Category: European

Categories
Art Behind the Scenes Collection Curatorial European

Questions of Provenance—The Marriage Trap by Jan Victors, Part 1

Jan Victors (Dutch, 1619–after 1676), The Marriage Trap, ca. 1640–60. Oil on canvas. Milwaukee Art Museum, Gift of Richard and Erna Flagg M1974.233. Photo credit: John Nienhuis, Dedra Walls.
Jan Victors (Dutch, 1619–after 1676), The Marriage Trap, ca. 1640–60. Oil on canvas. Milwaukee Art Museum, Gift of Richard and Erna Flagg M1974.233. Photo credit: John Nienhuis, Dedra Walls.

Jan Victors (Dutch, 1619–after 1676) was probably a student of the famous Dutch Golden Age artist Rembrandt (Dutch, 1606–1669). Just like his contemporaries, Victors created works with various popular subjects, including religious scenes, portraits, and genre paintings.

The Milwaukee Art Museum has a market scene in its collection which falls into this last category. The Marriage Trap is set along the familiar canals of Holland. A peasant wedding party is purchasing a fish for the ensuing celebration.

But the Dutch loved layering painting with many layers of symbolism–often for a humorous result.  Victor’s ability in combining realism with humor is illustrated by the context and placement of the fish.  It is most likely intended as a sexual metaphor!

Recently, The Marriage Trap was on our list for submission to the Art Loss Register. A quick look at the thick object file—where we keep records and correspondence related to one artwork—showed me that there was some untangling to do! So, I carefully read through everything, looked for more resources, and double checked it all before organizing it in a clearly stated entry for our collection database.

Continue reading “Questions of Provenance—The Marriage Trap by Jan Victors, Part 1”
Categories
Art Collection Curatorial European Prints and Drawings

From the Collection–Vegetable Market at Pontoise by Camille Pissarro

Many of the artists featured in the special exhibition Van Gogh to Pollock: Modern Rebels, Masterworks from the Albright-Knox Art Gallery are also represented in the collection of the Milwaukee Art Museum. This is the fourth in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition.

Camille Pissarro (French, 1830–1903), Vegetable Market at Pontoise, 1891. Etching, drypoint, and aquatint. Milwaukee Art Museum, Maurice and Esther Leah Ritz Collection M2004.283. Photo credit: Efraim Lev-er.
Camille Pissarro (French, 1830–1903), Vegetable Market at Pontoise, 1891. Etching, drypoint, and aquatint. Milwaukee Art Museum, Maurice and Esther Leah Ritz Collection M2004.283. Photo credit: Efraim Lev-er.

A bustling market welcomes the viewer of Impressionist artist Camille Pissarro’s Vegetable Market at Pontoise. We can almost hear the commotion of the rural village where he lived for some time.

Playing the part of both voyeur and companion, we stand behind a woman selling her vegetables. A young woman stops in front of us, deliberating whether or not she would like to buy what is gently offered to her. We can nearly hear their more quiet conversation in the midst of the lively square where all individuals congregate without segregation of rank. There are men with top hats conversing and women in fine dresses strolling, while others are clearly from a more modest upbringing.

Continue reading “From the Collection–Vegetable Market at Pontoise by Camille Pissarro”
Categories
Art Collection Curatorial European Modern

From the Collection: Wassily Kandinsky’s Fragment I for Composition VII

Wassily Kandinsky (Russian, 1866–1944), Fragment I for Composition VII (Center), 1913. Oil on canvas. Milwaukee Art Museum, Gift of Mrs. Harry Lynde Bradley M1958.12. Photo credit by Larry Sanders.
Wassily Kandinsky (Russian, 1866–1944), Fragment I for Composition VII (Center), 1913 (detail). Oil on canvas. Milwaukee Art Museum, Gift of Mrs. Harry Lynde Bradley M1958.12. Photo credit by Larry Sanders.

Many of the artists featured in the special exhibition Van Gogh to Pollock: Modern Rebels, Masterworks from the Albright-Knox Art Gallery are also represented in the collection of the Milwaukee Art Museum. This is the second in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition.

Only one artwork from the Milwaukee Art Museum’s own collection is displayed as part of the newly-opened Modern Rebels exhibition: Wassily Kandinsky’s Fragment I for Composition VII. When one reads the title of the equally vibrant artwork from the Albright-Knox Gallery hung next to it, the reason for its inclusion becomes instantly clear.

