THE SMART MUSEUM OF ART BULLETIN

1990-1991 1991-1992

THE DAVID AND ALFRED SMART MUSEUM OF ART

THE UNIVERSITY OF CHICAGO THE SMART MUSEUM OF ART B U L L E T I N

1990-1991 1991-1992

THE DAVID AND ALFRED SMART MUSEUM OF ART

THE UNIVERSITY OF CHICAGO CONTENTS

Volume 3, 1990-1991, 1991-1992. STUDIES IN THE PERMANENT COLLECTION Copyright © 1992 by The David and Alfred Smart Museum of Art, The University of Chicago, Sectionalism at Work: Construction and Decoration Systems in Ancient Chinese 5550 South Greenwood Avenue, Ritual Vessels 2 Chicago, Illinois, 60637. All rights reserved. ISSN: 1041-6005 Robert J. Poor

Three Rare Poetic Images from Japan 18 Louise E. Virgin Photography Credits: Pages 3-14, figs. 1, 2, 3, 4, 5, Jerry Kobyleky Museum Photography; figs, la, 2a, 3a, 5a-f, courtesy of Jon Poor / Poor Design, ©1992 Robert Poor. Pages 19-23, figs. 1-3, Jerry Brush and Ink Paintings by Modern Chinese Women Artists in the Kobyleky Museum Photography. Pages 35-46, 51, Jerry Kobyleky Smart Museum Collection 26 Museum Photography. Page 53, Lloyd De Grane. Page 55, Mark Harrie A. Vanderstappen Steinmetz. Page 56, Rachel Lerner. Page 57, John Booz, ©1991. Pages 58, 60, Matthew Gilson, ©1992. Page 61, Lloyd De Grane.

Editor: Stephanie D'Alessandro ACTIVITIES AND SUPPORT Design: Joan Sommers Printing: The University of Chicago Printing Department Collections 34 Acquisitions Loans from the Collection

Exhibitions and Programs 30 Exhibitions Events Education Publications

Sources of Support 63 Grants Contributions Donors to the Collection Lenders to the Collection This issue of the Bulletin, with three articles on and Japanese works of art given in honor of East Asian works of art in the collection of the Professor Vanderstappen by various donors. Since Smart Museum, is dedicated to Professor Emeri­ then, several other works of art have been given in tus Harrie A. Vanderstappen, SVD. Professor recognition of his connoisseurship and dedication Vanderstappen taught Chinese and Japanese art to an oriental study collection at the Smart history in the Art Department of the University of Museum. These gifts are listed elsewhere in this Chicago from 1950 to 1991 and was chairperson publication and some are discussed by Professor between 1970 and 1975. In the decade preceding Vanderstappen in one of the articles also published the opening of the Smart Museum in 1974, he in this issue. The other two, each by a former stu­ established—through the generosity of several dent of Professor Vanderstappen, center on new donors—a study collection of traditional Chinese research in Chinese ritual vessels of the Shang and Japanese ink painting and Edo period Japanese dynasty and on nineteenth-century Japanese suri- color woodcuts. Since 1974, he has guided the mono. All three embody the importance of this curatorial staff of the Museum in the development study collection, in which students, faculty, and of the East Asian collection, which has more than independent scholars have available for sustained tripled in size in the last seventeen years and firsthand examination significant examples of expanded in areas previously unrepresented. over 5,000 years of artistic production in China In conjunction with a symposium sponsored and Japan. The Smart Museum gratefully recog­ by the Art Department and presented by eleven nizes the knowledge, discrimination, and dedica­ former students of Professor Vanderstappen, in tion Professor Harrie A. Vanderstappen has March 1991 the Smart Museum opened Scholarly demonstrated in helping to form this impressive Treasures, an exhibition which consisted of Chinese collection. ROBERT J. POOR

Sectionalism at Work: Construction and Decoration Systems in Ancient Chinese Ritual Vessels

he ancient Chinese ritual bronzes given by publications of antiquities of this sort as my thesis TProfessor and Mrs. Herrlee Glessner Creel to topic and completed my work under Professor the Smart Museum of Art in 1986 were the first Vanderstappen. It was not until 1989, when I was that I ever handled when I was a student many invited by the Smart Museum to contribute an years ago in Professor Creel's introductory Chinese essay as part of a catalogue of their Chinese collec­ language course. It was an extraordinary experience. tions, that I looked again at the Creel bronzes.1 Although meant to be an introduction to the The auspicious gift of this collection to the Chinese language, in reality the class was much University and its first publication and public exhi­ more than that because for Creel, language led to bition prompted me to look once more at the ves­ culture. The course, then, was a humanistic intro­ sels which had played such an important part duction to Chinese culture by way of our often tor­ in forming my early career. Here is what I have tuous translations of the classics. As a special reward learned about those pieces since my student days to those who survived the rigors of the first two so many years ago. quarters of his course (most did not), Creel brought Fig. 1. Late Shang dynasty, Anyang period, Gu, wine Fig. la. Late Shang dynasty, Anyang period, Gu, in his collection. There on the Shang dynasty Of all of the vessels in the Smart Museum col­ beaker, late 13th-12th century B.C., cast bronze, h. 8 1986.331. bronzes and oracle bones that sat on the table lection, one of the most difficult to discuss is the 11/16 in. (22.1 cm.), diam. mouth 5 1/4 in. (13.3 cm.), before us were actual examples of the ancient writ­ plain trumpet-shaped piece which has been called Gift of Prof, and Mrs. Herrlee G. Creel, 1986.331. ten language. The inscribed bronzes and the other a gu ever since the 11th century A.D., when schol­ ritual artifacts brought life to a historical tradition ars of the Northern Song dynasty published the Relatively plain vessels such as this one may sel illustrates the nature of this abbreviation. One which we had known only through our tenuous first systematic studies of early Chinese ritual have served some special purpose in antiquity. One can barely discern two small dots and a short ver­ translations of difficult classical texts. For me, bronzes (fig. 1). Although the ancient name of the possibility is that they were mingqi\ that is, inex­ tical fin on the bulbous midsection of the piece. majoring in art history with the late Ludwig vessel is not known, it is generally assumed that it pensive vessels which presumably did not require These attenuated motifs are all that is left of the Bachhofer, the opportunity to hold these pieces in served as a wine beaker.2 The decoration of this decoration and were made specifically for burial. conventional animal mask that regularly appears my hands was a rite of passage: I was fascinated by particular vessel is obscured by a thick patina Another prospect is that they were practical drink­ in this location on more fully decorated vessels. every aspect of Chinese art and followed Bachhofer formed from the layers of minerals leached from ing vessels, utilitarian counterparts of fully orna­ Both kinds of gu, plain and ornamented, were from topic to topic with equal enthusiasm, but the original bronze during its prolonged burial in mented ceremonial pieces. Whatever their use, made throughout the Shang and early Western from the moment that I held an ancient bronze in the soil of northern China. Its blue-green surface plain vessels of all types (including the gu), and Zhou dynasties, and their proportions generally my hands, I moved unselfconsciously from an has a jadelike quality greatly admired by connois­ even sets of undecorated vessels, are often found correspond. The shape of our vessel provides a clue interest in all forms of Asian art to a specialized seurs of bronzes. In the past, scholars regarded this alongside elaborately ornamented ones at Shang to the general date of its manufacture: the articu­ research interest in ancient Chinese ritual vessels. patina as evidence of age, and its specific color was dynasty burial sites. In a sense, plain pieces are lation of the foot, waist, and neck into a tightly My interest was nurtured by all my teachers and even considered evidence of provenance. Today, simply abbreviated versions of their more elabo­ structured entity is characteristic of the late phase most especially by Bachhofer and his successor, the the scientific examination of an object's physical rate mates, or, as I shall later suggest, the fully dec­ in the development of the gu. This is likewise vis­ Reverend Harrie A. Vanderstappen. I chose the properties, including its patina, has become an orated ones are just more elaborate versions of the ible in the emphasis given to the raised foot rim, ancient bronze vessels and the Song dynasty important part of bronze studies.3 plain ones. The decoration on the waist of our ves­ edge of the mouth, and pronounced bulge in the

2 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 3 waist. Although it is difficult to date a plain vessel of the care that went into the equidistant place­ with much precision, it seems likely that our piece ment of the eyes between the upper and lower was made in the late 13th or 12th century B.C.4 edges of the waist and its central axis. There are Every aspect of the shape of this vessel was other proportional relationships which are even planned according to a system of proportions more difficult to detect, despite their profound based on a design module equivalent to a 16 mil­ impact on composition. The circumference of the limeter square (fig. la). The thickness of the foot of the vessel, for example, is 220 millime­ bronze is 4 millimeters throughout the vessel, ters—almost identical to its overall height (the dif­ which is also the approximate width of the bow­ ference amounts to only one-tenth of one per­ string ornaments above and below the waist sec­ cent)—and the circumference of the mouth, 418 tion. All of these measures equal one quarter of the millimeters, is almost the same as six times the module. The eyes are set 16 millimeters to either diameter of the foot, or 420 millimeters. If we side of the central vertical flange and positioned adjust the height of the vessel to exclude the foot the same distance from the top and bottom of the and mouth rim (which can be justified by an waist section; the flange itself is 16 millimeters examination of the method of casting in molds), long. Between the bow-string ornaments and the we find that the adjusted height of the vessel is waist section, the distance is just one-half the mod­ exactly three times the diameter of the foot and six ule, or 8 millimeters. The break in the curvature times the diameter of the waist, or the same as the of the neck begins 16 millimeters above the waist. sum of the diameter of the waist and foot doubled. Although it is difficult to follow a detailed verbal All of these proportional relationships cannot be description of this sort, we can easily comprehend accidental, and although we may not see them, its general visual effect: the bronze master formed they are nonetheless there. We can, however, Fig. 2. Shang dynasty, Anyang period, Ding, ritual cook­ Fig. 2a. Shang dynasty, Anyang period, Ding, 1986.328. a shape which can be imagined as being within a observe one obvious feature: the relationship of the ing vessel, 13th-12th century B.C., cast bronze, h. with series of three interrelated squares. broadest part of the vessel (the span of the mouth) handles 8 in. (20.3 cm.), h. without handles 6 5/16 in. (16.1 cm.), diam. mouth 6 1/4 in. (15.9 cm.), Gift of Minimal decoration was constructed the same to its overall height. The proportional ratio Prof, and Mrs. Herrlee G. Creel, 1986.328. way and incorporated into square structural units. between the width and the height of the vessel is The distance between the eyes, for example, is the 1:1.6, virtually identical to the so-called "Golden about their shapes and the relationship of their you will) reflects the way one thinks about its same measurement (excluding the 4 millimeter fin) Mean."5 parts, like handles or legs, to their overall struc­ design, as well as how one makes it, for there is a as the height of the waist section and almost the What were the determinants which established ture. In dealing with various vessel types, most psychological element associated with the technical same as the diameter of the waist; the waist section the proportions of this vessel? Is ev ery dimension notably the ding tripod (cf. fig. 2), I discovered procedures of the casting process. Thought of in (within the flattened bulge) fits within a 32 mil­ set to result in a certain relationship, or are some that certain proportional relationships only this way, almost any vessel can be analyzed as limeter square. From the line of the eyes in the of these just the secondary mathematical by-prod­ become clear if one omits parts, such as the though it were made up of a series of parts, and waist band to the lower edge of the foot rim, the uct of other primary associations? What is cause upright handles, from the general design. Once more often than not, this is the actual case. At the distance is almost identical to the diameter of the and what effect? In order to uncover the hidden that is done, major proportional relationships most basic level, every vessel is just a body with foot, forming another square. Finally, the diame­ formulae that determined the design we must first emerge (for instance, the height of a ding minus parts added; even a very complicated shape can be ter of the mouth, which measures 133 millimeters, imagine the actual process of making a vessel, its handles is identical to the broadest diameter of designed following the same general guidelines as is very close to the height of the neck section (131 returning to that moment when the shape of the the body). Things like handles, therefore, were those employed for determining the form of a millimeters). It seems very likely that the neck sec­ vessel was being developed but had not yet been treated as appendages—items to be attached after more simply shaped vessel. In the long run, then, tion was supposed to fit in a design square of eight committed to its final cast bronze form. To facili­ the basic proportions of the structural core of the all vessels have bodies shaped like hemispheres, units (128 millimeters) per side. All the major tate this, let us examine several vessels from the vessel had already been determined. tubes, cones, or boxes to which appendages can be Smart Museum collection to demonstrate how parts of the vessel—waist, foot, and neck—fit into The notion of a basic form to which parts attached. structure evolved from simple geometric figures to imaginary squares which progressively double in could be added is somewhat dependent upon an This premise can be demonstrated by a struc­ three-dimensional objects displaying complex pro­ size from the narrow waist to the broad foot, and understanding of the process of piecemold manu­ tural analysis of a ding tripod from the Creel portional relationships in the arrangement of var­ 6 again, to the splayed mouth. facture. In some instances, pre-cast fixtures like Collection (fig. 2). By d efinition, the ding (or While we may sense that this vessel is well- ious parts. handles or legs were actually cast on the body of yuan ding, i.e. round ding) is a hemispheric bowl proportioned, we do not actually see the sequence Before we begin a detailed analysis of the the vessel. The idea of the divisibility of an object set on three solid, tubular legs with two upright of squares in its design. We are probably unaware structure of any specific vessel, a word must be said into a series of constituent units (or sectionalism, if handles which rise off the rim.7 The robust shape

STUDIES IN THE PERMANENT COLLECTION 5 4 SMART MUSEUM BULLETIN of this piece is a perfect vehicle for its forceful dec­ position of the decorative patterns and their rela­ beyond the splayed-leg versions of the ding made oration: the stout legs and handles (called "ears" in tionship to the shape of the vessel itself. in previous generations and towards a more solid older Chinese texts) sound an emphatic note of For instance, the height of the decorative zone type. The taotie motif is richer in content and stability that is echoed by the thickness of the which wraps around the body is 57 millimeters— more complex in construction. Newly introduced bronze itself.8 Its pleasing shape does not reveal the same as between the eyes of the animal mask. elements, like a jaw, will remain permanent parts any special proportional features. However, once Likewise, the distance from the center of the eye of the bronze master's vocabulary until the end of we "remove" the handles it is apparent that the to the top of the decor zone is 29 millimeters— the dynasty and beyond. More importantly, geo­ height of the vessel (161 millimeters) is almost the exact same length as from the center of the eye metric figures like the T will be used as building identical to its diameter (159 millimeters) and that to the central flange. Other elements of the mask blocks in the formation of the images of all crea­ the body and legs fit within an imaginary square design, such as the horns and the upright tail of tures, real or imagined, which appear in Shang art. (fig. 2a). If we ignore the legs and compare the the animal, also measure 28-29 millimeters, as The piece exemplifies a transitional style in which depth of the body to its width, the ratio of does the vessel's handle. And a final surprise in this we witness the last flowering of an old ideal and these two measurements is 1:1.64—very near the system of "squares": the ding appears to have been the first indications of a new set of artistic values. Golden Mean. A difference of only 2 or 3 mil­ constructed with a module equivalent to 7-8 mil­ Seen in this way, our vessel can be dated to the late limeters in either dimension would make the rela­ limeters, for nearly every dimension of measure is Erligang or early Anyang phase of Shang dynasty tionship perfect; the "error" could be the result of divisible by that number. art. However, the historical judgement should not shrinkage in the model, minor variations in the All bowl-shaped tripods are classified as ding. obscure the unique qualities of this dainty vessel dimensions of various parts of the vessel caused by Those with a full, rounded shape, like the vessel as an independent work of art. slippage during casting, or simply from inaccura­ in the Smart Museum collection that is the gift of Despite the early date of the Goldman ding, it cies of measurement. At any rate, what is clear is Mr. and Mrs. Isaac S. Goldman, are called guan displays all of the features of a mathematical design that there are several important proportional rela­ ding, meaning "pot-shaped," and the deep, con­ system. This is most apparent if the handles are Fig. 3. Shang dynasty, late Erligang-early Anyang once again excluded while assessing the vessel's tionships hidden in the structure and that these tinuous curve is characteristic of all types of early period, Ding, ritual cooking vessel, l4th-13th century 9 only become evident through the process of de- Shang vessels with such body shapes (fig. 3). Two B.C., cast bronze, h. with handles 6 5/8 in. (16.8 cm.), overall proportions (fig. 3a). Once done, the construction. additional characteristics of an early stage in the h. without handles 5 9/16 in. (14.1 cm.), diam. mouth adjusted height of the vessel (handles removed but 5 11/16 in. (14.4 cm.), Gift of Mr. and Mrs. Isaac S. Other proportional relationships are encoded typology of the ding are the way the legs were including its legs, 141 millimeters) is almost iden­ Goldman, 1976.163. as well in the decorative patterns on the surface of placed low on the body, well under the bowl, and tical to the diameter of the bowl (144 millimeters). the piece. The classic mask motif of the ding, con­ the straight vertical form of the arching handles. The adjusted height minus the length of the legs ventionally called the taotie and which circles the The style of this vessel's decoration points in (52 millimeters) provides the sum of 89 millime­ body of the vessel, is simply stated and yet boldly the same direction as the previous ding. Ornament ters for the final adjustment of the body. A perfect contrasted to the fine lines of the background. is limited to a single, broad taotie band on the Golden Mean proportion of 1:1.61 (the ratio of Two large eyes, set to either side of the prominent shoulder, which is repeated three times. A low the depth of the body to the overall height is flange, form the nucleus of the design and estab­ flange, flanked by two large eyes, centers the motif 1:1.65) is reflected in the ratio of the adjusted lish a natural animal conceit. The mask effect, and serves as a facial shield. Just below this "nose" height to width. There are other features worth then, imparts special meaning to all of the other there is something that looks like a mouth, com­ noting: the eye of the taotie mask, for instance, is shapes within the field of decoration: the curving plete with tiny fangs. Above and to the side of the equidistant from the lower edge of the decorative forms above the eyes and the leaf-shaped devices eyes, an assortment of geometric figures suggests band and the central "nasal" flange. And here is an beside them become horns and ears, respectively. an array of burgeoning body parts. The realization unexpected coincidence: the distance between the None of these geometric figures, of course, look of the mask, and the rest of the imagined creature, eyes of the mask is identical to the height of the like the body parts of real animals since this is an depends on the conversion of these hooks, quills, decorative band plus the undecorated neck up to art of conventions, unconcerned with what we call and T-shaped devices into images—most especial­ the rim of the mouth. This is not accidental and naturalism. But that does not diminish the power ly the T. It recurs throughout the composition in the odd correspondence of the two measurements, of these images: they exert a compelling presence varying size, both upright and inverted, to form a 46-47 millimeters, may reveal the size of the mod­ and evoke a sense of the spiritual powers associat­ horn, a body, or anything else that is needed. This ule which dictated the dimensions of this vessel. ed with the ceremonial vessels on which they is an early version of the animal mask. More importantly, it may provide a clue to the appear. We might think that such a dramatic This ding illustrates a special moment in the absolute value of the unit of measure used during design came spontaneously from the mind of the development of the bronze art during the Shang the Shang dynasty. Although the layout of the dec­ artist. In reality, it was produced according to some dynasty. Its animated shape, and even its slightly Fig. 3a. Shang dynasty, late Erligang-early Anyang peri­ oration and the structure of the Goldman vessel exact laws of composition which governed the dis­ awkward leg placement, represent a significant step od, Ding, 1976.163. are not as precisely ordered as the later example

6 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 7 point of the waist, just above the cross-shaped Several excavated gu, all from Anyang, have opening in the hollow foot. the exact sequence of motifs found on this vessel.13 The architectonic structure of the piece Their decoration is rendered in prominent relief reflects the way it was made. Casting the vessel and the different parts of the animal mask (horns, with piecemolds, the bronze master did nothing eyebrows, etc.) float unattached on the fine lines to hide the traces of the procedure. Instead, ele­ of the background. The relief and so-called dis­ ments like the low flanges actually mark the junc­ solved form of the taotie are symptoms of a late tures between mold sections on the foot and waist date, yet neither trait is apparent in our vessel.14 assemblies. They are often seen on later vessels and Moreover, the snakes and cicada, which are seldom on earlier ones. In every instance, however, arranged in strict bisymmetrical formality on other they do not appear out of technical necessity but pieces, occur in serial order on this gu. Our vessel because the bronze masters of the Anyang period, seems somewhat earlier than the excavated ones like their neolithic predecessors in the Yangshao and can be placed in the Yinxu II-III phase of era, delighted in celebrating structure despite the Shang art, that is, the late 13th or early 12th cen­ complicated and risky way in which they made tury B.C. bronzes. They first had to produce clay molds Another characteristic of a late Shang date is which could be carved or impressed with the deli­ the way in which the shape of the vessel and com­ cate designs that would appear in reverse on the position of its decorative motifs are framed by a finished object. A vessel like this one required numerical module (fig. 4a). Measuring 294 mil­ twelve mold pieces, four each for the foot, waist, limeters, the overall height of the vessel is approx­ and neck. Next, all the molds had to be bound imately four times the diameter of the foot and ten around two cores shaped like the interiors of the times the diameter of the waist. The midpoint of vessel's foot and neck. Finally, the whole assembly the vessel falls a t the base of the trumpet-shaped had to remain stable when the molten metal was section, where the vertical blade motif meets the poured into the narrow cavity between the mold narrow horizontal band decorated with small sections and the cores. In 1936, H.G. Creel mar­ snakes. This snake band is 16 millimeters—a sig­ veled at the precision of the cast decoration on a nificant number, for a 16 millimeter square must gu similar to this one and noted that the Shang have served as one of the governing modules for standard had yet to be equalled in modern times.12 both the decoration and shape of the vessel. The His remarks still hold true. distance between the eyes of the small upright ani­ All of the decorative motifs on this vessel are mals in the waist section and the flange which Fig. 4. Shang dynasty, Anyang period, Gu, ritual wine Fig. 4a. Shang dynasty, Anyang period, Gu, 1986.330. beaker, late 13th-early 12th century B.C., cast bronze, confined to distinct fields. Each zone, whether divides them is 16 millimeters. Likewise, the eyes h. 11 5/8 in. (29.4 cm.), diam. mouth 6 1/4 in. (15.9 large or small, enjoys a quasi-independent status of these creatures are set 16 millimeters above the cm.), Gift of Prof, and Mrs. Herrlee G. Creel, 1986.330. while simultaneously contributing to the overall bottom of the waist field and 32 millimeters below composition. Thus, the animal mask on the foot the top of the design field, the distance between can be read alone, with its complimentary cicada the eyes of the two creatures is 32 millimeters; and provided by the Creel ding, it is obvious that both A more unusual shape, the gu is basically two band, or as part of the total design, but no figure the overall height of the waist section is 48 mil­ vessels conform to the same general rules of design. truncated cones joined at their narrow ends by a ever spreads beyond its borders. The snakes at the limeters. Based on these measurements, we can see Composing a vessel in this way seems to have been short cylinder. Although we have only discussed a base of the neck zone, like the cicada at the top of that every major dimension in the composition of a common practice among Shang dynasty bronze plain example of the type thus far, the rules for this the foot, are anchored in their assigned bands the waist section decor is divisible by 16, and this masters. Thus far we have examined two round- vessel's design are not affected by the addition of within a single mold section and do not intrude is also true of the design of the foot decoration. In bodied ding of differing periods; they serve as good decoration to its surface. Another gu in the collec­ on the adjacent designs. Of course, the snakes and retrospect, we may note that the overall height of models for all of the round-bodied vessels, and tion of the Smart Museum, also a gift from cicada could trade places; their relative positions 294 millimeters is just 6 millimeters away from with only a few adjustments, square-bodied or Professor and Mrs. Creel, demonstrates this point are not absolute. Decorative appeal depends on the being eighteen modules tall; the diameter of the boxlike structures as well. There are other stereo- (fig. 4).11 The form of this vessel is quite typical cumulative effect of the arrangement, one element mouth (159 millimeters) is 1 millimeter short of morphic shapes common among ritual bronzes, of the mature gu: th e long bell of the neck seems added to another like the motifs in a musical com­ ten modules; the diameter of the waist is merely 2 such as forms set on a ring-foot or legs, and they to fit into the socket of the short tubular waist sec­ 0 position. The immediate charm of the piece is in millimeters from being two modules wide; and were fashioned along the same lines as the ding} tion, and the floor of the vessel is at the lowest its tall and slender shape. even the circumference of the waist is only 2 mil-

