Categories
Art Collection Curatorial European

From the Collection–St. Nicholas Day by Ferdinand Georg Waldmüller

Ferdinand Georg Waldmüller (Austrian, 1793–1865), St. Nicholas Day, 1851. Oil on wood panel. Milwauke Art Museum, Gift of the René von Schleinitz Foundation M1962.124. Photo credit: John R. Glembin.
Ferdinand Georg Waldmüller (Austrian, 1793–1865), St. Nicholas Day, 1851. Oil on wood panel. Milwauke Art Museum, Gift of the René von Schleinitz Foundation M1962.124. Photo credit: John R. Glembin.

Today, in celebration of the holiday season, we’re going to discuss one of my favorite paintings in the collection.

In St. Nicholas Day, painter Ferdinand Georg Waldmüller (1793–1865) shows an Austrian family celebrating the feast of St. Nicholas on December 6. On St. Nicholas Eve, Austrian children would put their shoes on the windowsill. If they had behaved well all year, the children would discover the next morning that St. Nicholas had filled their shoes with fruit, sweets, and small toys.

While at first glance the crowded room is full of excitement and joy, a closer look shows why Waldmüller was considered one of the most important Austrian artists of the nineteenth century. Rather than a chaotic scene, the painting is balanced and orderly. The gestures and glances of each subject draw the viewer’s eye around the painting, creating a sense of harmony.

Categories
Art Collection European Exhibitions Prints and Drawings

From the Collection: The Temple of Flora

Yellow and red flowers with long stems
Richard Earlom (English, 1743–1822), after Philip Reinagle (English, 1749–1833), The Superb Lily, published June 1, 1799 (detail). Color aquatint, etching, stipple, and mezzotint with hand coloring, varnished. Milwaukee Art Museum, Gift of Mr. and Mrs. William F. Pabst Jr. and Mr. and Mrs. Harry Starr III in memory of Mrs. Carl Eberbach M1973.100. Photog credit: John R. Glembin.
Richard Earlom (English, 1743–1822), after Philip Reinagle (English, 1749–1833), The Superb Lily, published June 1, 1799. Color aquatint, etching, stipple, and mezzotint with hand coloring, varnished. Milwaukee Art Museum, Gift of Mr. and Mrs. William F. Pabst Jr. and Mr. and Mrs. Harry Starr III in memory of Mrs. Carl Eberbach M1973.100. Photog credit: John R. Glembin.
Richard Earlom (English, 1743–1822), after Philip Reinagle (English, 1749–1833), The Superb Lily, published June 1, 1799. Color aquatint, etching, stipple, and mezzotint with hand coloring, varnished. Milwaukee Art Museum, Gift of Mr. and Mrs. William F. Pabst Jr. and Mr. and Mrs. Harry Starr III in memory of Mrs. Carl Eberbach M1973.100. Photog credit: John R. Glembin.

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.

Categories
Art Collection Curatorial European Exhibitions

From the Collection: Fighting Fauns by Franz von Stuck

The current exhibition in the European works on paper rotation space (on view until April 2) is Gods and Heroes: Classical Mythology in European Prints. The show features 21 prints that cover the Renaissance through the early twentieth century and are by artists from Germany, Holland, France, Italy, and England. Each print offers insight into why European artists used the narratives of classical mythology. This is the third and final in a series of posts focusing on the exhibition.

Franz von Stuck (German, 1863–1928), Fighting Fauns (Kämpfende Faune), 1889. Etching. Plate: 3 7/8 × 5 5/8 in. (9.84 × 14.29 cm). Milwaukee Art Museum, Purchase, René von Schleinitz Memorial Fund M1995.294. Photo credit: Larry Sanders.
Franz von Stuck (German, 1863–1928), Fighting Fauns (Kämpfende Faune), 1889. Etching. Plate: 3 7/8 × 5 5/8 in. (9.84 × 14.29 cm). Milwaukee Art Museum, Purchase, René von Schleinitz Memorial Fund M1995.294. Photo credit: Larry Sanders.

Remember how French Rococo artist Jean Honoré Fragonard showed satyrs as lighthearted, family-orientated creatures?

Well, today we’re going to see how another artist used those creatures to represent something totally different.

Categories
Art Collection Curatorial European

Questions of Provenance: Henri de Toulouse-Lautrec’s Three Cuirassiers, Part 2

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.
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.

The Milwaukee Art Museum’s current feature exhibition, Milwaukee Collects, includes more than 100 objects from nearly 50 private collections in the Greater Milwaukee area. It offers an opportunity to see treasures that are typically not on public view. At the same time, it reminds us that the Milwaukee Art Museum’s collection is part of a long tradition of collecting in the community. This is the first in a series of blog posts that will explore the provenance of selected artworks in the collection and how they came to be here.

Last summer, we took a closer look at a little gem of a painting in the European collection: Three Cuirassiers by Henri de Toulouse-Lautrec (French, 1864–1901). It is a rare early oil painting by the great Post-Impressionist artist, done when Lautrec was only fourteen! So, how did the painting come to be in Wisconsin, at the Milwaukee Art Museum? Let’s take a closer look at the provenance trail.

Categories
Art Behind the Scenes Collection Curatorial European

MAM Behind-the-Scenes: Where Did They Go?

Academic Gallery with Homer and His Guide by William-Adolphe Bouguereau. Photo credit: John R. Glembin.
Academic Gallery with Homer and His Guide by William-Adolphe Bouguereau. Photo credit: John R. Glembin.

There are some things in the Museum that are always changing—exhibition galleries, works on paper, portrait miniatures. But sometimes we make smaller changes to those galleries that seem to be “permanent”. For instance, every once in a while, individual artworks disappear from the walls and are replaced by others. Have you ever wondered why?

In today’s post, we’ll take a look at two different reasons that paintings in the European galleries have gone off view and learn a little about the things that replaced them.

First, let’s look at the Layton Art Collection’s fabulous painting Homer and His Guide by William-Adolphe Bouguereau. This monumental painting—it’s almost 7 feet tall!— usually hangs in the Academic Gallery, S200. It’s not on view right now because it is out on loan.

Categories
Art Behind the Scenes Curatorial Exhibitions

Curating Mrs. M.––––– ’s World, a New Installation: Part 2

View of Mrs. M.––––– ’s Cabinet.
View of Mrs. M.––––– ’s Cabinet.

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.

Categories
Art Behind the Scenes Curatorial Exhibitions

Curating Mrs. M.––––– ’s World, a New Installation: Part 1

View of Mrs. M.––––– ’s Cabinet.
View of Mrs. M.––––– ’s Cabinet.

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.

Categories
Art Collection Curatorial European

From the Collection: Monumental Orientalist Vase

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.
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.

The vase, designed by Louis-Constant Sévin (French, 1821–1881), brings together different elements from what he would have considered the exotic Orient. Today this is known as the Middle East, North Africa, Turkey, Greece, and Asia.

Categories
Art Collection Curatorial European

From the Collection: A Pair of Paintings by Alexandre Cabanel

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.
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.

Categories
Art Collection Curatorial European

From the Collection: Henri de Toulouse-Lautrec’s Three Cuirassiers, Part 1

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.
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.