Continue reading “From the Collection: Wassily Kandinsky’s Fragment I for Composition VII”
Categories
Art Collection Curatorial European

Questions of Provenance–An Introduction

Claude Monet (French, 1840–1926). Waterloo Bridge, Sunlight Effect, ca. 1900 (dated 1903). Oil on canvas. Milwaukee Art Museum, Bequest of Mrs. Albert T. Friedmann M1950.3. Photo credit: John R. Glembin.
Claude Monet (French, 1840–1926). Waterloo Bridge, Sunlight Effect, ca. 1900 (dated 1903). Oil on canvas. Milwaukee Art Museum, Bequest of Mrs. Albert T. Friedmann M1950.3. Photo credit: John R. Glembin.

One of the important areas of museum research is that of provenance, or the history of ownership.

Why is it important to know who owned an artwork? Well, for a number of reasons.

Continue reading “Questions of Provenance–An Introduction”
Categories
Art Collection Curatorial European

From the Collection–Christopher Dresser, Pitcher and Claret Jug

Christopher Dresser (English, 1834-1904) Manufactured by Watcombe Terracotta Clay Company (Torquay, Devon, England, established 1867) Pitcher, designed 1870-75; produced by Watcombe of Torquay. Terracotta or red stoneware, gilding 7 1/8 × 5 1/2 × 5 1/4 in. (18.1 × 13.97 × 13.34 cm) . Milwaukee Art Museum, Gift of Daniel Morris and Denis Gallion M1991.323
Christopher Dresser (English, 1834-1904) Manufactured by Watcombe Terracotta Clay Company (Torquay, Devon, England, established 1867) Pitcher, designed 1870-75; produced by Watcombe of Torquay. Terracotta or red stoneware, gilding 7 1/8 × 5 1/2 × 5 1/4 in. (18.1 × 13.97 × 13.34 cm) . Milwaukee Art Museum, Gift of Daniel Morris and Denis Gallion M1991.323

In 1898, the artists periodical The Studio called Christopher Dresser “perhaps the greatest of commercial designers imposing his fantasy and invention upon the ordinary output of British industry.” This seems an appropriate description for an Englishman who was interested in art but first trained in botany, and then found inspiration for his designs both in the ancient past and traditions of Japan.

Looking at two of Dresser’s designs in the collection of the Milwaukee Art Museum–a pitcher produced by the Watcombe Terracotta Clay Company and a claret jug produced by Hulkin & Heath–you can see how he applied his own personal motto to his work: truth, beauty, power. The sleek and angular vessels lack the decoration that most people associate with the Victorian period, which would have been at its height in the 1870’s.  They look like something from the 20th century!

It may surprise you then, that Dresser was also known for his interests in flat patterning.

Continue reading “From the Collection–Christopher Dresser, Pitcher and Claret Jug”
Categories
Art Collection Curatorial European

From the Collection–Meissen Porcelain Manufactory, Two-Handled Urn

Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Two-Handled Urn, 1814-60. Porcelain with hand-painted overglaze decoration and gilding. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.248. Photo credit: John R. Glembin
Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Two-Handled Urn, 1814-60. Porcelain with hand-painted overglaze decoration and gilding. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.248. Photo credit: John R. Glembin

Last week, we looked an amazing example of large-scale Meissen porcelain sculpture.  This time, we’ll look at another beautiful work of Meissen, this two-handled urn.

This sizable object has a great presence (it’s about a foot tall).  What immediately draws attention is the beautifully painted decoration.  The base and rim are painted in a Renaissance revival-style panel with purple-pink and light olive green tones highlighted with the white of the porcelain and shiny gilding. And then there is the main frieze, which shows an ancient Greek myth called the Calydonian Boar Hunt.

Continue reading “From the Collection–Meissen Porcelain Manufactory, Two-Handled Urn”
Categories
Art Collection Curatorial European

From the Collection–G. H. van Hengel, Jr., Chandelier

G.H. van, Jr. Hengel (Rotterdam, Holland, active 18th century). Chandelier, 1710-30. Brass, cast iron, 42 1/2 × 36 3/4 in. (107.95 × 93.35 cm). Milwaukee Art Museum, Gift of Friends of Art, M1974.232 Photo credit: P. Richard Eells
G.H. van, Jr. Hengel (Rotterdam, Holland, active 18th century). Chandelier, 1710-30. Brass, cast iron, 42 1/2 × 36 3/4 in. (107.95 × 93.35 cm). Milwaukee Art Museum, Gift of Friends of Art, M1974.232 Photo credit: P. Richard Eells

This fantastic chandelier is currently on view in the Milwaukee Art Museum’s east galleria.  It hangs there to represent the European collections in our reinstallation display–and I think that is does a great job!