STUDIES IN THE PERMANENT COLLECTION 8 SMART MUSEUM BULLETIN 9 limeters shy of six modules. All of these figures attached, or that the vessel was fashioned after a come very close to perfect modularity: the overall bird whose cry sounded like the Chinese phrase height, for instance, is 96.9% accurate, while the "temperance, temperance, enough, enough"—are, diameter of the mouth is 99.4%. There can be no as he says, tales that have "more color...than plau­ doubt, then, that a module very near the modern sibility." Creel made two other observations which measure of 16 millimeters was employed to design bear directly on the archaeology of the type: name­ this vessel. ly, th at the size of the jue is related to the size of Could there have been another unit of mea­ the gu and that they are "the commonest Shang sure which dictated the form of the vessel, a sec­ vessels found today." That is still the case.19 In ond figure which lies in the design? Possibly so, as fact, the jue may actually have been the first kind we shall see below. But for the moment, let us con­ of vessel made in metal.20 centrate on the numbers at hand and acknowledge Our example illustrates the general features that the isolation of a module employed to con­ common to most jue: a handle set over a leg, at an struct the shape and decor of these vessels is espe­ awkward right angle to the spout; two capped cially important for the very notion of a modular posts rising from the rim just at the base of the system of decoration which led to the rational sys­ spout; and an elongated tail balancing the body on tem of proportions and provided the aesthetic the opposite side. On later examples of jue, like underpinning of the design—put differently, the the Smart Museum's, the walls of the body are appearance of these vessels has more to do with straight and the bottom may be either round or reason than "artistic intuition." We may easily flat. Decoration, if there is just a single band, sense that a certain ratio of height to width is appears as it does here, filling the side wall and pleasing and creates a form according to that bridged by the handle. In more elaborately orna­ instinctive feeling, but it is quite another matter mented vessels, the decoration continues under the to maintain a canon of proportions which affects lip, spout, and tail. The jue has a complicated every aspect of the shape and decoration of a piece. shape—so much so, that parts like legs, handles, A module provided the building block for the inte­ and even the little caps on the rim posts were cast grated design of these vessels. Indeed, by imagin­ separately and later placed in the mold assembly ing the systematic use of a module we can even allowing the molten metal of the body to fuse reconstruct the process of making a ritual bronze around them at the time of the final casting. This and may illustrate this with another vessel from jue was made according to strict mathematical the Creel collection, in this case a wine vessel of rules which governed its shape, proportions, posi­ they're type (fig. 5).15 tioning of its parts, and decoration—in short, Before we discuss its structural issues, a few every aspect of its design.21 words should be said about the history of this par­ The decoration on this vessel offers an excel­ Fig. 5. Shang dynasty, Anyang period, Jue, ritual wine vessel, late 13th early 12th century B.C., ticular piece. Professor Creel published this vessel lent example of the kind of ambiguous imagery cast bronze, h. 6 5/8 in. (16.8 cm.), Gift of Prof, and Mrs. Herrlee G. Creel, 1986.329. in 1935 in the inaugural issue of Monumenta which allows us to read the motif both as a pow­ Serica and again, two years later, in his famous erful animal mask and as two animals seen in pro­ Birth of ChinaJ^ In the earlier article, he noted file. On the uninterrupted side of the body the that the single character of the inscription "is prob­ mask effect predominates. There, the small vertical ably a pictograph of a jar used to contain liquor, fin serves as a nasal ridge which helps to complete and may denote the pouring of a libation."17 He the animal conceit. But on the handle side, where pursued that idea in his book, commenting that it we can only see half the motif, the animal in pro­ would be difficult to drink from this vessel but file is most apparent. In either instance, there is no Fig. 5a. Shang dynasty, Anyang that the spout was "suited admirably" for pour­ ambivalence in the casting. The motifs are set 18 period, Jue, 1986.329; recon­ ing. The questionable stories of the origin of this against the background with authority, conviction, struction of clay cylinder (left) type—that its shape was supposed to be derived and an exceptional degree of clarity which is char­ and Haired lip (right). from an inverted helmet to which horns had been acteristic of many of the vessels found at Anyang

IO SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION II and assigned to the Yinxu II phase of Shang art. its curved bottom) to the highest points of the This jue, in fact, may be dated to that general peri­ opposite tail and spout to determine the center of od, the late 13th or early 12th century B.C. the decor panel. In this vessel there are slight dif­ Let us now turn to an analysis of the vessel in ferences between the two sides' design panels, an attempt to reconstruct its manufacture. though this does not influence an analysis of the Although the geometry of they're is complicated, it general composition. The distance from the cen­ can be reduced to a cylindrical cup with spout, ter of the eye on one side of the taotie mask to the tail, handle, and legs attached. We can imagine central flange is 16 millimeters, the same as the that the first step in the making of the vessel was distance from the center of the eye to the lower the preparation of the clay model. The process edge of the decorated field (figs. 5e and 5f). began by building a cylinder which had a diameter Between the eyes, the distance is 35 millimeters— and height of 60 millimeters (fig. 5a). Next, a equal to the length of the decorated field's outer short flared mouth was added to the top of the edges. This measurement is also identical to the column so that its new height was 64 millimeters. overall height of the entire decor panel. It is note­ Why add just 4 millimeters? Because there is a pre­ worthy that the possible module of 15 millimeters sumed module equivalent to 15 millimeters, and suggested by the structure of the body of the jue is 60 divided by 15 equals 4 (this, at least, is the only \J near to the potential module of 16 millimeters reason I c an deduce for this particular addition). implied in the composition of the decoration. And When the tube was extended, one end was flared once again, we see a series of interlocking squares. and the new diameter of the broad lip became 76 Fig. 5d. Shang dynasty, Anyang period, Jue, 1986.329; Thus, every feature of the design of this vessel— millimeters. By this point, the designer had estab­ reconstruction. its shape, distribution of the decor, and composi­ lished a column with a flared lip which would tion of decorative patterns—was subject to a sys­ Fig. 5b. Shang dynasty, Anyang period, Jue, 1986.329; become the body of the vessel when a bottom was reconstruction of body and leg assembly. decor panel to the top of the knob is 85 millime­ tem of proportional design. added. ters—the same as the distance from the knob to What is the significance of all of this? Does Determining the length of the spout and tail the tip of the tail—and forms another box. The the use of a module and the resulting system of was quite simple. The distance from tip to tip (149 depth of the body, from the rim near the base of proportional relationships carry any special mean­ millimeters) is nearly twice the diameter of the the post to the point of its rounded bottom, is also ing, or are these devices used by clever craftsman flared mouth and the overall length of the tail- approximately 85 millimeters. to achieve pleasing effects? spout section. Extending further away from the And now the legs. The diameter of the flared The heart of the matter is that the design body than the tail, the spout led to the most com­ mouth established the length of the inner side of module used to contruct a Chinese ritual vessel plicated maneuver in the design. The height of the the leg (76 millimeters) and the circumference of provided the unseen foundation for the structure body and its flared lip (minus the rounded base) the flared lip, divided by 3, dictated their outside of a form which would project a sense of order. is approximately 64 millimeters; the tip of the tail length (80 millimeters). Finally, the distance This, however, is not a uniquely Chinese idea: the was also set that distance away from the central between them is the same as the length of the English Gothic Salisbury Cathedral was designed axis of the cup (figs. 5b and 5c). Projecting 85 inner leg itself; the distance from the tip of the leg in this way (with its nave as long as its height) and (i.e., 84.6) millimeters off the central axis, the long to the bottom of the decor field is the same as the the paintings and drawings of Piero della Francesca spout section was set at an angle which oriented distance between them; and the whole lower sec­ illustrate the same ordered approach. Lucca the tip of the spout exactly 85 millimeters above tion of the vessel is contained within still one more Pacioli, who is best known as the father of double the lower edge of what would later be the decor imagined square (fig. 5d). There was nothing acci­ entry bookkeeping, is said to have learned much panel. This spout section, therefore, fits into an Fig. 5c. Shang dynasty, Anyang period, Jue, 1986.329; dental about the features of this vessel shape, nor about mathematical design systems from Piero and reconstruction of spout, tail section, and knob and post imaginary square bounded on one side by the cen­ later incorporated that material into his 1509 fixtures. of its decoration. tral axis of the vessel and the lower edge of the Convention had dictated from the outset that work entitled Divina Proportione (illustrated by nascent decor panel on the other. In a subtle move, the decor should be placed on the body of the jue Leonardo da Vinci, who was tutored in proportion the two posts which rise from the rim were set 85 knobs, the two posts rise to a level line that runs and that it be spanned by the handle—this vessel is by Pacioli). For the artists of the Renaissance and millimeters away from the tip of the tail, or 65 horizontally from the tip of the tail to the high end no exception. One need only extend diagonal lines their medieval predecessors, a sense of order in a millimeters from the tip of the spout, an exact of the spout. It seems more than coincidental that from the lower corners of the body panel (just work of art was considered a reflection of the pre­ inversion of the previous procedure. With their the height of the vessel from the lower edge of the above the boundary between the tubular body and sumed order of the heavenly sphere and a projec­

12 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 13 tion of beauty; that is the meaning of the poetic its wide geographic distribution throughout 168 millimeters, just 3 millimeters too large to sentiment, "Euclid alone has looked on beauty ancient China prompts a number of questions: provide the same result if we divide by 7. Since it bare." This same sentiment must have been how precise was the application of the system in shares the same measurement as the overall height responsible for the mathematically driven design the prehistoric era? To what extent was it consis­ of the Goldman ding, the jue (fig. 5) provides the systems that were used in ancient Egypt and tently employed? In a more comprehensive exam­ same results. The foot diameter of the plain gu Greece. The sense of order which was the natural ination of neolithic pottery from Yanghao sites (fig. 1) is 70 millimeters, just a 1/2 millimeter too result of using a system of this sort gave the fin­ (both scientifically excavated materials and "col­ small to provide the integer 13 when it is divided ished product an air of refinement. It is not sur­ lected" specimens) I have found a degree of cor­ by 23.5. Only 2.5 millimeters off the mark to yield prising, then, that the Chinese people of the rectness in the proportional relationships that the integer 3, the diameter of the foot of this last bronze age would wish to impart that same sense rivals the method of the bronze masters in the gu is 73 millimeters. Measuring 94 millimeters, of dignity to the ritual vessels which they used in historic period.27 The Shang did no better than however, the circumference of the waist of the ves­ the ceremonial worship of their ancestors. Their their neolithic predecessors in this regard, and sel is perfectly divisible by 23.5, and yields the success is evident in the imposing beauty of the there does not seem to be any conspicuous drop integer 4. Why presume that such an odd dimen­ bronze vessels in the collection of the Smart in accuracy from one region to another. This sion as 23.5 millimeters could be the module? Museum of Art. implies that the modular system of decor had Because that number, or one very near to it (23, It would be a mistake, however, to suppose Fig. 5e. Shang dynasty, Anyang period, Jue. 1986.329; already been well thought out by the 3rd millen­ 24, etc.), occurs as a frequent dimension of many reconstruction of taotie. that this modular system of design was reserved nium B.C. and was common currency throughout details on the Liangzhu jade artifacts dating from exclusively for the production of ritual bronzes. the Chinese cultural sphere. One wonders, then, the late 3rd or 2nd millennium B.C.29 And docu­ Various kinds of pottery vessels, also known from a if there was a common module—some mean mea­ mented by excavated rulers, the length of the late tomb context, were designed in the same way. It surement that appeared frequently enough to iden­ Zhou and Han period inch corresponds to 23 mil­ does not seem to matter if they are the plain gray tify its value as a kind of neolithic or bronze-age limeters in modern measure—today, it is equal to or more rare and finely executed white pottery; "inch". I believe so, for t he Smart Museum bronzes 25.4 millimeters. It is probably not coincidental they all reveal a modular underpinning which gov­ were all designed around a module that is between that the two numbers are so close to one another. erns the vessels' shape and decoration.22 15 or 16 millimeters in modern measure. Such a Both probably derived from the span of the hand More surprising is the discovery that the same module is unequivocal on the plain gu (fig. 1) and or fingers. Indeed, the Chinese word for inch, cun, design was employed to produce pottery vessels in the height and mouth diameter of the decorated also has the meaning of thumb.30 during the neolithic era in areas of modern China gu (fig. 4; the mouth is 1 millimeter short and the A great deal more could be said about the that are very far apart. Painted vessels of the height 6 millimeters too tall for a perfect score). mathematics that went into the design of these Yangshao phase of the neolithic period found at The mouth diameter of the earlier ding (fig. 3) is objects because the procedure needed to integrate the Banshan and Machang grave sites in perfectly divisible by 16 and only 1 millimeter off two modules, one measuring 23.5 and another 15 Northwestern China (mid- to late 3rd millennium in the mouth diameter of the other ding (fig. 2). or 16 millimeters, is not a simple matter. But that B.C.) are also fashioned in this way,23 and several A 15 millimeter module has already been proposed is another subject and I had better stop here, for I pieces in the Smart Museum collection illustrate for tht jue (fig. 5). The same common denomina­ find that like my former mentor Professor Creel, the type.24 The same is true of at least a few of the tor occurs in a large number of other bronzes who moved from classical texts to ancient cultures, earlier water jars uncovered at the Banpo site locat­ including many with a well-documented archaeo­ I too have gone from the specific to the general— ed near the modern city of Xian which are dated logical provenance.28 Does this indicate that this from bronze objects to the systems of proportions 25 to the 5th millennium B.C. Various jade imple­ Fig. 5f. Shang dynasty, Anyang period, Jue. 1986.329; apparent mean figure, 15 to 16 millimeters, was a which governed their design along with the design ments including the tubular forms known as cong, reconstruction of taotie. standard unit of measure? Is it the neolithic or of other ceremonial objects made during the Shang as well as the Liangzhu plaques with engraved Shang dynasty inch? I t hink not. dynasty. In retrospect it seems natural that these "faces" (circa late 4th to late 3rd millennia B.C.) is known about habitation sites, we cannot make There is another, less obvious number encod­ vessels were formed in this orderly way. These fine found in south eastern coastal sites, display the any definitive comparison of these tomb objects ed in the design of these vessels. It is most easily bronze vessels were the premier symbols of office, same modular system of design.26 Almost all of and ordinary household utensils. What is clear, seen in a major dimension—like the overall height, the palpable expression of veneration for the ances­ these pottery and jade objects are known from a however, is that objects of all sorts, made from a or broadest diameter, of a vessel. The mouth diam­ tors. They could not help but reflect the knowl­ tomb context. The very fact that they were variety of materials, were constructed with remark­ eter of the Goldman ding (fig. 3), for example, is edge, faith, and beliefs of the people that made deposited in graves must indicate that they had able precision from the late neolithic era down 141 millimeters; if divided by 6, it yields a possible them. some sort of ritual importance and perhaps that is through the early historic period. module of 23.5 millimeters. Its overall height is why they were designed with such care. Until more The early use of a modular design system and

14 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION Notes 18. Creel, Birth of China, 118, pi. VI. For a recent entitled "Marginalia on Two Jue" delivered at the annu­ interpretation of the original function of the jue, see al meeting of the Mid-Western Art History Association 1. David and Alfred Smart Gallery, Ritual and of liquor (as with the three-legged jue and jia). It may Elizabeth Childs-Johnson, "The Jue and Its Ceremonial held in Lawrence, Kansas in 1990 and in an analysis of Reverence: Chinese Art at the University of Chicago be significant that all of the ritual vessels are lifted off Use in the Ancestor Cult of China," Artibus Asiae 48, some jade blades and a Liangzhou cong, another unpub­ (Chicago: David and Alfred Smart Gallery, University the ground by a foot of one sort or another. The single 3/4 (1987): 171-196. lished paper, "Rule of Thumb," at the regional meeting of Chicago, 1989). exception are the large basins fan) which are said to of the Early China group which convened in Ann Arbor have been used for washing. Presumably, these basins 19. The frequency of occurence of the gu and jue, 2. See Robert J. Poor, ibid., 48—49, cat. no. 16. in 1990. were only adjunct to the offering ceremonies and thus alone and together and in relation to other vessels in 3. For example, Flerrlee Glessner Creel noted the did not need to be elevated in any special way. Shang burials is discussed and quantified in Robert L. 27. Poor, "Inquiry," specifically addresses the ques­ instance of mold slippage along the vertical axis of this Thorp, "Growth of Early Shang Civilization: New Data tion of the geographical and temporal adaption of the 11. See Poor in Ritual and Reverence, 46-47, cat. no. gu and illustrated some abrasions on the inner bell from Ritual Vessels," Harvard Journal of Asian Studies modular system by examining prehistoric pottery from 15, for specific data regarding this piece. which are the result of postcast tooling to clean up 45, 1 (1985): 6-75, esp. 20-22, 29-37, and tables 2 Yangzhou and Lungshan sites in various areas of China rough edges and other imperfections; see Creel, "On the 12. Creel, Birth of China: A Survey of the Formative and 4. as well as some later wares from several Shang sites. The Origins of the Manufacture and Decoration of Bronze Period of Chinese Civilization (London: Jonathan Cape, application of this system of design in ritual bronzes is 20. Robert W. Bagley, "The Beginnings of the in the Shang Period," Monumenta Serica 1, fasc. 1 1937; hereafter cited as Birth of China), 113, had very Bronze Age: The Erlitou Culture Period," in Wen Fong, treated in an article dealing with a single vessel type and (October 1935): 67—68, pis. IV A and B (hereafter cited fine insight regarding the use of molds for casting and a group of vessels which I attribute to a single workshop; ed., The Great Bronze Age of China: An Exhibition from as "Origins"). I have discussed the different kinds of technical procedures in general. In 1937, when "com­ see Poor, "The Master of the 'Metropolis' Emblem Ku\ the People's Republic of China (New York: Metropolitan problems that can arise and the defects that can result mon knowledge" had it that bronzes were made by the Another View," Archives of Asian Art 43 (1990): 61-62. Museum of Art, 1980), 74, figs. 17-18, pi. I, provides during the various stages of casting a vessel; see Robert J. cireperdue, or lost wax, method, he wrote, "...there is some very fine photographs of the early jue from Erlitou. 28. Poor, "The Master of the 'Metropolis' Emblem Poor, "The Master of the 'Metropolis'-Emblem Ku," other evidence which makes it seem that vessels were Ku," (1988): tables 1-13 and charts 1-2 provide some Archives of Asian Art 41 (1988): 74-75. certainly sometimes cast directly from sectional molds." 21. The alignment of the high point of the spout, exact data on the measurements and proportions of thir­ knob, and tail on a common horizontal axis is unusual. 4. Gu WH8, p ublished in the original reports of the 13. The gu found in the western-zone tomb GM198 ty-two gu. Although I have not studied this aspect of the design of Anyang excavations, has the same decoration and gen­ demonstrates a mask effect in both the waist and foot the jue in detail, I suspect that the common height of 29. David Keight'y generously sent me a copy eral proportions as our vessel. See Li Chi and Wan Chia- zones and stresses frontality throughout. Chinese archae­ these parts is atypical. of his publication "Archaeology and Mentality," pao, Studies of the Bronze Ku-Beaker, edited by Li Chi, ologists assign this tomb to the Yinxu III phase (Yinxu Representations 18 (Spring 1987), in which he suggest­ Shih Chang-ju, and Kao Ch'ii-hsiin, Archaeologia qingtongqi, Yi series no. 24 [Beijing: Wenwu chuban- 22. Compare, for example, the unglazed li in the col­ ed that the length of the Chinese inch might be derived Sinica, no. 1 (Nanking, Taiwan: Institute of History and she, 1985], 472, pi. 201 [incorrectly captioned GM907], lection of the Smart Museum. See also Robert Poor, "An from certain features of the cong (his footnote 74). Philology Academia Sinica, pi. XXXIX. I figs. 68.3, 69, and 73.8). A gu from another western- Inquiry into the Manufacturing Techniques of Ancient 1964), 14, 51, Keightly measured the height of the horizontal registers was tempted to view the pieces as a pair because their zone tomb, GM907, also dated to the Yinxu III phase, Chinese Pottery," in Collected Essays on Chinese on the cong noted the regular, but not exact, occur­ dimensions are so similar. The Creel vessel was previ­ has more reserved plasticity, like our vessel, and a similar Bibliography, Literature, and History: A Festschrift in rence of an approximately 23-24 millimeter measure­ ously published; see Creel, "Origins," 67-68, pis. IV A decor in the waist zone. But GM907 was very much a Honor of the Eightieth Birthday of Professor Tsuen-hsuin ment (with some deviation ranging from 18-21 mil­ and B. mixed find. Another gu from that tomb looks like a pre- Tsien (in Chinese) (Taipei: Cheng Chung Book Co., limeters). Following Keightly's lead, I measured the Anyang vessel (Yinxu qingtongqi, 474, pi. 193 [incor­ Ltd., 1991; hereafter cited as "Inquiry"), 177-195, in 5. Based on a Euclidean theory and worked out in registers on several cong With the same result. However, rectly identified as GMl98:3], figs. 71.3, 73.6; the ear­ which various pottery types from prehistoric and early the 1st century B.C. by Vitruvius, the Golden Mean (or I had greater success in measuring the disposition of the lier-looking piece, pi. A pair of vessels found in historic periods are illustrated. For the li which I dated Golden Section) is a canon of proportion (1:1.61) based 202). facial features on the Liangzhu jade plaques; there I dis­ and are so close to the first exam­ to the late Shang/Western Zhou dynasty, see Ritual and on the ratio between two unequal parts of a whole when M2006, R1043 R1044, covered the regular occurrence of a module equal to ple GM 198:3 that I attribute them to the same workshop Reverence, 41, cat. no. 10. the ratio of the smaller to the larger is equal to that of 23.5 millimeters. the larger to the whole. (Li Chi and Wan Chia-pao, 50, pis. XXIX-XXX, figs. 23. Poor, "Inquiry," pis. 2-4, and figs. 2a, 2b, 133b, 30. In our private communications, David Keightly 35-37). By a strange coincidence, Creel illustrated a ves­ 3c. 6. For more information on this specific vessel, see sel in the collection of P.C. Huang which could also outlined his ideas about literally relating the length of 24. For more on this subject see Poor, in Ritual and Poor in Ritual and Reverence, 44, cat. no. 13. belong to this group (Birth of China, pi. IX). the neolithic "inch" to parts of the thumb. I am indebt­ Reverence, 38-41, cat. nos. 1 and 2. ed to him for influencing my thinking about the process 7. There is a variation of this vessel, called a " li-ding, 14. The styles of the decor of Shang bronzes have 25. Poor, "Inquiry," pi. 1, fig. 1. of measurement and the tools at hand, so to speak. which has hollow conical legs that merge into a lobed been divided conventionally into five groups according body; for an example, see the ceramic vessel illustrated to Max Loehr's definition of Style I through V. For 26. I presented my analysis of several Liangzhu jade in ibid., 41, cat. no. 10. a critique of this typology in light of archaeological plaques as supporting evidence in an unpublished paper 8. Vessels like this one illustrate the social value of excavations in China since 1949, see Harrie A. bronze; the thicker the casting the better, for expensive Vanderstappen, "Shang Ceremonial Bronzes and casting meant prestige. Decor," in Ritual and Reverence, 27-36, esp. 28. 9. More information on this specific object can be 15. A special discussion of this vessel is published in found in Poor, Ritual and Reverence, 42—43, cat. no. 12. Poor, ibid., 45, cat. no. 14.

