WADSWORTH ATHENEUM MUSEUM OF ART Annual Report 2019 ANNUAL REPORT 2019 WADSWORTH ATHENEUM MUSEUM OF ART

Contents

3 From the President 5 Report: the Year in Review 8 175 Years of Serving the Community 12 Making Museums Matter 18 Understanding Artemisia 24 Exhibitions & Acquisitions 40 Program Highlights 54 People, Donors & Gifts 80 Financials

Cover: Nicolaes van Verendael, A Still Life, 1682. Oil on copper. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 2019.8.1 From the President

This annual report, capturing the activities of the museum between July 2018 and June 2019, is filled with the variety and quality of experiences and impacts generated by the committed staff, dedicated volunteers of our support organizations, and devoted board of trustees of our institution, on the 175th anniversary of the beginning of the museum’s service to the public. Though the Wadsworth was founded in 1842, it was not until the late summer of 1844 that we opened our doors and truly took hold as a beacon for the visual arts, located at the heart of Hartford, instigating conversations about art which resonate with people—then as now—from all over.

We are informed by our history but we are keeping our sights on the future. Our program horizon is robust. None of it would be possible without the steadfast commitment and support from so many of you. My thanks for all you do to ensure the healthy future of this great museum.

William R. Peelle, Jr. President, Board of Trustees

Left: Sol LeWitt, Black and White Horizontal Lines on Color, 2005. Gouache on paper. Gift of Ellen Carey in memory of Sol LeWitt, 2019.12.1

3 Report: the Year in Review

Over the past year at the Wadsworth Atheneum we saw our exhibitions and programs blossom in the imagination of our visitors, while at the same time the museum found new admirers from near and far. The dual nature of the institution—as both one of the gem- like arts institutions in New England and a museum of global consequence—has never felt stronger. We are a place where the visual arts come alive for our closest neighbors and we are also an organization plugged into a larger cultural context, relevant to many who may never come to Connecticut.

We may never know the total number of people who took note of the dramatic news of the authentication of Vase with Poppies by Vincent van Gogh (1886); estimates tell us that the national and international coverage of that story by television and radio outlets including NPR and the Voice of America, together with the Hartford Courant and The Art Newspaper (London) stories that were syndicated by the Associated Press, reached into the tens of millions. And yet, was that news anywhere near as important as the up-close engagement with art enjoyed by those visiting and interacting with Sean Scully at the opening of his show, contemplating Giorgione’s La Vecchia, reconnecting with surrealist masterpieces in Monsters & Myths, or the school kids who discovered something about themselves in the collection on a docent-led visit or perhaps drawing in the galleries? Indeed, there is no single opportunity

Left: Maro Gorky, Winter Bamboo, 2005. Oil on canvas. among the range we foster here at the Wadsworth that Gift of Linda Cheverton Wick and Walter Wick, 2018.20.2 defines the museum entirely.

5 In last year's annual report we highlighted the advances It was a major year in collecting for the Wadsworth too, Enough emphasis can never be paid to the role of Our attention is trained on developing the best we made on several programmatic initiatives—sculpture remarkable for two groups of important acquisitions collaborations in the realization of our work. So experiences possible. In the coming two years a mix on Main Street and in the galleries, a physical refreshing in particular which have already found audiences much of our education program impact, be it in the of large exhibition projects are planned on subjects of the gallery used for most MATRIX projects, notable in our special exhibitions. We were able to acquire nearly 13,000 K–12 school children served or the as wide-ranging as the revolution in European food performances emerging from our collection and history, ten early American samplers—threadwork made by ambassadorial efforts to bring art curricula to fruition culture in the 18th century to exploring the ways in and the systematic approach we are bringing to building eighteenth- and early nineteenth-century New England with college students and lifelong learning centers which African American artists over the past 150 upon our important American art legacy. That work schoolgirls as graduation pieces as they passed alike, relies on an atmosphere of working together. Our years have expressed a shifting worldview to a continued this past year and is ongoing as we secure a milestones in their primary education—from the estate 88 strong docent corps used its fiftieth year of service nuanced examination of women artists from Baroque promising future. The Wadsworth continues to improve of Greenwich collector/scholar Glee Krueger. More last year as one of expanding our impact around the Italy. Each emanates from our collection strengths and innovate with special emphasis on the experiences than visual recitations of the alphabet, these textiles state with 69 special presentations. Simultaneously and commitment to germinate thoughtful discourse. we are creating on site. feature architectural scenes and a highly-sophisticated our most-diverse class of docent candidates (over 20 None of these projects would be possible without approach to design. Textiles like these were the classic of them) more gender and age balanced, with language the commitment of our partner institutions and the To mention one new way of exhibition-making, the pictorial works of art in period homes, not paintings. facility matching that of our audiences was recruited support of our expanding philanthropic base. My recently recaptured space on the second floor of the Despite our long history and recognized commitment and began training this autumn. Working with the deepest thanks to both. The trust and confidence Avery Memorial enabled the presentation of Giorgione’s to textiles and design, there were no samplers like FRAME network of North American and French peer they instill elevate the Wadsworth and this incredible La Vecchia and will continue to be programmed for these in our collections. Two are included in Design in institutions, we developed a workshop for staff of local+global community we serve. the coming two years in a similar way, with dossier the American Home, one of the increasing number of community organizations to use art to teach empathy projects bringing exceptional works of art—each an refreshed presentations of the outstanding collections of and foster social mindfulness and compassion. Thomas J. Loughman, Ph.D. icon of its kind—together with a special commitment early New England material culture in our care. Another With the help of guidelines from the International Director and CEO to storytelling calibrated especially to forge that ten objects came into the collection as we prepared Council of Museums we tried trilingual exhibition essential connection to today’s visitors. In coming for Be Seen: Portrait Photography Since Stonewall, this texts to meet the language needs of our expanding months, you will come closer to an exceptional House past summer’s major exhibition. The Wadsworth began audience; surveys of our visitors have revealed 53 of Worth gown made for ambassadorial receptions collecting large-format photography in the 1970s, and a languages spoken at home, with English, French, at the English court, a newly-restored sculpture by review of our holdings revealed not only the strengths and Spanish being the most popular. The Wadsworth Isamu Noguchi that draws on Japanese folded- and of that collection, but also the absence of some major Welcome community now counts over 4,328 Hartford cut-paper traditions while embracing Space-Age photographers, both emerging and established. households, and cardholders were a big part of our materials (aluminum!), and a reconsideration of the Through the winter and into the spring, several gifts opening celebration for Sean Scully: Landline as well as relationship between mathematical sequences and and purchases were organized that complemented the partners in several surveys. Our formal collaboration elegant design in the work of Connecticut’s beloved existing collection and brought to us the first works by with UConn came into focus as enabling work for the eighteenth-century cabinet maker Eliphalet Chapin. Catherine Opie, Zanele Muholi, Paul Mpagi Sepuya, and arts management suite commences, and hosting over Meanwhile, in our exhibition development process we Mickalene Thomas and added to the existing holdings 18,000 visitors during the three-production residency have made great strides in establishing the disciplines of Boston School photographer Mark Morrisroe. While of TheaterWorks through spring and summer in the of listening to our core stakeholders as we planned and 87 works of art—ranging from Old Master paintings theater was a win for both institutions. implemented our shows over the past year, convening to modern sculpture, fashion design, an important a range of community feedback roundtables in advance work of New England furniture and the family archive of Be Seen: Portrait Photography Since Stonewall as well of its silversmith maker, as well as new 21st century as forthcoming projects including Afrocosmologies: paintings—entered the collection last year in sum, these American Reflections. We strive to cultivate lively two major groups can rightly be called transformative. discussion and the consideration of all kinds of visual For a complete list, see page 32. art, and these enhanced practices have borne fruit—we are finding new partners and collaborators as we enrich the dialogue happening in the galleries and beyond.

6 7 In recognition of our 175 years of serving the community, we reached out to friends and colleagues and asked them to share their thoughts about the difference the Wadsworth has made and is making today.

Vanessa German Artist As an artist and citizen devoted to sharing the power of art, the Wadsworth supported me with generosity and bravery. During my MATRIX exhibition, it was important for me to extend my presence into the community of Hartford, to offer a soulful and authentic welcome to people who look like me, live like me, and need museums the way that I need museums. The Wadsworth staff made connections with regional schools and cultural organizations, allowing me to extend love and creativity throughout the community. The Wadsworth is a “YES place”—it declares YES to the possibilities of art, wonder, and creative action.

Rob Ruggiero Producing Artistic Director, TheaterWorks Hartford The Wadsworth Atheneum was a welcoming and creative partner when TheaterWorks closed its 2018/2019 season with three productions in the museum’s theater. More than 18,000 patrons attended our shows at the Wadsworth. For some, it was the first time in this historic space. Highlights of our residency were the coordinated tours and programming that enriched the theatrical experience of our patrons and attracted Wadsworth members and visitors who may not have considered TheaterWorks before. The partnership embodied our shared commitment to the vibrancy of downtown Hartford and showcased how such intense collaboration enriches the artistic life of the city.

Right: Artist Vanessa German leads a community art-making project at the Wadsworth, 2016

8 Jeff Brown Trustee and Executive Vice President and Richard Brettell The Margaret M. McDermott CAO, Newman’s Own Foundation Distinguished Chair of Art and Aesthetic Studies and Edith O'Donnell Distinguished University Chair Deep in the Wadsworth’s archives are the minutes and at The University of Texas at Dallas memos—recorded by Calvin Day and Gideon Welles, respectively—from the meeting of a group of prominent The Wadsworth Atheneum is our nation’s oldest citizens who gathered to organize an Atheneum for the continuously operating art museum. Today, its city of Hartford. The group would lay the foundation for footprint is a complex of five buildings, each marking a bringing together the Hartford Public Library, the art transformative era in the museum’s history. As a result of school at the University of Hartford, and countless other its enduring vitality, generations of American collectors, institutions under the umbrella of a cultural learning curators, and historians have looked to the Wadsworth center at the Wadsworth Atheneum. The Wadsworth has as a model for how to incorporate a culture of innovation long been a springboard for new ideas and a catalog of with one of preservation, making the established and our collective history. I love to relive the experience of venerable seem contemporary and relevant. my first visit through the eyes of friends and relatives when we introduce them to the collections. The only David Griggs President and CEO, MetroHartford Alliance down side is the difficulty of getting them to leave as We are fortunate to have the oldest continuously they always want to see one more gallery. Day and operating public art museum in the country right here Welles may not be the first names you think of when in Hartford. With exceptional programming and special it comes to Wadsworth history, but they are two of the exhibitions that reflect the diversity of our community, thousands of community members who are part of the the Wadsworth creates a sense of inclusivity for all who fabric of the institution, having helped to create, nurture, live, work, and visit our region. Its exquisite architecture and build this great cultural gem over the last 175 years. makes it a globally-recognized landmark. For nearly 175 years, the signature identity of our region has been Olivia D’Aponte Executive Director, Michelle McFarland Outreach and Program Coordinator, Katherine G. Windsor, Ed.D. Head of School, reflected in our oldest museum, located in the heart of Foundation for Italian Art & Culture (FIAC) Hartford Public Library Miss Porter’s School our region’s urban center. Miss Porter’s School congratulates the Wadsworth With comprehensive energy aimed at inclusion and As a high school student I waited for the bus on the Atheneum on the occasion of its 175th anniversary. Our Luisa Adrianzen Guyer Executive Director for FRAME outreach, the Wadsworth Atheneum Museum of Art steps of the Wadsworth Atheneum, where most people institutions share a history in the Greater Hartford area North America, and Émilie Vanhaesebroucke Executive exemplifies the best of a public museum in an urban from my neighborhood, the North End of Hartford, as embracing a bold, innovative, and progressive spirit Director for FRAME France environment today. The dynamic vision to reach the caught the bus. I had no idea my “bus stop” was the even when we were at odds with the cultural norms of It is an honor and pleasure to convey congratulations community of Hartford and an international audience is entrance to one of the oldest museums in the country. the time. Our founder, Sarah Porter, was ahead of her from the French American Museum Exchange (FRAME) to both exciting and vital. This beautiful museum forms the I had never thought about stepping inside until hearing time in her approach to educating young women, and the Wadsworth Atheneum Museum of Art on the occasion center and heart of Hartford featuring the astonishing about an afterschool program created by the Wadsworth the Wadsworth has lead the way for artists in the United of their 175th Anniversary! Morgan Great Hall and an extraordinary collection. The and Hartford Stage inspired my first visit. I left that States—the first museum to exhibit Surrealism in Foundation for Italian Art & Culture (FIAC) was thrilled to visit with one more reason to proudly call Hartford, CT America and among the first to show Picasso. Since joining FRAME, the Wadsworth Atheneum has collaborate with the Wadsworth in facilitating the loan home. My connection to the Wadsworth is even stronger enriched the network through its remarkable collection, of Giorgione’s masterpiece La Vecchia (Portrait of an Old today—a result of the museum’s inclusive programming contributions from expert and innovative curators and Woman) from the Gallerie dell’Accademia in Venice to and the ongoing effort to receive feedback from and educators, and enthusiasm to form important partnerships share such an important work of art with a new audience. maintain ongoing conversation with the public. This is with fellow member museums on landmark exhibitions the way institutions can build authentic relationships including the Reunited Masterpieces: From Adam and Eve to with the communities they serve. The Wadsworth George and Martha, Bodies and Shadows: Caravaggio and His understands why this matters. My story is a great Legacy, and Curating a Culture of Respect, a groundbreaking example of the good work that brought me into the inclusion and outreach program. Above: Visitors contemplate Giorgione’s La Vecchia museum 29 years ago and keeps me engaged today.

10 11 Making Museums Matter Lucía Gonzalez Duque Lucía Gonzalez Duque of Medellín, Colombia presented the Stephen E. Weil Memorial Lecture at the International Council of Museums 2019 conference in Kyoto, Japan. She brought her combined perspective as director of two of Medellín’s museums and a current member of the post-conflict truth commission. Her speech, delivered in Spanish, describes an inspiring case study of museums engaging a fractured and unsettled community by committing to an agenda of civic re-knitting with the goal of creating a society of peaceful co-existence. Translated here in English, Gonzalez Duque’s words address one of the most important issues shaping the museum field and serve as a reminder of the capacity of museums to bring people together.

The great challenge of humanity is coexistence. I remember in a very special way the 27th São Paulo Biennial in 2007, which, inspired by the seminars Roland Barthes presented at the Collège de France in 1976–77, took as its main theme the question, “Comment vivre ensemble?” That is, in English, “How are we to live together?” This thesis, chosen by Biennial curator Lissete Lagnado, was nothing short of a complete questioning of the possibility of building interpersonal relationships within clearly heterogeneous social groups. It made evident the immense social, cultural, economic, and political difficulties of living in a progressively urbanized, increasingly unequal, and ever-more xenophobic world. Xenophobia grows due to deepening inequality, is spurred on by migrations and competition for social and economic opportunity among groups, and the clash of diverse belief systems.

