From the Collection: Anders Zorn and Etching

The current exhibition in the European works on paper rotation space (on view until July 31) is Anders Zorn: Sweden’s Painter-EtcherFeaturing all 18 prints in the Milwaukee Art Museum’s collection by Zorn, the exhibition is the first time ever that they have been on view at the same time.  This is the first in a series of posts focusing on the exhibition.

Anders Leonard Zorn (Swedish, 1860–1920), Zorn and his Wife, 1890. Etching, possibly drypoint, and graphite. Milwaukee Art Museum, Gertrude Nunnemacher Schuchardt Collection, presented by William H. Schuchardt M1924.141. Photo credit: John R. Glembin

Anders Leonard Zorn (Swedish, 1860–1920), Zorn and his Wife, 1890. Etching, possibly drypoint, and graphite. Milwaukee Art Museum, Gertrude Nunnemacher Schuchardt Collection, presented by William H. Schuchardt M1924.141. Photo credit: John R. Glembin

Did you know that Anders Zorn might be the most famous artist you’ve never heard of?

During his career, which spanned about 20 years before and 20 years after 1900, Zorn was in high demand for painted portrait commissions in Europe and in the U.S.  In fact, he was in direct competition with John Singer Sargent (American, 1856–1925), one of the best known portrait painters at the turn of the twentieth century.

So, who was Anders Zorn?

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From the Collection: In the Catskills by Asher Brown Durand

A number of the artists featured in the special exhibition Nature and the American Vision: The Hudson River School can also be found in the galleries of the Milwaukee Art Museum. This is the fourth and final in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition.

Asher Brown Durand (American, 1796–1886), In The Catskills, 1857. Oil on canvas. Milwaukee Art Museum, Layton Art Collection, Inc., Gift of Frederick Layton L105. Photo credit: Larry Sanders.

Asher Brown Durand (American, 1796–1886), In The Catskills, 1857. Oil on canvas. Milwaukee Art Museum, Layton Art Collection, Inc., Gift of Frederick Layton L105. Photo credit: Larry Sanders.

Although they depicted the American landscape, Hudson River School painters found inspiration in Europe.

Traveling to France or Italy to study Old Masters was a common tradition, even for American artists looking to assert their cultural identity, and they adapted European conventions to a uniquely American vision.

For this blog post, we will use the painting In the Catskills by Asher Brown Durand (American, 1796-1886) as a case study, showing the influence of European artistic traditions.

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Milwaukee Studio Visit and Coloring Book Collaboration: Reginald Baylor

Cover art for the Collector’s Edition coloring book with Baylor’s drawing of The Wood Gatherer, 1881 by Jules Bastien-Lepage.

Cover art for the Collector’s Edition coloring book with Baylor’s drawing of The Wood Gatherer, 1881 by Jules Bastien-Lepage.

This coloring book is a perfect dialogue between myself as an artist and the art museum in my hometown. –Reginald Baylor

Ted and I visited Reginald Baylor’s studio space in development in Milwaukee’s Sherman Park neighborhood to talk about his new coloring book collaboration with the Art Museum during a freakishly cold spring storm.

Car heater roaring and windshield wipers racing, we pulled up to a charming mid-century building on the corner of Sherman and North that was clearly undergoing an exciting renovation and re-invention by the Finney Arts Incubator.

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From the Collection: Frederick Edwin Church and Charles De Wolf Brownell

A number of the artists featured in the special exhibition Nature and the American Vision: The Hudson River School can also be found in the galleries of the Milwaukee Art Museum. This is the third in a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition.

Frederic Edwin Church (American, 1826–1900), A Passing Shower, 1860. Oil on canvas. Milwaukee Art Museum, Layton Art Collection, Inc. L107. Photo credit: Larry Sanders.

Frederic Edwin Church (American, 1826–1900), A Passing Shower, 1860. Oil on canvas. Milwaukee Art Museum, Layton Art Collection, Inc. L107. Photo credit: Larry Sanders.

The first post in this series focused on Thomas Cole, the founder of the Hudson River School. Today we will highlight Cole’s one and only pupil, Fredrick Edwin Church (American, 1826-1900), as well as Church’s very good friend, Charles De Wolf Brownell (American, 1822-1909).

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From the Collection: Albert Bierstadt’s Wind River Mountains, Nebraska Territory

A number of the artists featured in the special exhibition Nature and the American Vision: The Hudson River School can also be found in the galleries 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.

Albert Bierstadt (American, b. Germany, 1830–1902), Wind River Mountains, Nebraska Territory, 1862. Oil on board. Milwaukee Art Museum, Layton Art Collection, Inc., Purchase L1897.3. Photo credit: Larry Sanders.

Albert Bierstadt (American, b. Germany, 1830–1902), Wind River Mountains, Nebraska Territory, 1862. Oil on board. Milwaukee Art Museum, Layton Art Collection, Inc., Purchase L1897.3. Photo credit: Larry Sanders.

The special exhibition Nature and the American Vision looks at the paintings of the Hudson River School. This week, let’s take a closer look at one of the paintings by this group of artists on view in the American galleries and see how it relates to scientific study.

Today we see science and art as two separate forms of study, but for much of history, they were intertwined. The painters of the Hudson River School worked during the nineteenth century, when science and the humanities had more fluidity.

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