10. The group of ring-footed vessels is especially 16. Creel, "Origins," 39-69, and idem, Birth of prominent, including the vessel types associated with China, 118, pi. VI. grain sacrifices. The tripods are traditionally associated 17. Creel, "Origins," 69, pis. IX A and B. with meat offerings (in the case of the ding) or libations

16 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 17 LOUISE E VIRGIN

Three Rare Poetic Images from Japan

he David and Alfred Smart Museum of Art and monthly club gatherings. The function of suri­ Thas in its collection three charming, privately mono was primarily to celebrate the New Year or published Japanese surimono (literally, "printed to announce or commemorate special occasions, objects") donated by Mr. and Mrs. Gaylord such as name or residence changes, meetings, out­ Donnelley. These full color woodblock prints were ings, birthdays, retirements, and death anniver­ designed by two famous Edo (now Tokyo) artists saries; they were also employed to circulate poems in the outlined and detailed style of ukiyo-e (or, of special merit and to announce musical perfor­ "floating world pictures"). Two Women Fulling mances. Editions were usually small since suri­ Cloth by a River and A Group of Six Women (figs. mono were only distributed by subscription or as 1 and 2) were created by the eclectic and prolific kubarimono (gifts) among friends and associates. Fig. 1. Katsushika Hokusai, Two Women Fulling Cloth by a River, circa 1800, surimono woodblock. 13/16 x Katsushika Hokusai (1760-1849), best known for Amateur poets, often closely assisted by artists, 11 15/16 in. (19.1 x 30.3 cm.) (sheet), Gift of Mr. and Mrs. Gaylord Donnelley, from the Frances Gaylord Smith his commercially published print series entitled competed with each other in conceiving innova­ Collection, 1974.67. Thirty-Six Views of Mount Fuji (circa 1830-33). tive designs, which often incorporated cryptic allu­ The third surimono, The Actors Ichikawa Danjuro sions to national customs, historical events and fig­ VII and Segawa Kikunojo Vat Leisure (fig. 3), was ures, or classical literature. The carefully planned theme of the Mutamagawa (Six Tama Rivers). The tucked sash is decorated with a white, detailed, for­ designed by Utagawa Toyokuni (1769-1825), a prints were carved and printed by master crafts­ river winding its way into the background refers mal medallion design, while the younger woman's skillful artist known especially for his depictions men, who lavishly used cherry wood blocks; thick to the so-called Kinuta no Tamagawa situated in obi displays a lively yellow sparrow-and-rope of Kabuki theater actors. His surimono were either and absorbent, long-fibered paper; delicate plant Mishima County of Settsu Province—a river tra­ design and hangs in a large, loose bow at the back. ordered by poetry club members who were also and mineral derived pigments; glittering metallic ditionally associated with women beating woven This particular depiction of women in an theater devotees or by actors, often proud of their powders and mica; subtle shading and texturing cloth with kinuta, or wooden mallets, in order to evocative setting is stylistically similar to many own talents, who distributed the prints to their techniques; and blind printing (embossing). The soften it. An educated man or woman of Hokusai's of Hokusai's idealized bijin-ga (pictures of beauti­ patrons and fans. Toyokuni had many successful resulting superb quality of the surimono made time who might view the scene would associate a ful women) in quiet color schemes designed dur­ students, such as Tsunoda Kunisada (1786-1864) them collectible treasures. At poetry gatherings, for number of famous poems on the subject which ing the 1790s and early 1800s. This is apparent and Utagawa Kuniyoshi (1797-1861). example, they were awarded as prizes or exchanged describe the lonely feeling experienced by a poet when compared to another print in the Clarence Surimono is a term used to designate both pri­ and traded under lively discussion.1 upon hearing the rhythmic beating of kinuta.2 Buckingham Collection of The Art Institute of vately commissioned single-sheet prints of various The woman in profile on the left is dressed in Chicago, Two Women Stretching Cloth on a Balcony 3 formats and loosely bound pamphlets or albums. a grayish kimono with a pink sash and a pink by a River (circa 1799). In both prints the slen­ As vehicles for kyoka (thirty-one syllable) or haiku Two Women Fulling Cloth by a River undergarment with dark green border; she is older der women have similar narrow features and grace­ (seventeen syllable) poems, which were often com­ by Katsushika Hokusai than her companion on the right, depicted in fully flowing robes. The Art Institute surimono plemented by illustrations, such small publications three-quarter view. Wielding her kinuta with great shows the veranda of an elegant city mansion. The were used with increasing frequency and regular­ Hokusai's design of two ladies in front of a rural vigor, the younger woman wears more hair orna­ house in the Smart Museum print, though placed ity during the eighteenth and nineteenth centuries dwelling probably embodies an allusion to a river ments and a bright pink kimono matched with a in a rural setting, is, however, equally r efined. One along with the popularization of poetry writing which is part of the classic artistic and literary rust-red obi (sash). The older woman's tightly can delight in the red trimmings around the two

19 18 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION pigments in addition to busier designs on the matron. The matron may belong to a daimyd (feu­ kimono and undergarments, accomplished by dal lord) or samurai family; her uchikake has embossing and silver, gold, bronze, and brass pow­ slipped off her shoulder to reveal a black kimono ders. These later eighteenth-century stylistic and marked with crests. technical changes are evident when juxtaposing the The matron glances up at a courtesan dressed Smart Museum print with an e-goyomi surimono in a pink kimono decorated with silver blossoms (privately published pictorial lunar calendar print) along the edge who stands behind her to the view­ of a similar subject in the collection of the er's left. This courtesan has large, light yellow pins Rijksmuseum, Amsterdam, executed by Hokusai in her hair and wears her robe with a seductively in 1798.7 Both surimono show six ladies of varied low neckline and exposed red undergarment. She ages and costumes. The Rijksmuseum print, how­ raises her arm in an alluring gesture and looks ever, depicts the women, dressed in kimono with diagonally down at the country woman in the subdued designs and fluid drapery folds, in com­ lower right corner. This attractive peasant woman paratively upright positions and seated closer wears a red scarf, a green kimono, and an under­ together in a smaller circle. It is possible that this garment with a wavy edge and embossing which print and the later, much livelier, Smart Museum gives it the look of crinkled crepe. She unselfcon­ surimono are mitate (fanciful modern transposi­ sciously leans back on her right hand. Before her tions) of the familiar theme of the Six Immortal on the ground are plum and pine branches Poets.8 Except for the appropriate number of fig­ wrapped in straw brought for the celebrations of ures, however, there is no definitive evidence for the New Year. The "informal" style courtesan this claim. ready for the bedroom and peasant woman relax­ The Smart Museum surimono is signed in the ing on the ground are both barefoot. lower left corner "Hokusai aratame Iitsu hitsu In the middle, bracketed by the "formal" and (Brushed by Hokusai changed to Iitsu)—a signa­ "informal" pairs, are two women of "semi-formal" Fig. 2. Katsushika Hokusai, A Group of Six Women, circa 1823, surimono woodblock, 7 15/16x 10 7/8 in. (20.2 x ture used by the artist from 1820 to circa 1830/' appearance—both cultured courtesans. One is 27.6 cm.) (sheet), Gift of Mr. and Mrs. Gaylord Donnelley, from the Frances Gaylord Smith Collection, 1974.66. In combination with the two characters in the dressed in a gray kimono with a wave pattern; she upper left corner "Sheep [year]-Spring," and con­ reads a poem on a tanzaku (poem slip). The curved angle of the tanzaku leads the viewer's eye panels under the eave; the narrow tree trunks numerous designs for surimono and albums com­ sidering that the beginning of spring coincided to the second "semi-formal" courtesan wrapped in marking the corner of the house and the door missioned by the most influential Edo kyoka (lit­ with the New Year according to the Japanese lunar frame; and the two short, light green vertical bars erally, "mad verse") gawa or ren (clubs).4 calendar, this particular signature helps to date the elaborately patterned robes. She looks down at the bird cage with bright red and green bars, the cen­ above the door and the six long, light green hori­ Created during this very productive time in print to New Year 1823. The characters directly zontal dividers of the base panel of the wall. Due Hokusai's career, Two Women Fulling Cloth by a above the signature read "Shin-gyo-so no hitsui tral focus of the print. Although the women lead very different lives, to their respective sizes, vertical center creases, and River bears the rare signature "Toyo Hokusai ga" (Block-semi-cursive-cursive brush style), an expres­ they all share the same expectation for the New lack of poems and embossing, it is possible that (Drawn by Hokusai of the Eastern Sun [Edo]), sion grouping the three main calligraphy styles and Year, namely, they long to hear the first song of the both prints are sheets detached from unidentified which the artist used in the year 1800.5 used by Hokusai to provide the viewer with a clue poetry albums rather than single-sheet surimono. for interpreting the content of his print. uguisu (bush warbler, or Japanese nightingale) Hokusai gained recognition in the world of Each of the women in the image can be said which is housed in the bird cage. This spring bird is mentioned in the kyoka placed above the design. poets at the end of the eighteenth century—a A Group of Six Women by Hokusai to belong to three main categories. Two of the golden age for the arts of Japan. He is believed to women are "formal" in appearance and social The verse was composed by a poet who used the kyomei (kyoka poetry name) "Shokkeien shujin have been introduced to these circles around 1791 The second of Hokusai's prints was designed in the occupation. The young woman in the upper right (Master of the Green Chicken Garden). It reads: by the foremost Edo publisher, Tsutaya Juzaburo early 1800s and is a saitan (New Year) s urimono. is clearly a princess fro m the classical Heian period (1750-1797), who had a talent for discovering, In a small horizontal format, it shows a group of (794-1185); she is looking down at the prim Hatsuyume no With New Year dreams promoting, and organizing the collaboration of six mostly seated ladies positioned around a bird matron seated in the lower left. The princess has makura agetemo we rise the best new artists and poets with whom he cage.6 The women are drawn in a manner which painted dots for eyebrows; long, straight hair tied uguisu no yet the uguisu socialized in the Yoshiwara pleasure quarters. reflects the eighteenth-century taste for stockier, at the back in a ponytail; and a multilayered mada ne mo taranu still needs sleep Hokusai, like the equally well-known ukiyo-e slightly more contorted figures with bristling dec­ kimono. The white, pleated skirt which fans out haru no akebono spring dawn! artists Kitagawa Utamaro (1753-1806) and Kitao orative hairpins and voluptuous robes. Also char­ behind her is contrasted with the black uchikake Shigemasa (1739-1820), consequently produced acteristic is the heavier and more contrasted use of (outer robe) with curvilinear hem worn by the

20 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION The Actors Ichikawa Danjurd VII and branch and bamboo stalks which adorn the screen Segawa Kikunojo V at Leisure indicate that it is the New Year season. An exotic by Utagawa Toyokuni robe, embellished with silver tassels, cloud, phoenix, and hexagonal medallion designs, and a Toyokuni's kakuban (square format) size surimono long white scarf for wrapping the head and neck depicts the famous actors Ichikawa Danjurd hang over the screen. Helping to direct the viewer's VII (1791-1859) and Segawa Kikunojo V attention to the figure of Danjuro, these items may (1802-1832) at leisure off stage. Danjurd is shown also allude to the role of a Mongolian king which in front of a large screen with a wide golden border Danjuro played with great success at the Moritaza and black lacquer frame with brass fittings. A Theater in Edo in the sixth month of 1823.12 By descendant of the most illustrious of the major act­ inference, the Smart Museum surimono was prob­ ing families, he was a brilliant, multifaceted, and ably issued for the New Year 1824. immensely popular performer during the 1820s Three kyoka are inscribed in the upper left half and 1830s. Danjurd also excelled as a producer, of the print. The first, on the right, is by a poet playwright, and poet, and was a celebrated bon called Rogetsutei Kinka. It evokes a mystic con­ vivant. Intent on furthering the fame of his lin­ nection with places on the distant mainland: eage, he cultivated the close friendship of artists, Daisdrei Far from the [scenic] Western especially Utagawa Toyokuni and Tsunoda Lake Kunisada. Toyokuni and his student Kunisada seiko wa oroka and Daiso Peak13 devotedly created numerous surimono which show ume yanagi yet with plum trees and Danjuro's striking elongated face with down- willows turned mouth, slanted eyebrows, and large bulging konna enishi no such bonds are even sensed eyes.10 an ni mo aroka in my hermitage! In the Smart Museum print, Danjurd is dressed in a formal kimono with a white sash. The The second kyoka is by the poet Osai Yaemaru. kimono is decorated with his personal crest of It mentions "cherishing the jewels of an uguisu," triple-crossed squares and a central peony on the "spreading fragrance," and "plum scented sleeves." shoulders and sleeves.11 The actor, known for his Since the paper is abraded, it is difficult to deci­ manly flair, holds a pipe in his right hand; in front pher all the characters and reach a final, cohesive of him are a red tobacco pouch, a square wooden translation of the verse. smoking tray/basket with a lacquered handle hold­ The last poem, in the place of honor on the ing a white bowl for glowing ashes, and a tall green left, is signed "Yomo Utagaki Magao" (literally, cup for disposing used tobacco. Toyokuni's signa­ "Four Directions—Singing and Dancing—Serious ture, almost rubbed out from handling, is found Face") and was composed by the kyoka poet near the lower right edge of the surimono. Shikatsube Magao (also called Kyokado, Hall of Danjurd glances at his actor colleague Kyoka, 1753-1829). Leaving his job as a merchant, Kikunojo seated beside him. Celebrated for his Magao became a hanja (judge) and then the leader enactment of female roles, Kikunojo here strikes a of the prominent Yomo (Four Directions) kyoka shy, coquettish pose as an unmarried woman from club; he made his living judging and grading a good family. His furisode (long-sleeved) kimono poems. Since the Yomogawa (Yomo club), along is decorated with white and light yellow embossed with affiliated groups, commissioned numerous chrysanthemums and bears the Segawa family crest surimono in the 1810s and 1820s, and since his of tied cotton. The chrysanthemum pattern was name appears in more prints than any other kyoka Fig. 3. Utagawa Toyokuni, The Actors Ichikawa Danjurd VII and Segawa Kikunojo Vat Leisure, circa 1824, surimono probably chosen since the name of this flower, poet, Magao can be said to be the poet most woodblock, 8 9/16 x 7 3/8 in. (21.7 x 18.7 cm.) (sheet), Gift of Mr. and Mrs. Gaylord Donnelley, from the Frances kiku, matches the first character of the name of responsible for the popularization of kyoka and the Gaylord Smith Collection, 1974.68. Kikunojo. proliferation of surimono. He created new, strict, The red and white embossed plum blossom yet flexible rules inspired by the philosophy that

22 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 23 all human beings carry the seed of enlightenment Hirahira to Fluttering, 7. Ibid., 104, fig. 103 [mistakenly dated 1796-97]; Toyokuni. The print depicts Danjuro VII's dresser, in their hearts and can hope to discover and Charlotte van Rappard-Boon, Hokusai and His make-up utensils, and a mirror which dramatically fukaba koboren if it blows, it will spread express this truth in their verses. School: Japanese Prints circa 1800-1840 (Amsterdam: reflects the actor's face made up for the role of Soga haru kaze ni in the [chilly] spring wind Magao and his arch rival, the inn keeper and Rijksmuseum, 1982), 14, 16, cat. no. 3; and Bowie, Goro; see Ward, One Hundred Surimono, cat. no. 51; mada te o dasanu my hands still pocketed Kenney, and Togasaki, Art of the Surimono, 152-153, and Bowie, Kenney, and Togasaki, Art of the Surimono, kyoka poet Yadoya no Meshimori (literally, sode no umegaka in sleeves of plum fragrance. cat. no. 92. The print measures 7 1/4 x 9 1/8 in. (18.4 x 22-23, cat. no. 8. Another surimono, commissioned by "Servant at the Inn"; also called Rokujuen, 23.2 cm.); Rijksmuseum accession number 64:810. the Gogawa and designed by Hokusai's student Totoya ^ 753— 1830), had both been students of the kyoka In their style, content, and format, surimono Embossed on the fan are the long and short months of Hokkei (1780-1850), repeats this crest in a wide deco­ poet Ota Nampo (poet names, Yomo no Akara contributed to the advancement of a visual culture the lunar calendar year. The print features six kyoka. rative lower border. The border frames a picture of Danjuro represented as the fat, generous, genial god and Shokusanjin, 1749—1823). Yadoya no centered on the prosperous middle class that rose 8. These six poets (Kisen Hoshi, Sojo Henjo, Otomo Hotei; see ibid., 144-145, cat. no. 88. Danjuro also Meshimori was the son of the famous ukiyo-e artist no Kuronushi, Fun'ya no Yasuhide, Ono no Komachi, to prominence in eighteenth- and nineteenth-cen­ used the Ichikawa family crest which consisted of three Ishikawa Foyonobu (1711-1785) and he was the and Ariwara no Narihira) are mentioned by Ki no tury Japan. As striking visual records of literary concentric squares. leader of the Gogawa kyoka club. Although a Tsurayuki (circa 872-945) in the preface of the waka and theatrical activity in late-Edo Japan, these collection called Kokinshii (circa 905); see Helen Craig 12. Ihara Toshiro, Kabuki nempyd (Tokyo: Iwanami scholar of national studies, Meshimori indulged in prints document the cultural aspirations of a McCullough, Kokinshii: The First Imperial Anthology of Shoten, 1956-1963), 6:101. vulgar slang, humorous puns, and references to the bygone era. Through their evocation of longing Japanese Poetry (Stanford: Stanford University Press, 13. Western Lake and Daiso Peak are places in customs of the Yoshiwara pleasure quarters. Magao and hope for well-being shared by poetic spirits, 1985), 7. China. The Western Lake was known for its beautiful described ordinary emotions using contemporary the surimono of Katsushika Hokusai and Utagawa 9. This signature is shown and dated in Lane, vistas of islands and nearby sites with funerary mounds. language, but unlike his rival, he also insisted on Toyokuni in the collection of the Smart Museum Hokusai, 278-279. See Shinmura Izuru, Kdjien (Tokyo: Iwanami Shoten, 1976), s.v. "Seiko". endowing his verses with a restrained courtly ele­ of Art can excite the viewer of today as they did in 10. A characteristic portrait of Danjuro, shown gance and gentleness because he thought of kyoka the artists' own time. preparing to inscribe a fan in his dressing room, can be 14. Donald Keene, World Within Walls: Japanese as a light hearted variation of waka (classical thir­ seen in Keyes, The Art of the Surimono, 1:274 (cat. no. Literature of the Pre-Modern Era, 1600-1867 (New ty-one syllable verses).1"* Magao's verse on the 241). Toyokuni designed a series of surimono for the York: Holt, Rinehart and Winston, 1976), 521-522; Smart Museum surimono reads: Gogawa kyoka club in circa 1820 which featured por­ Bowie, Kenney, and Togasaki, Art of the Surimono, traits of all the Danjuro, from the first to the seventh. 25-38; Kondo, "L'Evolution des kyoka"; Kano Kaian, The portrait of Danjuro VII bears the descriptive ed., Kyoka jinmei jisho (Tokyo: Bungyodo and Hirota inscription "Danjuro the Seventh with the Great Shoten, 1928), 214, 228; Sugimoto Nakashige and Notes Eyeballs." It is reproduced in Bowie, Kenney, and Hamada Giichiro, comp., Senryii—kyoka shu, Nihon Togasaki, Art of the Surimono, 112, cat. no. 65. For fur­ koten bungaku taikei, no. 57 (Tokyo: Iwanami Shoten, 1. Surimono are defined and discussed in Theodore 3. Matthi Forrer, Hokusai: Prints and Drawings ther information regarding the surimono and the Kabuki 1958), 477; Kodansha Encyclopedia of Japan (Tokyo: Bowie, James T. Kenney, and Fumiko Togasaki, Art of (Munich and London: Prestel Verlag and Royal theater, see also ibid., 98-147. Kodansha, 1983), s.v. "kyoka"; "Ishikawa Masamochi"; the Surimono (Indiana: Indiana University Art Museum, "Shikatsube Magao"; and Suga Chikuho, Kinsei kyoka Academy of Arts, 1991), n.p., cat. no. 90. 11. Danjuro's personal crest is seen on a small cloth 1979); Roger Keyes, Surimono: Privately Published shi (Tokyo: Nakanishi Shobo, 1925), 333-343. for removing make-up in a surimono which was com­ Japanese Prints in the Spencer Museum of Art (New York: 4. For more information regarding Tsutaya and his missioned by the Gogawa club and designed by Kodansha International, 1984); idem, The Art of the involvement with poets and ukiyo-e artists, see Eiko Surimono: Privately Published Japanese Woodblock Prints Kondo, Devolution des kyoka et leurs rapports avec and Books in the Chester Beatty Library, Dublin, 2 vols. 1 ukiyo-e, in Les objets tranquilles: Natures mortes japon- (London: Philip Wilson Publishers for Sotheby aises (Paris: Galerie Janette Ostier, 1978), n.p. The kyoka Publications, 1985); Matthi Forrer, Egoyomi and movement, as well as Hokusai's poetry surimono, Surimono (Uithoorn: J.C. Gieben, 1979); Sidney C. albums, and picture books, is discussed in Richard Lane, Ward, One Hundred Surimono in the Collection of Sidney Hokusai: Life and Work (New York: E.P. Dutton, 1989), C. Ward (Privately printed, 1976); and Eiko Kondo, 25-27; and Matthi Forrer, Hokusai (New York: Rizzoli 1988), 44-144. Three Albums of Surimono Preserved in the Bibliotheque Nationale in Paris," East and West 35 5. Regarding the date of the signature, see Lane, (September 1985): 211-262. Hokusai, 279. The signature is also found on a long, horizontal format surimono of tortoises and rocks at The 2. The theme of longing associated with the sound of kinuta is well-known in Chinese poetry of the Tang Art Institute of Chicago, issued for the year 1800. The dynasty, classical Japanese literature, and notably, also print was a gift of Flelen C. Gunsaulus (accession num­ in the No play called Kinuta by the great playwright ber 1954.647) and is reproduced in Forrer, Hokusai, 62, fig. 62. Zeami (1363-1443). See David and Alfred Smart Gallery, Ritual and Reverence: Chinese Art at the 6. Another impression of this print is preserved in University of Chicago (Chicago: David and Alfred Smart the Fitzwilliam Museum, Cambridge, England (acces­ Gallery, University of Chicago, 1989), 99-100, cat. no sion number P.55-1938); see the very small reproduc­ 101. tion in ibid., 295, fig. 344.

SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 25 HARRIE A. V A N D ER S T AP P E N

Brush and Ink Paintings by Modern Chinese Women Artists in the Smart Museum Collection

ssisted by a grant from the National sical art and archaeology, and chair of the Art AEndowment for the Arts, in 1989 the Smart History Department of the University of Museum organized and mounted an exhibition of Wisconsin-Madison until his untimely death in ancient artifacts and later dynastic scroll paintings June 1992. Brushed in ink and light color on from its permanent collection of Chinese art. fibrous paper, the small painting represents a win­ Shortly before the accompanying catalogue went ter landscape in snow and is inscribed in the upper to press, the Museum acquired by gift its first right Xue jiang tu Zeng Youhe [ Tseng Yuho] (Snow Fig. 1. Tseng Yuho, Snow Along the River, circa 1947-48, ink and light color on paper, 11 x 18 11/16 in. (27.9 x 47.5 cm.) (painting), Gift of Warren G. Moon, Ph.D. '75, in memory of Edward A. Maser, Founding Director of the 2 example of modern Chinese brush and ink paint­ Along the River by Tseng Yuho)(fig. I). Below the Smart Gallery, 1973-1983, 1989.12. ing, a small landscape executed on the mainland title and artist's name appear two square red seals during the turbulent era between the end of the that read, ZengZhaoheyin [Tseng Chao-hoyin] and Second World War and the establishment of the Youhe shu hu a [ Yuho shu hua\; Zhaohe [ Chao-ho], gentleman-painter, calligrapher, and poet, Dong scholar painters and vast state collections of for­ People's Republic of China. In the past three years, in the first seal, is the artist's given name while the Qichang (1555-1635). This type of composition mer imperial paintings. Born in 1923, she received this and other gifts from several donors of twenti­ second seal translates as "written and painted by supposedly was invented and first brushed by the instruction from prominent traditional artists, eth-century scroll paintings have encouraged the Youhe [Yuho]." famous poet and painter Wang Wei (699-759); it among them Pu Jin (1880-1966, better known by development of a new direction of collecting, Upon first inspection, one sees the zigzagging was modified and emulated by a number of great his art name, Pu Xuezhai), who, as professor and scholarship, and appreciation of Chinese art at the shoreline of a cold gray river stretching far into the artists such as Dong Yuan in the tenth century, dean of the college of art at Furen University and Museum that is a significant addition to the mate­ distance of the snowy white land under a leaden Zhao Mengfu (1250-1322), and later by Dong, teacher at the Beijing Academy of Art, was associ­ rial presented in the exhibition and catalogue, sky. The shoreline is constructed as a sequence of all of whom, according to Southern School tenets, ated with the conservative group of painters in Ritual and Reverence: Chinese Art at the University snow-covered spits of land that diminish in size as advanced the "scholar-amateur" manner of paint­ north China who espoused traditional principles of Chicago. Of special interest are two works, Snow they recede towards the horizon. Scattered here ing (a literatus approach as opposed to profession­ of brush and ink painting in his studio course on 3 Along the River and Green Matter, by women and there on the landspits in the left part of the al and court academic practice). This tradition is landscape painting. The disciplined brushwork, painters that reflect and continue a centuries-old painting, fir and pine trees alternate with leafless suggested compositionally by the arrangement of compositional scheme, and canonical subject mat­ tradition of sustained cultural and artistic activity shrubs and accent the lonely path into the far hori­ trees and landspits, and technically by the use of ter of Tseng's Snow Along the River point to the in China.1 These two acquisitions by prominent zon. The contrast of these black ghostlike trees and pima cun (hemp fiber) brushstrokes for contours influence of Pu's artistic philosophy. modern painters schooled in traditional Chinese bushes with the white blanket of snow adds a sub­ and textures. Human presence would insert an Another interpretive consideration in this brush techniques, painting styles, and subject mat­ tle poignancy to the bleak setting. unwelcome reminder of temporality into this painting is the faint overtone of western perspec­ ter interestingly incorporate western forms and This, however, is only one potential reading of scene, which is preserved in its pristine beauty as tive. The consistent linear recession seems more contemporary attitudes into this conservative the image. Its title and manner of execution call to an abstract and poetic reflection on wintry loneli­ prominent than the traditional Chinese mode for matrix. mind a more than thousand-year-old Chinese ness. extended views, pinyuan (level distance), in which The first modern Chinese painting entered the painting tradition associated since the seventeenth Tseng Yuho's link to the venerable tradition of symmetry is maintained between areas as they collection in September 1989, a gift from the late century with the orthodoxy of the so-called literatus painting was established during her for­ recede into the background. Instead of gradually Professor Warren G. Moon, the distinguished Southern School, an artistic lineage defined by mative years as an art student in the Qing dynasty adjusting the local scene to a place in the ever- University of Chicago alumnus, specialist in clas­ the late Ming painting connoisseur, art critic, capital city of Beijing, with its classically trained increasing distance according to the standards of

26 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 2~J Hong Xian ([Hung Hsien] Margaret Chang, born 1933) is a Chinese artist of a slightly younger generation than Tseng Yuho and the Smart Museum is the fortunate recipient of one of her paintings generously donated in December 1991 by Mary McDonald of Lincolnwood, Illinois. Entitled Green Matter (figs. 2a-c), this unique trip­ tych is signed, sealed, and dated 1971 in the lower left part of the central panel and sealed on the lower left part of the left panel. Its subject matter is the graceful movement of cell-like organisms clus­ tering and floating into sequences of shapes that readily translate into rock formations. Hovering lines and shapes in the upper part of the painting allude to flowing water and banks of mist, while in the center and upper left, indications of gullies lead into distances beyond. All shapes share a com­ mon color and malleable bulk. In Green Matter, nature appears to wait at the edge of its own con­ sciousness for, as its title poetically suggests, the prototypal existence of a world in which clean shape, finely fading color, and flowing contour are open to any transformation into a life of wonder and excitement. This painting was made in Evanston, Illinois during a period of extraordinary activity and artis­ tic maturation. Already well-established during the sixties when she created such exquisite landscapes as Rising Tides of 19 69 (Betty Monroe Collection, Chicago) that are filled with all manner of watery gestures, Hung continued to refine her work cre­ ating paintings like Green Matter that quiet down Figs. 2a-c. Hung Hsien, Green Matter, 1971, hanging scroll triptych, ink and colors on paper, 73 x 37 in. (185.4 x into spaces which make room for rocklike shapes 94 cm.) (each painting), Gift of Mary McDonald in honor of Harrie A. Vanderstappen, 1991.360a-c. taught at Furen University and whom she married "as if these were animated objects in open primor­ in 1945, moved to Fujian in South East China. In dial space. "5 level distance, Tseng Yuho indicates that all things graduated in 1942 and despite the fact that she late 1949, after Beijing fell to the forces of Mao Hung Hsien was born in Yangzhou, a city that unite as they move to a single vanishing point on trained almost exclusively in Chinese painting— Zedong, Tseng and Ecke moved again, this time became famous for its culture and its wealth in the the horizon. with its demands for excellence in brushwork, to Hawaii where she has made her home ever salt trade, especially in the eighteenth century.6 To Tseng's use of western perspective, like her knowledge of Chinese art history, and thorough since. this day, Yangzhou has remained a beautiful city command of traditional style painting methods, grounding in traditional painting techniques—she Since that time, Tseng Yuho has established and Hung Hsien and her family have continued may be traced to her student training in Beijing at also took with her an understanding and appreci­ herself as a remarkable Chinese artistic personality, many of its cultural traditions, making notable Furen University, a Catholic institution adminis­ ation of western artistic traditions. In any case, the as an art historian, a student and practitioner of contributions, for example, as poets and calligra- tered under the auspices of the Apostolic See by influence is notable in only a few examples of her calligraphy, and a remarkable producer of paint­ phers. When they were involved in the unfortu­ the Society of the Divine Word (SVD), a world­ work, among them Snow Along the River. ings, such as Snow Along the River, in which the nate turmoil of the Second World War, Hungs wide missionary order. The department of art, The Smart Museum painting displays brush- colors of earth and precious stone are comple­ family moved to Chongqing; after spending some although mainly staffed by Chinese artists, includ­ work comparable to Tseng's works of the late mented by the textures of calligraphy and the time in post-war Nanjing, Hung Hsien moved to ed some western methods of painting and draw­ 1940s.4 It was during this time that the artist and shapes of distant hills, revealing unending rows of Taiwan in 1948. ing and art history in its curriculum. Tseng Yuho her husband Gustav Ecke, an art historian who trees that express the continual flow of life. Her earliest teacher was Prince Pu Xinyu

28 SMART MUSEUM BULLETIN STUDIES IN THE PERMANENT COLLECTION 29 (1896-1963), who was classically trained as a Both of these techniques play a dominant role in 3. Pu Jin was a Manchu, a member of the Qing Capitalism in Eighteenth-Century China," Harvard scholar in literature and calligraphy, and achieved the Smart Museum painting: the strength of line imperial family, and a distant cousin of the last emperor Journal of Asiatic Studies 17 (1954): 130-169 and fame in the 1930s as a painter.7 He traveled to and subtle shades of color lend the painting its Pu Yi (1906—1967). For a brief biography and discus­ William Henry Scott, "Yangchow and Its Eight sion of his painting, see Julia K. Murray, Last of the Eccentrics," Asiatische Studien 17 (1964): 1-19, esp. Taiwan in 1949 and began teaching at the Taiwan pristine clarity. And although one may still see a Mandarins: Chinese Calligraphy and Painting from the 1-5. Normal University where Hung Hsien became his faint reference to the western mode of composi­ F.Y. Chang Collection (Cambridge, Mass.: Arthur M. 7. Prince Pu was a Manchu, a descendent of the outstanding pupil. In addition, she studied both tion in the work, its execution and references are Sackler Museum, Harvard University Art Museums, Daoguang emperor (r. 1821-1851), and a cousin of Pu Chinese and western painting with other artists thoroughly eastern. The faultless and meticulous 1987), 56-57, cat. no. 21. Jin. See Chu-tsing Li, Trends in Modern Chinese Painting then working in Taiwan. In 1958 Hung Hsien combination of textured strokes, gradations of 4. This type of brushwork appears in Claws of Wood (The C.A. Drenowatz Collection) (Ascona, Switzerland: moved to the United States, settling in Evanston light and dark turnings in the contours, and bril­ and Fist of Rock (1947) in the collection of the Honolulu Artibus Asiae Publishers, 1979), 105-111. with her architect husband, T.C. Chang. After liant contrasts between color and dark ink recesses Academy of Arts. Although the subject matter is differ­ 8. Artists such as Liu Guosong and Fong Zhongray studying both art history and western art tech­ recall the work of such great artists as the Qing ent, some of the strokes and dotting in this painting can were part of the Fifth Moon Group, an artists' exhibit­ be recognized readily in the Smart Museum's painting. niques at the Art Department of Northwestern Buddhist monk painter and peripatetic recluse, ing society founded in Taiwan in 1957 and active in the See Tseng Yuho and Howard A. Link, The Art of Tseng University, she began to explore relationships Bada Shanren (1626-1705).9 Still, the rhythm of 1960s. Liu invited Hung Hsien to join the Fifth Moon Yuho (Honolulu, Hawaii: Honolulu Academy of Arts, Group in 1966. For a brief yet informative discussion between western and Chinese painting traditions. the rock shapes and the tantalizing abstract varia­ 1987), n.p., fig. 1. of the group and its members, see The Arts Club of Oil painting was her primary concern until the tions of repeated silhouettes combine to link the 5. Chu-tsing Li, "Rocks, Trees, Clouds, and Water: Chicago, Fifth Moon Group (Chicago: The Arts Club of mid-sixties, when she resumed work in a more tra­ painting with emancipated forms of modern visu­ The Art of Hung Hsien," in Spencer Museum of Art, Chicago, 1974). ditional Chinese manner. She and some artists in al language, which in turn produce a dream-image Hung Hsien (Lawrence, Kansas: Spencer Museum of 9. For a recent discussion of Bada Shanren and his Taiwan, especially Liu Guosong (born 1932), of a nature that has retreated to its origins, Art, 1978): n.p. work, see the exhibition catalogue by Wang Fangyu and combined western modes with traditional Chinese untouched by pollution and technology. 6. For the economic and social background of mid- Richard M. Barnhart, Master of the Lotus Garden: The brush techniques in ink and color on roughly tex­ Although they did not remain on the main­ dle-Qing Yangzhou, see Ho Ping-ti, "The Salt Life and Art of Bada Shanren (1626-1705) (New tured paper. Hung's experiments led to some high­ land except for a few years after the Second World Merchants of Yangshou: A Study of Commercial Haven: Yale University Art Gallery, 1990). ly textured and densely brushed paintings, of War, Tseng Yuho and Hung Hsien were not unlike which Rising Tides, mentioned earlier, is one of the their artist colleagues still in China, grappling with best examples.8 the difficult reconciliation of American and The open, spatial largesse of Green Matter European modernism with traditional Chinese coincides with a return to Chinese painting tech­ styles and aesthetics. Their artistic solutions, as niques and references to Chinese painters of the witnessed in Snow Along the River and Green past. As a student, Hung Hsien received a thor­ Matter, reveal not only the revival of classical brush ough training in the Chinese calligraphic stroke and ink painting in unmistakably modern terms, and the use of color without outline or, as it is but also the insight, skill, and versatility of these called in Chinese, mogu (the boneless manner). two Chinese women artists.

Notes

1. The role of women painters during the Song, Chinese women artists was represented in the Smart Yuan, Ming, and Qing dynasties has itself only recendy Museum's collection by a late Qing handscroll of received critical scholarly attention, and the work of orchids by the Daoist nun Yun Xiang, which was pub­ these artists is increasingly recognized as a rich and var­ lished for the first time in Ritual and Reverence: Chinese ied manifestation of traditional Chinese cultural achieve­ Art at the University of Chicago (Chicago: David and ment centered around brush and ink painting; see Alfred Smart Gallery, University of Chicago, 1989), Indianapolis Museum of Art, Views from Jade Terrace: 136—140, cat. no. 121. Chinese Women Artists 1300-1912 (Indianapolis and 2. Although it has been more common since 1979 to New York: Indianapolis Museum of Art and Rizzoli adopt the pinyin romanization system of Chinese char­ International Publications, 1988); see also Flowering acters, the older Wade-Giles spelling of Tseng Yuho and in the Shadows: Women in the History of Chinese Hung Hsien will be retained in order to reflect both the and Japanese Fainting, edited by Marsha Weidner artists' preferences and publications of their life and (Honolulu: University of Hawaii Press, [1990]). Prior work. to these recent donations, the accomplishment of

30 SMART MUSEUM BULLETIN

COLLECTIONS ART GREEN American, lives in Canada, born 1941 Cold Facts, 1979 Oil on canvas, in original artist's frame, 48 3/4 x 35 3/4 (123.8 x 90.8) (without frame), 49 1/2 x 36 1/4 (125.7 x 92.1) (with frame) Acquisitions Gift of Judith and Howard A. Tullman, 1992.21

BRIAN ILLSEY British, born 1937

BRIAN ILLSEY EUROPEAN AND PETER BLAKE JOANNE CARSON Abstract, 1985 AMERICAN British, born 1932 American PVA and sand on masonite, with Wall, 1959 Heaven, 1981 frame designed by artist, 9 3/4x9 3/4 Collage, wood and oil on masonite, in Mixed media construction (oil, wood Painting (24.8 x 24.8)(without frame), original painted wooden frame, and objects), 84 x 103 x 27 16 1/8x 15 5/8 (41 x39.7) 18 1/4 x 10 7/16 (46 x 26.5) (without (213.3x236.2x68.6) Artist unknown, probably American (with frame) frame), 18 7/8x 11 1/4 (47.8 x 28.6) Gift of Dr. and Mrs. Stephen M. View of Venice, circa 1900—10 Gift of P.N. Barnes-The London Oil on board, 5 1/4x8 1/2 (with frame) Harrison, 1991.408 Gallery, 1991.368 (13.3x21.6) Gift of Sylvia Sleigh in memory of University Transfer, 1991.270 Lawrence Alloway, 1991.277 WILLIAM CONGER MARK JACKSON American, born 1937 American KAREL APPEL JESSIE ARMS BOTKE Untitled, 1981 Maneouvres, 1981 Dutch, born 1921 American, born 1883 Oil on canvas, 20 3/4 x 18 3/8 011 on plywood, 24 x 24 (61 x 61) Untitled, 1969 Study for the "Masque of Youth"Mural, (52.7 x 46.7) Anonymous Gift in memory of Ida Noyes Theater, University of Anonymous Gift in memory of Acrylic on paper and canvas, 26 x 20 Dr. Martin Arons, 1991.6 (66 x 50.8) Chicago, n.d. Dr. Martin Arons, 1991.5 Gift of Arthur Paul, 1992.37 Oil on canvas, 15 3/4 x 37 1/4 PAUL LAMANTIA (40 x 94.6) Attributed to CORRADO American, born 1938 MILTON AVERY University Transfer, 1991.267 GIAQUINTO (possibly a contempo­ Sorry Wrong Number, 1972 American, 1893—1965 raneous studio copy) Oil on canvas, 73 3/8 x 84 1/2 ROGER BROWN Italian, Roman School, Gaspe—Pink Sky, 1943 (186.3x213.4) Oil on canvas, 36 x 42 (91.4 x 106.7) American, born 1941 circa 1690-1765 Gift of Naomi and Richard Vine, The Mary and Earle Ludgin Spies, 1985 Bozzetto for the Soffit of the Capella 1991.355 Collection, 1991.406 Oil on canvas, 48 x 33 (121.9 x 83.8) della Madonna in the Duomo of Gift of Judith and Howard A. Casena: Madonna and Child, Peter Blake, Wall, 1959, 1991.277. BEN MAHMOUD Tullman, 1992.20 circa 1750 THOMAS HART BENTON American, born 1935 American, 1889—1975 Oil on canvas mounted on board, Some Things Come Apart, 1989 Cats, circa 1956 CYNTHIA CARLSON 15 1/2x38 3/4 (39.4x98.4) Acrylic on canvas, 56 x 60 ROBERTO MATTA ECHAURREN, LUDWIG MEIDNER Oil on board, 6x8 1/4 (15.2 x 21) American, born 1942 Gift, Collection of Edward A. and (142.2 x 152.4) called MATTA German, 1884—1966 Gift, Collection of Edward A. and Comedy in Three Acts, 1977 Inge Maser, 1991.356 Gift of Dr. Avi Lotan and Chilean, active in U.S.A., born 1911 Interior (The Artist s Bedroom), 1909 Inge Maser, 1991.2 Acrylic and wax paint stick on Prof. Shulamit Ran, 1992.45 Je marche, 1949 Oil on canvas, 23 5/8 x 23 5/8 canvas, 30 x 42 (76.2 x 106.7) LEON GOLUB Oil on canvas, 76 1/4 x 55 (60 x 60) Gift of June and Francis Spiezer, American, born 1922 LEON A. MAKIELSKI (193.7 x 139.7) Gift of Mrs. Ruth M. Durchslag, 1991.275 Prodigal Son, 1956 American, born 1885 Gift of Lindy and Edwin Bergman, 1991.405 Oil on canvas, 45 x 36 3/4 Landscape Study, n.d. 1991.289 (114.3x93.3) Oil on board, 6 1/8 x 9 (15.6 x 22.8) Gift of Allan and Jean Frumkin, University T ransfer, 1991.269 1991.396