The struggle for coexistence makes art a critical tool of culture. True art, in my strongly held opinion, takes up this task. Such has been the way throughout history, and it is with greater import that art is asserting The 21st Century Museum of Contemporary Art in Kanazawa, Japan this role in our contemporary world. We have been set off a fundamental shift in the role of culture in a shrinking city. Photo by WATANABE Osamu, courtesy of the 21st Century Museum prepared, within our lifetimes, to accept this role of Contemporary Art, Kanazawa. because we have already contended with the idea that

13 beauty itself is not the sole purpose of art. Our sense of All this just to say that art—always and today more My country was torn apart for many years at the close not include in its collection works of art from African- aesthetics has expanded to include a social role for art, than ever—is the means par excellence of capturing of the 20th century and beyond by terrorism, war, and diaspora cultures, despite the fact that Colombia is and also to confront the idea of History (with a capital our humanity and everything concerning the human the chaos of conflict. There was no peace, and because a multi-ethnic and multicultural country. We set out H) no longer an endpoint but a continual process. What condition. I’m no advocate of Existentialism, but rather of it there were grave threats to our social fabric. to address that we created a gallery of pre-Hispanic I mean is that now, in a world in which inherited canons talking about the profundity ever present in great works Concerted efforts of many kinds were made to enable indigenous cultures, recognizing that Colombia has 106 and official narratives are no longer put upon a pedestal, of art. Art warns us about things in a way that other the productive and meaningful pursuit of individual lives distinct indigenous groups, each with its own culture in an age in which certitude has evaporated from once human disciplines cannot. Art communicates what other and community within our cities and countryside alike. and language. The collection works featured as heroes being absolute, we are prepared to understand that expressions cannot capture. Art converts what identifies Museums and art played a role in the struggle to find solely the Spaniards, who conquered and dominated there is no monolithic truth. All questions are open, us as inhabitants on Earth and what we share in a common future that gave dignity and significance to society, or the country’s elites; very few works including (in a special way) our self-questioning about common into universal metaphor. From that point, from Colombia and its people as we contended with, and later concerned themselves with popular struggles. Is it any our existence, the possibility of living harmoniously that force, emanates the power of art. It is why men emerged from, the crisis. wonder we were killing each other when we did not care within our old groups and with different ones, how we and women of the most diverse origins, cultures, and about the murders of the poor, peasants, indigenous engage more sustainably with the environment, and ages can be moved by tragic theater like Antigone by At the Casa de la Memoria Museum in Medellín, a people or blacks, when we consider how historically even questions about our common survival. Art, true Sophocles, the ecclesiastical music of Handel’s Messiah, museum commemorating the holocaust-like crisis that they have not been part of the nation’s story? A museum art, is inscribed within the essential questions of life. We a painting like Picasso’s Guernica or a novel like James Colombia endured and still lives with, I was fortunate to cannot be aloof, unmoved, without taking a stand. It see it within the fiber of helplessness, desolation, and Joyce’s Ulysses as well as the ancestral circle dances help found and then direct the institution with the goal cannot rationalize for itself that its mission is merely anguish, which shows us the enormity and universal that appear in the context of so many world cultures. of trying to explain what happened. Surely many of you aesthetic. Its mission is cultural and thus has political nature of art. The ancient bard Homer said it in his epic Art can transcend time and culture because it informs have known a memory museum. They exist not only as implications—yes, political, the word that worries and hymn The Odyssey: the gods weave misfortunes for men us of our humanity, makes us feel and brings us into reminders of something horrible that happened at a smarts us when heard in so many contexts today. so that the generations to come will have something to community with our own society and that made by our moment within the history of a site, but also to warn us í sing about. fellow men and women worldwide. of the horror human beings are capable of unleashing Therefore, the role of art in the case of Medell n, in upon their fellow man, to embody the same spirit of both my museums, was to warn, to not forget certain the life’s work of artists such as the Italian writer and events which transgressed into the human dimension. Holocaust-survivor Primo Levi. But at the same time art also allows the celebration of a triumph over the horror, a celebration of transforming But at the Museo de Antioquia, also in Medellín and the horrible into something we can cope with so that where I also served as director, the raison d’etre was we might see it, and which therefore opens a space to to make this museum’s collection of works of art contending with the horror actuality. There are many (most of them canonical, as in Art with a capital letter examples of works of art that have allowed us to know A) uniquely resonant as an open question directed “to horror and beauty at the same time. Goya through his the human heart” in the way philosopher Hans-Georg magnificent pictorial work warned about the monsters Gadamer claimed to be the role of art. Our art museum that reason produces. Edvard Munch showed us a for many years was the cultural reference point of the scream. Steven Spielberg was able to take into the city and was being called upon to fulfill its mission medium of film the deepest and most respectful way within a context of conflict—continuous war, the drug the horror that was the Jewish Holocaust in that trafficking emergency, and paramilitarism in which most-evocative epic Schindler’s List. The Italian nihilist a lack of respect for difference and a contempt for philosopher Gianni Vattimo claims, “there is no art human life reigned. More than ever in the institution’s without violence; if a work of art does not have a little history, it became important, as the American museum violence it says little.” I think this is the paradox of great leader Stephen Weil put it, for the Museo de Antioquia art, at the same time it is both tragic and utopic. to matter within the life of each and every person in our community and to society at large. Our collections, Also within this tradition, cultural heritage must be which tell the high art story of Colombia, would need interrogated. Recently I attended a meeting in which, to be questioned and viewed with newly critical eyes if for an hour and a half, the presenters told us about the The Massachusetts Museum of Contemporary Art (MASS MoCA), we were to succeed. They were there at the museum value and importance of the inherited cultural heritage occupying a 2 million square foot industrial complex in the not merely to talk about the distant (or even recent) as the foundation for culture and community life, but not Berkshires, has become synonymous with the successful and sustainable redevelopment of a New England mill town through past, but rather to help us build our future. It was in the spirit of questioning. Rather, they spoke only of the arts. Photo by Douglas Mason. easy enough to see that the Antioquia Museum did exalting past accomplishments. Not all that is inherited

14 15 A combination of bold architecture and contemporary programming at the Guggenheim Bilbao gave new relevance to this historic center Rethinking the museum’s relationship to the city informed of Basque culture. Image © FMGB Guggenheim Bilbao Museoa. architectural additions to the Toledo Museum of Art. Photo Photo by Erika Barahona Ede. courtesy of the Toledo Museum of Art, Toledo, Ohio.

needs to be freighted this way. On the contrary, much of Museums today must then be tools for self-knowledge, A simple example: the museum can affirm identity This is why the commitment of museums today to that accumulated experience prevents us from building mutual understanding, and empathy; a place in which and pride of place from works of art that express our something beyond aesthetic experience (which is a smarter future, in which there is space for all. I believe cultures question themselves and a forum that offers cultural wealth. Not only as ritual, which recurs, but as already formative and rewarding) is principally to build that being of the now, when it expands the borders of the viewer an infinite range of questions. We would an act that unites and legitimates us as a community. social themes that enable mutual understanding and art per se, when it challenges the center and expands be mistaken to believe our work is to solve, because Likewise, by turning listening into an investigative act, that confront the demands of the modern world. Our aesthetics, that contemporaneity greatly improves the every work of art or artistic intervention, or cultural the museum also can attempt to hear itself and see institutions are becoming more useful to society as they work of museums. In that sense, I advocate that every production, must be open to go to the heart, to the what the new urbanites say in their creative activity, to help us recognize ourselves in each other and help us museum be contemporary in its outlook even when its aim and the experience of each person’s life. It is in understand how city life evolves. to live in harmony. Museum are doing this by developing collection is the most classic or its institution is the oldest. that intimate confrontation that museums enrich the their capacity to open themselves to the wider world, repertoire of responses of those who experience it. That is why the museum’s mission must be somewhat challenging collections to confront the issues as we So what can be said of the mandate for museums today? That is to say, it is no longer about making an itinerary, subversive. That is, it is not about teaching, but learning enrich them, to throw them away as well. The museum a visit through the pictures, the videos or the campus, to read what underlies the text, to dig into the subtext, to experience must be transformational. I believe the museum of today does not exist solely to but of proposing a matrix of opportunities for taking discern what in life and in the works appears as fiction produce men and women knowledgeable of the fine To be about the real meaning of democracy. in information that can move others emotionally and or truth. arts, but rather (and above all) to put forth critical topics, rationally. Art has moved from its former place, from To be about the true notion of justice. and by doing so enabling for all a deeper understanding I therefore propose this hypothesis: museums ought be being an expression of the certainties of the world, to To embrace the notion of a fuller humanity, which of art. I am speaking of our capacity for placemaking: considered civic actors, because they build community being more present and engaged in the world. A certain forces us to transcend from the interests of class the creation of spaces where the meaning of life is of meaning. That is, museums build communal notions instability is necessary as catalyst to activate the artist or group to those of all humanity. investigated and challenged, a place committed not for that help us live in unity. and those experiencing art to share in a transformative asserting a single set of truths, but rather a place for That is, to the construction of the COMMON GOOD experience, at the very least with the local community bringing into focus those things that, per Gadamer, “go which is essentially the true challenge of a civilized and served by first-hand engagement with our work. to the human heart.” contemporary society, TO BE ABLE TO LIVE TOGETHER.

16 17 Understanding Artemisia An upcoming exhibition sheds light on the fortunes of women painters in Baroque Italy

Famous in her own day, Artemisia Gentileschi has been What made you want to do this exhibition? the artist reigniting popular interest in understanding the place of women artists within the canon of art OT: One of our most remarkable acquisitions in recent history and the discourse of museums today. The years was Artemisia Gentileschi’s Self-Portrait as a Wadsworth is planning (together with the Detroit Lute Player. It’s a wonderful portrait that tells us about Institute of Arts) a major exhibition that will open Gentileschi’s abilities as an artist, her aspirations in October 2020 examining the topic through the work of society, as well as her savviness in self-marketing. This Italian women painters, each with a different story to portrait has attracted a lot of attention over the years, tell. The Wadsworth’s Self-Portrait as a Lute Player by and I felt that we should tell a larger story about the Artemisia Gentileschi will be prominently featured. The artist and her contemporaries. By coincidence, The exhibition will question the relationship of the artists to National Gallery, London bought the closely related their subjects and trace their strategies for success in Self-Portrait as Saint Catherine by Gentileschi only last the early modern art world. year. This portrait had been largely unknown until its acquisition by The National Gallery and efforts are now In anticipation of this significant exhibition we posed being made to learn more about it. We are planning questions to Oliver Tostmann our own Susan Morse to bring both of these exceptional portraits together Hilles Curator of European Art curator of the exhibition juxtaposing them so visitors can analyze them side- and Professor of Art History at Texas Christian by-side. Gentileschi fashioned herself as a saint in one University, Fort Worth, Babette Bohn who has published painting, and a seductive lute player in the other—this extensively on the women artists of Bologna and is a duality suggests the complex influences underlying the contributor to the forthcoming exhibition catalogue. work of a Baroque woman artist. Besides Gentileschi, we still know relatively little about women artists in general. Today, when you see works by women artists in museums, you often see them amidst their male contemporaries. What you might miss in these presentations are the commonalities that these artists shared. In this exhibition, we are working to introduce

Opposite: Artemisia Gentileschi, Judith and Her Maidservant with the the whole range and richness of works coming from Head of Holofernes, c. 1623–25. Oil on canvas. Detroit Institute of Arts women artists in Italy around 1600.

18 Artemisia Gentileschi, Self-Portrait as a Lute Player, c. 1615–18. Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, Oil on canvas. Wadsworth Atheneum Museum of Art. Charles H. c. 1615–17. Oil on canvas. © The National Gallery, London Schwartz Endowment Fund, 2014.4.1

Why do you focus on Italy? the daughter of a male painter was atypical for Roman practice. Most male artists in Rome in the seventeenth OT: While women artists worked across Europe during century did not train their daughters to be painters, so the Renaissance and Baroque periods—especially in the you can make a case that Gentileschi is an exception to Netherlands and England—focusing on one country, Italy, the rule. In my forthcoming book on the women artists allows us to compare a more homogenous set of artists of Bologna (Women Artists, Their Patrons, and Their all of whom were influenced by Catholic culture. It is Publics in Early Modern Bologna, Pennsylvania State stunning to see the richness, diversity, and ingenuity of University Press), I demonstrate that by the second half artists coming out of the Italian peninsula alone. Some of the seventeenth century most women artists received women artists worked in small cities such as Cremona, at least part of their professional training from a man while others lived in major hubs such as Rome and who was not a relative. So, women artists are turning Venice. These Italian artists yielded great fame across out to have less in common than we used to assume. Europe during their lifetime, far beyond the confines of Italy. Foreign visitors knew of them and were eager to OT: There were countless women artists working in visit and purchase their work. Italy from the sixteenth to eighteenth centuries. Besides Artemisia Gentileschi, we highlight the Cremonese Who were the women artists? Do they share a artist Sofonisba Anguissola and her sisters, Bolognese common biography? painters Lavinia Fontana and Elisabetta Sirani, as well as the Venetian artist Rosalba Giovanna Carriera. While BB: Probably when art historians first began to study these artists show an incredible range of techniques and women artists, the unequivocal answer would have been subjects, many of them concentrated on portraits and still yes. The early assumption was that most women who lifes. Most were not allowed to train in the same way their became painters were the daughters of male painters male counterparts did. Because of societal restrictions, who trained them because women didn’t normally have many sought protection by finding an important patron, access to professional training unless they came from often from a powerful court. Hence, many of them aspired an artistic family. But that’s turning out not to be such to live and to work as court artists. a simple truth. We’re getting better at understanding women artists as we dig deeper into the fabric of who Opposite: Sofonisba Anguissola, Portrait of the artist’s sister in the they were and what they actually did. It turns out, for garb of a nun, 1551. Oil on canvas. Southampton City Art Gallery, example, that Artemisia Gentileschi’s upbringing as Hampshire, UK / Bridgeman Images

21 What do you find provocative in your research on What can we learn from the accomplishments of women women artists? artists working across Italy in the seventeenth century?

BB: I have worked on a lot of research topics in the BB: One thing we can learn is that all seventeenth- course of my career, but the work that I have done on century women artists’ careers don’t actually look women artists may well be the most exciting because the same. Scholars like to generalize and establish there’s so much to discover. Many of the works of art patterns across centuries and periods, but when you that I have been privileged to work on in recent years introduce women artists into the picture that becomes were not known to modern audiences, or they had more difficult to do. For example, one issue that is been misattributed to a male artist. I had researched critically important about the accomplishments of Bolognese art—the art from the northern Italian city Elisabetta Sirani is that she is the first woman in history of Bologna—for a long time before I even knew that to become famous for her drawings. There were other women artists were what my students would call ‘a famous women painters before Sirani, but in the Italian thing’ in Bologna. This exhibition includes works by two tradition an artist’s drawings functioned as the key to of the greatest Bolognese women painters: Elisabetta their creativity and originality. It was in drawings that Sirani and Lavinia Fontana. In my research, I stumbled most Italian painters worked out their plans for their into their accomplishments gradually, and as I looked paintings. So, by not admiring the drawings of Sirani’s into their careers I was amazed to discover that in their female predecessors, most early writers established a own day they were extremely famous, their works were pattern of disinclination to credit women with creativity avidly collected by their fellow Bolognese citizens, and or originality—what in the sixteenth and seventeenth in some cases—this was particularly true for Sirani— century would have been called skills in invention. When they were viewed as equal to the greatest Bolognese Sirani becomes famous for her drawings, she also male artists, which was not the case in any other Italian becomes famous for her skills in invention. Her skills cities. So, one of the things I find really challenging and demonstrated by her drawings—several of which will unexpected is to try to unpack the question: how it is be included in this exhibition—are really at the heart that a seventeenth-century connoisseur of Bolognese of her accomplishments and the recognition of those art like Sirani’s biographer Malvasia, who was the accomplishments as that of a creative and original artist. arbiter of taste during the late seventeenth century, thought Sirani was the equal of Guido Reni, the most Why are seventeenth century Italian women artists famous seventeenth-century Bolognese artist, and yet important today? in graduate school nobody said a word to me about Elisabetta Sirani? That question has driven me to really BB: I’m currently teaching a class called Women and the dig into the culture of Bologna and to try to investigate Visual Arts where I talk with my students about what what was distinctively different about Bolognese culture. an uphill battle it was for a woman to be an artist in the In fact, it’s not widely known, but Artemisia Gentileschi, sixteenth and seventeenth centuries. My hope is that the an artist from Rome who traveled to many other cities, class explodes their assumptions about gender politics at one point in her career considered moving to Bologna, and realities today, in contrast to centuries ago. They apparently because she had heard that it was a city that realize what a huge professional disadvantage it was was more receptive to women artists. I am fascinated to be a woman, in a period that wouldn’t have admitted by the cultural phenomenon of Bolognese receptivity to women as students in universities or most professional women, including female writers, religious leaders, and organizations. Despite the unbelievable number of visual artists. obstacles and disadvantages, a sizeable group of women were nevertheless, somehow successful. And in some ways, seventeenth-century women artists had an extraordinary opportunity to be original creative Opposite: Lavinia Fontana, Portrait of Ginevra Aldrovandi Hercolani (detail), c. 1595. Oil on canvas. The Walters Art Museum. interpreters of traditional subjects that were for a long

22 time characterized in a rather limited and predictable What are your hopes for audiences who will way. Bringing a woman’s point of view to a subject that experience the show? had always been interpreted with some measure of similarity by male artists often resulted in an entirely OT: This survey of Italian women artists from the original interpretation and that’s pretty exciting. Renaissance to the Baroque period is a unique opportunity to see pivotal works by some of the most OT: This is an exciting moment where many new important artists of that era. There are works in the discoveries are being made and with new knowledge exhibition coming to the United States from overseas available, we are able to better understand the for the first time, orkw s from private collections that importance of these women artists. While some were have never been shown to the public, and well-known celebrated during their lifetime, many have been works—such as our Gentileschi Self-Portrait as a Lute forgotten over the centuries and often their works were Player—that will be contextualized and seen with fresh re-ascribed to better-known male colleagues. Today eyes. Latest research informs the presentation of this we are eager to fill in the gaps left in their stories. This show, allowing us to shed new light on artists and works re-appraisal of women artists started in the late 1970s of art that have been overlooked. I hope the exhibition but gained momentum only recently. It is fair to say will also help us to better understand the limitations that our own discussions about who we are as a society of some artists and the circumstances in which they have an important impact on the way we look at past worked: women did not have access to education the civilizations and cultures. This is an opportune moment same way their male contemporaries did, they were to look at women artists and their achievements, and to not allowed to move as freely in society as men, and better understand their careers. they did not have the same direct access to the art market as their male counterparts. All of these realities The much-celebrated acquisitions by the Wadsworth and shaped this particular body of artworks that, rarely seen The National Gallery of works by Artemisia Gentileschi, together, will be presented here at the Wadsworth. met with great public interest. What are your thoughts on BB: The United States is a little bit late to the party the popular attention these have garnered? celebrating women artists. This is partly because, with BB: To me, there is nothing more fascinating than a few important exceptions, most of the great works by discovering artists’ depictions of themselves. There has Italian women artists are not in this country—most are been a lot of debate about the Wadsworth’s painting in Europe. There have been some earlier exhibitions because it is not at all the way we would expect a on women artists in the United States (e.g., the great woman to portray herself for public consumption in Gentileschi exhibition in New York and St. Louis), but they the seventeenth century. It is erotic and suggestive of are popping up more frequently nowadays. This show sexuality, which has elicited a lot of controversy and is a thrilling opportunity for audiences who for the most debate among scholars who have raised the questions: part know very little about Italian women artists from this Is it really a self-portrait? Would Gentileschi have chosen period, to experience their work, and realize how fantastic to portray herself this way? And if so, why? It’s a perfect they are. They are original, surprising, skillful. I’m excited example of how modern presuppositions conflict with that we’re getting to bring this exhibition to Hartford the way people thought in the seventeenth century. The and I hope people will come from far and wide to see it painting is fascinating and it raises important questions. because it will be a revelation for many of us. This is true of the painting in London as well because not only do they both add a work of art to the known oeuvre of the artist but they also supply us with personal data and insight into how she chose to present herself to her Opposite: Rosalba Giovanna Carriera, Caterina Sagredo Barbarigo public. Both works of art open the door to reflecting on as "Berenice", c. 1741. Pastel on gray-blue laid paper, mounted onto why she would have made some of these choices. thin canvas. Detroit Institute of Arts

25 Exhibitions & Sponsors

Sustaining support for the Wadsworth Atheneum Monsters & Myths provided by Newman’s Own Foundation and the Greater Surrealism and War in the 1930s and 1940s Hartford Arts Council’s United Arts Campaign. October 20, 2018–January 13, 2019

Organized by the Wadsworth Atheneum Museum of Art and the Herbert Ferber: Space in Tension Baltimore Museum of Art.

