The current exhibition in the European works on paper rotation space (on view until December 3) is The Temple of Flora. The show features fifteen large-scale color prints from the illustrated book The Temple of Flora. They reflect the true passion of English doctor John Robert Thornton: botany. In honor of the Swedish botanist Carl Linnaeus (1707–1778), Thornton hired eminent artists to produce the engravings, envisioning a series of seventy plates. The extreme cost of hiring top artists to create such labor-intensive prints, however, resulted in the creation of only thirty-three plates, which he released individually between 1799 and 1812. Learn more about what makes these prints so unique with today’s post.
What do you notice first about Miss Grace Ashburner? Maybe her porcelain-white skin highlighted by pink cheeks? Her fashionably powered hair decorated by a shiny blue ribbon? Or maybe her smart green coat with bright brass buttons?
This portrait of Grace, painted by fashionable English portraitist George Romney (1734-1802), shows her wistfully gazing off in the distance. In 1792, the year of the painting, Grace would have turned 18. She is certainly the epitome of a lovely young lady of late eighteenth century England.
Would it surprise you to learn that, just five years later, Grace was involved in a love triangle that resulted in a scandalous trial?
Details of Grace’s life come alive through some primary resources. The story first broke in a number of English newspapers in late June 1797. Notices appear all over the county, from Kent southeast of London, to Chester near Liverpool, to Norfolk on the east coast, to Staffordshire in the Midlands. It even made the newspapers in Ireland. Then, when the civil jury trial happened in September, more newspapers took up the story. There even exists a pamphlet that captures all of the details. It sold for twopence and had as its title:
Mrs. M.––––– ’s Cabinet is currently featuring an installation that was developed by University of Wisconsin-Milwaukee students enrolled in the course “Curating Mrs. M.––––– ’s World.” The project resulted in the display of seven acquisitions by the Chipstone Foundation. The exhibition opened to the public on Sunday, December 18th and will run throughout the spring.
Mrs. M.––––– ’s Cabinet is one of five galleries, located in the Milwaukee Art Museum’s Constance and Dudley Godfrey American Wing, that are curated by the Chipstone Foundation. In the fall of 2016, Chipstone Curator and Director of Research Dr. Sarah Anne Carter taught a graduate seminar in museum studies in the University of Wisconsin-Milwaukee’s Art History Department. The seven creative and up-and-coming student curators in this course researched and developed the innovative installations found in this exhibition in order to expand and enhance Mrs. M.––––– ’s mysterious story.
Each student was assigned an object to research and install in the cabinet as part of the museum studies course. Their challenge was to create an installation that fit in with the theme of Mrs. M.––––– ’s Cabinet: her desire to create a nuanced and complete history of America and its material cultures.
A number of artists featured in the special exhibition Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums are represented in the collection of the Milwaukee Art Museum. This is the second in a series of blog posts that will highlight Milwaukee’s paintings during the run of the exhibition.
Imagine it is the early 18th century. You are an Italian noble and need to decorate your villa. Who do you hire to make some paintings for you?
For many, the answer would have been Andrea Locatelli (Italian, 1695-1741). He’s not a household name today, but during his lifetime, Locatelli was famous. The venerable Colonna family of Rome, who were great art patrons, owned 80 of his paintings!
The Milwaukee Art Museum has a lovely pair of paintings from Locatelli’s late career: Landscape with a River and Group of Figures Near A Roman Altar and Mountainous Landscape with Shepherds and Animals.
A number of artists featured in the special exhibition Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums are represented in the collection of the Milwaukee Art Museum. This is the first in a series of blog posts that will highlight Milwaukee’s paintings during the run of the exhibition.
Active in the very end of the 17th century and the first part of the 18th century, Antonio Balestra was an Italian painter of the “late Baroque.”
What does that mean? Well, it means that he worked during a time of transition between the theatrical narratives and dramatic light and shadow of the high Baroque (think Caravaggio) and the bright, elegant style called Rococo (think Tiepolo).