34 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT GEORGE NICK WILLIAM WILKINS FERDINAND DELPERIER CHARLES SALERNO American, born 1927 American French, active 1900 American, born 1916 French Consulate, Boston, 1973 Maria, 1978 Plaque, circa 1900 Apple Tasters, 1957 Oil on canvas, 35 1/8x21 Oil on canvas, with gessoed frame Cast bronze, 1. 18 3/4 (47.6) Carved serpentine, h. 12 (30.5) (84.1 x 53.3) designed by the artist, 14x18 Gift of Fay S. Stem, 1990.10 Gift of John N. Stern, 1990.9 Gift of P.N. Barnes-The London (35.6 x 45.7) (without frame) Gallery, 1991.369 Gift of the Joel and Carole Bernstein French, Burgundy (?) LORADO TAFT Family Collection, 1991.361 Architectural Fragment: Foliate American, 1860—1931 GEORGE NICK Capital, circa 1150 Abraham Lincoln as a Young Lawyer, Holbrook, Mass., 1973 Sculpture Carved and drilled limestone, 1927 Oil on canvas, 40 1/2 x 44 1/4 h. 11 1/4 (28.6) Original model for the bronze in (102.2 x 112.4) DON BAUM Gift of Rolf Achilles and Patricia John, Court House Square, Urbana, Illinois Gift of P.N. Barnes-The London American, born 1922 1992.2 Carved and modeled plaster, Gallery, 1991.370 False Image "O", 1972 h. 75 (179) Mixed media, 24 1/2 x 18 1/2x4 1/2 HERBERT GEORGE University Transfer from Midway KENZO OKADA (62.2 x 47 x 11.4) American, born 1940 Studios, 1991.283 American, born in Japan, 1902—1982 Gift of Arthur Paul, 1992.38 Spacehold #10, 1975 Solstice Number 1, 1953 Sitka spruce and mahogany plywood, PIERRE PHILIPPE THOMIRE Oil on canvas, 70 x 58 (177.8 x 147.3) SCOTT BURTON 80 x 142 x 31 (203.2 x 360.7 x 78.7) French, 1871-1843 The Mary and Earle Ludgin American, 1939—1989 Gift of Herbert and Anna George, Table Centerpiece: Two Dancing Collection, 1991.407 Bench and Table, designed 1988, 1992.46 Maidens and a Youth, n.d. realized 1991 Gilt cast bronze, h. 25 (63.5) ED PASCHKE Polished carved granite, two units, AKOP GURDJAN[E] Gift of Mrs. Robert B. Mayer, American, born 1939 19x52x26 (48.2x 132.1 x66) Armenian 1991.274 Automagica, 1986 (bench), h. x diam. 28 xl5 Untitled (Seated Egyptian Woman), Oil on canvas, in original artist's (71.1 x 38.1) (table) 1930s WILLIAM TURNBULL frame, 20x48 (50.8x 121.9) Purchase, Gift of the Smart Family Cast bronze, h. without base British, born 1922 (without frame), 20 1/2 x 48 5/8 Foundation in honor of Vera and 13 1/8 (33.3) Game, 1949 (52.1 x 123.5) (with frame) Max Pechstein, Head of a Girl, 1910, 1992.19. A.D. Elden, 1991.255 Gift of Mr. and Mrs. John N. Stern, Cast bronze, 8 3/4 x 12 x 20 Gift of Judith and Howard A. 1992.28 (22.2 x 30.5 x 50.8) Tullman, 1992.22 COSMO CAMPOLI Gift of Sylvia Sleigh, 1991.4 WALTER SARGENT DAVID SHARPE American, born 1922 EMMANUEL HANNAUX MAX PECHSTEIN American, 1868—1927 American, born 1944 Birth of Death, 1950-51 French, 1855—1934 WILLIAM WRIGHT German, 1881-1955 November Twilight, 1911 Conk, 1972 Cast bronze, 1. 32 (81.3) Helmeted Youth (Young Warrior), n.d. English Head of a Girl, 1910 Oil on canvas, 27 1/8 x 32 1/8 Oil on canvas, 24 x 28 (61 x 71.1) Gift of Joyce Turner Hilkevitch, in Cast bronze, h. 15 1/4 (38.8) Flying Draped Female Figure (Fame!) Oil on canvas, 20 1/2 x 20 (68.9x81.6) Gift of Arthur Paul, 1992.44 memoriam Jonathan B. Turner, Purchase, Edward A. Maser Memorial Blowing A Trumpet, 1883 (52.1 x 50.8) University Transfer, 1991.263 1991.357 Purchase Fund, 1990.17 Modeled and carved terracotta Gift of Mr. and Mrs. Joseph Randall WILLIAM TURNBULL (or tinted plaster?), 18 1/4 x 12 3/4 Shapiro, 1992.19 WALTER SARGENT British, born 1922 JEAN-BAPTISTE CARPEAUX JENE HIGHSTEIN (46.4 x 32.4)(sight) Landscape, before 1915 Untitled, n.d. French, 1827-1875 American, born 1942 Gift of John N. Stern, 1991.1 JOHN PHILLIPS Oil on canvas, 32 x 40 (81.3 x 101.6) Oil on canvas, 73 1/2 x 100 L Afrique or Une Negresse (An African Truncated Pyramid, 1989 American University Transfer, 1991.271 (186.7x254) Woman), after 1868 Carved marble, h. 66 (167.6) JACK ZAJAC Henri Matisse Paints a Tree, 1989 Gift of Sylvia Sleigh, 1991.3 Cast bronze, h. 13 1/4 (33.7) Purchase, Gift of the Smart Family American, born 1929, Oil and collage on canvas, 60 x 70 WALTER SARGENT Gift of J.H.J. Lewis, 1991.358 Foundation in memory of Dana Untitled, n.d. (152.4 x 177.8) Apple Blossom, n.d. BENJAMIN WEST Feitler, 1992.27 Polished cast bronze with wooden Gift of the Friends and Students of Oil on canvas, 22 3/4 x 27 3/8 American, active in England, JEAN-BAPTISTE CARPEAUX mount, h. 44 (111.7) (without mount) Jerald C. Brauer, 1992.49 (57.8 x 69.5) 1738-1820 Le Chinois (A Chinese Marl), ANNA VAUGHN HYATT Gift of Mrs. Diane Palmer, 1992.47 University T ransfer, 1991.264 The Graces Unveiling Nature, after 1868 HUNTINGTON CARL RUNGIUS circa 1780 Cast bronze, h. 13 5/8 (34.6) American, 1876—1973 Drawings German, active in U.S.A., 1869—1959 Attributed to Study for the ceiling of the entrance Gift of J.H.J. Lewis, 1991.359 Diana, 1950 The End of the Roundup, n.d. CARL OTTO SCHURIG hall of the Royal Academy, London Cast aluminum, h. 31 1/4 (79.4) Artist unknown, probably English Oil on canvas, 50 3/8 x 60 1/4 German Oil on canvas, diam. 10 3/4 (27.3) ALEXANDRE-LOUIS-MARIE University Transfer, 1991.265 Untitled (Winter Holiday Scene), 1920s (127.9x153) Apostle (after Rembrandt van Rijni), Gift, in honor ofTeri J. Edelstein CHARPENTIER Pen and ink on wove paper, University T ransfer, 1991.268 1893 from the Collection of Edward A. and French, 1856-1909 GASTON LACHAISE 6 1/8 x 5 1/2 (15.6 x 14) (image) Oil on canvas, 50 x 39 1/8 Inge Maser,1991.276 Inkwell (Encrie) or Starvation American, born in France, Gift ofTeri J. Edelstein, 1991.293 (127x99.4) (Ajfame), 1894 1886-1935 University T ransfer, 1991.272 Cast bronze, h. 9 (22.9), 1. 10 (25.4) Standing Nude, n.d. Gift of Mr. and Mrs. John N. Stern, Cast bronze, ed. 3/11, h. without base 1992.25 7 7/8 (20) Gift of Fay S. Stern, 1991.10

36 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 37 WILLIAM BAILEY ROBYN DENNY PETER HOLBROOK PHILIP PEARLSTEIN THEOPHILE-ALEXANDRE WILLIAM TURNBULL American, born 1930 Untitled (Abstraction), 1959 American, born 1940 American, born 1924 STEINLEN Untitled (Abstraction), n.d. Reclining Nude, 1975 Gouache on wove paper, 22 3/4 x Untitled, 1964 Models Seated on Couch, Arms Swiss, 1859-1923 Brush and ink on laid paper, Pencil on wove paper, 11 1/4x15 32 3/16 (57.8x81.8) (sheet) Oil on wove paper, 25 3/4 x 20 Intertwined, 1971 Black Cat on My Writing Desk (Chat 22 1/8 x 30 1/16 (56.2 x 76.3) (sheet) (28.6 x 38.1) (sheet) Gift of Sylvia Sleigh, 1991.301 (65.4 x 50.8) (sheet) Pencil on wove paper, 18 3/4 x 23 7/8 noir sur mon tabouret), circa 1896 Gift of Sylvia Sleigh, 1991.309 Gift of the Joel and Carole Bernstein Gift of Arthur Paul, 1992.41 (47.6 x 60.6) (sheet) India ink, gouache and blue colored Family Collection, 1991.362 ROBYN DENNY Gift of the Joel and Carole Bernstein pencil over preliminary pencil drawing WILLIAM TURNBULL Untitled (Abstraction), 1959 GASTON LACHAISE Family Collection, 1991.365 on wove paper, 8 7/16 x 12 1/8 Untitled (Abstraction), n.d. ROBERT BARNES Gouache on wove paper, 32 3/16 x American, born in France, (21.4 x 31.1) (sheet) Brush and ink on rice paper, American, born 1934 22 3/4 (81.8x57.8) (sheet) 1886-1935 SIR ROLAND PENROSE Gift of Alan P. Henry, 1992.3 25 1/2 x 34 1/4 (64.8 x 87) (sheet) Six Mile Bottom II, 1977 Gift of Sylvia Sleigh, 1991.302 Nude (No. 17), n.d. British, 1900-1984 Gift of Sylvia Sleigh, 1991.306 Brush and casein on wove paper, Pencil on wove paper, 18x11 15/16 Untitled, 1937 WILLIAM TURNBULL 16 1/2x17(41.9x43.2) (sheet) ROBYN DENNY (47.5 x 30.3) (sheet) Pencil, frottage and collage on paper- British, born 1922 WILLIAM TURNBULL Gift of Phil Shorr, 1992.7 Untitled (Abstraction), circa 1959 Gift of John N. Stern, 1991.291 board, 19 5/8x25 5/8 Untitled (Two Figures), 1952 Untitled (Abstraction), 1957 Gouache on wove paper, 9 5/8 x 8 1/4 (49.8 x 65.1) (board) Colored pencil on wove paper, Watercolor on wove paper, JACK BEAL (24.4 x 21) (sheet) ELLEN LANYON Gift of Sylvia Sleigh in memory of 19 1/2 x 14 9/16 (49.5 x 37) (sheet) 30 1/16 x 22 1/8 (76.3 x 56.2) (sheet) American, born 1931 Gift of Sylvia Sleigh, 1991.303 American, born 1926 Lawrence Alloway, 1991.304 Gift of Sylvia Sleigh, 1991.311 Gift ofSylvia Sleigh, 1991.310 Untitled (Tennis Shoe), 1968 Black Fan Coccodryllus, 1975 Colored pastels on gray laid paper, GUSTAVE DOYEN Colored pencil on black wove paper, KERIG POPE WILLIAM TURNBULL KARL WIRSUM 19 1/2 x 25 3/4 (49.5 x 65.4) (sheet) French, 1837—? 21 7/8x30 (55.6x76.2) (sheet) American, born 1935 Untitled (Walking Figures), 1953 American, born 1939 Gift of Arthur Paul, 1992.39 Untitled (Twilight in the Field), Gift of Arthur Paul, 1992.42 Untitled, 1962 Pencil and pen and ink on wove paper, Teresa's Torso #1, 1970—71 circa 1865 Pencil, crayon, pastel and collage on 29 3/4 x 21 5/8 (75.6 x 54.9) (sheet) Colored pencil and india ink on ARTHUR BRISCOE Black and white chalks (or black PIETRO LAZZARI wove paper, 22 1/2 x 28 1/2 Gift of Sylvia Sleigh, 1991.307 paperboard, 40 x 30 (101.6 x 76.2) English, 1873-1942 charcoal) with stumping American, born in Italy, 1898—1979 (57 x 72.5) (sheet) (board) Noon, 1930 on wove paper, 11 7/8 x 19 1/2 Group of 234 works on paper and Gift of Phil Shorr, 1991.299 WILLIAM TURNBULL Gift of Judith and Howard A. Ink and watercolor on wove paper, (30 x 49.6) (sheet) photographs, various media and vari­ Untitled (Walking Man), 1953 Tullman, 1992.24 14 x 18 3/4 (35.5x46.8) (sight) Gift of Dr. Phyllis Hattis in honor of able dimensions PETER SAUL Thumb and ink on wove paper, Gift of Mr. and Mrs. Stanley G. her parents, 1991.329 Gift of the artist's wife, American, born 1934 22x 15 1/8 (55.9x38.4) (sheet) Prints Harris, Jr., 1991.285 1991.21-1991.254 Murder in the Kitchen, 1960 Gift of Sylvia Sleigh, 1991.313 DAVID GARLAND Crayon and collage on wove paper, Various artists, German, 15 th century, ALEXANDER CALDER British, born 1941 JUNE LEAF 19 13/16 x 19 3/8 WILLIAM TURNBULL W.L. Schreiber Woodcuts from Books of American, 1898—1977 Study for Triptych "Pacific Myth", 1984 American, lives in Canada, born 1929 (53.3 x 49.2) (sheet) Untitled (Figures in a Crowd), 1953 the Fifteenth Century (Munich: Weiss Untitled (Sans titre), 1967 Pastel on wove paper, 11 3/4 x 31 1/8 Untitled, circa 1975 Gift of Mr. and Mrs. B.C. Holland, Crayon and ink (oil?) on wove paper, and Co., 1929) Gouache on wove paper, (29.8x79.1) (sight) Colored inks and colored pencil on 1991.16 24 7/16 x 15 1/8 (62.1 x 38.4) (sheet) Woodcuts, some hand-colored, vari­ 29 3/8x43 1/8 (74.6x 109.5) Gift of P.N. Barnes-The London wove paper, 16 15/16x21 3/8 Gift of Sylvia Sleigh, 1991.314 able dimensions Gift of Beatrice Cummings Mayer, Gallery, 1991.371 (43.1 x 54.3) (sheet) ROBERT SMITHSON From the Collection of Louis E. Asher 1991.404 Gift of Don Baum, 1991.17 American, 1938—1973 WILLIAM TURNBULL (1877-1948), 1991.20a-ccc DAVID GARLAND Movie Treatment for Spiral Jetty, 1970 Untitled (Walking Figure), 1954 RONNIE CARSON Man Searching, n.d. ROBERT LOSTUTTER Pencil on wove paper (detached from Oil on paper, 30 1/16x22 1/16 RICHARD ANUSKIEWICZ American Pastel on wove paper, with artist's American, born 1935 a sketchbook), 11 15/16x9 (76.3 x 56) (sheet) American, born 1930 Martyred, 1979 frame, 24 3/4 x 35 3/4 (62.9 x 90.8) Untitled, 1969 (30.2 x 22.9) (sheet) Gift ofSylvia Sleigh, 1991.315 Volumes, 1970 Pencil on wove paper, 14x11 (sight), 29 3/8 x 40 1/4 (74.6 x 102.2) Watercolor on wove paper, Gift of Sylvia Sleigh in memory of Silkscreen on polysterol plastic, 9 units (35.6 x 27.9) (sheet) (with frame) 11 1/4x7 3/4 (29.8 x 19.7) (sight) Lawrence Alloway, 1991.278 WILLIAM TURNBULL grouped in threes for variable Gift of the Joel and Carole Bernstein Gift of P.N. Barnes-The London Gift of Arthur Paul, 1992.43 Untitled (Head), 1955 configurations, ed. 54/150, Family Collection, 1991.363 Gallery, 1991.372 ROBERT SMITHSON Gouache and colored ink on wove 1 1/8x27 3/4x47 3/8 GLADYS NILSSON Movie Treatment-Spiral Jetty, 1970 paper, 30 x 22 (76.2 x 55.9) (sheet) (2.9 x 70.5 x 120.3) (each 3-part unit) RONNIE CARSON WALTER SIGMUND HAMPEL American, born 1940 Pencil on wove paper (detached from Gift of Sylvia Sleigh, 1991.308 Gift of Barbara Cowan Herst, 1992.6 Untitled (Doll), 1979 Austrian, 1868—? Untitled, circa 1967 a sketchbook), 11 15/16x9 Pencil on wove paper, 14x11 Nude: Beauty (Akt: Schbnheit), 1921 Watercolor on wove paper, in original (30.2 x 22.9) (sheet) WILLIAM TURNBULL ENRST BARLACH (35.6 x 27.9) (sheet) Pencil, pen and ink, colored pencil, artist's matt and frame, 14 7/8 x 11 Gift of Sylvia Sleigh in memory of Untitled (Head), 1955 German, 1870—1938 Gift of the Joel and Carole Bernstein gouache and gold paint on wove (37.8 x 27.9) (sheet) Lawrence Alloway, 1991.279 Pen and ink on wove paper, Christ in Gethsemane (Christus in Family Collection, 1991.364 paper, 23 1/4 x 14 1/4 Gift of Don Baum. 1992.1 18 9/16 x 13 3/4 (47.1 x 34.9) (sheet) Gethsemane), 1919 (59 x 36.2) (sheet) Gift ofSylvia Sleigh, 1991.312 Woodcut, ed. 3/100, 8 1/8 x 10 1/16 ROBYN DENNY Gift of Mr. and Mrs. John N. Stern, JIM NUTT (20.7 x 25.6) (block) British, born 1930 1992.29 American, born 1938 WILLIAM TURNBULL Schult 155 Untitled (Abstraction), 1959 Grasping at Straws, 1986 Untitled (Abstraction), 1956 Marcia and Granvil Specks Collection, Gouache on wove paper, 21 15/16 x Pencil and colored pencil on wove Brush and ink on wove paper, 1991.330 22 (55.7 x 55.9) (sheet) paper, 12x 18 (30.5 x 45.7) (sheet) 22 x 30 1/8 (55.9 x 76.5) (sheet) Gift of Sylvia Sleigh, 1991.300 Gift of Judith and Howard A. Gift of Sylvia Sleigh, 1991.305 Tullman, 1992.23