January 27–July 29, 2018 Major support provided by the National Endowment for the Organized by the Lowe Art Museum, University of Miami, Coral Humanities. Gables, Florida. Generous support provided by Anonymous, Connecticut Humanities, Major support provided by Iris and Adam Singer. The David T. Langrock Foundation, The Jean and Julien Levy Foundation for the Arts, Inc., and Sotheby’s. Frederic Church: A Painter’s Pilgrimage Support for the accompanying publication provided in by part by Furthermore: a program of the J. M. Kaplan Fund. June 2–August 26, 2018

Organized by the Detroit Institute of Arts. Generous support for the exhibition provided by the Terra Foundation for American Art and the Henry Luce Foundation. Additional support provided by the National Endowment for the Arts. A significant loan of objects provided by Cooper Hewitt, Smithsonian Design Museum.

Major support provided by Mrs. John M. Gibbons, Jr. and the Gladys Krieble Delmas Foundation.

Generous support provided by the William O. and Carole P. Bailey Exhibition Fund, Duffield Ashmead and Eric Ort, The Cheryl Chase and Stuart Bear Family Foundation, Sharon and Henry Martin, Dr. Tim McLaughlin and Dr. Marianne Kellner, and Joseph Solodow.

Program support provided in part by the Richard P. Garmany Fund at the Hartford Foundation for Public Giving.

26 27 Sean Scully: Landline Be Seen: Portrait Photography Since Stonewall February 23–May 19, 2019 June 22–September 15, 2019

Organized by the Hirchorn Museum and Sculpture Garden, Major support provided by Duff Ashmead and Eric Ort, with Smithsonian Institution, Washington, DC in association with the generous support from the Larsen Fund for Photography, Barbara Wadsworth Atheneum Museum of Art. and Thomas Ward, the Robert Mapplethorpe Foundation, and Isaacson Miller. Major support provided by an anonymous donor. Additional support for the Out on View: LGBTQ+ Perspectives on the Generous support provided by Agnes and William R. Peelle, Jr. and Collection mobile audio tour provided by the Connecticut Humanities. the Zachs Family Foundation. Giorgione's La Vecchia May 15–August 4, 2019

Organized by the Wadsworth Atheneum Museum of Art and the Cincinnati Art Museum, in collaboration with the Foundation for Italian Art and Culture (FIAC) who has generously funded the painting’s most recent restoration.

Supported by the Peelle Family.

Additional support provided by the William O. and Carole P. Bailey Exhibition Fund.

28 29 MATRIX Collection Installations The Amistad Center Indoor and Outdoor Sculpture Installations Additional Installations for Art & Culture The MATRIX program is generously Fine Prints and Drawings by Sean Scully Yayoi Kusama Hartford Youth Art Rennaisance supported in part by Jeffery G. The Amistad Center operations American, born Ireland, 1945 Japanese, born 1929 Rembrandt and His Contemporaries April 27–May 26, 2019 Marsted and Marcia Reid Marsted March 10–July 15, 2018 are supported by the Department 30, 2018 Pumpkin, 2018 Made possible through the ongoing and the Wadsworth Atheneum’ s of Economic and Community Aluminum and automotive paint Painted bronze partnership between the Wadsworth Contemporary Coalition. Surrealists Development, the Greater Hartford Courtesy of the Artist Private collection Atheneum Museum of Art and Hartford August 11–September 30, 2018 Arts Council's United Arts Campaign, July 1, 2018–July 1, 2019 April 2019–Ongoing Public Schools. Conrad Shawcross / MATRIX 179 Comcast NBC Connecticut, The June 21–October 21, 2018 Bed Furnishings in Early America: Hartford, Institute of Museum and Conrad Shawcross An Intimate Look Library Services, and Hartford Major Support provided by the Talcott English, born 1977 Stanley Charitable Remainder Annuity Trust. September 29, 2018– Foundation for Public Giving. January 27, 2019 Monolith (Optic), 2016 Exhibition Program support provided in part Galvanized Steel and stainless steel by the Frazar B. Wilde, Jr. Trust. Made possible by The Costume & Textile Pictures Words and Music Private Collection Society of the Wadsworth Atheneum, with March 31, 2018–April 7, 2019 June 2018–Ongoing Bouke de Vries / MATRIX 180 generous support from Susan and Rick Copeland. October 4, 2018–January 6, 2019 Talking Back Ai Weiwei Additional support for MATRIX 180 provided American Moderns in Watercolor: May 4–September 28, 2019 Chinese, born 1957 by Ferrin Contemporary. Edward Hopper and His Contemporaries Grapes, 2015 Emily Mae Smith / MATRIX 181 December 22, 2018–March 17, 2019 26 Wooden stools from the Qing Dynasty February 7–May 5, 2019 (1644–1911) Private Collection Nature Through Their Eyes: Tom Burr / MATRIX 182 / American Moderns on Paper June 2018–Ongoing Hinged Figures March 23–June 23, 2019 June 6–September 8, 2019 Antony Gormley

MATRIX 182 was generously supported by Design in the American Home English, born 1950 the Howard Fromson Fund for Exhibition 1650 to 1850 BIG CRIB, 2014 and Educational Programs. December 22, 2018–May 2020 Cast iron Additional support for MATRIX 182 provided Supported by David and Sharon Jepson and Private Collection by Bortolami, NY. Edward Lee Cave. June 2018–Ongoing

30 31 New Acquisitions in FY 2019

American Art Clifford Ross Tablespoon, c. 1800 Pembroke table, c. 1790–95 Tablespoon “Town and Country” sugar bowl and American, born 1952 Norwich, East Windsor, and Coventry, American, North Kingston, Rhode Island American, North Kingston, Rhode Island creamer, designed 1947 Connecticut Attributed to Peleg Weeden, American, Attributed to Peleg Weeden, American, Designed New York, New York; Harry Benson Edward Gorey Performing Ballet, Daniel Burnap, American, 1759–1838 1772–1839 1772–1839 manufactured Red Wing, Minnesota Scottish, born 1929 on Walkway Above Cranberry Bog, Eva Zeisel, American, born Hungary, Yarmouth Port, MA, (#1), 1997, printed Silver; engraved with initials AB Mahogany, maple, pine, and yellow Silver; engraved MW for Mary Weeden 1906–2011, designer Edward Gorey in his New York City 2017 Gift of Gary R. Sullivan, 2018.17.2 poplar (1776–1858) Apartment with Cat, 1978, printed 2017 Red Wing Potteries, Inc., 1936–1967, Archival pigment print The Elijah K. and Barbara A. Hubbard The Elijah K. and Barbara A. Hubbard Archival pigment print Decorative Arts Fund, 2019.1.1 Decorative Arts Fund, 2019.1.2 manufacturer Gift of the artist, 2019.5.3 Tea strainer spoon Gift of Wendy Benson Landes and Glazed earthenware American, Newport, Rhode Island Michael Landes, 2019.18.1 Gift of John Stuart Gordon, Clifford Ross Nicholas Geffroy, American, active 2018.15.1a,b & .2 American, born 1952 1795–1830 Harry Benson Silver; engraved BF to BFW, for Scottish, born 1929 Edward Gorey Performing Ballet, Benjamin Fowler (1739–1818) and his on Walkway Above Cranberry Bog, Edward Gorey in his New York City grandson Benjamin Fowler Weeden Yarmouth Port, MA, (#2), 1997, printed (1813–1837) Apartment, at his Desk with Cats, 1978, 2017 printed 2017 The Elijah K. and Barbara A. Hubbard Archival pigment print Archival pigment print Decorative Arts Fund, 2019.1.3 Gift of the artist, 2019.5.4 Gift of Wendy Benson Landes and Michael Landes, 2019.18.2 Salad serving set, c. 1990 Clifford Ross Designed Princeton, New Jersey; American, born 1952 Harry Benson manufactured Taunton, Massachusetts Scottish, born 1929 Edward Gorey Performing Ballet, Michael Graves, American, 1934–2015, on Walkway Above Cranberry Bog, designer Edward Gorey at Henri Bendel’s “The Leg Yarmouth Port, MA, (#3), 1997, printed Reed and Barton, founded 1840, Shop,” New York City, 1978, printed 2017 2017 manufacturer Archival pigment print Archival pigment print Swid Powell, 1982–2001, retailer Gift of Wendy Benson Landes and Gift of the artist, 2019.5.5 Silver plate Michael Landes, 2019.18.3 Gift of John Stuart Gordon in honor of American Decorative Arts Clare and Jared Edwards, 2018.15.3 & .4 Clifford Ross American, born 1952 “Stratford” Candlesticks, patented 1939 Marrow scoop, 1750s Edward Gorey at Home, 1997, printed American, New Kensington, American, Charleston, South Carolina 2017 Pennsylvania Alexander Petrie, American, born in Archival pigment print Samuel C. Brickley, American, active Scotland, c. 1707–1768 Gift of the artist, 2019.5.1 c. 1930s Silver; engraved with crest for a Kensington, Inc., 1934–1970, member of the Murray family and manufacturer motto Deum Time Clifford Ross Aluminum and glass The Elijah K. and Barbara A. Hubbard American, born 1952 Gift of Judy Ann Goldman, Cambridge, Decorative Arts Fund, 2019.19.1 Edward Gorey at Home (in Mirror), 1997, 2018.16.2 & 2018.16.3 printed 2017 “Stratford” Bowl, c. 1934 Archival pigment print Teaspoon, c. 1800 Designed New York, New York; Gift of the artist, 2019.5.2 Norwich, East Windsor, and Coventry, manufactured New Kensington, Connecticut Pennsylvania Daniel Burnap, American, 1759–1838 Lurelle Van Arsdale Guild, American, 1898–1985, designer Silver; engraved with initials JJ Attributed to Peleg Weeden, American, North Kingston, Kensington, Inc., 1934–1970, Gift of Gary R. Sullivan, 2018.17.1 Rhode Island: Pembroke table, c. 1790–95. Mahogany, manufacturer maple, pine, and yellow poplar; Table spoon. Silver. Aluminum and glass Nicholas Geffroy, Tea strainer spoon. Silver. The Elijah Gift of Judy Ann Goldman, Cambridge, K. and Barbara A. Hubbard Decorative Arts Fund, 2018.16.1 2019.1.1–3 with a selection of manuscripts from the Fowler-Weeden-Wightman family.

33 Left: Tony Fitzpatrick, S, from the series Max and Gaby’s Alphabet, 2000. Four-color etching and aquatint on paper, ed. AP. Gift of Linda Cheverton Wick and Walter Wick, 2018.20.7 Contemporary Art

Stephen Antonakos Sol LeWitt American, born Greece, 1926–2014 American, 1928–2007 Untitled Neon Canvas (for Michael Krichman), 1986 Black and White Horizontal Lines on Color, 2005 Acrylic paint and neon on unstretched canvas Gouache on paper Gift of Joseph Shulman, by exchange, Gift of Ellen Carey in memory of Sol and Courtesy of the Stephen Antonakos LeWitt, 2019.12.1 Studio LLC, 2019.7.1 Josephine Meckseper Tad Beck German, born 1964 American, born 1968 Untitled (Angel), 2007 Palimpsest Four, 2009 Chromed porcelain, aluminum foil, and Lightjet print, ed. 2/3 Plexiglas Gift of the Michael Sodomick Queer Art Gift of Iris and Adam Singer, 2018.18.1 Collection, 2019.15.1 Josephine Meckseper Tad Beck German, born 1964 American, born 1968 Untitled (Deer, Peacock, Hand), 2007 Palimpsest Seven, 2009 Acrylic, aluminum foil, toy peacock, and Lightjet print, ed. 2/3 Plexiglas Gift of the Michael Sodomick Queer Art Gift of Iris and Adam Singer, 2018.18.2 Collection, 2019.15.2 Josephine Meckseper Alexander Calder German, born 1964 American, 1898–1976 Untitled (Fur tails), 2007 Cartoon for a lithograph, 1974 Three fur tails, chrome stand, and Tony Fitzpatrick Maro Gorky Gouache and ink on paper Plexiglas American, born 1958 American, born 1943 Gift of Angela and Peter Mathes, in Gift of Iris and Adam Singer, 2018.18.3 memory of Abraham Ribicoff, 2018.11.1 Y, from the series Max and Gaby’s Winter Bamboo, 2005 Alphabet, 2000 Oil on canvas Marlène Mocquet Enrique Chagoya Four-color etching and aquatint on paper, Gift of Linda Cheverton Wick and Walter French, born 1979 ed. AP Wick, 2018.20.2 American, born Mexico, 1953 Paysage à la tête d’oeuf (Egg Head Gift of Linda Cheverton Wick and Walter Landscape), 2012 Histoire Naturelle des Espécies (Natural Stephen Antonakos, Untitled Neon Canvas (for Michael Krichman), 1986. Acrylic paint and Wick, 2018.20 .8 Chaim Gross History of the Species): Illegal Alien’s neon on unstretched Canvas. Gift of Joseph Shulman, by exchange, and Courtesy of the Mixed media on canvas Manuscript, 2008 Stephen Antonakos Studio LLC, 2019.7.1 American, born Ukraine, 1904–1991 Gift of Linda Cheverton Wick and Walter Maro Gorky Color lithograph, ed. AP 6/6 Wick, 2018.20.5 American, born 1943 I Love My Baby, 1948 Gift of Linda Cheverton Wick and Walter Anne Chu Tony Fitzpatrick Lignum vitae Wick, 2018.20.6 Calatrana Woods, 2005 American, 1959–2016 American, born 1958 Gift of Mimi Gross, 2019.6.1 Zanele Muholi Oil on canvas South African, born 1972 Birds and Rocks, 2007 S, from the series Max and Gaby’s Anne Chu Gift of Linda Cheverton Wick and Walter Monotype Alphabet, 2000 Zoe Leonard Tumi Nkopane, KwaThema, American, 1959–2016 Wick, 2018.20.1 Gift of Linda Cheverton Wick and Walter Four-color etching and aquatint on paper, American, born 1961 Johannesburg, from the series Faces , 2013 Untitled XIb, 2002 Wick, 2018.20.4 ed. AP and Phases I want a president, 1992/2018 Monotype Gift of Linda Cheverton Wick and Walter Silver gelatin print, ed. 5/8 Ink on onion skin paper, ed. 79/100 Gift of Linda Cheverton Wick and Walter Wick, 2018.20.7 The Douglas Tracy Smith and Dorothy Alexander A. Goldfarb Contemporary Art Wick, 2018.20.3 Potter Smith Fund, 2019.3.1 Acquisition Fund, 2019.2.1

34 35 Opposite: Sean Scully, Landline Blue See, 2016. Oil on aluminum. Gift of the artist, 2019.10.1

Zanele Muholi Sean Scully Costumes and Textiles South African, born 1972 American, born Ireland, 1945

Ayanda Mqakayi, Nyanga East, Cape Landlines and Robes, 2018 Brooch, c. 1857 Town, from the series Faces and Phases, Ten aquatints with sugarlift and spitbite, American, Connecticut 2011 ed.15/40 Oak from the Charter Oak tree and gold Silver gelatin print, ed. 7/8 Gift of the artist, 2019.10.2.1-.10 Gift of Anne Winter Forsyth, 2018.14.1 The Douglas Tracy Smith and Dorothy Potter Smith Fund, 2019.3.2 Paul Mpagi Sepuya Sampler, 1840 American, born 1982 American, Kingston, New York Zanele Muholi Susan E. Conklin, American, 1829–1885 South African, born 1972 Study Reflecting Dureau (OX5A1227), 2017 Silk embroidered on linen “TK” Thembi Khumalo, BB Section, Umlazi Archival pigment print; ed. AP 1/2 The Florence Paull Berger Fund, Township, Durban, from the series Faces 2018.13.1 Purchased through the gift of Robinson and Phases, 2012 A. and Nancy D. Grover, 2019.3.5 Silver gelatin print, ed. 7/8 Sampler, 1848 The Douglas Tracy Smith and Dorothy Caro Suerkemper American, Weston, Connecticut Potter Smith Fund, 2019.3.3 German, born 1964 Ellen Dikeman, American, 1825–1905 Silk embroidered on linen Untitled, 2011 Catherine Opie The Florence Paull Berger Fund, American, born 1961 Watercolor on paper 2018.13.10 Purchased through a gift of Samuel R. Pig Pen, 1993 Peterson, 2019.9.1 Chromogenic print, ed. 5/8 Sampler, 1826 Alexander A. Goldfarb Contemporary Art American, Newburyport, Massachusetts Gail Thacker Acquisition Fund, 2019.4.1 Mary French, American, probably American, born 1959 1800–1873 Mia Westerlund Roosen Je m’appelle Tabboo!, 2005 Silk embroidered on linen American, born 1942 Polaroid The Florence Paull Berger Fund, 2018.13.9 Alexander A. Goldfarb Contemporary Art Portrait II, 1985 Acquisition Fund, 2019.13.1 Concrete and lead on enameled steel Sampler, 1792 base Gail Thacker American, Norwich, Connecticut Gift of Phebe Tanners in honor of Paul Fanny Leffingwell, American, 1783–1804 Tanners, 2018.21.1 American, born 1959 Silk embroidered on linen Rafael / Flower, 1996 The Florence Paull Berger Fund, Boo Saville Polaroid 2018.13.4 British, born 1980 Purchased through a gift of Louis Wiley, Jr., 2019.14.1 Ophelia, 2018 Sampler, 1834 Oil on canvas American, Lebanon, Connecticut Mickalene Thomas Gift of Agnes S. and William R. Peelle Jr., Hannah Loring, American, 1822–1844 American, born 1971 2019.11.1 Silk embroidered on linen Racquel with Les Trois Femmes, 2018 The Florence Paull Berger Fund, Sean Scully Chromogenic print, ed. 3/5 2018.13.8 American, born Ireland, 1945 The Douglas Tracy Smith and Dorothy Potter Smith Fund, 2019.3.4 Landline Blue See, 2016 Oil on aluminum Gift of the artist, 2019.10.1

