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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From the Collection: Thomas Cole’s Storm in the Wilderness

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.

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.

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Herzfeld Photography, Print, and Drawing Study Center

Herzfeld Photography, Print, and Drawing Study Center. Photo credit: John Glembin.

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.

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