La Vecchia,” a 1502-08 Oil on Canvas by Giorgione (C

SUNDAY, G ARTS JUNE 2, 2019 COURANT.COM /ARTS

WADSWORTH ATHENEUM MUSEUM OF ART Wall Drawing #793 C (Irregular wavy color bands on two facing walls), by Sol LeWitt Master of minimalism Bio details Sol LeWitt’s complex relationship with Hartford By Frank Rizzo Special to The Courant

In a recently released biogra- phy on Sol LeWitt — a Hartford- born, New Britain-raised artist who was a 20th century master of minimalism and conceptual art — Connecticut author and LeWitt friend Lary Bloom recounts in dramatic detail the surprise 70th birthday party held in 1998 at Hartford’s Wadsworth Atheneum Museum of Art, when “stunned guests watched as the guest of honor did all he could to ruin the party.” But more on that party later. First some perspective on the man who redefined the role of the artist with his belief that “the work of the mind is more impor- tant than the work of the hand.” LeWitt’s practice was based primarily within his own intel- lect, establishing formal instruc- WADSWORTH ATHENEUM MUSEUM OF ART PHOTOS tions that assistants followed to “La Vecchia,” a 1502-08 oil on canvas by Giorgione (c. 1477/78-c. 1510) owned by Gallerie dell’Accademia in Venice, on exhibit now at create his works. Wadsworth Atheneum Museum of Art in Hartford. “As art historians have said there have been two great artists who have come out of Hartford: [19th century landscape painter] Frederic Church and Sol LeWitt,” says Bloom, author of “Sol Le- Witt: A Life of Ideas,” Wesleyan University Press. (LeWitt died in ARARE VISIT 2007 at the age of 78). But LeWitt, who loathed the personal spotlight, had a complex Giorgione’s groundbreaking ‘La Vecchia’ leaves relationship with a city that had once rejected its native son. In 1980, LeWitt was commis- Venice for Wadsworth Atheneum sioned to create a wall piece for the former Hartford Civic Center, which was being rebuilt after its By Susan Dunne roof collapsed two years earlier. Public reaction to the proposed work was not kind. n Venice during the Italian “You have to remember the Renaissance, portraitists context of the times,” says Bloom, painted the wealthy and power- who was editor of The Courant’s former Northeast Sunday maga- ful, most frequently men, who Istood proud and dignified, zine starting in the early ’80s. “This followed Carl Andre’s dressed and posed in ways to emphasize 1977 ‘Stone Field Sculpture’ — their status and high rank. which most people simply call “The Rocks” — and the derision In the first decade of the 16th century, that work of art received, though the painter Giorgione did a radical thing. not a penny of it came from pub- The sitter for his “La Vecchia” (“The Old lic funds,” says Bloom. And then Woman”) is seemingly of the working there was Mayor George Athan- classes, humbly dressed and snaggle- son’s hostile reaction to Alexan- toothed, her mouth gaping with exhaus- der Calder’s bright orange ‘Stego- tion, her shawl falling off. She clutches a saurus’ sculpture in Burr Mall. shred of fabric on which is written “col “He disliked it so much that he tempo,” meaning “with time,” as if to kept his blinds closed in his office suggest that with time, we all will grow so he wouldn’t have to look at it,” old and tired. Bloom says. Giorgione – born Giorgio Barbarelli da It was clearly a city that did not Castelfranco – died while still a young always embrace challenging art, man. He left few works behind. The though over time Hartford has owner of “La Vecchia,” the Gallerie del- “Madonna and Child with a Donor,” a c. 1504-05 tempera and oil on panel by Andrea developed a reputation for it, l’Accademia in Venice, cherishes its Previtali (Italian, c. 1470-1528). Previtali was a contemporary of Giorgione and also despite itself. painting. In the 500-plus years since its studied with Bellini. “You can go back to the time of creation, “La Vecchia” has spent only a Wadsworth Museum Director few months outside of Venice. quality of the work. This is a truly iconic old woman,” he said. “Giorgione wiped Chick Austin [from the late ’20s So its presence at Wadsworth Athe- art piece,” said Oliver Tostmann, the all that away and set a precedent. to the mid- ’40s],” says Bloom, neum Museum of Art in Hartford is a museum’s curator of European art. “It “She is depicted in a blunt, realistic “and — as much as Chick did for rare luxury, a chance to see a High Ren- rewrote the course of Venetian por- style. She is missing teeth. She