37 Sampler, 1795 Quilt, c. 1845 Sampler, 1833 Two-piece dress, c. 2010 Jacket, 2008 Coat, 2010 American, New Haven, Connecticut American, New York American, Lebanon, Connecticut Dries Van Noten, Belgian, born 1958 Dries Van Noten, Belgian, born 1958 Dries Van Noten, Belgian, born 1958 Grace Mix, American, 1785–1813 Made by members of the Reed family Elizabeth Segar, American, born 1822 Linen and silk Silk, with abalone and cork beads Linen, wool, and cotton, with metallic Silk embroidered on linen of New York Silk embroidered on linen Gift of Linda Cheverton Wick, Gift of Linda Cheverton Wick, 2019.17.5 embellishments The Florence Paull Berger Fund, Cotton with cotton muslin backing; The Florence Paull Berger Fund, 2019.17.2a,b Gift of Linda Cheverton Wick, 2019.17.8 pieced, assembled, and quilted in double 2018.13.5 2018.13.6 Evening dress, 2007 and triple rod pattern; hand-woven tape Evening dress, 2008 Coat, 2012 edge finish Dries Van Noten, Belgian, born 1958 Sampler, 1826 Sampler, 1823 Dries Van Noten, Belgian, born 1958 Dries Van Noten, Belgian, born 1958 The Florence Paull Berger Fund, Polyester, with sequins and beads American, Canterbury, New Hampshire 2018.10.1 American, Dracut, Massachusetts Silk with cork beads Gift of Linda Cheverton Wick, 2019.17.6 Wool and silk Harriet Peverly, American, born 1813 Dorcas Stearns, American, 1811–1839 Gift of Linda Cheverton Wick, 2019.17.3 Gift of Linda Cheverton Wick, 2019.17.9 Silk embroidered on linen Sampler, 1800 Silk embroidered on linen Jacket, 2008 The Florence Paull Berger Fund, American, Wethersfield, Connecticut The Florence Paull Berger Fund, Jacket, 2013 Dries Van Noten, Belgian, born 1958 Coat, 2012 2018.13.2 2018.13.7 Mary Robbins, American, 1791–1878 Dries Van Noten, Belgian, born 1958 Silk, cotton, and metal fiber, with cork Dries Van Noten, Belgian, born 1958 Silk embroidered on linsey woolsey Polyester and silk beads Wool and silk Above: Samplers, American. Clockwise Coat, 2007 The Florence Paull Berger Fund, Gift of Linda Cheverton Wick, 2019.17.4 Gift of Linda Cheverton Wick, 2019.17.7 Gift of Linda Cheverton Wick, 2019.17.10 from top left: Grace Mix, 1795; Harriet 2018.13.3 Dries Van Noten, Belgian, born 1958 Peverley, 1826; Fanny Leffingwell, 1792; Wool, cotton, cashmere, and polyamide Susan E. Conklin, 1840. Silk embroidered on linen. The Florence Paull Berger Fund, Gift of Linda Cheverton Wick, 2019.17.1 Above: Jacket and detail of Jacket, 2008. Dries Van Noten. Silk, cotton, and metal fiber, with cork beads. Gift of Linda Cheverton Wick, 2019.17.7 2018.13.1–2, 4–5

38 39 European Art European Decorative Arts Deaccessioned in FY 2019

Johan Wilhelm Baur Goblet (vetro a retorti), 2nd half 16th Stephen Antonakos German, 1607–1640 century American, born Greece, 1926–2014 Italian, Venice Christ before Pilate, c. 1635 Orange Vertical Neon, 1967 Non-lead glass (cristallo) Gouache on vellum Neon and aluminum European Decorative Arts Purchase The Ella Gallup Sumner and Mary Catlin Fund, 2019.20.1 Purchased with funds contributed by Sumner Collection Fund, 2018.12.1 Joseph Shulman, 1973.34 Exchange made with the artist’s estate, Plaque, 1900 Pavel Tcheltichew courtesy of the Stephen Antonakos Taxile Doat, French, 1851–1939 Studio LLC. See 2019.7.1 American, born Russia, 1898–1957 Porcelain Sketch with Three Figures, 1936 European Decorative Arts Purchase Silverpoint on paper Fund, 2019.16.1 Gift of Douglas Hyland in honor of Dr. Timothy McLaughlin, 2018.19.1 Plaque, 1901 Above: Johan Wilhelm Baur, Christ before Taxile Doat, French, 1851–1939 Pilate, c. 1635. Gouache on vellum. The Ella Nicolaes van Verendael Glazed and enameled porcelain Gallup Sumner and Mary Catlin Sumner Flemish, 1640–1691 European Decorative Arts Purchase Collection Fund, 2018.12.1 Fund, 2019.16.2 A Still Life, 1682 Opposite: Goblet (vetro a retorti), 2nd half Oil on copper 16th century. Italian, Venice. Non-lead The Ella Gallup Sumner and Mary Catlin glass (cristallo). European Decorative Arts Sumner Collection Fund, 2019.8.1 Purchase Fund, 2019.20.1

40 41 Program Highlights

Public Programs Lectures and Conversations Programs activated the collections and major exhibitions Monsters & Myths and Sean Scully: Landline, exploring historical, social, and creative contexts.

Bouke de Vries, “War and Pieces” The Surrealist Adventure in Painting Leslie Ferrin, Ferrin Contemporary Michael Taylor, Virginia Museum of Sequoia Miller, Gardiner Museum Fine Arts Docent Council 50th Anniversary The Marketing of Surrealism Lecture Series Sandra Zalman, University of Houston Philip Johnson Supported by the Decorative Arts Council Mark Lamster, University of Texas, Arlington Parallel Narratives: The Future of Richard Brettell, University of Texas, Period and Contemporary Design Dallas Mitchell Owens, Architectural Digest, moderator Sean Scully and Patricia Hickson in Conversation Alexandra Gilbert, Sotheby’s Home Thomas Jayne, Jayne Design Studio Watercolor: The American Medium Rodman Primack, Design Miami Kathleen Foster, Philadelphia Museum David Wiseman, Wiseman Studio of Art Eric Wunsch, Wunsch Americana Docent Memorial Lecture Foundation Noah Wunsch, Wunsch Americana The Emily Hall Tremaine Lecture in Foundation Contemporary Art: Andrea Fraser Artist Talk with Sean Scully.

42 Gallery Talks, Demonstrations, and Tours Curators, educators, academics, artists, and our docents offered a broad Mindfulness in the Museum scope of perspectives on the collections and special exhibitions. The Copper Beech Institute

Abstract Expressionism in Dutch Works on Paper War and Pieces Contemporary Art Monsters & Myths Linda Roth, Senior Curator and Charles Cat Balco, University of Hartford Surrealism in Exile C. and Eleanor Lamont Cunningham Curator of European Decorative Arts (in conversation with Frauke Josenhans, Paper Quilling Demonstration Yale University Art Gallery) Patricia Caputo, Whimsiquill Designs Van Gogh’s Vase with Poppies: The The Subconscious and the Divine Artist’s Hand Lauren T. Cross, Youth and Community Ai Weiwei: How a small project effects Programs Manager Giorgione’s La Vecchia in Context social change Oliver Tostmann, Susan Morse Hilles All the World’s a Fair Yan Geng, University of Connecticut Curator of European Art Angela Parker, Docent and Tour Celebrating the Bauhaus Centenary MATRIX 179 Programs Manager Anna Vallye, Connecticut College Sean Scully Frederic Church of Hartford Be Seen: Portrait Photography Since The Singular Yayoi Kusama Alan Wallach, College of William and Stonewall Mary (Emeritus) Midori Yamamura, Kingsborough Patricia Hickson, Emily Hall Tremaine Community College, CUNY Curator of Contemporary Art MATRIX 180 Spanish Baroque Literature, Art, and Bouke de Vries, artist Early American Bed Furnishings Culture (in conversation with Natalie Larson, Public Sculpture in Hartford Rosa Helena Chinchilla, University of historic textile expert) Connecticut Early America, in Bed Amanda Douberley, William Benton Museum of Art Brandy Culp, Richard Koopman Curator MATRIX 182 of American Decorative Arts Surrealist Art Encounters Politics Tom Burr, artist Robin Greeley, University of Connecticut American Moderns in Watercolor Arthur Dove’s Creativity in Color Nature Through Their Eyes Ceramics in Process Rachael DeLue, Princeton University Erin Monroe, Robert H. Schutz, Jr., Matt Towers, University of Hartford Associate Curator of American Paintings Giorgione: Revolutionary Artist of the and Sculpture Renaissance MATRIX 181 Monika Schmitter, University of Emily Mae Smith, artist Massachusetts Amherst

Concerts and Performances A number of ensembles enlivened the galleries with music inspired by the collections and special exhibitions. The Sunday Serenades Chamber Concert Series, presented in collaboration with the Hartford Symphony Orchestra, inspired visitors with concerts Monsters & Myths, Land Sea Sky (in connection with Sean Scully: Landline), and The Spanish Golden Age. The museum also hosted the acclaimed East of the River chamber group for an evening of Middle Eastern music to celebrate the special exhibition Frederic Church: A Painter’s Pilgrimage. Musical events in gallery spaces and other locations around the museum enhance the visitors’ experience, including stirring live operas by Connecticut Opposite top: Oliver Tostmann gives a Lyric Opera, concerts by Connecticut Virtuosi, two thrilling annual shows by the gallery talk on Van Gogh's Vase with Poppies. Hartford Gay Men’s Chorus, the electrifying music and dance performance by Opposite bottom: Sunday Serenades in FriendZWorld Music, and lively Jazz Brunches in the Untitled Bistro. Avery Court.

44 45 Film Film highlights of the year included a full house screening of Horn From the Heart: The Paul Butterfield Story in collaboration with the Hartford Jazz Society; a presentation of the silent film Nosferatu accompanied by live music performed by Donald Sosin and Joanna Seaton; the rich documentary ROY G. BV II by local artists Joey Batts and Rudy; the 6th Annual Interfaith Film Series in collaboration with the Connecticut Council for Interreligious Understanding, the Hartford Seminary, and the National Conference for Community and Justice; and the relevant “Shaping Social Change” series in collaboration with The Amistad Center for Art & Culture.

Dance The Wadsworth hosted performances by CONNetic Dance, the School of Ballet Hartford, FriendZWorld Music, and the Connecticut International Cultural Dance Association.

Theater TheaterWorks took up residency at the Wadsworth during a renovation to their downtown Hartford facility. Productions of Girlfriend, Actually, and Fully Committed drew more than 18,000 people to the museum over the 90-performance run. These new audiences were further connected to the museum with themed docent-led tours drawing them into the galleries.

In addition to the film program, celebrating Be Seen: Portrait Photography Since Stonewall, two theater performances were offered: the hilarious show “Varla Jean Merman’s Under a Big Top!” in collaboration with TheaterWorks and the provocative appearance and book signing by filmmaker, writer, and actor John Waters called “This Filthy World: An Evening with John Waters,” followed by a screening of his film Cecil B. Demented.

Art After Dark Our evening series was held in August, October, November, February, April, and June. The event— which draws hundreds of participants—features live music, tours and talks by artists, art activities, and film screenings. Themes included a Caribbean festival, a holiday celebration called Night of Illumination supported by the Women’s Committee of the Wadsworth Atheneum, a College Night in collaboration with the

Hartford Consortium for Higher Education, and an David Merino and CJ Pawlikowksi on stage during TheaterWorks’ outdoor program celebrating the Tango. production of Girlfriend. Photo by Lanny Nagler.

46 School and Teacher Programs

Student Tours Partnership with Connecticut’s Old State House Docent-guided visits are available to PreK–12 students Students learn about the meaning of objects and and are designed to correlate with state and national architecture illustrating local and state history as curriculum standards. This year 12,169 students toured they discover their place within this cultural narrative. the museum from 116 schools across all eight counties Visits include hour-long tours at the museum and at in Connecticut and represented 43 cities and towns in the Connecticut’s Old State House. state, in addition to schools from Massachusetts, Rhode Island, Vermont, and New York. Partnership with the Connecticut Science Center Students discover the connections between art and Studio Programs science in this multisite visit. They explore the elements Studio programs continued to draw strong attendance of art through close looking and discussion in Learning to this year, serving 3,211 students. Specially developed Look/Artwise (grades K–12) or focus on close observation themes stimulate imagination, dynamic discussion, and and innovation in Looking Like a Scientist (grades 6–12). creative expression in this program that combines a gallery tour with a studio art experience. Studio programs Summer Pre-Collegiate Program are available during school hours and after school Two Hartford high school students from Great Path through the Community Arts Program. Themes include Academy were awarded scholarships to attend the Animals in Art; Color My World; Be the Curator; Making Hartford Art School’s Summer High School Visual Myths; Art and Poetry; Studio Photography; and STEAM: Arts Portfolio Program and participate in associated Sketch Like a Scientist—each structured for specific museum visits. grade levels. Evening for Educators Museum on the Move: Art and Literacy Outreach Program PreK–12 teachers and administrators joined museum This six-part program for grade 4 students explores staff for gallery talks, educator-led activities, and landscapes from the museum’s collection to develop hands-on workshops focusing on the Monsters & Myths descriptive writing skills. Eight Hartford Public Schools exhibition in the fall and more broadly on “American participated. Stories” in the spring.

Art and Writing Teacher Workshops and In-Service Training This curriculum for grades 3–8 builds students’ narrative, Professional development sessions provide educators descriptive, and expository writing skills through the with tools to incorporate the visual arts into their investigation of artworks. Seventeen schools participated classroom instruction. Half- and full-day sessions are from Hartford, Avon, Stamford, and Meriden. offered in addition to a teacher workshop offered on Election Day. Hartford Youth Art Renaissance The 46th annual exhibition featured art created by

PreK–12 Hartford Public Schools students. The museum Opposite: Teachers make art together hosts the exhibition and awards ceremony. during Spring Evening for Educators.

48 49 Academic Programs University Tours Internship Program Docent-guided visits are available to college and Twenty-two interns from 11 universities worked university classes and groups, including tours tailored approximately 1,950 hours in six departments, including to a specific academic course or topic. This year 2,198 Curatorial, Development, Education, Library, Registrar, students toured the museum from 22 colleges and and The Amistad Center. universities in Connecticut, Massachusetts, and New York.

Encounters In collaboration with the Hartford Public Library, the University of Connecticut’s Humanities Institute, and The Amistad Center for Art & Culture, the Encounters series encourages informed and informal conversations about issues that affect our lives. Programs held at the museum included Surrealism and War and Emily Mae Opposite: MLK Community Day. Smith and #MeToo. Below: Participants in discussion during March Encounters program.

Community and Youth Programs Community Days Summer Community Studio The Wadsworth and The Amistad Center for Art & Culture Youth from nine Hartford community organizations— offered three Community Days, providing free admission Connecticut Landmarks, Hispanic Health Council, all day and extensive programming for visitors of all Women’s League Child Development, St. Monica’s ages: Fall Community Day, Martin Luther King, Jr. Day and Episcopal Church, Boys and Girls Clubs of Asylum Hill Juneteenth Family Day. The museum also participated in and Trinity, Hartford Public Library, Charter Oak Cultural First Night Hartford, a festive program on New Year’s Eve. Center, and Spectrum in Motion—participated in docent- guided tours and a hands-on studio experience focusing Community Arts Program on imagined landscapes. The Community Arts Program offers hands-on studio programs to after-school groups from Hartford Art and Empathy organizations. This year the Renzulli Academy Art Club, RE·Center, a local non-profit organization committed Boys & Girls Club at Asylum Hill, Billings Forge, Hartford to promoting equity in education, and the Wadsworth's Jobs Corps Academy, Hartford Public Library, Wilson-Gray education department developed a new curriculum YMCA and the Legacy Foundation of Hartford attended. designed for staff of organizations that serve youth out of school. Pilot workshops held in the spring of Second Saturdays for Families 2019 included staff from the Boys & Girls Clubs, the Second Saturdays for Families continues to inspire Connecticut Center for Nonviolence, and Charter Oak families to experience art together. Through hands-on art Cultural Center. These professional development projects, family-centered tours, music and the performing workshops introduce how to use art as a vehicle for arts, families connect with art and the Wadsworth. The conversations with youth with the goal of building program takes place every month and has served over empathy and understanding. 50,000 visitors since it was conceived in 2009. Teen Ambassadors The museum partnered with the Hartford Public Library’s American Place—a free program designed to welcome immigrants and ease their transition into their new home city—to pilot a program for high school students. Five youth were trained on both general job skills and those specific to museum work and program facilitation.

