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Art Curatorial Exhibitions

From the Collection–The Mocking of Ceres

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 second in a series of posts focusing on the exhibition.

Hendrik Goudt (Dutch, 1583–1648), after Adam Elsheimer (German, 1578–1610). The Mocking of Ceres, 1610, published 1633. Milwaukee Art Museum, Gift of Friends of Art, from the collection of Philip and Dorothy Pearlstein M2000.136. Photo credit: Larry Sanders.
Hendrik Goudt (Dutch, 1583–1648), after Adam Elsheimer (German, 1578–1610). The Mocking of Ceres, 1610, published 1633. Milwaukee Art Museum, Gift of Friends of Art, from the collection of Philip and Dorothy Pearlstein M2000.136. Photo credit: Larry Sanders.

We’ve already seen how the ancient sculpture of Italy inspired a French Rococo artist in the four prints of the Bacchanals. In this post, we’ll explore another artist’s use of Classical mythology.

The Mocking of Ceres shows Ceres, the goddess of the earth and agriculture, taking a drink. She has been searching the world for her daughter Persephone, who was abducted by Pluto, the ruler of the underworld. Coming upon a small cottage, she asks an old woman for some water. Because Ceres is drinking quickly, a little boy mocks her for her greediness. Angry, Ceres throws her drink at the boy and turns him into a lizard.

This story is just one of the many told by the Roman poet Ovid (43 BC–AD 17) in his work called Metamorphoses. The book-length poem, written in Latin, collected together Greek mythological stories that had some element of transformation as a plot point.

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Art Curatorial Exhibitions

From the Collection— Bacchanals by Jean-Honoré Fragonard

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 first in a series of posts focusing on the exhibition.

Jean-Honoré Fragonard (French, 1732–1806), Nymph Supported by Two Satyrs, from the series Bacchanals, 1763. Etching. Plate and sheet: 5 7/16 × 8 1/8 in. (13.81 × 20.64 cm). Milwaukee Art Museum, Gift of the DASS Fund M2010.65.1. Photo credit: John R. Glembin.
Jean-Honoré Fragonard (French, 1732–1806), Nymph Supported by Two Satyrs, from the series Bacchanals, 1763. Etching. Plate and sheet: 5 7/16 × 8 1/8 in. (13.81 × 20.64 cm). Milwaukee Art Museum, Gift of the DASS Fund M2010.65.1. Photo credit: John R. Glembin.

For most visitors to the Milwaukee Art Museum, the French artist Jean-Honoré Fragonard (1732–1806) is known as a painter. He painted The Shepherdess (pictured below), which is the focal point of our Rococo gallery.

And it is the centerpiece of this gallery for good reason! It is a perfect example of the elegant and amorous style so popular in eighteenth century France.

A beautiful young lady, dressed in a fashionable and revealing costume (we can see her ankles!), sits in the countryside awaiting her lover, who enters the scene over the distant hill. The composition is full of delicate curlicues and pastel colors, creating a frothy vision of the pastoral ideal.

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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.

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Art Curatorial Exhibitions

Opening Soon: Rineke Dijkstra: Rehearsals

Rineke Dijkstra, Marianna (The Fairy Doll), 2014. One-channel HD video installation, surround sound; 19 min. 13 sec., looped. Courtesy of the artist and Marian Goodman Gallery. © Rineke Dijkstra.
Rineke Dijkstra, Marianna (The Fairy Doll), 2014. One-channel HD video installation, surround sound; 19 min. 13 sec., looped. Courtesy of the artist and Marian Goodman Gallery. © Rineke Dijkstra.

Rineke Dijkstra: Rehearsals opens this Friday, September 9, in the Herzfeld Center for Media Arts.

Dutch artist Rineke Dijkstra (b. 1959) is interested in moments of transition, particularly adolescence. In the upcoming exhibition, young athletes are the focus: rhythmic gymnasts in The Gymschool, St. Petersburg (2014) and a ballerina in Marianna (The Fairy Doll) (2014).

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Art Curatorial Exhibitions

From the Collection: The Nudes of Anders Zorn

The current exhibition in the European works on paper rotation space (on view until July 31) is Anders Zorn: Sweden’s Painter-Etcher. Featuring all 18 prints in the Milwaukee Art Museum’s collection by Zorn, this is the first time ever that they have been on view at the same time. This is the fifth and final in a series of posts focusing on the exhibition.

Anders Leonard Zorn (Swedish, 1860–1920), Dal River (Dalälven), 1919. Etching, roulette, drypoint, and engraving. Milwaukee Art Museum, Gift of Mr. Lindsay Hoben M1966.111. Photo credit: John R. Glembin
Anders Leonard Zorn (Swedish, 1860–1920), Dal River (Dalälven), 1919. Etching, roulette, drypoint, and engraving. Milwaukee Art Museum, Gift of Mr. Lindsay Hoben M1966.111. Photo credit: John R. Glembin

This week, we’ll wrap up our consideration of the prints of Anders Zorn with a look at one of his favorite subjects: the female nude.

In 1888, Zorn became one of the first artists to paint nude women outdoors in a publicly accessible setting. Before this time, if an artist wanted to show a nude out-of-doors, the proper thing was to sketch or paint the outdoor setting and then add the nude from a model later in the privacy of the studio.

How different was Zorn’s use of the female nude? Just compare the 1875 painting Nymph of the Hunt with Fauns by Swedish artist Julius Kronberg (1850–1921) with Zorn’s copy in watercolor, Love Nymph from 1885, both in the Nationalmuseum in Stockholm.