has wrin- Hartford, making it as one writer aissance masterpiece without having to traiture. We wanted it to have a deep kles. She needs a haircut. You can see the called ‘the Athens of America’ — fly to Italy. It will be on exhibit until Aug. impact, a grand hello, and present it in ravages of time,” he said. “She’s not rep- he faced tremendous opposition 4. It comes to Hartford from Cincinnati the best light possible.” resented as being in any way distinctive. from the museum board, too. Art Museum, where it was shown from After “La Vecchia” goes home, Tost- She was just an average person you’d “Being the capital of the insur- February to May. After Hartford, “La mann said, the new gallery will exhibit meet on the street in Venice, an ordinary ance industry, Hartford was built Vecchia” will go home to Italy. The ex- artworks that deserve space to them- woman of low rank.” largely on the absence of risk so hibit was organized by the two museums selves, for lengthy viewing. Tostmann points out, however, that when along comes the likes of in collaboration with the Foundation for Giorgione did not degrade his model. Chick, or Andre or [Real Art Italian Art and Culture. Before Giorgione “He creates a dynamic that makes her Ways] founder Joe Celli or [street To honor its distinguished visitor, the more lively, and there’s her hand gesture. theater artist] Tim Keating — or museum has created a new gallery space Tostmann said trends in portraiture He puts her behind a parapet, which Sol, it doesn’t respond well.” on the second floor of the Avery wing, before Giorgione were driven not just by ennobles her,” he said. “She is a woman LeWitt’s proposal for a wall reclaimed from its use as a storage area. the aristocratic sitters who wanted their without a name, but Giorgione memori- mural featuring geometric figures One introductory artwork and wall text, portraits painted, but also by artists and alizes her.” for the Civic Center elicited hos- as well as a spectacular reproduction buyers. In subsequent years, Giorgione tile reaction, fueled by scornful print of Renaissance-era Venice, lead “When you did have female sitters, “greatly influenced Venetian artists, most editorials in The Courant that visitors around a corner, where “La Vec- they were extremely famous and the of all Titian and Sebastiano del Piombo,” mocked the art, ignored the art- chia” hangs alone. A bench is installed in highest rank imaginable. They were Tostmann said. “Beyond Venice, he cer- ist’s international standing and front of it, to encourage lengthy contem- portraits of idealized, beautiful women. tainly influenced Nicolas Poussin and brushed aside LeWitt’s local plation of the artwork. The artists were male. The buyers were roots, referring to him as “a New “We decided to do this because of the male. They were not interested in an ugly Turn to ‘La Vecchia’,PageG2

Turn to Artist, Page G6 G2 SUNDAY, JUNE 2, 2019 THE HARTFORD COURANT ARTS Afirst for Smithsonian Institution Lonnie Bunch named the first African American leader in museum organization’s 173-year history

By Peggy McGlone both in Congress and with private Washington Post donors, and his experience at three Smithsonian museums Lonnie Bunch — the founding separated him from the pack, said director of the Smithsonian’s David Rubenstein, the chairman National Museum of African of the board of regents. The suc- American History and Culture — cess of the African American has been appointed secretary of Museum, the newest Smithsoni- the Smithsonian Institution, an, was another important factor. becoming the first black leader in “He has achieved one of the its 173-year history. most impressive accomplish- The Smithsonian’s board of ments at the Smithsonian in regents introduced Bunch as the decades, building the African institution’s 14th secretary on American Museum from scratch,” Tuesday morning. He succeeds Rubenstein said. David Skorton, who announced Bunch will face the task of his resignation in December and bringing the same vision and whose last day is June 15. excitement to the Smithsonian, Bunch, 66, takes over a an institution founded in1846 and quasifederal institution of19 burdened with an unwieldy infra- museums, nine research centers structure and a culture that some and the National Zoo that is sup- say rewards caution over innova- ported by 7,000 employees and a tion. $1.5 billion annual budget. Bunch became director of the As he ascends to one of the African American Museum