50 Below: Docent Beth Malley introduces the Wadsworth collection to the community. Opposite: Visitors in the Monsters & Myths interpretation space.

Docent Program Docent Council 50th Anniversary Formed in 1968, the Wadsworth Atheneum’s Docent This past year, 88 docents volunteered more than Council shares a passion for art, a desire to engage and 8,700 hours to training and providing 1,700 tours. inform the public about the collections, and extraordinary Docents engaged over 19,000 visitors of all ages on dedication to teaching. Continuing the celebration of guided encounters with the museum’s exhibitions their 50 years of service in 2018, the docents sponsored and collections, and attended 17 training sessions the last of a three-part public lecture series (see Adult relating to exhibitions, collections, and touring Programs on page 40); exceeded their goal for the 50 strategies led by education and curatorial staff Visits Program traveling to 69 libraries, senior centers, as well as outside guest speakers. and community organizations across the state to present interactive talks on the museum’s collection; and wrote Eileen S. Pollack Docent Education Lecture and recorded new family-oriented audio tours for the William Gudenrath, Corning Museum of Glass museum’s TAP mobile guide. Discussion of objects from from the Wadsworth's ancient and Renaissance glass collections with a focus on the glassmaking process.

Access Programs Mobile Tour Wadsworth Welcome The mobile tour program allows visitors to access Free admission for Hartford residents is offered through a multimedia tour of collection objects and special Wadsworth Welcome. More than 4,000 residents who exhibitions on a personal device at tap.thewadsworth. speak 53 languages have registered for Wadsworth org or on a free iPod borrowed from the Information Welcome since its launch in August 2016. Desk. Tours were created for Monsters & Myths and Be Seen: Portrait Photography Since Stonewall. Special Library ARTpass thematic collection tours were also developed: Land/ ARTpasses are available for check-out at 178 town and Sea/Sky in connection to Sean Scully: Landline; Col school libraries, providing free admission for two adults Tempo (With Time) in connection with the installation of and a discount for films. Giorgione’s La Vecchia; Out on View: LGBTQ+ Highlights from the Collection to accompany Be Seen; and a family Teacher Discovery Passes tour, written and recorded by the docents. All educators who book a visit for their students receive a free pass to explore the museum’s collections and SmartHistory Seeing America Project exhibitions in preparation for planning curricular The Wadsworth was invited to participate in connections to classroom activities. SmartHistory’s project called Seeing America, an internet platform designed to teach American history Interpretation through material culture. Staff from the Wadsworth In-gallery spaces and The Amistad Center collaborated to create new video content that features objects from both the The education staff develops in-gallery interactives in Wadsworth and The Amistad Center, accessible at conjunction with exhibitions and the collection. This year, smarthistory.org/seeing-america. participatory spaces were created for Monsters & Myths: Surrealism and War in the 1930s and 1940s, Sean Scully: Landline, Be Seen: Portrait Photography Since Stonewall, American Moderns in Watercolor: Edward Hopper and His Contemporaries, and Nature Through Their Eyes: American Moderns on Paper.

53 Partners

Program Collaborators Mud Cloth, dancers The Amistad Center for Art & Culture Kathryn Myers, University of Connecticut Ballard Institute and Museum of Catherine Opie, artist Puppetry at the University of Sea Tea Improv Connecticut Paul Mpagi Sepuya, artist Charter Oak Cultural Center Sean Scully, artist The Connecticut Center for Nonviolence Emily Mae Smith, artist Connecticut Science Center Sage Sohier, artist Connecticut’s Old State House Gail Thacker, artist The Copper Beech Institute Mickalene Thomas, artist East of the River Iké Udé, artist For Freedoms: The 50 State Initiative Conrad Ventur, artist Hartford Art School Chris Verene, artist Hartford Performs Nekita Waller, musician Hartford Public Library Stephanie Wheeler, musician Hartford Public Schools Sasha Wortzel, filmmaker Hartford Symphony Orchestra Scholars, Educators, and Experts RE·Center: Race and Equity in Education SmartHistory Cat Balco, University of Hartford University of Connecticut Humanities Bridget Barnum, Institute LGBTQ+ community member Miriam Basilio, New York University Artists, Filmmakers, Richard Brettell, Musicians, and Performers University of Texas, Dallas Tad Beck, artist Rosa Helena Chinchilla, Tom Burr, artist University of Connecticut William Gudenrath, Rev. Erica Richmond, Hartford Hospital Sandra Zalman, University of Houston The Docent Council of the Wadsworth Patricia Caputo, Whimsiquill Designs Coltsville National Historic Park Corning Museum of Glass Monika Schmitter, Atheneum Museum of Art Funders The Dance Collective ConnLUG (Lego Users Group) Isabella Herrick, University of Massachusetts Amherst Ellen Jeanne Goldfarb Memorial LGBTQ+ community member Major funding provided by: Charitable Trust Bouke de Vries, artist Neil Daigle-Orians, Real Art Ways Amanda Schneider, YouTube personality Sarah Herrick, Aetna Foundation Hartford Constortium for Blessings Divine, poet and performer Rachael DeLue, Princeton University Oliver Shell, Baltimore Museum of Art LGBTQ+ community member Anonymous Higher Education Dan Foster, musician Amanda Douberley, Tabletop Gaming Center Ice Cream for a Dream Data-Mail, Inc. and the Mandell Family George A. & Grace L. Long Foundation, Andrea Fraser, artist William Benton Museum of Art Agnieszka Taborska, Thomas Jayne, Jayne Design Studio Bank of America, N.A., Co-Trustee Cindy Dubuque-Gallo, Rhode Island School of Design FRAME Lorena Garay, musician Legrand LGBTQ+ community member Frauke Josenhans, Michael Taylor, Richard P. Garmany Fund at the The Hartt School, musicians Yale University Art Gallery SBM Charitable Foundation, Inc. Regina Dyton, Child Advocacy Center at Virginia Museum of Fine Arts Hartford Foundation for Public Giving Haley Hewitt, musician St. Francis Hospital and Medical Center Antonis Kotsonas, New York University Judith Thorpe, University of Connecticut Greater Hartford Arts Council The Women’s Committee of the Alison Hoffman, musician Wadsworth Atheneum Charles Falivena, Mark Lamster, Matt Towers, University of Hartford The Hartford Christian Holstad, artist University of Texas, Arlington LGBTQ+ community member Anna Vallye, Connecticut College J. Walton Bissell Foundation, Inc. Irish Dance Team from the Natalie Larson, historic textile expert Museum endowed funds for education: Leslie Ferrin, Ferrin Contemporary Alan Wallach, Lincoln Financial Foundation University of Connecticut The Joseph and Robert Cornell Kathleen Foster, Andrew Lear, historian College of William and Mary (Emeritus) S&S Worldwide Alycia Jenkins, poet and performer Memorial Foundation Fund Philadelphia Museum of Art Glen Macleod, University of Connecticut Sarah Wilkie, Art Connection Studio Travelers Foundation Savana Jones, poet and performer Docent Memorial Fund Jason Fredlund, Angela Miller, David Wiseman, Wiseman Studio Wells Fargo Foundation Tom Lee, storyteller LGBTQ+ community member Washington University in St. Louis Georgette Auerbach Koopman Director Eric Wunsch, of Education Endowment April Lindsey, poet and performer Michael Galaburri, Art Connection Studio Sequoia Miller, Gardiner Museum Wunsch Americana Foundation Additional support provided by: Eileen S. Pollack Docent Education Fund Middle Eastern Dance Academy Yan Geng, University of Connecticut Mitchell Owens, Architectural Digest Noah Wunsch, Bradley, Foster and Sargent, Inc. The Saunders Foundation of Connecticut Alexandra Gilbert, Sotheby’s Home Rodman Primack, Design Miami Wunsch Americana Foundation The Decorative Arts Council of the Charitable Music Endowment Moscow Ballet James Golden, Mark Twain House Qualia, LGBTQ+ community member Midori Yamamura, Kingsborough Wadsworth Atheneum The Emily Hall Tremaine Foundation Robin Greeley, University of Connecticut Ricardo Reyes, University of Hartford Community College, CUNY

54 55 People, Donors & Gifts

Officers Board of Trustees Honorary Trustees Executive Committee Audit Committee Board of Electors William R. Peelle, Jr. Duffield Ashmead, IV Coleman H. Casey William R. Peelle, Jr. David G. Jepson, Chair Phoebe Allen Louise Kaufman President President Marta Bentham David W. Dangremond John Alves Todd Kaufman Henry R. Martin Henry R. Martin Jeffrey N. Brown Mary G. Dowling Curatorial Committee Robert M. Annon, Jr. Karen A. Kelleher Past President Past President Cheryl A. Chase Clare C. Edwards John A. Berman Kathleen G. Kraczkowsky Duffield Ashmead, IV Duffield Ashmead, IV Duffield Ashmead, IV, Chair Halsey Cook, Jr. Carole B. French Eleanor Blake Lee G. Kuckro Vice President Vice President Frederick C. Copeland, Jr. Mary P. Gibbons Diane Brainerd Leena K. Langeland Cheryl A. Chase Cheryl A. Chase Education Committee Vice President Carol L. Covello Helen B. Gray Vice President; Karen K. Byrne Marcia Reid Marsted Michael F. Klein, Chair Hy J. Schwartz Mally Cox-Chapman Arnold C. Greenberg Emilie de Brigard John Byrnes Leigh A. Newman Vice President Alison D. Davis Nancy D. Grover Assistant Secretary; Jay Cantor Marlene Passman Facilities Committee Frederick C. Copeland, Jr. Emilie de Brigard Christopher Larsen Liaison to The Amistad Howard L. Carver Genevieve Pfaff Center for Art & Culture Treasurer Laura Harris James B. Lyon Cheryl A. Chase, Chair Bonnie Castellani James Prosek Frederick C. Copeland, Jr. Esther A. Pryor David G. Jepson Stephen B. Middlebrook Francine Christiansen Brie Quinby Secretary Treasurer Brion Johnson John H. Motley Finance Committee Kate M. Coley Janet Flagg Rawlins Emilie de Brigard Hy J. Schwartz Michael F. Klein Claire M. Pryor Frederick C. Copeland, Jr., Linda Alexander-Cowdery Marguerite Rose Assistant Secretary Vice President Gerard Lupacchino Susan A. Rottner Chair Mary H. Crary Benjamin Sams Merrill F. Mandell Robert H. Smith, Jr. Sheila D’Agostino Sonia Shipman Jeffrey G. Marsted Karen Cronin Wheat Governance Committee Eric D. Daniels Linda Bland Sonnenblick Henry R. Martin Linda Cheverton Wick Henry R. Martin, Chair Jeanna Doherty Thomas Soyster Timothy McLaughlin Susan Fisher Keith Stevenson Yvette Meléndez Letty Fonteyne Jerry Theodorou Ex Officio Trustees Investment Committee Mary Pescatello Melvin Claire Galli Charles Tingley Jane Britton, President Matthew A. Schaefer, Chair William R. Peelle, Jr. Women’s Committee Robyn Gengras J. Frank Travis Samuel R. Peterson Richard Alleyne, President Alden Gordon Sharon Travis Eileen S. Pollack The Amistad Center Lauren R. Greenspoon Judith Wawro Matthew A. Schaefer for Art & Culture JoAn K. Hagan Sally Wister (January 25, 2017 to Hy J. Schwartz April 24, 2019) Carol R. Hall Eric Zachs Filomena M. Soyster Andréa Hawkins, President Gerald Incandela Judy Zinn Jean-Pierre van Rooy The Amistad Center Barbara G. Ward for Art & Culture Henry M. Zachs (April 24, 2019 to present) Joanne Eudy, President Docent Council Cynthia Bulaong Designee of the Mayor of Hartford

56 57 Mrs. Nancy D. Grover Mr. and Mrs. Richard P. Sharon G. and J. Frank Travis Connecticut Humanities Ms. Laura R. Harris Brainerd Trinity College Connecticut Natural Gas Lawrence Jeffrey Professors Jean Cadogan University of Hartford Corporation/Southern CT and Alden Gordon Gas Company Estate Jewelers Mr. Offer Waterman Capital Counsel, LLC Dr. and Mrs. Martin Cooper Mr. and Mrs. Brion Johnson Mr. and Mrs. John H. P. Wheat Mr. and Mrs. Howard L. Carver Mr. and Mrs. Charles F. Ms. Karen Kelleher and Linda Cheverton Wick and Corcoran, III Mr. Kenneth Anderson Mr. Edward L. Cave Walter Wick Mr. and Mrs. Michael Klein Cheney Family Fund Mr. James T. Cowdery and Mrs. Linda Alexander- Mr. Christopher Larsen Mr. and Mrs. Rex Chung $4,999–$1,500 Cowdery The Jean and Julien Levy Dr. and Mrs. James Collias James Lippincott Goodwin Mrs. Mary H. Crary Foundation for the Arts, Inc. Colonial Consulting LLC Level Crest Mechanical Mr. James B. Lyon The Honorable Alfred V. Allan S. Goodman, Inc. Services, Inc. Mr. and Mrs. Henry R. Martin Covello and Mrs. Carol Alvord Family Foundation Mr. Robert Dance and Covello The Robert Mapplethorpe Antonacci Family Foundation Mr. Robert Loper Foundation Mr. and Mrs. John B. The Bailey Family Foundation The Day Family Foundation Mr. and Mrs. John Melvin D'Agostino The Benevity Community DFX Entertainment Mr. and Mrs. Brewster B. Ms. Alison D. Davis Impact Fund Mr. Iain Douglas Perkins Mrs. Mary G. Dowling Berkshire Bank Ms. Mary Jane Dunn Dr. and Mrs. Samuel R. Mr. and Mrs. Jared I. Edwards Mr. and Mrs. John A. Berman Dr. and Mrs. Geoffrey T. Peterson Mrs. Mary P. Gibbons Ms. Linda R. Bernstein Emerick Mr. and Mrs. Joel J. Rottner Hartford Consortium Ms. Eleanor W. Blake Ernst & Young U.S., LLP Matthew and Robin Schaefer Hartford Healthcare Philanthropy Bortolami Gallery Mr. and Mrs. Dan R. Eudy The Carla and Stephen The Hartford Steam Boiler Alisha D. Bourgoyne Dr. and Mrs. Anthony A. Schwartz Family Inspection & Insurance Co. Foundation, Inc. Bradley, Foster & Sargent, Inc. Ferrante $50,000+ The Douglas Tracy Smith and Richard P. Garmany Fund Mrs. Barbara G. Ward and Elizabeth M. Landon and Dr. and Mrs. Robert L. Fisher Daniel Wadsworth Level Dorothy Potter Smith Fund Greater Hartford Dr. Thomas P. Ward Simsbury Bank and Trust Harriette M. Landon The Lyman B. Brainerd Estate of Eva Andrews Trust Travelers Arts Council The Eric and Jessica Zachs Sorenson-Pearson Family Foundation Family Foundation Mr. and Mrs. Karl Family Foundation, Inc. Fleischmann Anonymous Foundation Estate of Charles G. The Hartford Financial Foundation Mr. and Mrs. Jeffrey G. Ms. Jane E. Britton and Woodward Trust Services Group, Inc. Mr. Glenn Van Moffaert Mrs. Letty Fonteyne The Cheryl Chase and Stuart Mr. and Mrs. Stephen Stroud Marsted Bear Family Foundation The Zachs Family Maximilian E. & Marion O. $24,999–$10,000 Terra Foundation for The William Horvitz Mr. and Mrs. John O. Byrne Mr. and Mrs. John W. Fuller Foundation, Inc. Hoffman Foundation, Inc. Connecticut Department of Elizabeth Hart Jarvis Colt American Art Family Fund Mr. and Mrs. John Byrnes Mrs. Claire S. Galli Economic and Community Mr. and Mrs. David Jepson Level The Emily Hall Tremaine The Katharine K. McLane Capital Community College Mr. and Mrs. Aaron L. Development $49,999–$25,000 Mr. and Mrs. Bernhard L. Bank of America Foundation and Henry R. McLane Mr. and Mrs. David E. A. Gersten Charitable Trust Estate of Mary Jane J. Pierpont Morgan Level Kohn, Jr. The Barnes Group University of Connecticut Carson Mrs. Harry B. Gray Mr. and Mrs. Mark A. Parsons Converse Trust Aetna Inc. The David T. Langrock Foundation Mr. and Mrs. Jean-Pierre Mr. and Mrs. Frederick Mrs. JoAn K. Hagan Foundation van Rooy Mr. and Mrs. Michael Pfaff Castellani Eversource Energy (CL&P) Duffield Ashmead, IV J. Walton Bissell Harold L. Wyman Hartford Foundation for and Mr. Eric Ort Lincoln Financial Foundation Foundation, Inc. Mr. Waqas Wajahat and The William H. Pitt Ms. Susan R. Chandler Foundation, Inc. Mrs. Shari Jones Foundation Public Giving Estate of Harriet Bundy Mr. Gerard Lupacchino and Mr. Jeffrey N. Brown and Mr. and Mrs. Stephan L. Ms. Kimberly Harrison Mr. Lynn C. Beaulieu Ms. Virginia Gascon Wells Fargo Foundation Mr. and Mrs. Elliott B. Pollack Christiansen The Andrew J. and Joyce D. Mr. and Mrs. Halsey Cook Ms. Denise Henkind Mandell Family Foundation Dr. Timothy McLaughlin and William and Beatrice Cox Mr. Francis H. Williams SBM Charitable Foundation Christie's Mr. and Mrs. Frederick The Burton & Phyllis Dr. Marian F. Kellner William and Alice Copeland, Jr. Dr. James and Mally Mr. and Mrs. Mark Shipman The CIGNA Foundation Hoffman Foundation, Inc. Mortensen Foundation Mrs. Belle K. Ribicoff Cox-Chapman The Dangremond Family $9,999–$5,000 Mrs. Linda B. Sonnenblick Clarence B. & Joan F. Shepherd Monson Newman's Own Foundation Foundation The Edward C. and Ann T. The Gladys Krieble Samuel Putnam Avery, Jr. Mr. and Mrs. Thomas W. Coleman Charitable Holcombe Fund Roberts Foundation, Inc. Delmas Foundation Level Foundation Mr. and Mrs. William R. Mr. and Mrs. Raul R. Soyster David and Francie Horvitz Peelle, Jr. de Brigard Mr. and Mrs. Hy Schwartz Ensworth Charitable Simon E. Abrahms Mr. Jonathan E. Stone and Ms. Sara Marcy Cole Family Foundation, Inc. Foundation Ms. Esther Pryor The Vincent Dowling Family Shipman & Goodwin LLP The William H. and Mr. Thomas C. Flanigan Sylvan C. Coleman Mrs. Ann D. Howard Mrs. Millard H. Pryor, Jr. and Foundation, Inc. The Saunders Foundation Mr. and Mrs. Arnold C. Rosanna T. Andrulat Dr. Oliver Tostmann and Foundation Trust Income Research & the Pryor Foundation Greenberg Charitable Foundation Mrs. Margaret Heiner Management

