Designed by Louis-Constant Sévin (French, 1821–1881) and Manufactured by Firm of F. Barbedienne (French, 1858–1955), Monumental Ormolu-Mounted Enamel Vase, 1867. Copper, gilt bronze, and cloisonné enamel. 30 1/2 × 12 in. (77.47 × 30.48 cm). Milwaukee Art Museum, Purchase, with funds from Avis Martin Heller in honor of the Fine Arts Society and the Fine Arts Society in memory of Jane and Donald Doud M2014.10. Photo credit: Photograph courtesy of H. Blairman & Sons Ltd, London.
You may have noticed that some of our past “From the Collection” posts have highlighted new acquisitions. Just in the last year we explored a pair of paintings by Alexandre Cabanel and a painting by Franz Ittenbach.
When museum curators buy new artwork for the collection, they often look for things that will make a strength of the collection stronger or fill a gap in an important story we want to tell.
One recent acquisition that does both of these things is a Monumental Ormolu-Mounted Enamel Vase created in France in 1867.
Alexandre Cabanel (French, 1823–1889), Saint Monica in a Landscape, 1845. Oil on canvas. Milwaukee Art Museum, Purchase, with funds from Avis Martin Heller in honor of the Fine Arts Society and funds from the Fine Arts Society M2014.9 Photo credit: Jack Kilgore & Co, Inc.
What makes an artist influential? Most would say it the art he or she creates, because most likely that artwork was created in some sort of special way. And although that is true, I would argue that that is only part of the story. Let me show you what I mean. Continue reading
Installation of Corot, Daubigny, Miller: Visions of France. Photo credit: the author.
In the past, in posts related to provenance (or the history of an artwork, such as who has owned it and where it’s been), we’ve talked a little bit about credit lines. Credit lines are the part of an object label that tells you how the Milwaukee Art Museum acquired that artwork. The most common credit lines are gifts or bequests, but we also purchase artwork with funds given to us for that reason.
Today, I want to explore the story behind a more unusual credit line. Continue reading
Rineke Dijkstra, Marianna (The Fairy Doll), 2014. One-channel HD video installation, surround sound; 19 min. 13 sec., looped. Courtesy of the artist and Marian Goodman Gallery. © Rineke Dijkstra.
Rineke Dijkstra: Rehearsals opens this Friday, September 9, in the Herzfeld Center for Media Arts.
Dutch artist Rineke Dijkstra (b. 1959) is interested in moments of transition, particularly adolescence. In the upcoming exhibition, young athletes are the focus: rhythmic gymnasts in The Gymschool, St. Petersburg (2014) and a ballerina in Marianna (The Fairy Doll) (2014).
Henri de Toulouse-Lautrec (French, 1864–1901), Three Cuirassiers, 1879. Oil on canvas. Milwaukee Art Museum, Gift of Mrs. Harry Lynde Bradley M1977.149. Photo credit: John R. Glembin.
There is so much commentary surrounding the artist Henri de Toulouse-Lautrec (French, 1864–1901) and his ‘celebrity’. Certainly, with just at the mention of his name, shimmering glimpses of Parisian nightlife in come to mind. But what would surprise most, I think, is that he developed from an aristocratic youth into a bohemian artist whose images are anything but blue-blooded.
We can get a little peek into the early life of one of the best known painters of the post-Impressionist period with Three Cuirassiers (left), dated 1879. This small painting—in fact, you might have missed it!—is on display in the newly reopened European Galleries. Continue reading