in most powerful positions in the 2005 and, over the next11 years, museum world, Bunch inherits a oversaw the design, location and host of challenges that will test construction of the 400,000- his political, fundraising and square-foot building on the Na- management skills. As the world’s tional Mall, adjacent to the Wash- largest museum and education ington Monument. He also led organization, the Smithsonian the effort to amass a collection of JAHI CHIKWENDIU/THE WASHINGTON POST PHOTOS has struggled to catch up with 40,000 items. Lonnie Bunch III, director of the National Museum of African American History and Culture, will become the technological advances, has a Showcasing political skill and next secretary of the Smithsonian. massive and costly backlog of fundraising prowess, Bunch se- maintenance needs, and faces cured $270 million in federal Los Angeles, he returned in1989, pressure to add branches focused funding and $317 million in pri- joining the National Museum of on American Latinos and women. vate donations by the time the American History, where he Efforts to improve diversity and museum’s doors opened on Sept. moved up the ranks to become inclusion in staff, collections and 24, 2016. Oprah Winfrey, Will associate director of curatorial exhibitions are underway but are Smith and Stevie Wonder were affairs, a position he held for six far from complete, and a recent among the celebrities who joined years. In 2001, he became presi- mandate to connect a sprawling President Barack Obama, former dent of the Chicago Historical bureaucracy of independent President George W. Bush and Society. museums hasn’t gotten much and civil rights icon Rep. John “After serving in three muse- traction. Lewis, D-Md., to celebrate a ums, I have touched all aspects of Bunch acknowledges the prob- museum whose mission is to tell the Smithsonian,” Bunch said. lems but prefers to focus on the the story of America through the “Hopefully, I can help to close the possibilities. perspective of the black experi- chasm that exists between the “I am cognizant of the chal- ence. Castle (the centralized adminis- lenges that the institution faces “The day when we opened was trative offices) and the museums.” during the next decade, but more America at its best,” Bunch said in Bunch was born in Newark, importantly I am excited by the an interview Monday. “It was New Jersey, in 1952 to two teach- potential,” Bunch told an audi- when people crossed racial and ers and was raised in a predomi- ence Tuesday that included his political lines and came together Bunch oversaw the design, location and construction of The National nantly Italian American neigh- 91-year-old mother, Montrose for the greater good. I’ll take that Museum of African American History and Culture. borhood in Belleville, New Jersey. Bunch, associates from the Afri- lesson with me. I want to help the He earned bachelor’s and mas- can American Museum and museums become as community- That message extends to the and done the job he’s done, he ter’s degrees in history from Smithsonian officials. centered and as exciting to the larger museum field, which is comes in knowing where the American University. He is mar- “I revel in the opportunity to public as the African American working to address issues of challenges are.” ried to Maria Marable-Bunch, the work closely with the regents and Museum is.” diversity and equity, said Laura Drowned out in the enthusi- associate director of museum with my gifted and dedicated The long-awaited museum Lott, president and CEO of the asm for Bunch’s appointment are learning at the National Museum colleagues - from scientists to immediately became one of American Alliance of Museums. questions about the scale of the of the American Indian, and the curators, to educators, to security Washington’s top attractions and “His appointment to this pres- job. The two previous secretaries couple has two grown daughters. officers to volunteers - to help the has welcomed more than 4 mil- tigious national position, which is were former university presi- In addition to his museum 1 Smithsonian become the institu- lion people in its first 2 ⁄2 years. the closest thing the United States dents with experience managing work, Bunch has taught at nu- tion American needs and Ameri- Spencer Crew, a history professor has to a ministry of culture, sets a vast operations with thousands of merous universities and written ca deserves.” at George Mason University, will