58 59 Mr. and Mrs. Jonathan Jarvis Mrs. Mary T. Sargent Mr. Barry Baskind and Mr. and Mrs. John Detweiler Mr. and Mrs. Raymond Ms. Ellen Lehtimaki and Mr. Nicholas F. Miller Mr. Craig J. Stalk and JCJ Architecture, Inc. The Scherer Foundation, Inc. Ms. Eileen Fitzgerald Deutsch Family Guenter Ms. Julie Jaquish Mr. Sal Modifica Mrs. Kathleen M. Stalk Jewish Community Ms. Jeannette B. Mr. and Mrs. David B. Beers Mr. and Mrs. Barry Dickstein Mr. Stanley A. Guzek and Mr. Gerald Lemega and Mr. and Mrs. Robert G. Mr. Henry Steiner Ms. Trish Bowen Mrs. Nancy Lemega-Watt Foundation of Greater Schermerhorn Dr. and Mrs. Ellison Berns Ms. Pamela Diggle and Montstream Ms. Patricia Stepanski Hartford, Inc. Dr. and Mrs. Jonathan Ms. Karen K. Binney Mr. William Friedman Murray Haber Mr. and Mrs. Frederick J. Ms. Joan R. Morach Mr. and Mrs. Edward L. Storrs Leonberger Mr. and Mrs. Robert Schreiber Mr. James G. Blaine Marko Djuranovic Mr. and Mrs. Kenneth B. Mr. Kevin Moran Mr. and Mrs. Samuel D. Stout Kamerschen Hamblett Dr. and Mrs. Michael S. Levine The Schwedel Foundation Mr. and Mrs. Michael Blair Jeffrey Dominick and Louise and Barry Moran Mr. and Mrs. James G. Sutton Mr. and Mrs. Tai Soo Kim Dr. Cornelia W. Hamilton Kimberly A. Lingard and Mr. Sean Scully Mr. and Mrs. Scott Boden Amy Stepnowski Mr. Jay Morton Mrs. Marcia E. Sutton Dr. and Mrs. Bernard Kosto Mr. and Mrs. James Harders Rinaldo DiCioccio Mr. and Mrs. Allyn Seymour Dr. and Mrs. Borden Brown Doro Restaurant Group Ann B. Mulcahy Mr. and Mrs. Thomas Swarr Mrs. Kathleen G. Kraczkowsky Sherry Harriman Locke Lord LLP Mr. and Mrs. Robert H. Daniel P. Brown, Jr. and Ms. Ellen Dougan Mr. and Mrs. Frederick J. The Taft School Dr. Gregory Kraczkowsky, Jr. Smith, Jr. Mrs. Ann Z. Hayman Mr. Frank M. Loehmann, Jr. Nannie W. T. Brown Mr. and Mrs. John Drake Mullen Mr. and Mrs. Jerry Theodorou Mr. Lee G. Kuckro Mr. Tyler Smith and Mr. and Mrs. Gerald L. Hess Adlyn and Ted Loewenthal Mr. and Mrs. Timothy Brown Mrs. Nathan L. Dubin Mr. Richard Musgrave Mrs. Beverly W. Thomas Dr. Leena K. Langeland Ms. Lyn Walker Dr. and Mrs. David A. Hill Mr. and Mrs. Peter G. Ms. Ann Bryan Sara R. and Alan A. Dun Fund Ms. Shirley Musumeci Dennis H. Thornton, Jr. and Society of the Cincinnati in Lombardo Mrs. Margaret Lawson Mr. and Mrs. Harold C. Mrs. Dolores P. Dworak Hill-Stead Museum The Neuwirth Foundation, Inc. Steven B. Regis the State of Connecticut The Loomis Chaffee School Mr. and Mrs. Alan I. Leibowitz Buckingham, Jr. Mrs. Enid Storm Dwyer Hitchcock Printing Ms. Alexandria J. Okeson Mr. and Mrs. James W. Tilney Mr. Joseph B. Solodow Mr. and Mrs. Lawrence Mrs. Carol LeWitt and Mr. Ms. Beverly A. Buckner-Baker Michele Dyson Mr. and Mrs. Shepherd M. Christine N. W. and Mr. and Mrs. Thomas R. Mr. and Mrs. Keith A. Lundigan Bruce Josephy and Mr. Shepard W. Baker Holcombe, Jr Thomas F. Owens, Jr. Trumble Stevenson Rev. Hope and Mrs. Cynthia Mackay Mrs. Leta W. Marks Mrs. Cassandra A. Butler and Rev. William J. Eakins Mr. Fritz Horstman Ms. Katherine Papathanasis Dr. and Mrs. Clarence L. Mr. and Mrs. Charles E. Dr. Alan Butler Mr. and Mrs. Michael Macris Ms. Kathleen Coville Marr Mr. and Mrs. Jonathan I. Mrs. Ann D. Howard Mrs. Marlene Passman Trummel Tingley Manchester Community Mr. and Mrs. David McHale Mr. Jay Cantor Edwards The Huber Family Foundation Mr. and Mrs. H. Alex Vance, Jr. United Way of Central & College Julie and David Peck Mr. Earl F. McMahon and Mr. and Mrs. Michael Cantor Melissa Erdman Ms. Catherine E. Hughes Mr. and Mrs. Marc Northeastern Connecticut Ms. Margaret Marchak and Ms. Patrice S. Petricone Ms. Dina Plapler Dr. and Mrs. Philip Van Vooren University of Saint Joseph Mr. and Ms. Mark A. Evans Mr. and Mrs. Mark E. Hunt Mr. Mark Schreier Mr. and Mrs. William V. Philip The Andrew W. Mellon Cardamone Ms. Hope W. Vath Mr. and Mrs. Anthony Mr. and Mrs. Richard E. Evans Mr. and Mrs. Douglas K. S. Joy Mariano Nathaniel and Yun Li-Potter Foundation Mr. Robert E. Carroll, Jr. Hyland Nicholas P. Vennaro and Viscogliosi Mr. and Mrs. James W. Fanelli Karen G. Markert Pronto Printing Mr. Jay Morton and Dr. Angelee Diana Carta and Patrice S. Petricone Mr. Harry White Dr. and Mrs. Stanley Fellman Philip Isles Mr. Michael Phillips Dr. Tris J. Carta Marks Family Foundation Andrew and Lisa Rarus Douglas and Lois John Dr. and Mrs. Victor G. Villagra Mr. Louis Wiley, Jr. Leslie Ferrin Ms. Barri Marks and Mrs. Elizabeth R. Rea Mr. James Northrop Mr. Gary L. Carter and Dr. Genevieve von Walstrom Ms. Sally Wister and Mr. Lawrence R. Fish Mr. and Mrs. Randall N. Judd Mr. Elwood Exley Jed F. Nussdorf Ms. Elizabeth York Mrs. Cynthia West Reik Mr. Robert D. Parrott Ms. Judi Jurich and Mr. and Mrs. David Wadstrup Mrs. Anna Maria Cerza Mr. and Mrs. Timothy Fisher Dr. Daniel J. Mastella and Ms. Martha S. Rhine Mr. Mark A. Parsons Ms. Danielle Jurich Ms. Lyn Walker The Alexander M. and Mrs. Barbara L. Flynn Mrs. Karen S. Mastella Permian Investment Mrs. Elaine L. Charendoff Mr. and Mrs. Ian C. Rickard Catherine Maus Wright Mr. and Mrs. Patrick Kenny Pierre and Tana Mr. and Mrs. William M. Mr. Blair Childs Mr. John R. Forro Robinson & Cole LLP Ms. Jennifer Pitman Charitable Trust David Kinahan Warmoth Mr. Hedley C. Freake and Matisse Foundation Pullman & Comley, LLC Tracy Church Dr. Anne Rothstein and Mrs. Margery C. Warren Mr. and Mrs. John Zinn Ms. Elizabeth Huebner Mr. and Mrs. John Kinney Mrs. Donna Matulis Mrs. Kate M. Coley Ms. Jane Hellman Ms. Brie Quinby and Mr. and Mrs. Joel M. Kleinman Mrs. Heide R. Weise Mr. and Mrs. John W. Fuller Mr. and Mrs. Walter H. Mayo Ted Rowland Mr. Evan Cowles Stephen Collins Mr. and Mrs. Ronald Welch $1,499–$500 Susan B. Gaffney Dr. and Mrs. Jeffrey Kluger James and Sue McCandless Dr. Wayne S. Rawlins and Mr. Robert Couturier Mr. and Mrs. John R. Mr. and Mrs. Keith L. Knowlton McCarter & English LLP Mrs. Edith Whitman Ms. Janet Flagg Rawlins Anonymous GE Foundation Schroeder Cowdery & Murphy, LLC Mr. Ernest C. Wignall Jill and Cecil Adams Arthur and Elizabeth Konover Coppa Family Fund Mr. and Mrs. Greg McGowan Michael Sheehan Ms. Elenor G. Reid Cheryl and Tim Curtis Godbout Family Foundation Mr. and Mrs. Youssef Kouatly Ms. Laura L. McIntyre Mr. Mark Williams Robert and Margaret Jill Adams and William Knight Mr. Joseph M. Shortall and Ms. Catherine Daly Ms. Nancy Williams Patricelli Family Foundation Mr. and Mrs. P.K. Allen Mr. and Mrs. Steven P. Ms. Cathleen Kowalski Ms. Mary P. Melvin Ms. Sara L. Bernstein Mr. and Mrs. Eric D. Daniels Goldenberg Winvian Farm Mr. Douglas H. Robins Mr. and Mrs. Robert M. Mr. and Mrs. Andres N. Kukk Joseph Messina and The Shulansky Foundation, Inc. Mr. and Mrs. Alan Darling Mrs. Blanche Goldenberg Christine Melson Roberta Woronow and Mr. Stephen Roth Annon, Jr. Mr. John C. LaFalce, Jr. and Mr. and Mrs. Nelson A. Sly, Jr. Mr. and Mrs. L. D. Deasy Mr. and Mrs. Robert Goldfarb Mr. Allen Freshler Patricia and Stephen Theodore Kaplan Mr. Benjamin Sams Mr. George Arendt Alyssa Soby and Mr. and Mrs. Enzo Ms. Rona Gollob Ms. Susan Lagassee Middlebrook Fund Christian Drew Angham Zakko Dr. and Mrs. Joseph B. Mrs. Elizabeth D. Bailey DeDominicis Mr. and Mrs. James S. Millar Maureen Zavatone Sappington Mr. and Mrs. Bruce Barth Miroslav Grajewski and Ms. Marta Jo Lawrence Ms. Elizabeth J. Spitzer Yelena Ambartsumian

60 61 Gifts in Kind Corporate Members Institutional Members Matching Gifts Stephen Antonakos and Aetna Inc. American School for the AETNA Foundation Naomi Spector Bank of America Deaf The CIGNA Foundation Ellen Carey Barnes Group Foundation Avon Old Farms School GE Foundation Susan Chandler Bradley, Foster &Sargent, Inc. Capital Community College Hartford Fire Insurance Christie's Christie's Center Church - The First Company Church of Christ in Hartford Martin and Cynthia Cooper Cowdery & Murphy, LLC IBM International Foundation Hartford Seminary Raul and Emilie de Brigard Data-Mail, Inc. John Hancock Manchester Community Delamar West Hartford Hartford Financial Services Mass Mutual College Deutsch Family Group Life Insurance Co. Miss Porter's School Wine & Spirits Locke Lord LLP People's United Bank The Loomis Chaffee School DFX Entertainment McCarter & English LLP Prudential Financial The Taft School Donna Dillingham Pierre and Tana Matisse Shipman & Goodwin Ellen Dougan Foundation Trinity College Travelers EBK Picture Framing Pullman & Comley, LLC University of Connecticut UnitedHealth Group Gillette Ridge Wine & Spirits Robinson & Cole LLP University of Hartford United Technologies Judy Goldman Shipman & Goodwin LLP University of Saint Joseph Verizon Foundation Goodwin Hotel Travelers Watkinson School Voya Financial John Gordon Graveen Mimi Gross Laura Harris Hartford Flavor Company Hitchcock Printing Fritz Horstman Douglas and Tita Hyland Lawrence Jeffrey Estate Jewelers Gerard Lupacchino and Lynn Beaulieu Angela and Peter Mathes Timothy McLaughlin and Marian Kellner Agnes and William Peelle, Jr. David and Linda Roth Janet Russell Hy and Remy Schwartz Sean Scully Adam and Iris Singer Filomena and Thomas Soyster Gary Sullivan S&S Worldwide, Inc. Jean-Pierre and Marie-Claire van Rooy Ronald and Sandra Welch Karen and John Wheat Harry White Linda and Walter Wick Mark Williams

