In the early 1950s, designers Charles and Ray Eames painstakingly arranged penny cars, pencils, pills, and papers to photograph for their House of Cards construction set. They probably never imagined that decades later, thousands of children and adults in the Milwaukee region would meticulously decorate their own House of Cards, let alone that these cards would be installed together in a towering spiral at the Milwaukee Art Museum in conjunction with the exhibition Serious Play: Design in Midcentury America.
Ho-Chunk presence and their arts contributed to the development of Wisconsin Dells tourism—and to the material and aesthetic culture of the state. While Ho-Chunk representation is not always considered by tourists beyond stereotypical art for the trade, there is still a long and well-documented history of Ho-Chunk material life in the Wisconsin Dells area. The Ho-Chunk objects currently on exhibition in Mrs. M—’s Cabinet, are not the expected souvenirs of the Wisconsin Dells trade, but give a glimpse into the unfamiliar Ho-Chunk objects made and used in the Dells in the late 19th century.
Spring cleaning isn’t just for attics—the Museum’s Design Galleries were recently refreshed with a new coat of paint and numerous recent acquisitions. From turn-of-the-century silver to twenty-first-century furniture, these objects demonstrate the wide range of what we mean by “design” at the Milwaukee Art Museum.
It’s always exciting when new research comes to light! Just last month, while preparing for a lecture on Meissen in the Milwaukee Art museum collection, I discovered new information related to an object from an earlier post, the Meissen urn.
When last researching the urn in 2015, I was pretty sure that it was made by Meissen Porcelain Manufactory, the important German company, because it was marked on the bottom with crossed swords in blue. It has the snake handles popular on these types of vessels, particularly in the nineteenth century. The scene on the vase is the Greek myth of the Calydonian boar hunt.
Among the many eye-catching objects in the exhibition Jaime Hayon: Technicolor, the delicate etching, dangling earrings, and dazzling glass surfaces of Afrikando are particularly alluring. This set of seven glass vessels is on view for the first time in the exhibition of work by Spanish artist-designer Jaime Hayon. Designed by Hayon expressly for the Milwaukee Art Museum’s permanent Collection, Afrikando fuses the tradition of glassblowing with the designer’s delightfully fresh contemporary sensibility.
On view now through March 25th in the Bradley Family Gallery, Jaime Hayon: Technicolor brightens up wintertime in Milwaukee with a colorful splash of fun and fantasy. The energetic exhibition features work from two decades of the Spanish artist-designer’s career, including textiles, ceramics, glass, drawings, and playground equipment. These works represent a wide range of approaches to making, thinking, and viewing, while also remaining unified by a refreshing sense of playful whimsy.
Jaime Hayon trained in his native Madrid and in Paris before directing the design department at Fabrica, the Benetton-funded design and communication academy in Italy, for nearly a decade. In 2003, he left Fabrica to focus on his own studio practice. Hayon Studio now has offices in Italy, Spain, and Japan and is acclaimed worldwide.
Images of women martyrs have always been popular in art. Their stories are ripe with dramatic moments that capture the imaginations of both artist and audience. The subject also offers examples of moral virtue. Images of martyrs could be used as teaching tools for women in the early modern era, visually showcasing the moral ideals that they should embody.
Because of this didactic nature, female martyrs are often depicted in one of two ways: the moment of her martyrdom, or as if a portrait, surrounded by symbols. Showcasing the female martyr in the moment of her death offers the audience a dramatic story, while a portrait clearly illustrates the appropriate virtues for the viewer.
The subjects of today’s post, the Milwaukee Art Museum’s recent acquisition The Martyrdom of St. Justina of Padua, will let us look at this subject matter more closely.
Today, in celebration of the holiday season, we’re going to discuss one of my favorite paintings in the collection.
In St. Nicholas Day, painter Ferdinand Georg Waldmüller (1793–1865) shows an Austrian family celebrating the feast of St. Nicholas on December 6. On St. Nicholas Eve, Austrian children would put their shoes on the windowsill. If they had behaved well all year, the children would discover the next morning that St. Nicholas had filled their shoes with fruit, sweets, and small toys.
While at first glance the crowded room is full of excitement and joy, a closer look shows why Waldmüller was considered one of the most important Austrian artists of the nineteenth century. Rather than a chaotic scene, the painting is balanced and orderly. The gestures and glances of each subject draw the viewer’s eye around the painting, creating a sense of harmony.
It’s always so exciting to get a painting out of storage! I’m happy to report that a lovely seventeenth century portrait is newly on view in the Renaissance galleries (Main Level S103). It has been carefully cleaned and looks marvelous.
Though world-renowned (and Wisconsin-born) architect Frank Lloyd Wright is perhaps best remembered for his work in the Prairie Style, this portion of his career was only the first chapter of a much longer story. And so, in honor of the 150th anniversary of the Wright’s birth, the Milwaukee Art Museum is pleased to commemorate multiple aspects of his career—both early and late.
The exhibition Frank Lloyd Wright: Buildings for the Prairie, on-view in the Bradley Family Galleries through October 15, 2017, explores work from the first part of his career, while his later achievements are represented by the acquisition of a Usonian Exhibition House Dining Chair—one of only two such objects that are still extant. The Milwaukee Art Museum is fortunate to have added this rare object to our permanent collection through the support of the Demmer Charitable Trust, Jody Brindis Goisman & Dick Goisman, Dr. Charles Brindis & Debra L. Brindis, and Wayne & Kristine Lueders, who have supported this acquisition in memory of Evelyn Brindis Demmer.