tone for a new era that we need to employees and billion-dollar books on black military history, Bunch’s appointment was serve as interim director. be more inclusive,” she said. budgets. Bunch brings the knowl- the American presidency and cheered across the Smithsonian, The African American Muse- Bunch is also tasked with ad- edge of the museum field they museums. His book “Call the Lost with many employees pointing to um changed the culture of the dressing the Smithsonian’s lack- lacked, but his management ex- Dream Back: Essays on History, his insider status as an advantage. Smithsonian, said Eduardo Diaz, luster performance in the digital perience is on a different scale: Race and Museums” was pub- He is the first Smithsonian direc- director of the Smithsonian Lat- realm. The institution’s strategic The African American Museum lished in 2010, and “A Fool’s Er- tor to become secretary in 74 ino Center. plan calls for its virtual programs has a staff of 163 and a $40 million rand: Creating the National Mu- years, and the first historian in the “It drove home the importance to reach 1 billion people a year by annual budget, a fraction of the seum of African American His- job. He will start June 16. of a commitment to diversity and 2022. It’s a steep task, but not Smithsonian’s. tory and Culture During the Age “What does the Smithsonian inclusion,” Diaz said. “It brought impossible, colleagues say. “There are no other museums of Bush, Obama, and Trump” will do best? We do museums best, the issue to the forefront. Direc- “The Smithsonian found itself at this scale in our country,” Lott be published this fall. and we picked the top person tors are now thinking about how behind the curve in terms of said of the Smithsonian. “Like any In 2005, the American Alliance from our top museum, the leader (they) manage diversity and in- technology a decade ago. We’ve of the major agencies or big cor- of Museums named Bunch one of of one of our crown jewels,” said clusion. What exhibitions are been pedaling really fast to catch porations, it’s all about the team.” the 100 most influential museum search committee member they researching? Whose experi- up, but we’re not there yet,” said Bunch’s first stint at the Smith- professionals. He was elected to Stephanie Stebich, director of the ences are they researching?” Kevin Gover, director of the sonian was as an education spe- the American Academy of Arts Smithsonian American Art Muse- Bunch’s promotion sends a Smithsonian’s National Museum cialist at the National Air and and Sciences in 2017, and last year, um. strong signal, Diaz added. “The of the American Indian. “The Space Museum from 1978 to 1979. he was given the Phi Beta Kappa Bunch’s reputation among his message is clear. It will be heeded challenge is to get ahead of the After a few years at the California Award for Distinguished Service colleagues, his fundraising skills with him in charge.” curve. Lonnie, having been here African American Museum in to the Humanities.

Little is known about his early in his work. The inclusion of “col Bellini. Both artists worked in Prez and, from the 19th century, a ‘La Vecchia’ life. He was born in the 1470s in tempo” could be evidence of that oils, which was a relatively new Venice-inspired piece by Franz the town of Castelfranco Veneto. tendency. “Col tempo was a trope medium. Previously, European Liszt. Continued from Page G1 He moved to nearby Venice at that was repeated all the time in artists tended to paint with tem- Museum spokeswoman Kim some point in his youth to ap- poems. It is possible Giorgione pera. Hugo said some may prefer to Velazquez, up to Manet in the prentice under Giovanni Bellini. wanted to paint an allegory about “This painting is easy to over- view the work without music, so 19th century. “ Giorgione began gaining praise the passing of time in competition look. Now it’s in a new context, all the limited time frame was cho- for his work in his early 20s and with poets who were famous at alone,” Tostmann said of the sen. Those who want silent view- received commissions from aris- the time. That was very much the Previtali. ings can see the painting before 4 Mysterious tocrats, creating altarpieces as world of Venice in the 1500s,” he To encourage contemplation of p.m. each day. artist, sitter well as the sort of portraits that said. “La Vecchia,” the gallery will have “La Vecchia” later challenged. Only one other painting is soft, piped-in lute music, com- GIORGIONE’S