38 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 39 MAX BECKMANN MAX BECKMANN LOVIS CORINTH LEON GOLUB German, 1884-1950 Sarika, 1922 The Temptation of St. Anthony Untitled (Two Heads in Profile), n.d. Klara, 1917 Lithograph, 29 1/2 x 23 5/8 (Die Versuchung des heiligen Etching, 7 13/16 x 13 15/16 Etching, ed. of 50, 11 3/4 x 8 3/16 (74.9 x 60) (sheet) Antonius), 1919 (19.8 x 35.4) (plate) (29.8 x 20.8) (plate) Gallwitz 203 Published in the portfolio Annual Gift of Sylvia Sleigh in memory of Gallwitz 91 Marcia and Granvil Specks Collection, Portfolio of the Dresden Artists Lawrence Alloway, 1991.318 Marcia and Granvil Specks Collection, 1991.337 Organization (Jahresmappe 1991.331 Kunstvereins Dresden) LEON GOLUB ARTHUR BRISCOE Drypoint, 10 1/4 x 11 5/8 3 Heads, plate 1949/50, edition MAX BECKMANN English, 1873-1942 (26 x 29.5) (plate) 1987/88 Portrait of Reinhard Piper (Bildnis Noon, 1930 Schwarz 353 II/II Etching, ed. 10/18, 7 15/16 x 11 3/4 Reinhard Piper), 1920 Etching, ed. 58/75, 8 7/8 x 12 3/8 Marcia and Granvil Specks Collection, (20.2 x 29.8) (plate) Drypoint, proof ed. of 100, 11 5/8 x (22.5x31.5) (plate) 1991.340 Purchase, Gift of the Friends of the 5 11/16 (29.5 x 14.5) (plate) Gift of Mr. and Mrs. Stanley G. Smart Museum, 1992, 1992.4 Gallwitz 134, Hofmaier 163 II B d Harris, Jr., 1991.286 LOVIS CORINTH Marcia and Granvil Specks Collection, Cain and Abel (Brudermord) ,1919 ADOLPH GOTTLIEB 1991.332 ARTHUR BRISCOE From the series Biblical Scenes American, 1903—1974 Untitled, circa 1930 (Biblische Szeneri) Untitled, 1972 MAX BECKMANN Etching, ed. 55/75, 5 7/8 x 11 3/4 Woodcut, ed. 10/75, 12 11/16 x Color lithograph, ed. 83/150, The Tall Man (Der Grosse Man), 1921 (19.5 x 30) (plate) 15 13/16 (32.2x40.2) (block) 18 3/4 x 24 (47.6 x 61) (composition) From the portfolio Jahrmarkt, 1922 Gift of Mr. and Mrs. Stanley G. Schwarz H373 Gift of Arthur Paul, 1992.40 Drypoint, proof ed. of 125, 12x8 Harris, Jr., 1991.287 Marcia and Granvil Specks Collection, (30.5 x 20.3) (plate) 1991.341 RICHARD HAMILTON Gallwitz 167, Hofmaier 192 II B d HEINRICH CAMPENDONK British, born 1922 Marcia and Granvil Specks Collection, German, 1889—1957 LOVIS CORINTH A little bit of Roy Lichtenstein for..., 1991.333 The Beggars (after Brueghel) (Die The Crucified Christ (Christus am 1964 Bettler [nach Brueghel]), 1922 Kreuz), 1919 Color screenprint, ed. of 40, MAX BECKMANN Published in The Second Ganymed From the series Biblical Scenes 23 1/16x36 (58.6x91.5) (sheet) Portrait of Dr. Heinrich Simon (Bildnis Portfolio (2. Ganymed Mappe) and The (Biblische Szenen) Waddington 53 Dr. Heinrich Simon), 1922 Marees Society Yearbook (Jahrbuch der Woodcut, ed. 10/75, 14 1/2 x 12 Gift of Sylvia Sleigh, 1991.319 Lithograph, proof ed. of 50, Marees- Gesellschaft) (36.8 x 30.5) (block) 26 11/16 x 20 7/8 (67.8 x 53) (sheet) Woodcut, ed. of 300, 5 5/8 x 6 3/4 Schwarz H374 RICHARD HAMILTON Gallwitz 193, Hofmaier 224 B (14.3 x 17.2) (block) Marcia and Granvil Specks Collection, The Solomon R. Guggenheim, 1965 Marcia and Granvil Specks Collection, Engels 62 1991.342 Color screenprint, ed. of 50, 1991.334 Marcia and Granvil Specks Collection, 23 1/16x22 15/16 (58.6x58.3) 1991.338 LOVIS CORINTH (sheet), 21 15/16 x 22 MAX BECKMANN Miss Daehn (Secretary of the Secession) (55.7 x 55.9) (image) Portrait of the Composer Fredrik Delius WARRINGTON COLESCOTT (Frl. Daehn [Sekretarin der Secession]), Waddington 60 (Bildnis des Komponisten Fredrik American, born 1921 1922 Gift of Sylvia Sleigh, 1991.320 Delius), 1922 Dream of the Printseller, 1968 Drypoint with lithographic crayon Lithograph, proof ed. of 220, Color etching, artist's proof, ed. of 60, emendations, artist's proof, RICHARD HAMILTON Jean-Baptiste Carpeaux, L'Afrique or Une Negresse (An African Woman), after 26 3/4 x 15 (68 x 38.1) (sheet) 9 x 13 3/4 (22.9x34.9) (plate) 9 3/8 x7 1/4 (23.8x 18.4) (plate) Swingeing [sic] London 67-poster, 1968 1868, 1991.359. Gallwitz 194, Hofmaier 225 B c Purchase, Fay and John Stem Fund, Mueller 584 (undescribed first state) Color offset lithograph, Marcia and Granvil Specks Collection, 1990.15 Marcia and Granvil Specks Collection, 27 7/8 x 19 11/16 (70.8 x 50) (sheet) 1991.335 1991.343 Waddington 67 LOVIS CORINTH CONRAD FELIXMULLER LEON GOLUB Gift of Sylvia Sleigh, 1991.321 MAX BECKMANN German, 1858-1925 LOVIS CORINTH German, 1897-1977 American, born 1922 Sarika Holding a Cigarette (Sarika mit Faun and Nymph (Faun und Nymphe), The Deluge (Die Siindfluth), 1923 Nervous Breakdown in the Studio Sphinx and Victim, 1953 ERICH HECKEL Zigarette), 1922 1914 Series of eight lithographs, no regular (Bedrucktsein im Atelier), 1917 Lithograph, 19 7/8 x 26 German, 1883—1970 Lithograph, proof ed. of 200, Drypoint, ed. 24/25, edition, sheet sizes vary (possibly 1916) (50.5 x 66) (sheet) Bathing Youths (Badende 27 3/8x21 1/8 (69.5 x 53.7) (sheet) 10 1/8x6 11/16 (25.7 x 17) (plate) Mueller 815-822 Woodcut, ed. of 10, 11 11/16 x Gift of Sylvia Sleigh in memory of Jiinglinge), 1918 Gallwitz 198 Schwarz 165 IV/IV Marcia and Granvil Specks Collection, 9 13/16 (29.7x24.9) (block) Lawrence Alloway, 1991.316 Lithograph, 18 15/16 x 14 5/8 Marcia and Granvil Specks Collection, Marcia and Granvil Specks Collection, 1991.344a-h Sohn 99 a (48.1 x 37.2) (composition) 1991.336 1991.339 Marcia and Granvil Specks Collection, LEON GOLUB Dube 252 1991.345 Transformation of the Lineaments Marcia and Granvil Specks Collection, (Gumbo Soup), 1954 1991.346 Lithograph, 14 7/8 x 11 3/4 (37.8 x 29.8) (composition) Gift of Sylvia Sleigh in memory of

40 SMAR T MUSEUM BULLETIN ERICH HECKEL MARYAN S. MARYAN (Pinchas MAX PECHSTEIN WILLIAM TURNBULL DANNY LYON DANNY LYON The Brothers Karamazoff (Die Briider Burstein), called MARYAN German, 1881 —1955 British, born 1922 Shakedown, 1967—68 Return from the Fields, Shakedown at Karamazow), 1919 American, born in Poland and lived in Relaxing Out of Doors (Aufdem Lager), Untitled (Head), 1956 From the series Conversations with Rear Gate Twice Every Workday, Lithograph, ed. of 120, 10 3/4 x 8 5/8 Israel and France, 1927— 1977 1947 Lithograph, ed. 19/30, 30 1/8 x 22 the Dead 1967-68 (27.3 x 21.9) (composition) Dog, 1967 Color lithograph, ed. of 100, 8 3/4 x (76.5 x 55.9) (sheet) Gelatin silver print, 11x13 7/8 From the series Conversations with Dube 253 Color lithograph, ed. 8/20, 13 1/2 (22.2 x 34.3) (composition) Gift of Sylvia Sleigh, 1991.327 (27.9 x 35.2) (sheet), the Dead Marcia and Granvil Specks Collection, 18 1/8x27 3/8 (46x69.5) Kriiger L415 8 1/8 x 12 (20.6 x 30.5) (image) Gelatin silver print, 11x13 7/8 1991.347 (composition) Marcia and Granvil Specks Collection, WILLIAM TURNBULL Gift of Temmie and Arnold Gilbert, (27.9 x 35.2) (sheet), Gift of Rolf Achilles and Patricia John, 1991.350 Untitled (Head), 1956 1992.11 8 1/8 x 12 (20.6 x 30.5) (image) ERICH HECKEL 1992.48 Color monoprint, unique, 30 1/8 x Gift of Temmie and Arnold Gilbert, Dancers (Tdnzerinneri), 1922 MAX PECHSTEIN 22 1/16 (76.5 x 56.1) (sheet) DANNY LYON 1992.17 Lithograph, proof impression, 19 3/8 x HENRI MATISSE The Mothers (Die Mutter), 1948 Gift of Sylvia Sleigh, 1991.328 The Shakedown, 1967—68 14 15/16 (49.2 x 38) (composition) French, 1869—1954 Published in the portfolio Boettcher- From the series Conversations with DAVID TEPLICA Dube 270 Lagoon (Le Lagon), 1947 Mappe, no. 3 Photography the Dead American, born 1959 Marcia and Granvil Specks Collection, Color stencil lithograph, plate 17 from Color lithograph, numbered "32", Gelatin silver print, 11x13 7/8 Gary and Terry Shank, Polk, OH, 1991.348 Jazz, ed. 182/250, 10 x 14 (25.4 x 35.6) (composition) CHESTER BRUMMEL (27.9 x 35.2) (sheet), 1989, 1989 16 3/4 x 25 1/2 (42.5 x 64.8) (sheet) Kriiger L419 American, born 1933 8 1/8 x 12 (20.6 x 30.5) (image) From the series Twins NIGEL HENDERSON Gift of Florence S. Hattis in memory Marcia and Granvil Specks Collection, Jeronimos, 1980 (printed 1988) Gift of Temmie and Arnold Gilbert, Dye transfer, artist's proof #4, British, 1917-1984 of her husband Daniel B. Hattis, 1991.351 Color photograph, 23 x 17 7/16 1992.12 11 3/4 x 18 15/16 Eduardo Paolozzi & Nigel Henderson, 1991.354 (58.4 x 44.3) (image) (29.8 x 48.1) (sheet) 1957 JOHN PLUMB Gift of the artist in honor of Professor DANNY LYON Gift of the artist, 1991.397 Poster for their two-person exhibition ROBERT MOTHERWELL British, born 1927 Earl A. Rosenthal, 1991.284 Young Boss, 1967—68 Color screenprint and lithograph, American, 1915—1991 Untitled (Blue Abstraction), 1965 From the series Conversations with DAVID TEPLICA 29 15/16x22 (76x55.9) (sheet) London Series II, 1970 Color screenprint, artist's proof, DANNY LYON the Dead Louis Keith, Chicago, IL and Donald Gift of Sylvia Sleigh in memory of Silkscreen, 28x41 24 1/16 x 19 15/16 (61.1 x 50.6) American, born 1942 Gelatin silver print, 13 7/8 x 11 Keith, Reston, VA, 1989, 1989 Lawrence Alloway, 1991.322 (71.1 x 104.1) (sheet) (composition) Building Shakedown, 1967—68 (35.2 x 27.9) (sheet), From the series Twins Gift from Joan and Robert Feitler, Gift of Sylvia Sleigh, 1991.325 From the series Conversations with 11 3/8 x 8 (30 x 20.3) (image) Dye transfer, artist's proof #4, WINSLOW HOMER 1991.14 the Dead Gift of Temmie and Arnold Gilbert, 11 3/4 x 18 15/16 American, 1836—1910 JOHN PLUMB Gelatin silver print, 11 x 137/8 1992.13 (29.8x48.1) (sheet) Eight Bells, 1887 ROBERT MOTHERWELL Untitled (Orange Abstraction), 1965 (27.9 x 35.2) (sheet), Gift of the artist, 1991.398 Etching on vellum, ed. of 100, Tobacco Roth-Handle, 1975 Color screenprint, artist's proof, 8 1/8 x 12 (20.6 x 30.5) (image) DANNY LYON 18 3/4 x 24 1/4 (47.5 x 61.5) (plate) Lithograph and silkscreen, ed. 26/45, 24 x 20 (61 x 50.8) (composition) Gift of Temmie and Arnold Gilbert, Jones and Raymond Jackson...Ten Years DAVID TEPLICA Goodrich 100 40x29 (101.6x73.7) (sheet) Gift of Sylvia Sleigh, 1991.326 1992.8 Robbery, 1967—68 Albert and Aldus McCoy, Chicago, IL, Gift of Mr. and Mrs. Stanley G. Gift from Joan and Robert Feitler, From the series Conversations with 1989, 1989 Harris, Jr., 1991.288 1991.15 THOMAS ROWLANDSON DANNY LYON the Dead From the series Twins British, 1756-1827 On the Line, 1967—68 Gelatin silver print, 11x13 7/8 Dye transfer, artist's proof #4, ALLEN JONES THOMAS A. O'SHAUGHNESSY Johnson's Tour of the Hebrides, From the series Conversations with (27.9x35.2) (sheet), 8 1/8 x 12 9 1/4 X 18 1 /2 (23.5x47) (sheet) British, born 1937 American, 1870—1956 mid-19th-century the Dead (20.6 x 30.5) (image) Gift of the artist, 1991.399 Fast Car, 1962 28th International Eucharistic Congress, restrike or reissue of the 1786 publica­ Gelatin silver print, 11x13 7/8 Gift of Temmie and Arnold Gilbert, Color lithograph, artist's proof, 1926 tion Picturesque Beauties of Boswell (27.9 x 35.2) (sheet), 1992.14 DAVID TEPLICA 22 7/8x31 1/16 (58.1 x 78.9) (sheet) Color lithograph, 28 1/4 x 20 Bound portfolio of 20 etchings after 8 1/8 x 12 (20.6 x 30.5) (image) Kelly and Kimberly Meinken, Gift of Sylvia Sleigh, 1991.323 (71.7 x 50.8) (sheet) drawings by Samuel Codings, Gift of Temmie and Arnold Gilbert, DANNY LYON Indianapolis, IN, 1989, 1989 Gift of Mr. and Mrs. Joseph 15x21 5/8 (38x 55) (each sheet) 1992.9 Dayroom, 1967—68 From the series Twins OTTO LANGE O'Shaughnessy in memory of Thomas From Robert E. Asher in memory of From the series Conversations w ith Dye transfer, artist's proof #4, German, 1879—1944 A. O'Shaughnessy, 1991.262 Louis E. Asher, 1991.295 DANNY LYON the Dead 10 7/8 x 19 (27.6 x 48.3) (sheet) Two Boys at Carnival (Zwei Knaben im Seven Years Flat on a Twenty Year Gelatin silver print, 13 7/8 x 11 Gift of the artist, 1991.400 Fasching), n.d. EDUARDO PAOLOZZI GEORG SCHRIMPF Sentence, 1967—68 (35.2 x 27.9) (sheet), Etching, 15 3/4 x 13 1/4 (40 x 33.7) British, born 1924 German, 1889-1938 From the series Conversations with 11 13/16 x 8 (30 x 20.3) (image) DAVID TEPLICA (plate) Untitled (Head), 1955 Girl with Bird (Madchen mit Vogel), the Dead Gift of Temmie and Arnold Gilbert, Louise and Lucille Irwin, San Antonio, Marcia and Granvil Specks Collection, Lithograph, 29 15/16 x 19 15/16 1917 Gelatin silver print, 11x13 7/8 1992.15 TX, 1989, 1989 1991.349 (76 x 50.6) (sheet) Woodcut, ed. 15/30, 5 1/4x3 11/16 (27.9 x 35.2) (sheet), From the series Twins Gift of Sylvia Sleigh in memory of (13.3 x 9.4) (block) 8 1/8 x 12 (20.6 x 30.5) (image) DANNY LYON Dye transfer, artist's proof #4, Lawrence Alloway, 1991.324 Marcia and Granvil Specks Collection, Gift of Temmie and Arnold Gilbert, Heat Exhaustion, 1967—68 11 3/4x 19 (29.8x48.3) (sheet) 1991.352 1992.10 From the series Conversations with Gift of the artist, 1991.401 the Dead Gelatin silver print, 11 x 137/8 (27.9 x 35.2) (sheet), 8 1/8x 12 (20.6 x 30.5) (image) Gift of Temmie and Arnold Gilbert, 1992.16

42 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 43 DAVID TEPLICA RUTH DUCKWORTH JOSEF HOFFMANN, designer CAROL McNICOLL JANICE TCHALENKO Artist unknown, Chinese, Qing David Teplica, Chicago, IL, 1989, American, born in Germany and lived Austrian, 1870—1956 British, born 1943 Large Platter, n.d. dynasty 1989, printed 1991 in England, born 1919 Josef Bock, manufacturer Green Wedges, n.d. Glazed stoneware, h. 4 1/4 (10.8), Fan, late 19th century Dye transfer, artist's proof, Vessel, n.d. Covered Butter Dish, circa 1900 Glazed earthenware, h. 11 5/8 (29.5), 1. 25 5/16 (64.3) Ink and light color on silk, 11 x 15 1/8 (27.9x38.4) (sheet) Partially glazed stoneware, h. 11 3/4 Porcelain with overglaze decoration, 1. 19 1/2 (49.5) Gift of P.N. Barnes-The London h. (oval) 10 (25.4) Gift of the artist, 1991.402 (29.8), diam. of mouth 24 3/4 (62.9) diam. of rim 6 1/4 (15.9) Gift of P.N. Barnes-The London Gallery, 1991.391 Gift of Joan and Edward Anders, Gift of Dodie and Lee Baumgarten, Purchase, Gift of the Friends of the Gallery, 1991.383 1991.18 Decorative Arts 1991.9 Smart Museum, 1991, 1991.12 JANICE TCHALENKO HENRY PIM Leaf Platter, n.d. HONG XIAN American, probably Chicago, Kalo English, Worcester Factory, Italian British, born 1947 Modeled and molded glazed ([Hung Hsien] Margaret Chang) Workshop, designer/craftsman Dr. Wall period Chasuble with Orphrey Band, late Large Bowl, n.d. earthenware, h. 1 3/4 (4.5), Chinese, born 1933 unknown Bowl, circa 1760 16th- early 17th century Glazed stoneware, h. 5 1/2 (14), diam. 1. 16 (40 .6) Green Matter, 1971 Spoon, circa 1910 Soft-paste porcelain with underglaze Velvet with embroidery panels in poly­ of rim 21 1/2 (54.6) Gift of P.N. Barnes-The London Hanging scroll triptych, ink and colors Wrought silver with semiprecious blue decoration, diam. of mouth chrome, silver and gold threads, Gift of P.N. Barnes-The London Gallery, 1991.392 on paper, 73 x 37 (185.4 x 94) (each cabachon, 1. 5 (12.7) 8 1/2 (20.6) h. back 48 1/4 (122.5), Gallery, 1991.384 painting) Gift in memory of Quigg Lewis, Gift: of Eileen H. Duncan, 1992.35 w. back 30 (76.2) JANICE TCHALENKO Gift of Mary McDonald in honor of 1990.16 Gift of Becky D'Angelo, 1992.34 RICHARD SLEE Bowl, n.d. Professor Harrie A. Vanderstappen, English, Worcester Factory, British, born 1946 Glazed earthenware, h. 6 1/2 (16.5), 1991.360a-c Austrian, Vienna, J. and J. Kohn & Dr. Wall period Design Team of: Ceramic Blade, n.d. diam. of mouth 12 13/16 (32.5) Mundus (manufacturer) Mask Jug, circa 1765 WILLIAM KATAVOLOS Glazed porcelain, h. 15 3/4 (40), Gift of P.N. Barnes-The London HUANG JUNBI [Huang Chun-pi] Arm Chair, circa 1878—79 Soft-paste porcelain with molded American, born 1924 1. 14 (35.6) Gallery, 1991.393 Chinese, born 1898 Bentwood with (replacement) cane and underglaze blue transfer printed DOUGLAS KELLY Gift of P.N. Barnes-The London Untitled (Winter Landscape), seat, h. 36 (91.4) decoration, h. 9 (22.9) American Gallery, 1991.385 JANICE TCHALENKO circa 1930-45 Gift of Hy and Annie Laurie Fish in Gift of Eileen H. Duncan, 1992.36 ROSS LITELL Jug, n.d. Hanging scroll, ink on paper, 72 1/8 x honor of John Dymock Entenza, American MARIA STEWART Glazed stoneware, h. 12 1/2 (31.7), 37 1/2 (183.2x95.3) (painting) 1991.294 French-Belgian, designer/craftsman American, New York, Laverne British? diam. of mouth 12 13/16 (32.5) Anonymous Gift, 1991.281 unknown International, manufacturer Bowl, n.d. Gift of P.N. Barnes-The London ALISON BRITTON Lamp, after 1885 Laverne 3LC (also called T Chair), Glazed porcelain, h. 4 (10.2), Gallery, 1991.394 Chinese: Ceramics British, born 1948 Patinated cast bronze with glass shade, 1952 diam. of mouth 7 1/4 (18.4) Vase Bowl, n.d. h. 27 (68.6) Chromed and painted metal and Gift of P.N. Barnes-The London SARAH WALTON Chinese, Neolithic period, Glazed stoneware, h. 16 1/2 (41.9), Gift of John N. Stern, 1991.11 leather (original), h. 31 3/4 (80.5) Gallery, 1991.386 British, born 1945 Gansu Yangshao culture phase, 1. 21 (53.3) Gift of Rochelle D. Aschheim, A.B. Tall Bowl with Lid, n.d. Banshan-Machang style Gift of P.N. Barnes-The London DAVID GARLAND 1961, 1991.290 MARIA STEWART Glazed stoneware, h. with lid 4 1/4 Bowl with Handles, Gallery, 1991.373 British, born 1941 Pierced Bowl, n.d. (10.8), diam. of mouth 3 5/8 (9.2) circa 2500—2200 B.C. Bowl, n.d. WALTER KEELER Glazed porcelain, h. 3 3/4 (9.5), Gift of P.N. Barnes-The London Unglazed earthenware with slip-paint­ SANDY BROWN Glazed earthenware, h. 8 1/4 (21), British, born 1942 diam. of mouth 4 7/16 (11.3) Gallery, 1991.395 ed decoration, h. 5 1/4 (13.3), diam. British, born 1946 diam. of mouth 14 5/8 (37.2) Milk Jug, n.d. Gift of P.N. Barnes-The London of mouth 3 3/4 (9.5) Bowl, n.d. Gift of P.N. Barnes-The London Salt-glazed stoneware, h. with lid Gallery, 1991.387 HANS WEGNER Gift of Mrs. Geraldine Schmitt-Poor Partially glazed stoneware, Gallery, 1991.377 15 3/4 (40), max. diam. of body Danish, born 1914 and Dr. Robert J. Poor in honor of h. 12 (30.5), 7 3/16(18.3) ANGUS SUTTIE 60-101 Folding Chair, 1960 Professor Ludwig Bachhofer, 1990.11 diam. of mouth 12 1/2 (31.7) DAVID GARLAND Gift of P.N. Barnes-The London Scottish, active in England, born 1946 Oak with original woven cane seat Gift of P.N. Barnes-The London Platter, n.d. Gallery, 1991.380 Lidded Dish, n.d. and back, h. 30 1/2 (77.5), Chinese, Neolithic period, Gallery, 1991.374 Glazed earthenware, h. 3 (7.6), Glazed earthenware, h. with lid 7 w. 24 1/2 (62.2) Gansu Yangshao culture phase, 1. 17 (43.2) JANET LEACH (17.8), 1.7 1/2(19.1) Gift from Lois B. Wolf, 1991.353 Banshan-Machang style TREVOR CORSOR Gift of P.N. Barnes-The London American, active in England, born Gift of P.N. Barnes-The London Bowl with Handles, British? Gallery, 1991.378 1918 Gallery, 1991.388 circa 2500—2200 B.C. Vase, n.d. Vase, n.d. ORIENTAL Unglazed earthenware with slip- Glazed earthenware, h. 10 1/4 (26) EWEN HENDERSON Glazed earthenware, h. 11 (27.9) ANGUS SUTTIE painted decoration, h. 4 1/4 (10.8), Gift of P.N. Barnes-The London British, born 1934 Gift of P.N. Barnes-The London Sculpture, n.d. Chinese: Paintings diam. of mouth 4 7/16 (11.3) Gallery, 1991.375 Sculptural Form, n.d. Gallery, 1991.381 Glazed earthenware, h. 22 (55.9) Gift of Mrs. Geraldine Schmitt-Poor Artist unknown, Chinese, Qing Glazed earthenware, h. 12 1/4 (31.1) Gift of P.N. Barnes-The London and Dr. Robert J. Poor in honor of JILL CROWLEY Gift of P.N. Barnes-The London JOHN MALTBY Gallery, 1991.389 dynasty Professor Ludwig Bachhofer, 1990.12 British, born 1946 Gallery, 1991.379 British, born 1936 Album (Landscapes after WangMenfj, 18th century (?) Foot, n.d. Square Dish, n.d. JANICE TCHALENKO Album with 12 leaves, ink and color Partially glazed earthenware Glazed earthenware, 2 1/8 x 11 3/8 x British, born 1942 (raku ware), h. 4 1/4 (10.8), 11 1/8 (5.4x28.9x28.3) Platter, n.d. on paper, 10 7/8 x 8 9/16 (27.6 x 21.7) (each painting) 1. 5 1/4(13.3) Gift of P.N. Barnes-The London Glazed stoneware, h. 2 3/4 (7), Anonymous Gift, 1991.282 Gift of P.N. Barnes-The London Gallery, 1991.382 1- 22 3/ 4 (57.8) Gallery, 1991.376 Gift of P.N. Barnes-The London Gallery, 1991.390

