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Art Behind the Scenes Collection Curatorial European Exhibitions Prints and Drawings

Early Printed Books: A Chance to Turn the Pages

Woodcut by Michael Wolgemut and Wilhelm Pleydenwurff. Printed by Anton Koberger and Johannes Schoensperger, Two leaves from the book The Nuremberg Chronicle (Liber Chronicarum or Weltchronik), with a woodcut of a view of Bamberg, 1493 (detail). Woodcut and letterpress, Purchase, Gertrude Nunnemacher Schuchardt Fund, presented by William H. Schuchardt M1970.51. Photo by John R. Glembin.
Woodcut by Michael Wolgemut and Wilhelm Pleydenwurff. Printed by Anton Koberger and Johannes Schoensperger, Two leaves from the book The Nuremberg Chronicle (Liber Chronicarum or Weltchronik), with a woodcut of a view of Bamberg, 1493 (detail). Woodcut and letterpress, Purchase, Gertrude Nunnemacher Schuchardt Fund, presented by William H. Schuchardt M1970.51. Photo by John R. Glembin.

I’m a book lover. Always have been, always will be. For me, the physicality of a book—the tactile qualities of holding it in my hands, the smell of the paper and ink, and the sound of turning the pages—it is part of a complete experience that I never want to give up. And I’m not the only one. Although e-readers have taken part of the book market, readers still prefer physical books and physical books outsell e-books.

I don’t own an e-reader, but I do a lot of reading on screens, usually on my computer. Compared to even ten years ago, an enormous amount of important scholarship for the art historian is on the internet. I still conduct good and thorough research using printed books, but it’s amazing what is available with a few taps of the keyboard.

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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 Prints and Drawings

From the Collection: The Annuciation by Hendrick Goltzius

Winged woman holding flowers out to a pregnant woman with cupids above
Hendrick Goltzius (Dutch, 1558–1617), The Annunciation, from the series The Life of the Virgin, 1594 (detail). Engraving. Milwaukee Art Museum, Gift of Dr. and Mrs. Christopher Graf M1980.233. Photo credit: John R. Glembin.
Hendrick Goltzius (Dutch, 1558–1617), The Annunciation, from the series The Life of the Virgin, 1594. Engraving. Milwaukee Art Museum, Gift of Dr. and Mrs. Christopher Graf M1980.233. Photo credit: John R. Glembin.
Hendrick Goltzius (Dutch, 1558–1617), The Annunciation, from the series The Life of the Virgin, 1594. Engraving. Milwaukee Art Museum, Gift of Dr. and Mrs. Christopher Graf M1980.233. Photo credit: John R. Glembin.

The current exhibition in the European works on paper rotation space (on view until July 30) is Alluring Artifice: Mannerism in the Sixteenth Century. The show features 30 prints that explore Mannerism, a movement that emerged in European art around 1510–20 and lasted until about 1600. Characterized by densely packed compositions and a focus on the human form, the style resulted in images that are deliberately challenging in both design and technique. One of the prints featured in the show is The Annunciation, an engraving by the Dutch master printmaker Hendrick Goltzius (1558–1617).

Over the years, people that I meet have asked me what I am working on, and I usually reply that I was reading a book on art history. At one point I said that to my mathematics teacher from high school. He turned his head quickly and said confidently, “Like about Da Vinci?”

Categories
Art Collection Curatorial European Exhibitions Prints and Drawings

From the Collection: Preparations for the Wedding Banquet of Cupid and Psyche by Diana Mantuana

Scene of people laying around and eating, drinking, and talking
Diana Mantuana (Italian, ca. 1547–1612), after Giulio Romano (Italian, probably 1499–1546), Preparations for the Wedding Banquet of Cupid and Psyche, 1575 (detail). Engraving. Plate and sheet: 14 13/16 × 44 1/8 in. (37.62 × 112.08 cm). Milwaukee Art Museum, Gift of the DASS Fund M2013.34. Photo credit by John R. Glembin.
Scene of people laying around and eating, drinking, and talking
Diana Mantuana (Italian, ca. 1547–1612), after Giulio Romano (Italian, probably 1499–1546). Preparations for the Wedding Banquet of Cupid and Psyche, 1575. Engraving. Plate and sheet: 14 13/16 × 44 1/8 in. (37.62 × 112.08 cm). Milwaukee Art Museum, Gift of the DASS Fund M2013.34. Photo credit: John R. Glembin.

The current exhibition in the European works on paper rotation space (on view until July 30) is Alluring Artifice: Mannerism in the Sixteenth Century. The show features 30 prints that explore Mannerism, a movement that emerged in European art around 1510-20 and lasted until about 1600. Characterized by densely packed compositions and a focus on the human form, the style resulted in images that are deliberately challenging in both design and technique. One of the prints featured in the show is Preparations for the Wedding Banquet of Cupid and Psyche, an important recent acquisition by the Italian female engraver Diana Mantuana (ca. 1547–1612), who is sometimes referred to as Diana Scultori. 

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 Exhibitions Prints and Drawings

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.

Categories
Art Collection Curatorial European Exhibitions Prints and Drawings

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.

Categories
Art Behind the Scenes Collection Contemporary Curatorial Prints and Drawings

From the Vault: Rubber Stamp Portfolio, 1977

Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.
Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.

As the Collections Manager of Works on Paper, one of my duties is to facilitate the movement of the prints, drawings and photography in the collection for exhibitions, rotations, loans and viewings for researchers in the Herzfeld Study Center.

Our works on paper storage vault is organized into logical, easy-to-use groupings by size, century, nationality and then by artist’s last name (OK; it’s highly organized).

While pulling a print to go on view in the galleries, I stumbled upon a print by Carl Andre from a portfolio that I have never worked with before.

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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 Collection Curatorial European

From the Collection—Connections with Kenwood House

John Hoppner (English, 1758–1810), Portrait of Jane Emma Orde, ca. 1806. Oil on canvas; 30 1/8 x 25 7/16 in. (76.52 x 64.61 cm). Milwaukee Art Museum, Bequest of Josephine S. McGeoch in Memory of her husband, Gordon McGeoch M1983.197 Photo credit John R. Glembin
John Hoppner (English, 1758–1810), Portrait of Jane Emma Orde, ca. 1806. Oil on canvas; 30 1/8 x 25 7/16 in. (76.52 x 64.61 cm). Milwaukee Art Museum, Bequest of Josephine S. McGeoch in Memory of her husband, Gordon McGeoch M1983.197 Photo credit John R. Glembin

Through January 13, 2013, the Milwaukee Art Museum will have on display 48 fantastic paintings by some of the most important artists in history.  Rembrandt, Van Dyck, Gainsborough: Treasures from the Kenwood House, London is a great opportunity to see art that usually resides across the Atlantic Ocean in England.

But did you know that there are some works by these same artists in the Museum’s permanent collection?