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1 S Contemporary Artists Fascinated with the Baroque and Rococo

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1 S Contemporary Artists Fascinated with the Baroque and Rococo 1 S Contemporary Artists F ascinated with the B aroque and Rococo September 24, 1995 - February 4, 1996 Curoled by Lisa G. Corrin, The Contemporary in cooperation with Joonooth Spicer, The Wolters Edited by Lisa G. Corrin and Jooneoth Spicer Essays by Lisa G. Corrin, Gail Feigenbaum, Irving Lovin, and Jooneoth Spicer The Contemporary ond The Wolters, Baltimore, Maryland Tobie ol Contents Directors' Forewords George Cisdo and Gory Vikon 3 WhyBoroque Irving Lovin 5 Mastering the Post Notes on Artistic Proctice ond the Beginnings ol the Boroque in ltoly Goil Feigenbaum 9 The Response to the Art ol tho Past by Northern 17th-Century Ar1ists Joaneoth Spicer 13 Contcmpo101y Artish Go for llaroque Lrsa G Corrin 17 Color Plates, Artist Biogrophios ond Selected Bibliographies Lisa G. Corrin 35 hhibition Checklist 72 DIRECTORS' FOREWORDS one another. The contribution of Irving Lovin, Professor of Art History, Institute for Advanced Study, Princeton, whose catalog essay considers the relevance of the boroque to contemporary culture, odds a critical n spring 1992, The Conlemporory and The Wolters building block to this foundation. began meeting informally lo discuss the possibility of To reinforce the importance of this approach to the material working together on a joint proiect. While each museum hod and, further, to engage young artists in the proiect, a group of sixteen specific reasons for entering such a partnership related lo its fine arts students from the Maryland Institute, College of Art ~MICA) were di stincl mission, nevertheless, we both were asking lwo essential selected by the academic dean, Roy Allen, to participate in a team· questions that shaped the final decision lo embark on o collaborative taught seminar designed by Corrin in collaboration with MICA professor enterprise. What role could contemporary art ploy in bringing new Barry Nemet!. Along with on academic syllabus that included lectures by perspectives to bear on o permanent collection of objects from the post? Dr. Spicer, students porticipoted in o studio practicum, creating works in How might such o relationship shed light on both the interests of artists response to The Wolters' boroque collections. A final critique with the working today and the relevance of art of the post for oddressing three-member faculty team in May 1995 determined which artworks contemporary themes? The resulting exhibition, Going for Baroque, created during the seminar would appear in a seporole student exhibi­ responded fully to the concerns of both institutions. tion at The Wolters scheduled concurrently with Going for Baroque. The Contemporary exhibits today's art in unexpected, tempo­ The student exhibition serves as a reminder that formalized academic rary venues, bringing art directly to audiences. It is port of The training of artists based on study of art of the past was born in the Contemporory's mission to promote creative interaction belween the seventeenth century. This is the subject of the important contribution to a rti st and the public and to forge community·wide partnerships that th is publication by Gail Feigenbaum, Coordinator of Acodernic connect the art of today to our lives. In considering on exhibition with Programs, Education Division, Notional Gallery of Art. and at The Wolters, The Contemporary was enthusiastic about the During the past spring and summer, three resident artists- Dotty opportunity lo present contemporary art, not only in on unexpected Allie, Kori Connolly, and David Reed-completed new paintings created space, but in on environment that created o brooder context for under· in response to baroque works in The Wolters' collection. The residencies standing the connections belween contemporary art and the art of the included research in museum storage, visits with conservators, registrars, baroque. and curators, and two weeks of pointing in front of their chosen objects. Lisa G. Corrin, Curator/Educator of The Contemporary, hos None of the resident artists hod ever before hod the opportunity to paint continued to seek out intersections between the post a nd present through in a museum environment from original works of art. Their works presentations of cultural artifacts in fresh contexts that raise issues which embody the :spirit and underlying thesis of the exhibition: that the art of cross time periods and disciplines. Her research convinced her that the the past remains meaningful for artists working today. period loosely termed "the baroque" and the co-extensive "rococo" did, On behalf of The Contemporary, I would like lo extend my indeed, continue to fascinate artists in o variety of ways. They were as gratitude to Lisa G. Corrin, whose curatorial vision and dedication hove interested in the styles and themes of baroque works of art as they were mode these connections between post and present accessible to our in the mythical stature ascribed to certain artists, the overshadowing varied audiences. I would also like lo recognize Jed