44 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 45 Chinese, Neolithic period, SUN CHAO Japanese: Ceramics Indian, Nathadwara Gansu Yangshao culture phase, Chinese, 20th century Temple Hanging: The Village Banshan-Machang style Vase, n.d. Japanese, Edo period Milkmaids (Gopis) Pay Homage to the Stoneware with zinc crystalline glazes, Bowl, circa 2500-2200 B.C. Storage Jar, probably 19 th century Empty Throne of Krishna, early 20th Unglazed earthenware with slip-paint­ h. 26 1/2 (67.3) Glazed stoneware (Shigaraki ware), century ed decoration, h. 1 3/4 (4.5), diam. of Gift of Dr. Lien Chan, Governor of h. 9 1/2 (24.1) Opaque watercolor on cotton, mouth 4 1/4 (10.8) the Taiwan Provincial Government, Gift of Mr. and Mrs. Michael A. 48x44 (121.9 x 111.7) Gift of Mrs. Geraldine Schmitt-Poor Republic of China, to his alma mater, Cunningham in honor of Professor Gift of Mr. Karl B. Mann, 1992.33 and Dr. Robert J. Poor in honor of 1991.260 Harrie A. Vanderstappen, 1991.13 Professor Ludwig Bachhofer, 1990.13 Indian: Drawings SUN CHAO Indian: Paintings Chinese, Late Western Han dynasty Vase, n.d. Indian, Jodhpur Funerary Vessel (Mingqi): Granary Jar, Stoneware with zinc crystalline glazes, Indian, Jain, Rajastan Krishna and the Milkmaids (Gopis), h. 26 3/8 (66.7) circa 1st century B.C. Tantric Cosmogram (Puruskara 1825-50 Unglazed earthenware with incised Gift of Dr. Lien Chan, Governor of Yantrd), 18th century Ink on laid paper, with emendations and applied decoration, h. 9 (22.9) the Taiwan Provincial Government, Gouache on cloth, 29 11 /16 x 19 1/4 in white pigment, pricked for transfer, Gift of Yutaka Mino and Katherine Republic of China, to his alma mater, (75.4 x 48.9) 16 3/4 x 19 3/4 (42 x 50. 2) (sheet) Tsiang Mino in honor of Professor 1991.261 Gift of Mr. and Mrs. B.C. Holland, Gift of Dr. Barbara Schmitz, 1992.18 Harrie A. Vanderstappen, 1991.292 1992.26 Chinese: Decorative Arts Pre-Columbian: Textiles Chinese, Sui or early Tang dynasty Indian, Nathadwara Caparisoned Horse, circa 600 Chinese, Shang dynasty Temple Hanging: Krishna Dancing at Peruvian Partially glazed, molded and modeled Yuan, collared disk, the Center of a Circle of Twenty-four Chancay Poncho, 1100—1400 earthenware, h. 17 (43.2) circa 13th—11th century B.C. Milkmaids (Gopis) (Rasa Lila), Woven wool with deep fringe, Gift of Mrs. Robert B. Mayer, Marble, diam. 4 1/4 (10.8) early 20th century 11 3/4x28 (29.8x71.1) 1991.273 Gift of Margaret and Michael Chung Opaque watercolor on cotton, Gift of the Joel and Carole Bernstein in honor of Professor Harrie A. 97x85 (246.4x215.9) Family Collection, 1991.366 Chinese, Tang dynasty Vanderstappen, 1991.7 Gift of Mr. Karl B. Mann, 1992.30 Groom, circa 7th—8th century Molded and modeled earthenware Chinese, Shang dynasty Indian, Nathadwara with cold-painted decoration, Yuan, collared disk, Temple Hanging: Two Priests and Six h. 16 1/2 (41.9) circa 13th— 11 th century B.C. Village Milkmaids (Gopis) Pay Homage Gift of Mrs. Robert B. Mayer, Marble, diam. 4 1/4 (10.8) to an Image of Krishna as Sri Nath-ji, 1991.296 Gift of Margaret and Michael Chung early 20th century in honor of Professor Harrie A. Opaque watercolor on cotton, Chinese, late Song or Yuan dynasty Vanderstappen,1991.8 88 1/2x92 (224.8x233.7) Funerary Vase, 13 th century Gift of Mr. Karl B. Mann, 1992.31 Glazed stoneware (yingqing ware), Japanese: Paintings h. 32 3/4 (83.2) Indian, Nathadwara Gift of Mrs. Robert B. Mayer, Japanese, Muromachi period Temple Hanging: Four Priests and Four 1991.297 The Buddha of Heavenly Virtue Village Milkmaids (Gopis) Pay Homage (Tentoku Nyorai), to an Image of Krishna as Sri-Nath-ji, Chinese, late Song or Yuan dynasty 15th -early 16th century early 20th century Funerary Vase, 13 th century Indian, Jain, Rajastan, Tantric Cosmogram (Puruskara Yantrd), 18th century, Ink, color, gold paint and cut gold leaf Opaque watercolor on cotton, Glazed stoneware (yingqing ware), 1992.26. on silk, 22 1/4 x 16 3/4 (56.5 x 42.5) 75x56 (190.5x 142.2) h. 29 (73.6) (painting) Gift of Mr. Karl B. Mann, 1992.32 Gift of Mrs. Robert B. Mayer, Gift of Mrs. Geraldine Schmitt-Poor 1991.298 Chinese, late Qing dynasty Chinese, Republican period, during and Dr. Robert J. Poor in honor of Bowl, 19 th century four-year rule of self-proclaimed Professor Harrie A. Vanderstappen, Chinese, late Song or Yuan dynasty Porcelain with overglaze polychrome President Yuan Shikai 1991.19 Funerary Vase, 13th century enamel decoration, h. 6 1/4 (15.9), Vase, circa 1912—16 Glazed stoneware (yingqing ware), diam. of mouth 14 1/2 (36.8) Porcelain with underglaze and over- h. 33 (83.9) University T ransfer,1991.266 glaze polychrome enamel decoration, Gift of Mrs. Robert B. Mayer, 1992.5 h. 13 5/16 (33.8) Gift of Norman V. Moore and daugh­ ter Anya, 1991.403

ACTIVITIES AND SUPPORT \~] 46 SMAR T MUSEUM BULLETIN COLLECTIONS Kulturgeschichtliches Museum, Osnabriick, Germany Bellevue Art Museum, Bellevue, Washington, 7 Felix Nussbaum: Verfemte Kunst/Exilkunst/Widerstandkunst October—31 December 1989; Marin County Civic 6 May-22 July 1990 Center, San Rafael, California, 10 February—30 May FELIX NUSSBAUM 1990; San Diego Museum of Art, 23 June—12 August German, 1904—1944 1990; Scottsdale Center for the Arts, Scottsdale, Arizona, Portrait of a Young Man (Portrat eines jungen January—7 April 1991 Loans from the Permanent Collection Mannes) (verso), 1927 FRANK LLOYD WRIGHT, designer Carnival Group/Masquerade (Narrengruppe/ American, 1867—1959 Mummenschanz) (recto), circa 1939 Barrel Armchair, 1900 Oil on canvas, 38 1/2 x 28 1/2 (97.8 x 72.4) (verso), Designed for the B. Bradley House, Kankakee, 28 1/2 x 38 1/2 (72.4 x 97.8) (recto) Illinois Purchase, Gift of Mr. and Mrs. Eugene Davidson, Oak with upholstered seat, h. 27 (68.5) Dr. and Mrs. Edwin De Costa, Mr. and Mrs. University Transfer, 1967.70 Gaylord Donnelley, and the Eloise W. Martin FRANK LLOYD WRIGHT, designer Purchase Fund, 1982.10 Window, 1909—10 Designed for the Frederick C. Robie Residence, Exhibitions to which works of art from the permanent collection have been lent are listed alphabetically by the city of Chicago the organizing institution. Dimensions are in inches followed by centimeters; height precedes width precedes depth. Musee du Louvre, Paris Clear leaded glass in original painted wooden frame, Loans listed date from 1 July 1990 through 30 June 1992. Euphronios, Athenian Painter of the Sixth Century B.C. 33 1/2x 35 1/4 (85.1 x 89.5) 21 September-31 December 1990 University Transfer, 1967.87 Traveled to: Staatliche Museen, Preussischer The Arts Club of Chicago The State of Illinois Art Gallery, Chicago Kulturbesitz, Berlin, 18 March—26 May 1991 Seventy-fifth Anniversary Exhibition Gertrude Abercrombie 11 May—26 June 1992 18 March—17 May 1991 EUPHRONIOS Rose Art Museum, Brandeis University, Waltham, Greek, Attic Massachusetts ALEXANDER ARCHIPENKO Traveled to: Illinois State Museum, Springfield, Ukranian, 1887—1964 28 July-25 October 1991 Red-figure Neck-pelike Fragment: Ephebe (Youth) with Robert Hudson: Sculpture/William T. Wiley: Painting a Walking Stick, circa 510 B.C. 12 May—28 June 1991 Nude Torso, 1914 GERTRUDE ABERCROMBIE Slip-painted earthenware, 1. 7 1/4 (18.4) Cast bronze with blue patina, h. without base American, 1909—1977 WILLIAM T. WILEY The F.B. Tarbell Collection, 1967.115.287 15 5/16 (39.6) Doors (3 Demolition), 1957 American, born 1937 The John L. Strauss Loan Collection, courtesy of the Oil on canvas, 18 x 24 (45.7 x 61) Drifting Net, 1987 David and Alfred Smart Museum of Art, 32.1980 Gift of the Gertrude Abercrombie Trust, 1979.14 Acrylic and pencil on canvas, 99 1/2 x 165 3/4 Scottsdale Arts Center Association and the Frank Lloyd (252.7x421) JULIO GONZALEZ Wright Foundation, Scottsdale, Arizona G.U.C. Collection, courtesy of the David and Alfred Spanish, lived in France, 1876-1942 Frank Lloyd Wright: In the Realm of Ideas The Montreal Museum of Fine Arts Smart Museum of Art, 6.1990a Small Sickle or Standing Woman (Petite foucille Traveled to: LTV Center Pavilion, Dallas Museum of The 1920s: Age of the Metropolis [Femme debout]), 1937 Art, 19 January-17 April 1988; National Museum of WILLIAM T. WILEY 20 June-10 November 1991 Cast bronze, ed. 2/6, h. 11 (27.9) American History, Smithsonian Institution, Washington, Drifting Net, 1987 The Joel Starrels, Jr. Memorial Collection, 1974.139 OTTO DIX D.C., 1 July—30 September 1988 [acc. no. 1967.87 Ink on paper, 14 1/4 x 10 1/4 (36.2 x 26) German, 1891—1969 only]; Center for the Fine Arts, Miami, Florida, 16 G.U.C. Collection, courtesy of the David and Alfred ARISTIDE MAILLOL Nineteen prints from the portfolio Der Krieg, 1924 December 1988-26 February 1989; Museum of Science Smart Museum of Art, 6.1990b French, 1861—1944 Etching, engraving, and aquatint, various and Industry, Chicago, 8 June—14 September 1989; Woman with a Crab, 1905 measurements Cast bronze, 6 1/2 x 5 1/2 x 4 3/4 (16.5 x 14 x 12) The Marcia and Granvil Specks Collection, The Joel Starrels, Jr. Memorial Collection, 1974.211 1984.48, .50, .52, .66, .69; 1986.254, .255, .257, .259, .261, .262, .264, .265, .266, .269, .271, .273, The School of the Art Institute of Chicago .275, .276 From America's Studio: Twelve Contemporary Masters 10 May-14 June 1992

JOHN CHAMBERLAIN American, born 1927 Untitled, 1963 Welded, painted, and chromium-plated steel auto­ mobile parts, 36 x 50 x 53 (91.4 x 127 x 134.6) Gift of Mr. and Mrs. Richard L. Selle, 1972.3

48 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 49 EXHIBITIONS AND PROGRAMS

Exhibitions

Permanent collection, loan, and traveling exhibi­ Leaves from the Bodhi Tree: The Art of Pala India tions from 1 July 1990 through 30 June 1992. (8th-12th Centuries) and Its International Legacy 9 October-2 December 1990 The Drawn Image This major loan exhibition of sculpture, painting, Leaves from the Bodhi Tree: The Art of Pala India (8th-12th Centuries) and Its International Legacy. 11 July-25 August 1990 and decorative arts, organized by the Dayton Art The changing role of drawing within the broader Institute in Dayton, Ohio, and curated by Susan Curated by Richard A. Born, the 125 important context of art production in the 20th century L. Huntington and John C. Huntington, centuries, provided a useful complement to the paintings, sculptures, prints, drawings, photo­ was examined in this exhibition of ten works on Professors of the History of Art at Ohio State concurrent loan exhibition, Leaves from the Bodhi graphs, and decorative art objects from many dif­ paper from the Smart Museum's permanent col­ University, brought together more than 100 Tree. ferent periods and countries were discussed by lection, curated by intern Stephanie D'Alessandro. objects created in India during the medieval Pala Born and interns Stephanie D'Alessandro and Drawings by Lynn Chadwick, Alberto Giacometti, period and in the many Asian centers under the Between Goddess and Mother: Renaissance and Kathleen Gibbons. Along with the concurrently Julio Gonzales, Joan Miro, George Grosz, Jose influence of the Pala rulers. Including both Baroque Views of Women published Guide to the Collection, this exhibition Clemente Orozco, Henry Moore, and Helen portable objects and monumental temple sculp­ 8 January-24 February 1991 demonstrated the Smart Museum's emergence as Saunders demonstrated the variety of techniques tures out of public and private collections from one of America's leading university collections. and applications that make drawing a vital aspect around the world, this exhibition continued the In the 16th and 17th centuries in Europe, varied of these modern artists' work. Museum's commitment to interdisciplinary schol­ and often contradictory images of women were arship and investigation of the role of the fine arts disseminated in reproductive prints, which came Scholarly Treasures: Donations in Honor of Harrie in varied cultural contexts. to be understood as aesthetically valuable in their A. Vanderstappen M.F.A. 1990 own right. Collected in this period by wealthy 1 March-21 April 1991 12 July-26 August 1990 male patrons, many of these prints depicted Curated by Richard A. Born, this exhibition Devotion and Performance: Traditional Uses of women as goddesses, nymphs, or madonnas. The Paintings, sculpture, and installations by Gary focused on many important periods of East Asian Visual Form in South Asia interaction between techniques and themes, each Cannone, Jill Glick, Raina Grigg, Kathy Rice, art by featuring eight donations to the permanent 9 October-16 December 1990 with particular expressive values and ideological Brian Ritchard, Deb Vandenbroucke, and Libby collection in honor of the respected scholar of implications, was examined by intern Suzanne Wadsworth were exhibited in the seventh annual In this exhibition of twelve Indian devotional Asian art and former professor in the University Gerstner in this exhibition of nineteen works from exhibition of works by recent graduates of the images from the collections of The Art Institute of Chicago's Department of Art, Harrie A. the permanent collection. Master of Fine Arts program at Midway Studios of Chicago and the Smart Museum, University of Vanderstappen. Chinese neolithic pottery, Shang of the University of Chicago. Aspects of the Chicago graduate student Woodman Taylor dynasty marble carvings, 18th-century Japanese Cross Sections II: Acquisitions to the Permanent nature of representation were explored in the emphasized the methods by which these works prints, and painted Chinese and Japanese scrolls Collection twenty-seven works that made up this show, orga­ were produced and the uses for which they were from different periods provided a small cross-sec­ 17 January-17 March 1991 nized by intern Stephanie D'Alessandro, under the intended in an attempt to understand their histor­ tion of this important part of the Smart Museum's supervision of curator Richard A. Born. ical role. The sculpture, paintings on paper, The diversity and richness of the Smart Museum's collection. prints, and oil and tempera paintings included in collection was revealed in this exhibition of pur­ this exhibition, dating from the 19th and 20th chases and gifts during the preceding three years.

ACTIVITIES AND SUPPORT 51 50 SMART MUSEUM BULLETIN Independent Expressions: Spanish and Mexican The American Color Print of Ireland in Dublin, Ulster Museum in Belfast, Drawings and Sculpture, 1650-1960 18 June-18 August 1991 Art Institute of Chicago, Chicago Historical 30 April-9 June 1991 More than twenty prints from the Smart Museum's Society, and Smart Museum, as well as several pri­ Selected from the Smart Museum's permanent col­ permanent collection were gathered to examine vate collections, to focus on one of the last great lection, this exhibition considered the diverse and how American printmakers from the late 19th to 19th-century historical revivals in the arts. Initially innovative artistic production of Spanish and the late 20th centuries have employed traditional sparked by archaeological discoveries, the revival Mexican artists during the baroque and modern media such as woodcut, screenprinting, and and its implications for fine and applied arts, lit­ periods. These fourteen works on paper and three lithography, as well as remarkably experimental erature, and music were examined in the sculpture, sculptures demonstrated several aspects of the his­ and mixed techniques. Organized by curator jewelry, textiles, stained glass, graphic design, and tory of Spanish and Mexican culture. The Richard A. Born, this exhibition included works architectural fragments presented in the exhibition exhibition was organized by intern Stephanie by Gustave Baumann, Romare Bearden, Stanley and studied in the accompanying catalogue pub­ D'Alessandro with the assistance of Professor Earl William Hayter, and Andy Warhol. lished by the Museum. Rosenthal of the University of Chicago's Depart­ ment of Art. The Gray City: Architectural Drawings of the Depth Studies: Illustrated Anatomies from Vesalius University of Chicago to Vicq dAzyr Josef Hoffmann: Drawings and Objects from 27 August-24 November 1991 17 March-7 June 1992 Conception to Design In honor of the University of Chicago's Centennial, Organized by Professor Barbara Stafford of the 20 April-16 June 1991 this exhibition (the first of a two-part series devot­ University of Chicago's Department of Art and her Featuring 261 drawings and twenty decorative ed to the University's building plans) focused on graduate seminar, this exhibition of twenty-nine objects from the Austrian Museum of Applied Art campus buildings constructed between 1893 and anatomy texts from the University of Chicago in Vienna and fourteen objects from the Smart 1986. Although the twenty-one drawings ranged Library explored the diverse ways in which anato­ Museum and private Chicago collections, this in style from collegiate gothic to modernist, they my text illustrators from the 16th to the 20th cen­ turies fathomed the realms of biology and physi­ exhibition was organized by the Goldie Paley revealed as well the strong continuity of the plan­ A Museum visitor reads a didactic text in the exhibition Gallery at Moore College of Art, Philadelphia. ning precepts of the University. Guest-curated by Imagining an Irish Past: The Celtic Revival 1840-1940. ology. Small manuals and large folios alike worked These works embodied the rigorous standards of University Planner Richard Bumstead, the exhibi­ as narratives to explain certain relationships craftsmanship that were espoused by Hoffmann tion featured selections from the archives of the between the body and mind and to establish links and disseminated through the production of the University of Chicago Library and the Office of Portrait Prints from Nolde to Dine: Selections from between the physical and metaphysical. The Wiener Werkstatte, which he founded in 1903; Facilities Planning and Management. the Joseph P. Shure Collection exhibition was mounted in conjunction with the furthermore, the juxtaposition of drawings with 3 December 1991-8 March 1992 University of Chicago Centennial Conference, "Imaging the Body: Art and Science in Modern finished products offered a unique view of the Multiple Perspectives: Cubism in Chicago Collections Joseph P. Shure, an alumnus of the University of designer's creative process. Culture" (2-4 April 1992). 8 October-1 December 1991 Chicago, has been collecting 20th-century art for many years. Particularly interested in graphics, Mr. Comprised of sixty works (paintings, sculpture, M.F.A. 1991 Shure has sought out the very direct and personal Jene Highstein: Drawings drawings, and prints) from public, private, and artistic statements which are possible in these often 16 June-23 August 1992 11 July-25 August 1991 corporate Chicago-area collections, this exhibition private media, and the seventeen portraits and self- Part of an ongoing series of intimate exhibitions Thirteen recent graduates of the University of provided an overview of cubism's permutations portraits in this exhibition each presented con­ focusing on the works of alumni artists, this show Chicago's Midway Studios submitted paintings, from its initial years through the late 1920s. siderations beyond mere physical appearances. featured three large-scale drawings by sculptor Jene drawings, installations, and sculpture to be dis­ Featuring examples of the early experiments of Portrait Prints from Nolde to Dine was guest-curat­ Highstein. Curated by intern Britt Salvesen, these played both in the Smart Museum and at outdoor Pablo Picasso and Georges Braque along with ed by Dennis Adrian, himself a University of works on paper complemented the May 1992 sites around the University campus. Organized by works by foreign artists in Paris who amplified and Chicago alumnus and a collector of fine art. installation of Highstein's marble sculpture, assistant curator Stephanie D'Alessandro, this extended the central concepts of cubism, Multiple Truncated Pyramid, a gift of the Smart Family selection of works by Donald Asher, Joanne Perspectives was organized by curator Richard A. Foundation, in the Vera and A.D. Elden Sculpture Berens, Norah Flatley, Peter Kapper, Elizabeth Born and associate curator Sue Taylor, and demon­ Imagining an Irish Past: The Celtic Revival 1840-1940 Garden, thus allowing viewers to investigate the Manley, Philip Matsikas, Jane Meredith, Robert strated the power and diversity of one of the most relationship between drawing and carving in the Mitchell, Fisa Schwarzbek, John Tanner, Colleen signficant movements in twentieth-century art. 5 February-16 June 1992 Tracey, Krister Tracey, and Ben Whitehouse pre­ This exhibition, organized by the curatorial staff, artist's work. sented the diverse issues of contemporary art in brought together nearly 300 works of art from highly individual ways. many institutions including the National Museum

