Categories
Art Behind the Scenes Curatorial

MAM Behind-the-Scenes: Rotating the Collection

Gallery with Portrait Miniatures at Milwaukee Art Museum. Photo credit: Tina Schinabeck.
Gallery with Portrait Miniatures at Milwaukee Art Museum. Photo credit: Tina Schinabeck.

The Milwaukee Art Museum, like many other large museums, has so much art that it is impossible to display it all at once; there is just not enough space in the galleries.

Instead, the museum often rotates their installations, allowing the largest amount of objects to be displayed—just at different times. This also lets the curators to explore many different narratives using the permanent collection.

One such rotating installation is the display of portrait miniatures. Located in the gallery that contains most of the eighteenth-century European material, the portrait miniatures make a fascinating case study on just how the Milwaukee Art Museum goes about rotating artwork.

Categories
Art Curatorial Exhibitions

Questions of Provenance: William and Gertrude Schuchardt

Installation of Corot, Daubigny, Miller: Visions of France. Photo credit: the author.
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.

Categories
Art Events

If Milwaukee’s Festivals were Works of Art…

Warrington Colescott (American, b. 1921), Suite Louisiana: The Music of the Folks, 1996. Color soft-ground etching, aquatint, and spit bite, with à la poupée inking, and relief rolls through stencils. Milwaukee Art Museum, Gift of the artist and Frances Myers M2004.538. Photo credit: Michael Tropea © Warrington Colescott
Warrington Colescott (American, b. 1921), Suite Louisiana: The Music of the Folks, 1996. Color soft-ground etching, aquatint, and spit bite, with à la poupée inking, and relief rolls through stencils. Milwaukee Art Museum, Gift of the artist and Frances Myers M2004.538. Photo credit: Michael Tropea © Warrington Colescott

Milwaukee has earned the title “City of Festivals,” and for very good reason. If you are looking to celebrate music, art, film, cultural heritage, specific holidays or simply a love of craft beer, Milwaukee has a festival for you!

In the summer months, when Wisconsin weather is arguably most pleasant for those outdoor activities that do not require snowsuits, you might even find yourself at a different festival every weekend. The Milwaukee Art Museum itself contributes to the city’s lively “festival culture” by hosting the Lakefront Festival of Art every June.

To coincide with the height of our local festival season, I’ve selected some works from the Museum’s collection for their visual resemblance to some of Milwaukee’s most popular upcoming summer festivals.  Have fun!

Categories
Art Behind the Scenes Curatorial Exhibitions

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.

The Museum has a number of new spaces dedicated to works on paper.  The focus of these areas range from European prints and drawings (Gallery S202), to modern art from the Bradley Collection (Gallery K215), to Folk and Self-Taught art (Gallery K122). When not on view, those works on paper are stored safely in the dark.

Categories
Art Curatorial

From the Collection—Albrecht Dürer, Part 2

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 second of a series of posts related to Dürer’s prints.

Albrecht Dürer (German, 1471–1528), Madonna with the Monkey, ca. 1498. Engraving. Milwaukee Art Museum, Gertrude Nunnemacher Schuchardt Collection, presented by William H. Schuchardt M1924.169. Photo credit: P. Richard Eells.
Albrecht Dürer (German, 1471–1528), Madonna with the Monkey, ca. 1498. Engraving. Milwaukee Art Museum, Gertrude Nunnemacher Schuchardt Collection, presented by William H. Schuchardt M1924.169. Photo credit: P. Richard Eells.

Last time, we learned a little about Albrecht Dürer by looking at a woodcut from his series called The Apocalypse. In this post, we’ll look at a different type of print—an engraving—with religious subject matter.

Madonna with the Monkey is one of several Madonna and child compositions that Dürer produced throughout his career. His Catholic German patrons would be interested in the powerful woman that had become so central to the salvation of man by being the mother of Christ. This type of print would be popular and consequently sell well. In the current display at the Milwaukee Art Museum, there are two other depictions of the Madonna and child (Madonna and the Infant in Swaddling and the Madonna with the Pear) and two prints from the series The Life of the Virgin (The Death of Mary and The Circumcision of Jesus).

In Madonna with the Monkey, Dürer shows a young, loving mother holding her chubby baby. This display of emotion, combined with the well-modeled physicality of the figures, is a contrast to previous depictions of the Madonna and Child found in central Europe (compare this sculptural example at the Metropolitan Museum of Art). This is likely a result of Dürer’s first visit to Italy, from 1491 to 1495. While there, he studied artwork of the Italian Renaissance and the classical past. He brought back sketches and ideas which moved German art away from the frontal, stylized representations of the middle ages.