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.
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.
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 first a series of blog posts that will highlight Milwaukee’s artworks during the run of the exhibition.
Thomas Cole (American, b. England, 1801–1848), Storm in the Wilderness, 1826–28. Oil on canvas. Milwaukee Art Museum, Layton Art Collection, Inc., Purchase L1968.25. Photo credit: Larry Sanders.
Often called the Founder of the Hudson River School, Thomas Cole (1801–1848) holds an important place in the development of American landscape painting. Cole’s Storm in the Wilderness, from the Layton Art Collection and on view in the exhibition, is a good example of the power of his work.
Herzfeld Photography, Print, and Drawing Study Center. Photo credit: John Glembin.
Did you know that nearly half of the Milwaukee Art Museum’s collection consists of works on paper? We have more than 15,000 rare prints, drawings, photographs, and book arts.
Works on paper cannot be shown indefinitely, because they are light-sensitive; light will cause them to fade. Accordingly, in order to preserve them in the best condition possible, they are rotated. A rotation is when one work is taken off view and replaced with another, usually every three to four months.
The inaugural exhibition in the European works on paper rotation space (on view until March 20) explores the Renaissance in Germany. Comprised completely of prints from the collection of the Milwaukee Art Museum, you can find engravings by Heinrich Aldegrever (1502–ca. 1561) and stipple engravings by Hans Sebald Beham (1500–1550). But you can’t study printmaking in the German Renaissance without a serious consideration of Albrecht Dürer (1471–1528). And we’re lucky enough to have 14 prints by the master! This is the third and final of a series of posts related to Dürer’s prints.
Albrecht Dürer (German, 1471–1528), The Hermits St. Anthony and St. Paul in the Desert, ca. 1504. Woodcut. Milwaukee Art Museum, Maurice and Esther Leah Ritz Collection M2004.179. Photo credit: Efraim Lev-er.
Sometimes the specialized terminology used in the study of art can be intimidating. This can particularly be a problem with works on paper! In this post I hope to explain the difference between two important printmaking techniques, using Albrecht Dürer as an example, so that they are no longer so daunting. Continue reading
Most Beautiful and Highly Esteemed Friends-
Your adoring Museum Store has so many gifts that say “I love you,” you may very well swoon with delight! Read on to uncover some of our favorite gifts, then check out the online Valentine’s Day gift guide for more inspirational ideas to help you lavish your beloved with objects of affection. Continue reading