsheimer, Baroque, Exhibitions, From the Collection, Gods and Heroes, Hendrik Goudt, Mythology, prints, works on paper
Academic Gallery with Homer and His Guide by William-Adolphe Bouguereau. Photo credit: John R. Glembin.
There are some things in the Museum that are always changing—exhibition galleries, works on paper, portrait miniatures. But sometimes we make smaller changes to those galleries that seem to be “permanent”. For instance, every once in a while, individual artworks disappear from the walls and are replaced by others. Have you ever wondered why?
In today’s post, we’ll take a look at two different reasons that paintings in the European galleries have gone off view and learn a little about the things that replaced them.
Posted in Art, Behind the Scenes, Curatorial
Tagged 19th Century Art, Academic art, Behind the Scenes, Benjamin Vautier the Elder, Carl Kronberger, conservation, Ferdinand Georg Waldmüller, Franz von Defregger, German Art, loans, William-Adolphe Bouguereau
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Images: Frontroom Photography
Gallery with Portrait Miniatures at Milwaukee Art Museum. Photo credit: Tina Schinabeck.
The Milwaukee Art Museum, like many other large museums, has so much art that it is impossible to display it all at once; there is just not enough space in the galleries.
Instead, the museum often rotates their installations, allowing the largest amount of objects to be displayed—just at different times. This also lets the curators to explore many different narratives using the permanent collection.
One such rotating installation is the display of portrait miniatures. Located in the gallery that contains most of the eighteenth-century European material, the portrait miniatures make a fascinating case study on just how the Milwaukee Art Museum goes about rotating artwork.
View of Mrs. M.––––– ’s Cabinet.
Mrs. M.––––– ’s Cabinet is currently featuring an installation that was developed by University of Wisconsin-Milwaukee students enrolled in the course “Curating Mrs. M.––––– ’s World.” The project resulted in the display of seven acquisitions by the Chipstone Foundation. The exhibition opened to the public on Sunday, December 18th and will run throughout the spring.
Mrs. M.––––– ’s Cabinet is one of five galleries, located in the Milwaukee Art Museum’s Constance and Dudley Godfrey American Wing, that are curated by the Chipstone Foundation. In the fall of 2016, Chipstone Curator and Director of Research Dr. Sarah Anne Carter taught a graduate seminar in museum studies in the University of Wisconsin-Milwaukee’s Art History Department. The seven creative and up-and-coming student curators in this course researched and developed the innovative installations found in this exhibition in order to expand and enhance Mrs. M.––––– ’s mysterious story.
Each student was assigned an object to research and install in the cabinet as part of the museum studies course. Their challenge was to create an installation that fit in with the theme of Mrs. M.––––– ’s Cabinet: her desire to create a nuanced and complete history of America and its material cultures. Continue reading