Dodds, our museum presence of the absolute powers of church and stole, and the birth of art assistant, and Erika Moravec, curatorial intern, far the energy and great history itself. Corrin's choice of contemporary artists was determined by care invested in the research for this catalog. Speciol thonb to our her developing familiarity with The Wolters' collections. The carefully designer Royce Faddis for the personal support she contributed during honed juxtapositions of contemporary, baroque, and rococo objects the production of this publication. f inally, I wou ld like to express our were shaped by her discussions with Joaneath Spicer, Jomes A. appreciation of Gory Vikan, Jooneoth Spicer, and the staff of The Murnaghon Curator of Renaissance and Baroque Ari. Spicer brought ta Walters for their commitment to overseeing the multiplicity of details of her role of cooperating curator her interest in creating visual dialogues, this complex project. rather than lectures belween objects. All too often such exhibitions bringing together the post and George Ciscle, Director present focus on quotation, appropriation, or copying, isolating the The Contemporary appropriated from the *appropriator." Thus, the decision to display the exhibition in the permanent gallery spaces with the collections rather than in the temporary exhibition galleries must be remarked upon. Acknowledgments Going for Baroque brings them together in conversation so the objects An accomplishment such as this collaborative undertaking is facilitated can illuminate one another and draw out aspects of each which other­ only through the participation of farsighted funders. Going for Baroque wise might go unconsidered. Also notable is that the exhibition dispenses hos been mode possible, in port, through generous support provided to with the categories that segregate northern and Italian baroque, east The Contemporary by the National Endowment for the Arts, Mid:Atlontic and west, high and low artifacts, in favor of on eclecticism that offers Arts Foundation, The Alexander Julian Foundation, Maryland State Arts more than o possing glimpse of the remarkable international visual Council, and C. Grimoldis Gallery and lo The Wolters by Richard and culture that typified the period. Rosalee Davison, Arlontic Von Lines, and the Dorothy Wagner Wallis The exhibition gained from its grounding in the historical Charitable Trust. Significant in·kind support hos been provided by the For even as artists choose intentionally lo misinterpret, reinterpret, or City Paper, Ed Early Printing Co., Inc., Maryland Institute, College of Art, dehistoricize the art historical sources or aesthetic traditions of the Ziger/Snead, Architects & Charles Brickbouer. period, we still cannot understand why they hove done so without first gaining a footing with their sources. This provides a flexible foundation for interpolating why contemporary artists hove "gone for baroque," adding depth and rigor to the exhibition's line of questioning that would be missing when objects from the post and present ore segregated from rt begets art." Over lunch about a year ago a by that of the living artist. This, too, is an innovation for The Walters, friend on the faculty of the Maryland Institute, and ono with exciting potential. Could anyone hove imagi ned that our College of Art summed up his teaching galleries would be filled to overAowing for on evening lecture in the philosophy that simply. The notion that art middle of July? The o1troction was one of the featured resident artists student learns from art master, that art begets Mgoing for baroque/ the young Irishman and Maryland Institute graduate art, across generations and oven across centuries, was as obvious to ond faculty member Kori Connolly. He captivated the large and diverse him as was the necessity of making The Wailers' galleries his students' audience assembled that evening with commentary on the #dialogue• that classroom. his own powerful pointing, then in progress, hod established with one of Going for Baroque gives expression to that notion. It is an The Wolters' most imposing baroque paintings, Jusepe de Ribera's St. Poul innovation lor The Wailers, not only because it brings contemporary art the Hermit. Dotty Attie and David Reed, the two other resident artists into our galleries for the First time, but also because it springs from a involved in this project, hod achieved similar levels of excitement during collaboration unique in our institution's history. Responding to the their gallery presentations earlier in the spring. enthusiasm that many on our staff expressed lor Mining the Museum, a The Walters' aim in Going for Baroque was to attract new collaborative exhibition between The Contemporary and the Maryland audiences, especially those mostly engaged by the work of living artists, Historical Society, The Contemporary approached The Walters in early to on even greater appreciation of our Old Moster galleries, and to 1992 with an idea for on exhibition. It wou ld locus on the relationship create new, contemporary, perspectives on these works for our tradi­ between contemporary artists and the art ol the baroque period.
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