Dating to the early 18th century, the chandelier is typically Dutch in form. The design is a perfect example of baroque restraint, from its curved arms, a baluster-shaped shaft, and the balancing ball with finial. Overall, it is graceful and well-proportioned—it was clearly made by a master metalworker. The glossy dark patina is also well-done and in great condition.

Continue reading “From the Collection–G. H. van Hengel, Jr., Chandelier”
Categories
Art Collection Curatorial European

From the Collection–Meissen Porcelain Manufactory, Augustus III, King of Poland

Meissen Porcelain Manufactory (Dresden, Germany, established 1710). Augustus III, King of Poland, 18th century. Glazed porcelain, with polychrome overglaze decoration, and gilding, 30 × 16 1/2 × 13 1/4 in. (76.2 × 41.91 × 33.66 cm). Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.364. Photo credit: John R. Glembin
Meissen Porcelain Manufactory (Dresden, Germany, established 1710). Augustus III, King of Poland, 18th century. Glazed porcelain, with polychrome overglaze decoration, and gilding, 30 × 16 1/2 × 13 1/4 in. (76.2 × 41.91 × 33.66 cm). Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.364. Photo credit: John R. Glembin

Believe it or not, this imposing sculpture is made out of a material that we usually associate with teacups and figurines for our end tables.  That’s right–this two-and-a-half feet tall man is made out of porcelain!

But it’s not just any porcelain.  It’s porcelain made at the factory in Meissen, Germany.  You may remember Meissen as one of the most important names in European porcelain production from my series on German drinking vessels.

Just to recap, Augustus the Strong, Elector of Saxony and King of Poland, was obsessed with porcelain and purchased huge amounts of Chinese and Japanese examples for his palaces in Dresden. But he, like so many rulers in Europe, wanted to be able to make what was dubbed as “white gold” for himself.

Continue reading “From the Collection–Meissen Porcelain Manufactory, Augustus III, King of Poland”
Categories
Art Collection Curatorial European

From the Collection–George Vicat Cole, At Arundel, Sussex

George Vicat Cole (English, 1833–1893), At Arundel, Sussex, 1887. Oil on canvas, 32 1/2 × 52 1/16 in. (82.55 × 132.24 cm). Milwaukee Art Museum, Layton Art Collection, Gift of J.M. Durand. L1888.17 Photo credit: John R. Glembin
George Vicat Cole (English, 1833–1893), At Arundel, Sussex, 1887. Oil on canvas, 32 1/2 × 52 1/16 in. (82.55 × 132.24 cm). Milwaukee Art Museum, Layton Art Collection, Gift of J.M. Durand. L1888.17 Photo credit: John R. Glembin

For those you who where able to see the Milwaukee Art Museum’s Salon-style hang in Gallery 10 a couple of years ago, this painting may look familiar.  This is because it is a Layton Art Collection painting that was brought out of storage for that display.

Happily, a number of paintings from that special installation will be included in the European galleries once we reopen, and we anticipate that this painting will be one of them!

Continue reading “From the Collection–George Vicat Cole, At Arundel, Sussex”
Categories
Art Collection Curatorial European

From the Collection—Maria-Theresia van Thielen, Still Life with Parrot

Maria-Theresia van Thielen (Flemish, 1640–1706), Still Life with Parrot, 1661. Oil on canvas. 21 × 27 in. (53.34 × 68.58 cm). Milwaukee Art Museum, gift of Mr. and Mrs. John Schroeder in memory of their parents. M1967.41
Maria-Theresia van Thielen (Flemish, 1640–1706), Still Life with Parrot, 1661. Oil on canvas. 21 × 27 in. (53.34 × 68.58 cm). Milwaukee Art Museum, gift of Mr. and Mrs. John Schroeder in memory of their parents. M1967.41

This still life is probably one of the only signed paintings by Flemish flower painter Maria-Theresia van Thielen. It is truly a jewel of the collection!

Maria-Theresia van Thielen was one of three daughters of flower painter Jan Philips van Thielen. Her two sisters also became painters. The skillful and interesting composition of our painting sets it apart from most flower paintings by the van Thielen family; this may be why Maria-Theresia prominently signed it here on the pillar.  There you can see “M.T. von Thielen” along with F. (for fecit, which is Latin for “made in”), Ano (short for Anno Domini, or A.D.) and the year, 1661.

Continue reading “From the Collection—Maria-Theresia van Thielen, Still Life with Parrot”