62 63 Premier Members

Society of Daniel Wadsworth

J. Pierpont Morgan Society Benefactor Mark and Merrill Mandell Patron $50,000 and above $14,999–$5,000 Jeffrey G. and Marcia Reid $4,999–$2,500 The Cheryl Chase and Stuart Jeffrey Brown and Marsted Simon Abrahms Bear Family Foundation Virginia Gascon Henry R. and Sharon Martin Joel B. Alvord Joyce and Andrew J. Mandell Jean Cadogan and Timothy McLaughlin and John and Laura Berman Esther Pryor Alden Gordon Marian F. Kellner Richard and Diane Brainerd Mrs. Millard H. Pryor, Jr. and Howard and Sue Ellen Carver Mark and Lorraine Parsons John and Marla Byrnes the Pryor Foundation Coleman H. and Wendy and Peter Pearson Sara and David Carson Jo Champlin Casey Sam and Martha Peterson Anne and Frederick Chick Austin Circle James and Tina Collias Eileen and Elliott Pollack Castellani $49,999–$25,000 Halsey and Michele Cook Matthew and Robin Schaefer Francine and Stephan Mr. and Mrs. David W. James and Mally Cox- Hy and Remy Schwartz Christiansen Dangremond Chapman Mark and Sonia Shipman Alfred and Carol Covello Mr. and Mrs. Raul R. Alison D. Davis Linda Bland Sonnenblick Sheila and John D'Agostino de Brigard Mary P. Gibbons Filomena and Thomas Robert Dance and Vincent Dowling Family Arnold and Beverly Soyster Robert Loper Foundation Greenberg Michael and Genevieve Pfaff Atheneum Associates Peter Gersten and Ana Nathaniel Potter and Jean-Pierre and Mary G. Dowling Mr. and Mrs. David M. Roth Belle K. Ribicoff Phoebe and Philip Allen Lawler Yun Li-Potter Nancy Grover Marie-Claire van Rooy Clare and Jared Edwards Robert and Francine Brie Quinby and Evan Cowles Laura R. Harris Susan and Joel Rottner Robert and Diana Annon Waqas Wajahat and Joanne and Dan Eudy Goldfarb Director’s Council Benjamin Sams David and Marian Beers Henry Scherer Brion and Sandy Johnson Shari Jones Robert and Susan Fisher $24,999–$15,000 JoAn K. Hagan Sherry and Jonathan Karen Kelleher and Barbara and Thomas Ward Susan and Joseph Elizabeth and Ellison Berns Duffield Ashmead, IV and Letty Fonteyne Ann Howard Schreiber Kenneth Anderson Sappington Eleanor W. Blake Offer Waterman Carole and John French Eric Ort Mary T. Sargent Mark and Alison Hunt Ruth K. Shulansky Christopher Larsen Eric and Jessica Zachs Beverly Buckner-Baker and Mr. and Mrs. Frederick Claire S. Galli Douglas and Tita Hyland Tyler Smith and Lyn Walker Gerard Lupacchino and Jeannette B. Schermerhorn Shepard Baker Copeland, Jr. Helen B. Gray Lynn Beaulieu Stephen and Carla Schwartz Karen and John Byrne Douglas and Lois John Joseph B. Solodow Mr. and Mrs. David Jepson George Hadley and James B. Lyon Alan and Marilyn Schwedel Jay Cantor Jeffrey and Virginia Kluger Henry Steiner Mr. and Mrs. Michael Klein Richard Solomon Allyn and Frances Seymour Elaine Charendoff Kathleen Kraczkowsky Margaret and Edward Storrs Mr. and Mrs. Bernhard L. Jonathan and Kelly Jarvis Sharon and Robert H. Blair Childs Leena K. Langeland Donna and Samuel Stout Kohn, Jr. Robert and Judith Smith, Jr. Sara Marcy Cole Alan and Rosalind Leibowitz Jerry and Shiffon Theodorou Mr. and Mrs. John Melvin Kamerschen Keith and Catherine Charles and Anna Corcoran Michael and Carolyn Levine Margaret and James Tilney Mr. and Mrs. William R. Tai Soo and Ryoung Ja Kim Stevenson Adlyn and Ted Loewenthal H. Alex and Patricia Vance Peelle, Jr. Diane Korntheuer and James Cowdery and Linda Jonathan Stone and Peter Grzybala Alexander-Cowdery Diane and Michael Macris Hope W. Vath The Zachs Family Thomas Flanigan Bernard and Gale Kosto John and Gail Detweiler Leta W. Marks Margery Warren Charles and Lida Tingley Lee G. Kuckro Renee Dubin Kathleen Coville Marr Edith Whitman Oliver Tostmann and Mary Jane Dunn Earl McMahon and Sally Wister and Robert Margaret Lawson Margaret Heiner William and Hope Eakins Dina Plapler Parrott Carol LeWitt and Sharon G. and J. Frank Travis Bruce Josephy Anita and Anthony Ferrante Eleanor and Frederick Roberta Woronow and Anthony and Paula Mullen Theodore Kaplan Roger and Jane Loeb Viscogliosi Muriel and Karl Fleischmann Marlene Passman Judy and John Zinn Tom and Sara Loughman Karen and John Wheat Barbara L. Flynn Jennifer and William Philip David and Shannon McHale Walter and Linda Deborah and John Fuller Jennifer Pitman James Northrop Cheverton Wick Aaron and Sandra Gersten

64 65 Special Contributions

Legacy Society In Memoriam Gifts In Honor Gifts The museum is delighted to recognize the following donors who have provided for the Annual Fund in memory of Annual Fund in memory of Annual Fund in memory of Decorative Arts Council Wadsworth Atheneum in their estate plans. Their foresight and generosity will play a William I. Atwood Joan J. Kohn Alice L. Krall in honor of Duff Ashmead key role in ensuring the institution’s future growth and success. Robert H. and Sharon W. Jill and Cecil Adams Gail Feldman Laura R. Harris Smith Beth Adas, Anne Duncan, Annual Fund in honor of Stephanie Heavet, Annual Fund in memory of Duffield Ashmead, IV and Victor Gagliardi Barbara Mooney Brandy Culp Auerbach Library Associates in Deborah Lerner and Jakki Lewis-Peters Eric Ort Frank Garofolo and John Motley memory of William I. Atwood Stefanie Tramposch Maureen Martin and Daniel P. Brown, Jr. Elizabeth and Anthony Donald Osborne Janet Murnaghan John Teahan and Rob Secker Bob and Donna Batch Annual Fund in honor of Autorino Mary Gibbons Patricia Mullane Richard Murray Clare and Jared Edwards's Isabel Bernfeld Luisa G.A. Brightman Auerbach Library Associates Nan Glass Norman and Betty Nordeen Annual Fund in memory of The Bushnell Center for in memory of Jakki Lewis- 50th Anniversary Richard and Barbara Booth Helen Gray Margaret Ogden Gertrud P. Bourgoyne the Performing Arts Peters Kenneth Anderson and Edith Borneman Arnold and Beverly Ann Parkhurst Alisha D. Bourgoyne Eleanor Caplan Karen and John Byrne Karen Kelleher Frances Brooks Greenberg Frances Patti Polly H. Kallen Coleman H. and Annual Fund in honor of Janet and Robert Bruner Rachel Grody Docent Memorial Fund in Susi Peterson Jo Champlin Casey Jeffrey S. Hoffman Sarah Butler Nancy Grover Annual Fund in memory of memory of Jakki Lewis- Mrs. Millard H. Pryor, Jr. Mr. and Mrs. Samuel D. Ted Kaplan and Robert Carroll Jane Hamilton Joan Burdge Peters John and Garrett Reynolds Chester Roberta Woronow Donna Bozzuto Howard and Sue Ellen Carver Louise C. Harrington Missy Kraus Sam and Trig Cooley Cordelia Richards Annual Fund in honor of Jo and Coleman Casey Laura Harris Cassandra A. Butler Virginia Rosen Annual Fund in memory of Mary Crary Michael Klein Susan Chandler Susan Hilles Elizabeth Doughney Kerry and Peyton Rutledge Burt Hoffman Gerry and Lise Doutre Sue Figueredo Francine and Stephan Helen Kaman JoAn K. Hagan Janice and Oswald Scheller Ted Kaplan and Roberta Narleen Fine Christiansen Elizabeth and James Malley Annual Fund in honor of Iva Kelly Woronow Mary P. Gibbons Catharine Smith Gerard Lupacchino and Frederick and Susan Lillian Kezerian Laura L. McIntyre Henry and Patty Sprague Mary Himelstein Copeland Ann B. Mulcahy Lynn Beaulieu Kathleen Kraczkowsky Dianne J. Jones Mary Crary Marie St. John Dr. Anne Rothstein and Gregory Kraczkowsky, Jr. Lynn Kaufman Annual Fund in memory of Ms. Jane Hellman David and Mary Dangremond Talcott Stanley Elizabeth Kvam Kathleen Kraczkowsky David M. Parish George David Phil Steele Annual Fund in honor of Christopher Larsen James B. Lyon David Holston Raul and Emilie de Brigard Joanne Stern Bill Peelle Carol LeWitt and Bruce Elizabeth Steven Verne Mahoney James Blaine Ronnie Deck Josephy Annual Fund in memory of Melinda and Paul Sullivan William Newman Melinda Trummel Alice DeLana Henry Link Annual Fund in honor of DeRoy and Doris Thomas Levette Perkins Nancy Williams Mabel Donnelly Gerard Lupacchino and Linda Roth's birthday David and Rennie Polk Paxton Dunn Lynn Beaulieu Brinton Thompson Rosalie Roth Mim and Gary Reynolds Annual Fund in memory of Maggie Eickholt James Lyon Catherine Tremaine Michalina Bordonaro Annual Fund in honor of Linda K. Grahame and Chrissie and Ezra Ripple Jean Filer Marily MacKinnon and Peter and Kathryn and David Roth and family Charles Gorrondona Shirley Walker Susan Rubin Muriel and Karl Fleischmann Bordonaro David and Francie Horvitz Karen and John Wheat Mary Sargent Nora and Mark Fox Laura McIntyre Family Foundation Henry Zachs Susan Sappington Annual Fund in memory of Carole and John French Andrew and Bonnie McKirdy Robert George Bergeron Annual Fund in honor of Stephen Middlebrook Eleanor Zajac Stephen and Carla Schwartz Howard and Sandra Catherine E. Hughes Linda Roth Fromson Lawrence Monte Robert H. and Sharon W. Smith Stephen Roth Annual Fund in memory of Margaret and James Tilney Robert S. Rosson, MD Annual Fund in honor of Michael Weinstein Judith Pitt Linda and David Roth John and Karen Wheat Virginia Kennedy Catherine "Kay" Langdon Annual Fund in memory of Wooters Robert Treat Buck Anonymous

66 67 Splendor Gala September 28, 2018

Founding Sponsor Splendor Wine Aetna Duffield Ashmead Karen A. Kelleher Corporate Sponsor Program Book Printing JPMorgan Chase & Co. Christopher Larsen

Media Partner Next Generation Patron Tickets Art Media Holdings, LLC. Jim Lyon

Corporate Benefactors Splendor Art Framing Colonial Consulting Marcia & Jeff Marsted Delamar West Hartford Splendor Production The Goodwin Agnes & Bill Peelle The Hartford Financial Services Splendor Committee Hartford HealthCare Duff Ashmead, Chair Hartford Steam Boiler Simon Abrahms Travelers Lynn Beaulieu Waqas Wajahat Cynthia Bulaong Corporate Underwriters Alison Davis Clare Edwards The Barnes Group Foundation Inc. Sara Loughman Berkshire Bank Mary Melvin JCJ Architecture Samuel R. Peterson Simsbury Bank Stephen Roth Trinity College Susan A. Rottner Karen Cronin Wheat Underwriters Linda Wick Splendor General Gala Underwriting Gifts in Kind Crest Mechanical Services John Alves/Alves Design Pronto Printer, Newington Deutsch Family Wines DFX Entertainment Staff & Volunteer Catering EBK Framing Clare & Jared Edwards Farmington Frame Shop Laura Harris Hartford Flavor Co. Hitchcock Printing

69 Grand Patron Hosts Patron Hosts Next Generation Auction Contributors Jerry Grate Patrick Sikorski Patron Hosts Duffield Ashmead & Eric Ort Carol & Tim Covello Simon Abrahms/ Laura Harris Filomena & Tom Soyster Lynn Beaulieu & James & Mally Simon Abrahms Chesterfield Gallery Hartford Stage Caro Suerkemper Gerry Lupacchino Cox-Chapman Alison Davis Faustin Adeniran Hartford Symphony TheaterWorks The Cheryl Chase & Laura Harris & Gerry Lupacchino Albers Foundation Orchestra Bob Thiesfield Stuart Bear Family Joseph Solodow Stephen Roth Duff Ashmead Fritz Horstman Mattia Toso Foundation, Inc. Timothy McLaughlin & Lynn Beaulieu Kerry Inman Barbara & Tom Ward Michele & Halsey Cook Marian Kellner Benefactor Ticket Francie Bishop Bill Jacobson Weekapaug Inn Emilie & Raul de Brigard Mary & John Melvin Mary Gibbons The Bushnell Lawrence Jeffrey Sandy Welch Sharon & David Jepsen & Jay Morton & Ellen Carey Charles LeDray John Wheat JCJ Architecture Michael Phillips Grand Patron Tickets Susan Chandler Carol LeWitt Harry White Sara & Thomas J. Loughman Sam & Martha Peterson Kate Coley Dan Clayman Dorothy Lund Linda Cheverton Wick Joyce & Andrew J. Mandell Linda & David Roth Robert Couturier & Cynthia Cooper Tim McLaughlin Mark Williams Sharon & Henry R. Martin Susan & Joel Rottner Jeffrey Morgan Martin M. Cooper The Metropolitan Tamara Zahaykevich Agnes & Bill Peelle Hy & Remy Schwartz David Dangremond Museum of Art Emilie de Brigard Matt & Robin Schaefer Marie-Claire & Letty Fonteyne Nadeau’s Appraisals Delamar Volunteers Zachs Family Jean-Pierre van Rooy Arnold & Beverly Greenberg Arthur Peña Abby Bacetta Barbara & Thomas Ward Rob De Oude Denise Henkind Sam Peterson Gina Giansiracusa Karen Cronin Wheat & Bouke de Vries Lee Kuckro Present Co. John H. P. Wheat Ellen Dugan Matthew Glasser Eileen & Elliott Pollack David Roth Christopher Finch Shelly Graybill Pullman & Comley, LLC Roth Family Florence Griswold Museum Mike McGann Filomena & Tom Soyster Janet F. Russell Alex Gorliski Summer Sivet

70 71 Special Interest Groups

Special interest group contributions help the Wadsworth Atheneum fund programs and initiatives central to its mission. The museum appreciates the generous donors who founded and/or support these special groups each year.

Auerbach Library Ilene Frank Belle Ribicoff Associates Deb and John Fuller Marguerite and Bob Rose Pauline Arendt Gene Gaddis Susan and Joel Rottner Duffield Ashmead, IV and Claire S. Galli Sharon W. and Robert H. Eric Ort Mary P. Gibbons Smith, Jr. Randi L. Ashton-Pritting Alden Gordon and Jean Linda B. Sonnenblick Jeffrey T. Atwood and Cadogan Anne-Paul Swett Stephen Vamvakas Bob Gregson and F. Peter John Teahan Peter J. and Barbara Swanson Sara Titus Bartucca Nancy Grover Hope W. Vath Jan Beatty JoAn K. Hagan Lawson Ward Elizabeth Berns Laura R. Harris Luke Williams Eleanor W. Blake Margaret M. Hoskins Sally Wister Christina Bleyer Taka Iwashita Henry Zachs Edlyn Blitzer Karen Ann Kelleher Judy Zinn Costume & Textile Society Clare Edwards Virginia Kemp Rosalie Roth Donna Bozzuto Dorothy Bosch Keller Contemporary Coalition Linda Espinosa Susan Kline Susan Rottner Ann Brandwein Elise LaFosse Victoria Albert Emily Estes Eileen Kluepfel Maisie Russell Nathan Brody Leena K. Langeland Duffield Ashmead, IV and Duffield Ashmead, IV and Eric Ort Eric Ort Karin Fester Sharon Kocay Renee Samuels Karen and John Byrne Billie M. Levy Richard and Diane Brainerd Lynne Bassett Susan Fisher Monika Krawczyk Sonia Shipman Bonnie and Frederick Gwen and Sherwood C. Castellani Lewis Coleman H. and Harriett Belding Muriel Fleischmann Leena Langeland Robert & Sharon Smith Jo Champlin Casey Susan Chandler Miriam Lloyd-Jones Christine Bogino Terry A. Gaudet Syliva Lazarus Linda B. Sonnenblick Cheryl A. Chase and Martha Church Richard and Jennifer Barbara Boutot Sarah Gessner Rosalind Leibowitz Carolyn Spencer Stuart D. Bear Ann and Charles F. Lotstein Diane Brainerd Ruth Ann Graime Gwendolyn Love Therese Squillacote Raul and Emilie de Brigard Corcoran, III LaVerne H. Mahoney Karen Byrne Beverly Greenberg Cynthia K. Mackay Maureen Tesoro Alva G. Greenberg Mally Cox-Chapman Leta Marks Elizabeth Carlson Deborah S. Greenspan Coreen A. Majka-Sunde Sharon G. Travis Laura R. Harris Sheila D’Agostino Henry and Sharon Martin Elizabeth Carter Cynthia Grogan Leta W. Marks Susan Turner Jeffrey G. and Marcia Robert Dance and Laura L. McIntyre Helena Carvalho Gloria Gworek Kathy Marr Hope Vath Robert Loper Reid Marsted Timothy McLaughlin Carol L. Cheney JoAn K. Hagan Sharon L. Martin Paula Viscogliosi David W. Dangremond Agnes and William R. Brenda Miller Peelle, Jr. Hyla Cohen Carol Hall Sharon McCormick Barbara Ward Patricia A. Day Lorraine and Mark Parsons Esther Pryor Tina Collias Laura Harris Margaret Myers Rosanne Warmoth Emilie R. and Raul de Brigard William R. Peelle, Jr. Mrs. Millard H. Pryor, Jr. Isabel Compasso Carolyn Harris-Burney Nancy Neff Karen C. Wheat Sally Dickinson Samuel Peterson Susan and Joel Rottner Carol Covello Barbara Hess Kathy Papathanasis Edith Whitman Ann and John Drake Eileen S. and Elliott B. Oliver Tostmann and Sheila D’Agostino Ann Howard Lorraine Parsons Heide Williams Clare and Jared Edwards Pollack Margaret Heiner David W. Dangremond Kelly Jarvis Genevieve Pfaff Pamela Wood Anita and Anthony Ferrante Brie Quinby Linda Cheverton Wick and Emilie de Brigard Dianne J. Jones Sofia Podgorski Virginia Yohe Nancy Findlay Bridget Quinn-Carey Walter Wick Marianne Donahue Karen A. Kelleher Eileen Pollack Judy Zinn