LA VECCHIA is No one knows who the model It is known he worked with shown in the exhibit. In the intro- posed during Giorgione’s era, at Wadsworth Atheneum Museum for “La Vecchia” was. According Titian and once met Leonardo Da ductory bay of the gallery is playing from 4 to 5 p.m. each day. of Art, 600 Main St. in Hartford, to myth, she is Giorgione’s Vinci. Giorgione died in 1510 “Madonna and Child with a The recorded music, performed until Aug. 4. thewadsworth.org. mother, but Tostmann said there during an outbreak of the bubonic Donor” by Andrea Previtali, from by New Haven Renaissance per- is no proof to substantiate the plague, when he was in his 30s. 1504-1505, which the Atheneum former Hideki Yamaya, was com- Susan Dunne can be reached at myth. Tostmann said Giorgione was owns. Previtali was near Giorgio- posed by Marc’Antonio Pifaro, [email protected]. Giorgione himself is a mystery. known for ambiguous messages ne’s age and also a student of Vincenzo Capirola, Josquin des

WORD WATCH Readers’ disinterested quibbles on common mistakes

By Rob Kyff Mark Lander of Old Saybrook is no misspelling of the past tense of the verb “to piece of unverified or inaccurate informa- Special to The Courant fan-fan of redundancies such as “ATM lead” as “lead” instead of “led,” and John tion that’s presented as a fact. machine,” “hot water heater,” “knots per Strother of Princeton, N.J., gets “so” angry The dropping of syllables from “meteor- Every so often I like to unleash my read- hour” and “MLB baseball,” while Dexter when people begin every sentence with ologist” (meterologist”) and “temperature” ers’ pet peeves, aka, ‘pêt’e noires, ‘cur’sed Senft of Bedford, N.Y., notes that nine out of “So.” (“tempature”) raises the temperature of terms and ‘dog’grrrrrel. 10 people use “decimate” to mean “almost Blair Johnson, an editor and professor at Rita Marie Mathias of Tullytown, Pa., Emailer Phyllis Aronson unleashes an totally destroy” when it technically means UConn, wants to say “ta-ta!” to the inser- while Rick Suttner of Greensburg, Pa., is, entire kennel of curs. She hates it when “to destroy 10 percent of something.” tion of an extra “ta” into “preventive” to like, you know, annoyed by people who people 1. use “shrunk” instead of “shrank” David Anson of Bradenton, Fla., disses form the needless variant “preventative,” repeatedly insert “like” and “you know” as the past tense of “shrink”; 2. insert “of” the use of “disinterested,” which means while Vera Eggert of Clinton thinks it’s into their sentences. into “not that big [of ] a deal.” 3. use “fur- “unbiased,” to mean “uninterested,” and unhealthy for people to describe food that’s ther” instead of “farther” for physical dis- Judy King of Farmington hits high wattage good for you as “healthy” (not diseased) tance. when people say, “What?” instead of “Ex- when it’s actually “healthful” (promoting When it comes to kibble quibbles, Shel- cuse me?” or “Pardon me?” when they health). ley Reed of Alameda, Calif., serves up ob- haven’t heard someone. Emailer Jerry Schwartz wants people to Rob Kyff is a teacher at Kingswood Oxford jections to “first-come, first-serve,” which Emailer Don Onnen gets out of sorts get their facts straight. He notes that the School in West Hartford. Write to him in should be “first-come, first served,” as well when he hears people on cable news chan- widely-used term “false fact” is an oxymo- care of The Courant, Features Department, as “passed” used for “past,” e.g., “he walked nels continually say “sort of,” and Jim Bond ron, and that a “factoid” is not, as many 285 Broad St., Hartford, CT 06115, or by passed the building.” of Canton is shaken, not stirred, by the people seem to think, a nifty little fact, but a e-mail at [email protected]. G6 SUNDAY,JUNE 2, 2019 THEHARTFORD COURANT ARTS Artist