72 73 Design & Decorative Mary and David Dangremond Ann Howard Arts Council Emilie and Raul R. Denise Robinson and Simon Abrahms de Brigard Mark Izard Duffield Ashmead, IV and Mary G. Dowling Kelly and Jonathan Jarvis Eric Ort Veronica and Vincent J. Lois and Douglas John Beverly and Shepard Baker Dowling, Jr. Louise Kaufman Lynn Beaulieu and Clare and Jared Edwards Karen A. Kelleher Gerard Lupacchino Anita and Anthony Ferrante Gale and Bernard Kosto Marian and David Beers Susan and Robert Fisher Kathleen G. Kraczkowsky Eleanor Blake Muriel and Karl Fleischmann Lee G. Kuckro Diane and Dick Brainerd Letty Fonteyne Leena Langeland Karen and John Byrne Deborah and John Fuller Margaret W. Lawson Marla and John Byrnes Claire S. Galli Rosalind and Alan Leibowitz Susan Chandler Sandy and Aaron Gersten Kathleen Coville Marr Sandy and Arnold Chase Anna N. Lawler and Marcia Reid and Jeffery G. Sara Marcy Cole Peter Gersten Marsted Betsey and Jeff Cooley Mary P. Gibbons Sharon and Hank Martin Susan and Rick Copeland Jean Cadogan and Marian Kellner and Tim Alden Gordon Anna and Charles Corcoran McLaughlin Beverly and Arnold C. Carol and Tim Covello Marjorie E. Morrissey Greenberg Linda Alexander-Cowdery James Northrop JoAn K. Hagan and Jamie Cowdery Lorraine and Mark Parsons Laura R. Harris and Mally and Jim Cox-Chapman Marlene Passman Joseph Solodow Sheila and John D’Agostino Agnes and William R. Peelle Martha and Samuel R. Docent Council Patricia Day Elizabeth Malley Peterson Joanne Eudy, President Michelle DeGagne Leta W. Marks Genevieve and Michael Pfaff Carol A. Urick, Vice President Ann Drake Pamela Mays Jennifer Pitman Elizabeth Doughney, Treasurer Ann Marie Drury Laura L. McIntyre Eileen and Elliott B. Pollack Janet Beatty, Secretary Mary Jane Dunn Susan B. Meisler Alexis and William Popik Ramon Espinoza Kristina Metcalfe Brie Quinby and Evan Cowles Maria Adams Deborah Fuller Christi Moraga Marguerite and Bob Rose Linda Alexander-Cowdery Claire S. Galli Ann Mulcahy Linda and David Roth Phoebe Allen Terry Gaudet Lee Oliver, Emerita Susan and Joel Rottner Pauline Arendt Carol Genco Lorraine Parsons Jeff Russak Carolyn Backmender Augusta Gonzalez Madeline Pesanti Robin and Matt Schaefer Judith Barton Joyce Goodwin-Brin, Emerita Lisa Rarus Sharon W. and Robert H. Lisa H. Beede JoAn K. Hagan June Rosenblatt Smith Elizabeth Berns Laura R. Harris Virginia S. Smith Filomena and Thomas Della Hennelly, Emerita Lorelei M. Sowa Soyster Eleanor W. Blake Taka Iwashita Henrietta Stargardter, Donna and Sam Stout Edlyn R. Blitzer Judi Jurich Emerita Sharon and Frank Travis Donna Bozzuto Diane Kopp, Emerita Mervyn F. Strauss Marie-Claire and J.P. Jack Brin, Emeritus Maureen Tesoro Van Rooy Nathan Brody Elise LaFosse Sara S. Titus Hope W. Vath Cassandra A. Butler Leena K. Langeland Lauren Toppin Paula and Anthony Karen Byrne, Emerita Tracy Lawlor Hope W. Vath Viscogliosi Susan L. Carey Stuart Levy Lawson Ward Barbara and Thomas Ward Bonnie Castellani Gwen Lewis, Emerita Rosanne Warmoth Karen C. and John H.P. Wheat Russell Chicoine Sihui Liu Sally Wister Edith Whitman Marlene Clarke Miriam Lloyd-Jones Marion Zaffino, Emerita Linda Cheverton Wick and Carol L. Covello Grace Loeffler Judy Zinn Walter Wick Tim Curtis Yolanda Lowell Susan Zito Linda Sonnenblick and Sheila D’Agostino Marcia Machuga Henry Zachs Jean Davis Diane S. Macris Judy and John Zinn

74 75 Women’s Committee of the Wadsworth Atheneum Museum of Art Goodwin Medal Marlene Adkins Nancy K. Galligan Paula Passaretti Recipients Sally Alubicki Terry Gaudet Joyace Peoples The Goodwin Medal Rev. Anne S. Alvord Mary Gibbons Helen B. Perry was established as a Cheri Bertus Linda Gooden JoAnn Phelon distinguished service award Susan Bigelow Dee Gordon Ann Louise Price to recognize individuals or Susan Blair Judy Gunning Shirley Randazzo entities who have served Christine Bogino Patricia Hadlow Alyce Rawlins the Wadsworth Atheneum with extraordinary loyalty, Elissa Breiling Alice Hagan Janet Flagg Rawlins dedication, and service Jane Britton Sherry Harriman Laura Reynolds Helene Y. Brown Susan Hatch Laurie Robinson Genevieve Harlow Goodwin, Karen Brown Anita Herbst Eleanor Rohfritch 1983 Ann L. Bryan Susan Horn Elaine Romeo Eleanor Howland Bunce, Elizabeth Carter Lynn B. Horne Noriko Rossi 1985 Anna Maria Cerza Ann Howard Susan Rottner United Technologies Geri Chamberlain Karin James June Roy Corporation, 1986 Lisa Chapman Bunny Jones June Schaffer Talcott Stanley, 1988 Francine Christiansen Mary King Susan Scherer Dorothy Clark Archibald, Nancy Clark Marjorie Kniola Ginny Schneider 1990 Marlene Clarke Kathy Kraczkowsky Sharon Serow Joan Joseloff Kohn, 1991 Lisa Cole Kathleen Lamy Sonny Shipman Burton G. Tremaine, Jr., 1992 Kate Coley Nancy La Perla Lalitha Shivaswamy The Women’s Committee of Tina Collias Lee Lester Mary Ann Souza the Wadsworth Atheneum, Isabel Compasso Jo-Ann Librio Beverly Thomas 1994 Sandra E. Conlin Jane Loeb J.J. Tillinghast Nancy B. Krieble, 1996 Kathleen Walsh Deasy Marily MacKinnon Jean Vogel Georgette Auerbach Emilie de Brigard Bernadette Mayer Donna Wadstrup Koopman, 1997 Pauline Dickstein Sue McCandless Barbara G. Ward Nancy D. Grover, 2001 Penny Dix Marylou McGonigle Janet Ward Millard H. Pryor, Jr., 2002 Carol Doeg Carolyn McGrattan Margery Warren Renee Dubin Beth Montgelas Liz Welch Christopher Larsen, 2003 Mary Jane Dunn Jackie Morrill Sarah Winter Robert H. Smith, Jr., 2006 Delores Dworak Deborah Key Mundair Jaime Wisneski Coleman H. Casey, 2008 Donna Eliasson Martha Rea Nelson Joan Wojciehowski The Docent Council of the Cynthia Enright Margaret Neville Jan Wright Wadsworth Atheneum, 2009 Melissa Erdman Gwen O’Connell Barbara Zakarian David W. Dangremond, 2014 Karen Eustis Pat O’Connell Angham Zakko Henry R. Martin, 2018 Irene Gaffney Dottie O’Meara Carol Zapadka Susan Gaffney Valerie Orefice Rose Zbikowski

76 77 The Amistad Center for Art & Culture Professional Staff

Board of Trustees Staff Director’s Office Curatorial Aetna Theater / Audio Development Visual Services Officers Trustees Honorary Wm. Frank Mitchell Thomas J. Loughman Linda H. Roth Mary Ellen Callahan Executive Director Andréa Hawkins Dr. Diane B. Cloud Dr. R. Eileen Baccus Director and CEO Senior Curator and Charles Deborah Gaudet Membership & Annual Fund C. and Eleanor Lamont Curator of Film and Theater Associate President Aaron Crosson, Sr. Ms. Eleanor Blake Olivia White Jennifer K. Bordiere Cunningham Curator of Interim Development Executive Administrator Richard Bogdan Anne Marie Drury Richard Alleyne Dr. Anjanette Ferris-Senatus Sanford Cloud Jr. European Decorative Arts Director Audio Visual Technician Events Captain Immediate Past President Joelle Murchison David Driskell Michael J. Dudich Brandy S. Culp Stacy Pringle Deputy Director— Erik Bowen Tabitha Hujar Emilie de Brigard Elizabeth Normen Bevery Morgan-Welch Richard Koopman Curator of Curatorial and Administrative Administration Film and Exhibition Development Events Vice President Claire Pryor John Motley American Decorative Arts Assistant Technician Assistant Ellen Nurse Tamara Williams Mrs. Teri Trotter Emily Handlin Anne Dunne Beryl Simpson Vice President Ms. Joyce Willis Marsted Curatorial Fellow for Theater Services Development Associate Maisie Russell The Honorable Shawn T. Contemporary Art T. Brent Stroud Frank Gordon Quiroga Secretary Wooden Patricia M. Hickson Theater Services Events Captain Martin John Emily Hall Tremaine Curator Treasurer Ex-Officio of Contemporary Art JoAnn Price Thomas J. Loughman Erin C. Monroe Conservation President Emerita William R. Peelle, Jr. Robert H. Schutz, Jr. Allen Kosanovich Associate Curator of Associate Conservator American Painting and Sculpture Nicholas Shifrin Conservation Technician Alison Parman Curatorial Administrator Vanessa Sigalas Research Fellow for European Decorative Arts Oliver Tostmann Susan Morse Hilles Curator of European Art

78 79 Education Finance Marketing and Registrar Communications Anne Butler Rice Cindy Martinez Edward G. Russo Georgette Auerbach Chief Financial Officer Kim Hugo Head Registrar Koopman Director of Director of Marketing Francis S. Kida Mary C. Busick Education Accounts Payable Jessica Kelley Registrar for Loans and Lindsey Fyfe Administrator Communications Assistant Exhibitions School and Teacher Rosa Roman Aviva Santopietro Paige Culbert Programs Manager Accounting Manager Digital Communications Assistant Registrar Denise Giannino Specialist Charlene Constable Fellow for Adult and Senior Accountant Academic Programs Library and Archives Volunteers Robert Jeffreys Staff Publications Vanessa Sigalas, The Whole Museum Design, Exhibition Mallory Spencer Amy Kilkenny Margo Jones (New) World in a Cup: The Marisely Gonzalez Management and Imaging Maria Adams Hickson, Patricia. “Land Accountant Head of Library and Archives Atheneum's Narwhal-and- Youth and Community Marina Babushkin Amondini Katoch Sea Sky.” In Sean Scully: Cecil B. Adams Ivory Cup, in: kunsttexte. Programs Manager Caroline Evans Amina Khokhar Landline, edited by Director of Museum Services Abby Bacetta de, no. 4, 2018 (23 pages), The Museum Shop Assistant Librarian and Stéphane Aquin, 9–15. Jama R. Holchin Ashley Beals Tara Kilkenny www.kunsttexte.de. Jon Eastman Archivist Washington, DC: Hirshhorn Education Assistant Stacey M. Stachow Maryann Kurth-Garza Vanessa Sigalas, Von Senior Preparator Jan Beatty Museum and Sculpture Museum Shop Manager Janna Israel Eleanor Blake Jean Kurth-Zubretsky Garden in association with Permoser zu Kaendler. Adult and Academic David Borawski Elfenbeinkünstler und Kate Riotte Interns Dale Brauner Elise Lafosse Smithsonian Books, 2018. Programs Manager Preparator Porzellanmodelleure im Museum Shop Associate Elizabeth Larson Erin Monroe in Conversation Margaux Ancel Tom Bruhn Dialog, in Augen-Blicke (Academic Leave) Andrew Garcia with Sarah Baker, “A Natalia Rodriquez Alison Baitz Susan Larson Preparator Ilde Bruko Barocke Elfenbeinkunst im Angela Parker Museum Shop Assistant Closer Look at Florine Elsa Chase Sarah Bruko Katherine Loomis Dialog der Künste, ed. Jutta Docent and Tour Programs Christopher Roque Stettheimer’s Beauty Bethany Levesque Aya Cruz Lena McDonald Kappel, exh. cat. (Dresden: Manager Preparator Karen Byrne Contest: To the Memory of Museum Shop Assistant Sandstein Verlag, 2018), Catherine Ix Paulette Caldwell Mike McGann P.T. Barnum,” in Column: Carrie Ricciardelli Mark Giuliano 19–40. Natalie Bennett Victoria Johnson Julie McKenna Curator’s Eye, Art New Resident Teaching Artist Senior Exhibition Designer Gina Caliva Vanessa Sigalas and Eva Museum Shop Assistant England, July/August 2018, Sophie Klieger Anthony Casarella Stephen Mills Wollschläger, Made in Allen Phillips p.18. Katelyn Martinez Dave Casarella Kendall Musgrave Germany! Historicism Visitor Services Collections Imaging and Oliver Tostmann, “Sorolla’s and Jugendstil Porcelain Information Technology Publications Manager Victoria McCraven Elsa Chase Nancy Neff painterly style after 1900,” Susan L. Carey from the Berlin Porcelain Dejvi Mucka Aida Nunez Sorolla. Spanish Master of Visitor Services Manager Noreen J. Farrow Mary-Claire Clark Manufactory (KPM) and its Light, ed. by Christopher Information Systems Brigith Rivera Zulyani Claudio David Pontrelli Export to America, in ACC Courtney Hebert Facilities, Protective Riopelle, The National Technician Anne Roddy Liam R. Ricciadelli Journal XX, 2019, 145–173. Visitor Services Supervisor Services and Information Dhara Constance Gallery, London; The Technology Eve Schmidt Aya Cruz Paul J. Ricciardelli National Gallery of Ireland, Megan Edmondson Alexa Steele Paul Mason Ricciardelli Dublin, London 2019, pp. Information Desk Attendant Security Services Leonard Sabia, Jr. Kate Ebner Marguerite Rose 48–61. Stephen Gerich Facilities Manager Mary Sullivan Maddie Farrar Julianna Mendoza Cynthia Ryan Oliver Tostmann, “The Protective Services Willard Coppedge Remi Tupper Mia Garza Information Desk Attendant Surrealists and Their Supervisor Property Services Supervisor Kyré William-Smith Gina Giansiracusa Eve Schmitt Robert O’Brien Monsters in a Time of Mikayla Zeitlin Summer Sivetz Information Desk Attendant Crayton Barnes Matthew Glasser Distress,” Monsters & Myths. Custodial/Maintenance Claire Golden Carolyn Thompson Surrealism and War in the Adriana Pulit Davey Vernier 1930s and 1940s, ed. by Visitor Services Assistant Ismael Colon Frank Gordon-Quiroga Oliver Shell and Oliver Custodial/Maintenance Shelly Graybill Fengbeiling Wang Tostmann, Wadsworth Kyler Wesner Ursula Rivera Gloria Gworek Atheneum Museum of Art Custodial/Maintenance Carol Hall Hannah Wu and Baltimore Museum Olivia Zagula Carmen R. Vega Jennifer Hayner of Art, New York 2018, pp. Custodial/Maintenance Elisabeth Houle 19–46.

80 81 Wadsworth Atheneum Museum of Art Statement of Activities and Changes in Net Assets Without With Financial Statements Donor Restrictions Donor Restrictions 2019 Total 2018 Total

Operating revenues, gains and other support: Contributed income $ 2,315,468 $ 1,713,294 $ 4,028,762 $ 5,042,621 Earned Income Earned income 1,582,272 - 1,582,272 1,660,722 $1,088 Investment income used by operations 3,098,652 - 3,098,652 2,917,089 Net investment income (loss) from trusts for the museum’s benefit 628,096 (100,983) 527,113 1,015,808 Investment Draws Net assets released from restriction 4,943,614 (4,943,614) - - $4,123 Total revenues, gains and other support 12,568,102 (3,331,303) 9,236,799 10,636,240

Expenses: Programs: Revenue Profile FY19 Actuals Collections and exhibitions 4,239,289 - 4,239,289 4,157,051 Total Operating Revenues Education 870,664 - 870,664 886,576 in thousands of $9.2m Auxiliary, shop & rental activities 1,061,620 - 1,061,620 1,058,051 External affairs & membership 700,171 - 700,171 655,983

Total program expenses 6,871,744 - 6,871,744 6,757,661

General and administrative 1,779,071 - 1,779,071 1,716,070 Fundraising 790,876 - 790,876 846,178

Total expenses 9,441,691 - 9,441,691 9,319,909 Contributed Income $4,016 Special Exhibitions & Change in net assets from operations 3,126,411 (3,331,303) (204,892) 1,316,331 Public Programs General Operating Support $229 $3,466

Staff & Office Non-Operating income (expenses): $865 Depreciation (1,957,703) - (1,957,703) (1,932,957) Acquisition of works of art (814,264) - (814,264) (1,933,286) Interest expense (35,246) - (35,246) (41,937) Contributions to perpetual endowments - - - 5,302,353 Contribution from funds held in trust for the museum’s benefit - - - 6,596,966 Galleries & Conservation Total value at $501 June 30: $103m Proceeds from sale of collection items - 52 52 306,343 Total return from long-term investments (3,286,767) 4,223,939 937,172 2,707,721

FY19 Investment Draws (6,093,980) 4,223,991 (1,869,989) 11,005,203 Total Draws: $6.2m in thousands Change in net assets (2,967,569) 892,688 (2,074,881) 12,321,534

Net assets at beginning of year 40,883,688 105,919,610 146,803,298 134,481,764

Net assets at end of year $37,916,119 $106,812,298 $144,728,417 $146,803,298 Art & Books $1,198

The condensed statement of activities are derived from the Wadsworth Atheneum’s financial statements as of June 30, 2019, which have been audited by CohnReznick, LLP, independent auditors, whose report expressed an unqualified opinion on those financial statements.

82 83 Design: WondriskaRusso Associates Photography: Allen Phillips Diana Guay Dixon The Defining Photo LLC Monica Jorge Lotta Studio Owen James Photography Printing: Hitchcock Printing 600 Main Street Hartford CT, 06103 thewadsworth.org