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York artist.” Instead of publicly defending his art, says Bloom,LeWitt quietly withdrew his proposaland movedon. “Though Sol wasdeeply hurt he was also very careful about reserving his energy for the next thing he wasworkingon. And he took that to his deathbed when two days beforehedied [in 2007 at the ageof 78] he wasstill making ideas for his work. Forhim it wasancient history. And don’t forget, [after the Civic Centerincident] Andrea picked up theball anddid aretro- spective at the Atheneum.” Bloom is referring to the Atheneum’s curator Andrea Miller-Keller,who rectified the civic snub when the museum, under thedirection of Tracy Atkinson, decided to present the firstretrospectiveofLeWitt outside NewYork in 1981. “She wasasresponsibleasanyone for making himhappen here,”saysBloom. The Wadsworth embraced LeWitt, though not alwaysunanimously—Sage Goodwin resigned from the board of direc- tors overthe museum’sfirstpurchase of a LeWitt work in 1980.Inthe mid-1990s, LeWitt created aspectacular wall work for its main lobby“and that wasahuge deal, JOHN LONG/HARTFORD COURANT too.” This SolLewittmural residesatthe NewBritain Museum of American Art. In addition to the Atheneum and NBMAA,other museums that prominently featureLeWitt’s work areMass MOCA in wasthat he wouldn’tgoifheknew about North Adams,Mass.; NewYork’sMuseum it,”saysBloom, whowas at the event. of ModernArt;the ArtInstitute of Chi- “Sol arrived with asmile on hisface but cago; the National Gallery of Art andthe youcould see the smile wasaforced one. United StatesHolocaustMemorial Muse- He washappytosee his old friends —and um in Washington, D.C.; the Tate Gallery in therewas abusload from NewYork, in- London; the Dia ArtFoundation in Beacon, cluding Chuck Close,Mickey Friedman N.Y.;and the Walker Art Center in Minne- and CarlAndre. Butitwent downhill when apolis. the speeches began.[Museum director] Peter Suttongot up to start the formal part NewBritain, Chester of the program but he didn’tget very far. connections Solsaid, ‘No speeches!’ In contrasttoHartford,LeWitt’s rela- “Sutton imploredSol to at leastlet An- tionship with his hometown of NewBrit- drea talk, andasshe started to go to the ain wasmorepositive. podium, Sol said, ‘Come here.’…Whenhe asked what she had there, shesaid it was His parents,Dr. Abraham andSophie COURTESY OF WADSWORTHATHENEUM LeWitt, were Russian Jewish immigrants her speech. He asked to see it and she gave This SolLeWitt, acrylic paint wall drawing #1131, titled Whirls and Twirls, is at the it to himand he folded it up and putitin —and cultured. Family members, says Wadsworth Atheneum Museum of Art.Itmeasures18feet 9inchesby113 feet 9inches. Bloom, attended the Atheneum’smany his pocket saying,‘I’ll read it later. Sit celebrated events under Austin’s tenure, Museum of American Art whereseveral doors.Itopened in 2001tomuch acclaim. down.’ including its “Paper Ball,”the premiereof works of art areondisplayand amajor Butitwas also in Chester that LeWitt “Some of thepeoplewho knewhim best Virgil Thompson/Gertrude Stein’sfirst exhibit on the artistisplanned in twoyears. witnessed another attack on modern art were very upset and they thought he was operawith its all-black cast, “Four Saintsin Itscurrent exhibit by artist Pablo Helguera, when in 1988 and1993 fellowChester resi- rude.…Butthatwas him: aman of com- Three Acts” and the firstmajor retrospec- “Amazing Stories,” alsopaystribute to dent MorleySafer did separate pieces on plexity andcontradictions. He had hostility tiveofPicasso. LeWitt. CBS-TV’s“60 Minutes” that dripped with to personal aggrandizement. He wanted it Bloom says Lewitt’s life-long support In the lastdecades of his life,LeWitt sarcasm, including the familiarquote of “a to be about his art.” and generosity toward women artists “goes lived in Chester,whereBloom got to know sucker born every minute.”After the back to his mother in NewBritain, who him as afriend andneighbor.InChester broadcasts,localencounters between the Lary Bloom will be speaking about “Sol wasastrong,affectionate andaccom- LeWitt tookonadifferent kindofart proj- twomen were strained. Lewitt: ALIfeofIdeas”onJune 2, 4p.m., at plished woman.” ect. With architect StephenLloyd,LeWitt Needless to saySafer wasnot invited to Beth Shalom Rodfe Zedek,Chester; June 5, “Likealot of kids who have ridicule for designed anew synagogue for Congrega- LeWitt’s infamoussurprise birthdayparty at 5:30 p.m. Lyman-Allyn Museum, New the place they grew up,intime Sol eventu- tion Beth Shalom Rodfe Zedek that fea- at the Wadsworth’sAvery Court in 1998, London; Sept. 5, 7p.m.,InstituteLibrary, ally had great affection for NewBritain,” tured an octagonalsanctuary.LeWitt also which meant to honor aman and acareer NewHaven; Sept. 12,5:30atNBMAA; and says Bloom. Theartistalso developed a designed the ark for the new building, of international stature. Sept. 15 at 2p.m. at Florence GriswoldMuse- close relationship with the NewBritain using his signaturebright colors for the “The reason it had to be asurprise party um.

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