52 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 53 EXHIBITIONS AND PROGRAMS

Events

Lectures, gallery talks, concerts, special events, col- Lecture: "In the Beginning: The Prelude to loquia, and symposia, 1 July 1990-30 June 1992. Pala Art," Frederick Asher, Professor of the History of Art, University of Minnesota, 5 November 1990. Family Day: annual open house for families, 22 Symposium: Images and Rituals: The Pala July 1990. Tradition and Beyond, with opening remarks by Ron Linden, Professor of History and Gallery talks for M.F.A. 1990 by participating South Asian Languages and Civilizations, artists: Libby Wadsworth, 12 August 1990; Gary University of Chicago, 10 November 1990: Cannone, 19 August 1990. Richard Elden and Joan Feitler of the Smart Family Foundation at the dedication ceremony for Scott Burton's Bench "Opening the Eyes of the Buddha: Rituals and Table in the Vera and A.D. Elden Sculpture Garden, 7 June 1991. Special events complementing Leaves from the of Consecration in Thailand," Donald Bodhi Tree: The Art of Pala India (8th-12th Swearer, Professor of Religion, Swarthmore Annual Holiday Party, 2 December 1990. Special event in conjunction with the exhibition, Centuries) and Its International Legacy. College, Pennsylvania. Scholary Treasures: Donations in Honor ofHarrieA. "From Sculpture to God: Dressing the Holiday Concert: Hyde Park Youth Sinfonia and Vanderstappen: Opening Reception Lecture: "Royal Patrons Hindu Image in Asia," Joanne Punzo the Chicago Association of Children's Choirs, 9 and Wandering Monks: The Art of Pala India Fellows Lecture: Harrie A. Vanderstappen, Waghorne, Assistant Professor of Religious December 1990. and Its Influence," Susan L. Huntington and Professor Emeritus in the Departments of Art Studies, University of North Carolina at John C. Huntington, Professors of the History and East Asian Languages and Civilizations, Chapel Hill. Platform Presentation: dramatic reading of Joe of Art, Ohio State University and curators of University of Chicago, commentary on the Orton's diaries by Denis O'Hare, cast member of the exhibition. "Vajrayana Images and Practices in Tibet," occasion of the exhibition, 6 March 1991. Matthew Kapstein, Assistant Professor of the Court Theatre's production of What the Butler Platform Presentation: dramatic reading of Saw, 10 February 1991. Religion, Columbia University, New York. Concurrent programming with the exhibition, Indian poetry selections, Nicholas Rudall, "Accretion, Obliteration, and Renewal: The Josef Hoffmann: Drawings and Objects from Con­ Artistic Director, Court Theatre, University of Annual Friends Meeting: vote on acquisition to Art of Ritual in the Kathmandu Valley," ception to Design: Chicago, 14 October and 11 November 1990. permanent collection, 12 February 1991. Bruce Owens, Mellon Instructor in the Symposium: From Conception to Consumption: Fellows Lecture: "The Ambiguity of Images Social Science Collegiate Division, Uni­ Concert: Arioso String Quartert, co-sponsored by Contemporary Architects!Contemporary Design, in Indian Art and Myth," Wendy Doniger, versity of Chicago. Mostly Music, 17 February 1991. 20 April 1991: Mircea Eliade Professor of Divinity, South Concert: classical Indian music, Lyon Leifer "Mindcraft," Margaret McCurry, Architect, Asian Languages and Civilizations, and the playing the bansuri (Hindustani bamboo flute) Tigerman McCurry. Committee on Social Thought, University of and accompanied by the tabla and tambura, Chicago, 24 October 1990. "(De) Sign," Stanley Tigerman, Architect, 18 November 1990. Tigerman McCurry.

54 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 55 Arts Day participants browse through books at the Museum gift shop, while enjoying desserts and jazz music in the A capacity audience enjoys a Mostly Music Concert in the Smart Museum lobby. lobby, 6 October 1991.

Arts Day: open house for the campus arts organi­ "The China Syndrome," Mark Hacker, Fellows Lecture: "Josef Hoffmann: Design as "Reading Cubism," Rosalind Krauss, zations in honor of the University's Centennial, Vice President of Design and Development, Totality," Franz Schulze, Hollander Professor Distinguished Professor of Art History, 6 October 1991. Swid Powell. of Art, Lake Forest College, 22 May 1991. Graduate Center, City University of New York, 28 October 1991. "From the Magical to the Mundane," Susan Events scheduled in connection with the exhi­ Grant Lewin, Creative Director, Formica Platform Presentation: selections from works Dedication ceremony for Scott Burton's Bench and bition Multiple Perspectives: Cubism in Chicago Corporation. by modernist authors Ezra Pound, Gertrude Table in the Vera and A.D. Elden Sculpture Collections: Stein, and William Carlos Williams, read by "Snakes and Ladders, by Peter Eisenman, Garden with opening remarks by Judith Russi Aspects of Cubism, lecture series co-sponsored Nicholas Rudall, Artistic Director of the The Craft of Textiles: A Collaboration with Kirshner, Director of the School of Art and by the Arts Club of Chicago to complement Court Theatre, 27 October and 17 November Hazel Siegal, Knoll Textiles," Hazel Siegel, Design, University of Illinois at Chicago, 7 June the exhibition, Multiple Perspectives: Cubism in 1991. Managing Director of Design Worldwide, 1991. Knoll Textiles. Chicago Collections: Platform Presentation: Barbara Schubert, Music "Ah...But Can You Make It?," John Family Day: annual open house with events "Anarchist Self-Fashioning: Salon Painting, Director of Court Theatre's production of Laughton, Manager of Marketing Projects, designed for family participation, 14 July 1991. Political Satire, Modernist Art," Patricia Candide, discussion of the musical version of American Standard. Leighten, Associate Professor of Art Voltaire's play; musical performance of songs from Gallery talks by artists featured in M.F.A. 199P- History, University of Delaware, 7 October the Leonard Bernstein score, 20 October 1991. Platform Presentation: "Conception and Ben Whitehouse, 21 July 1991; Elizabeth Manley, 1991. Execution of Stage Design," Linda Buchanan, 28 July 1991; Norah Flatley, 11 August 1991. "Reform versus Revolution: Fernand Leger set designer for Court Theatre's production of Mostly Music Concert: David Richter on the clas­ and Russian Constructivism," Robert Lope de Vega's Fuente Ovejuna, 2 1 April 1991. sical guitar playing works by Dowland, Sor, Mostly Music Concert: I Diversi, Edward Herbert, Professor of Art, Mount Holyoke Rodrigo, and Albeniz, 19 November 1991. Platform Presentation: readings of Viennese Druzinsky, harp; Charles Pickler, violin; and College, 14 October 1991. Maxwell Raimi of the Chicago Symphony per­ literature selections, Kenneth J. Northcott, "Spatial Geometry: Aspects of Twentieth- formed works by Schubert, Saint Saens, Guere, Professor Emeritus, Department of Germanic Century Sculpture," Evelyn Silber, Assistant Languages and Literature, University of and Raimi, 29 September 1991. Director, Birmingham Museum and Art Chicago, 19 May and 9 June 1991. Gallery, England, 21 October 1991.

56 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 57 Lecture: "Imagining an Irish Past: The Platform Presentation: readings from mod­ Creation of the Celtic Myth," Martin Burke, ern Irish poets by Nicholas Rudall, Artistic Lecturer, Social Sciences Division, University Director, Court Theatre, 26 April 1992. of Chicago, 8 March 1992. Bloomsday Celebration: public reading of Mostly Music Concert: Saint Patrick's Day selected passages from James Joyce's novel, commemoration with Jamie O'Reilly and the Ulysses, led by Frank Kinahan, Associate Rogues, 15 March 1992. Professor of English Language and Literature, University of Chicago, 16 June 1992. Platform Presentation: poetry of W.B. Yeats read by Jerome Kilty, cast member of the Mostly Music Concert: Bonita Hyman, mezzo Court Theatre's production of The Gigli soprano, accompanied by Philip Morehead, harp­ Concert, 15 March 1992. sichord; and Pat Morehead, oboe; 17 May 1992. Platform Presentation: readings from the works of James Joyce by Nicholas Rudall, Dedication ceremony for Jene Highstein's Artistic Director, Court Theatre, 29 March Truncated Pyramid in the Vera and A.D. Elden 1992. Sculpture Garden, with opening remarks by Herbert George, Associate Professor, Committee Lecture: "Hidden Treasure: The Legacy of on Art and Design, and the artist, 30 May 1992. Chicago's Irish Parishes," Ellen Skerrit, inde­ pendent scholar, 5 April 1992. Family Day: annual open house with events Dramatic Performance: Lady Gregory's designed for family participation, 28 June 1992. Spreading the News (the inaugural production Smart Museum preparator Rudy Bernal helps build a collage with a young artist during Family Day, 28 June 1992. of the Abbey Theatre of Dublin) performed by Erin Go Bragh Theatre Company, 26 April 1992. Fellows Lecture: commentary on methods of print- Events held in conjunction with Imagining an Irish making and works in the exhibition, Portrait Prints Past: The Celtic Revival, 1840-1940: from Nolde to Dine: Selections from the Joseph P. Fellows Lecture: "The Evolution of Irish Shure Collection, by Dennis Adrian, art historian, Silver," John Teahan, Keeper of Art and 4 December 1991. Industrial Division, National Museum of Ireland, Dublin, 22 January 1992. Concert: Hyde Park Youth Sinfonia, John Hope Dancers, and St. Thomas the Apostle Liturgical Gallery Talk: "Emblems of National Pride: Dancers, 8 December 1991. Celtic Art Revival," Kathleen Gibbons, Education Coordinator, 7 February 1992. Holiday Party: seasonal open house, 13 December Lecture: "'Couldn't you do the Yeats touch?': 1991. James Joyce's View of the Celtic Revival," Michael Patrick Gillespie, Associate Professor Mostly Music Concert: Basically Bach, David of English, Marquette Univeristy, 16 February Sullivan, harpsichord; John Rozendaal, cello; 1992. Washington McClain, oboe; and Cynthia Koppelman, violin; 2 February 1992. Gallery Talk: "The Influence of the Celtic Revival on American Art," Kathleen Gibbons, Annual Friends Meeting: vote on acquisition to Education Coordinator, 6 March 1992. permanent collection, 20 February 1992.

58 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 59 EXHIBITIONS AND PROGRAMS Literature and Art: in conjuction with Kenwood Academy, this project allows students to exam­ ine the correspondence of visual art and liter­ ature from the same period through numer­ ous class visits to the galleries, creative writing projects, and readings from important texts. Education Literacy through Art: designed for high school women who are also young mothers, and to encourage the use of the visual arts for story­ telling; this year's pilot program was in con­ junction with Carver Area High School.

Annual Hyde Park Teachers Meeting: inaugu­ rated in September 1991, this endeavor intro­ Educational programming from 1 July 1990 class visits to the galleries, do research on a duces teachers to the Museum's schedule of through 30 June 1991. selected art object, and finally present their special exhibitions and new school programs work to an audience. The event concludes for the upcoming academic period, and sug­ Museum Tours with an informal reception in the main lobby gests ways in which teachers might integrate of the Museum; successful Docent for a Day Museum visits into syllabi. An increasingly visible role in introducing the pub­ participants have come from the Laboratory lic to the Museum's collections has been played by Elderhostel Program: initiated in July 1992, this Artist Ben Whitehouse discusses student progress with a Schools and William H. Ray School. the Smart Museum's docents, University of project, in conjunction with the University Smart Museum visitor during a Saturday Master Class. Chicago graduate and undergraduate students who of Chicago's International House, introduces senior citizens from across the country to the attend regular training and work sessions to learn and "representation". During the 1992 winter Museum's collections through an informal about special exhibitions and aspects of the per­ and spring academic quarters, art students set afternoon discussion. manent collection. Docents not only offer tours to up their easels on Saturday afternoons to fol­ both adult and school groups, but also contribute The Master Class: offered by the Office of low the academic tradition of learning how to to the expanding number and scope of specialized Continuing Studies, taught by artist Ben paint by copying master works. Museum visi­ tours which include Portraiture in Art, Elements of Whitehouse, and hosted by the Smart Musuem, tors were welcomed to discuss students' activi­ Art, Mythology, Art of This Century, and Narratives this class is inte nded to examine painting tech­ ties; this program will run again during the in Art. Over the past two years, docents have led niques and the related issues of "expression" 1992 summer and 1993 winter quarters. 173 school tours (3,810 students) through the gal­ leries of the Smart Museum. In addition to week­ ly Sunday afternoon tours and monthly lunch hour gallery walks, tours have also been developed to meet the interests of adult visitors, including special interest and senior citizen organizations; during this period, docents have conducted 128 specialized adult tours.

Programs

Important efforts to integrate the Museum's endeavors with the Hyde Park community include:

Docent for a Day. a program which allows 5th-8th grade students to act as docents in the Actor John Leovy makes the Daphne and Apollo legend Museum for families and friends. In prepara­ come alive during a Museum tour. tion, participating students must make several

6o SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 6l EXHIBITIONS AND PROGRAMS

Publications Sources of Support

Imagining an Irish Past: The Ce ltic Revival Published material from 1 July 1990 through 30 Cash and in-kind contributions received from 1 July 1990 through 30 June 1992. June 1992. 1840-1940 Edited by T.J. Edelstein, with the following essays: Grants Mrs. Harold T. Martin Mrs. Babette A. Rice Michael Camille, "Domesticating the Dragon: The Mrs. Olga Maser Morgen Ms. Susan Block Rubnitz The David and Alfred Smart Museum of Art: A Austrian Cultural Institute, New York, Mr. Marshall J. Padorr Miss Rita M. Silverman Guide to the Collection Rediscovery, Reproduction, and Re-invention of and Consulate General of Austria, Mr. Charles Pollack Edited by Sue Taylor and Richard A. Born and Early Irish Metalwork"; Linda Seidel, "Celtic Chicago Mr. and Mrs. Gordon S. Prussian featuring color illustrations and individual essays Revivals and Women's Work"; Anthony Jones, British Council Gifts in Kind The Ida and William Rosenthal Friends of the Smart Museum Aer Lingus on eighty-six works from the permanent collection "Knox of Manx and Liberty's of London: In the Foundation Illinois Arts Council Ann Sather Restaurant as well as a checklist documenting more than five Ministry of the Beautiful"; Frank Kinahan, Mr. and Mrs. John Stern Institute of Museum Services The Arts Club of Chicago hundred additional objects in the Museum. In "Douglas Hyde and the King of the Chimps: Mr. Allen M. Turner The Andrew W. Mellon Foundation Cardinale's Pastries & Pastas, Inc. addition to the detailed reference materials and Some Notes on the De-Anglicization of Ireland "; National Endowment for the Arts Carswell's Carpets texts provided by University of Chicago faculty, Neil Harris, "Selling National Culture: Ireland at The Program for Cultural Gifts of $500-$900 Chicago Access Corporation alumni, advanced graduate students, and Museum the World's Columbian Exposition"; Cheryl Cooperation Between Spain's Bergman Family Charitable Trust Consul General of Ireland, Chicago staff, the Guide to the Collection relates the history Washer, "The Work of Edmond Johnson: Ministery of Culture and the Richard and Janet Cudahy Dunkin Donuts United States Universities Elegant Edge of the Smart Museum since its establishment in Archaeology and Commerce"; with additional con­ Mr. Gaylord Donnelley Ida and William Rosenthal Ms. Randy Lowe Holgate ElJardin 1967 and discusses the ways in which the collec­ tributions by Richard A. Born, Sue Taylor, Mary Foundation Mrs. George B. Young Glorious Affairs tion has since expanded and diversified. Published McLaurin, and Karen Woodworth. Imagining an Sara Lee Foundation Mrs. Mary Adams Young Hyde Park Cooperative Society Super on the occasion of the fifteenth anniversary of the Irish Past also contains a checklist of 284 objects Smart Family Foundation Mart, Inc. IDA Ireland Smart Museum. 216 pages, seven black-and-white from various collections, including that of the U.S.-Spanish Joint Committee for Gifts of$150-$499 Cultural and Educational Martini & Rossi; Bacardi Group illustrations, 86 color plates. Smart Museum. Published on the occasion of the Alsdorf Foundation Cooperation Migala Communications Corporation exhibition of the same title mounted at the Smart Dean Witter Reynolds, Inc. Visiting Committee on the Visual Arts Mr. G Finer Foods Museum from 5 February through 16 June 1992. Gordon S. Mark Women's Board of the University of Mr. Bryan S. Reid, Jr. 158 pages, 56 black-and-white illustrations, seven Chicago Friends of the Smart Museum Ms. Norman B. Rubovits color plates. Council of Fellows and Corporate Contributions Members ($1000 and above): Gifts of$l-$l49 Gifts of $1000 and more Anonymous (1) Mrs. Pamela K. Armour First Boston Anonymous (1) Mrs. William Brien Gaylord and Dorothy Donnelley Bernstein Development Foundation Professor and Mrs. C. Howard Church Foundation Feitler Family Fund Ms. Suzanne Gray Helen and Jack Halpern Ms. Joann D. Flannery Mr. Fred Hansen Mr. Thomas Heagy The Richard and Mary L. Gray Mr. and Mrs. Howard Mark Helsinger Jenner and Block Law Offices Foundation Miss Clare C. Lyden Mrs. Phoebe R. Lewis The Harris Foundation National Fine Arts Association Mr. and Mrs. Edward H. Levi Mrs. Frederick T. Lauerman Mr. Edward L. Pattullo Roy I. Warshawsky

62 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 63 Sustaining Fellows ($500-$999): Mrs. Inge Maser Ms. Stacey Burnham Hellmut and Sybille Fritzsche Mr. and Mrs. John C. Kern Jane and Robert Mc Dermott Mr. and Mrs. Leonard Byman Mr. Henry Otto Mr. T. Kimball Brooker Mr. David A. Genovese Mr. Lawrence Kessel Henry W. Meers Leonard I. Carlson Dr. Jane H. Overton Janet and Richard Cudahy Jack and Joan George Michael Khan Mr. and Mrs. David B. Midgley Sol and Lillian Century J. Getzels Ms. Val Pacasars Randy Lowe Holgate and John Ms. Mary Kickles J. Clifford Moos Mr. Vivek Chandra Mr. William B. Parker Peterson Mr. and Mrs. Arnold M. Gilbert Spencer L. Kimball John and Marilyn Richards Mr. and Mrs. S. Chandrasekhar Charles T. Payne Michael Sims Hyman Mr. and Mrs. Seymour Glagov Daniel and Joan Koblick Mr. Howard J. Romanek M. Haejung Choi Mr. and Mrs. Max S. Perlman Ardith M. Lauerman Ms. Jacqueline Glassman Gwin and Ruth Kolb Mr. and Mrs. Albert J. Rosenthal Miriam K. Clarke Mr. and Mrs. Lester C. Pertle Loretta Thurm Cara Glatt Muriel Kolinsky Dr. Heidi S. Rothenberg Mr. Dennis Coalson Mildred Peters Lynn and Allen Turner Natalie and Howard Goldberg Maurine Kornfeld Susan and Charles P. Schwartz, Jr. Mr. Rodney Cobb Eleanor P. Petersen Stanley C. Tuttleman Mr. Mitchell Goldman and Dr. Shelly J. Korshak Mr. Philip Shorr Lydia Goodwin Cochrane Gloria C. Phares Mary Adams Young Dr. Raul U. Salta Peter J.J. Kosiba Mr. and Mrs. Richard B. Philbrick Mr. Michael Silver Mr. and Mrs. Sheldon O. Collen Mr. and Mrs. Julian R. Goldsmith Catherine Krause Robert and Rita Picken Fellows ($150-$499): Diane and Louis Silverman Charlotte Collier Ms. Sherry Goodman and Mr. Richard G. Kron Dr. Louise L. Polak Mr. and Mrs. Helmut Strauss John and Adela Collins Mr. Richard Watt Anonymous (1) R.J. Kuby Gordon Lee Pollock Dr. and Mrs. John Ultmann Eugene and Sylvia Cotton Mr. and Mrs. Marvin A. Gordon Dr. and Mrs. Basel Al-Aswad Mrs. Louise H. Landau Eugene and Ginnie Pomerance Marilyn and David Vitale Jane and John Coulson Mr. and Mrs. Robert R. Gowland Marilynn B. Alsdorf Lila Meitus Lang Penny Pritzker Mr. and Mrs. Arnold Zellner Marion W. Covey Mr. and Mrs. Robert Grant Mr. John S. Anderson Gary T. Lark Ms. Anne Puotinen Mrs. Ethel Zitnik Jillian Cowan Dr. Jonathan Green Mrs. Pamela K. Armour Mr. and Mrs. Seymour La Rock Max and Sheila Putzel Mr. and Mrs. Allen A. Zuraw Mrs. Kenneth R. Cowan Mr. and Mrs. Charles Gregersen E.M. Bakwin Mr. and Mrs. Willard Lassers J. Douglas Ramsey Charles and Irene Custer Georgina Gronner-Cook Mr. and Mrs. John Bauman Ms. Katherine A. Lathrop Dr. Ruth G. Ramsey Friends ($15-$ 149): Mr. Sven Dahlquist N. Gross, M.D. Mrs. Guity Nashat Becker Ms. Gerry Laurence Mr. and Mrs. James M. Ratcliffe Martha Abelson Ms. Allison Daley Mr. Benjamin Gruber Robert and Marie Bergman Mr. and Mrs. Gerhardt Laves Dr. and Mrs. Christen Rattenborg Marion M. Anderson Mr. and Mrs. George H. Daskal, Jr. Mr. and Mrs. H.G. Guterbock Mr. and Mrs. Steven Berkowitz Mary S. Lawton Professor Bruce Redford Drs. Andrew and Iris Aronson Mr. and Mrs. Richard Davis Mr. Leo Guthman Mr. and Mrs. Stephen R. Berry Kendra S. Leindecker George W. Reed, Jr. Ted and Barbara Asner Drs. Robert and Josephine Dawson Mr. and Mrs. Lester Guttman Mr. Walter Blum Dr. and Mrs. Leonard Lerner Mrs. Else Regensteiner Mrs. Sylvia Astro Ms. Laura S. de Frise Rita Kay Halvorsen Sylvia J. Boecker Madeline D. Levin Ms. Willa J. Rhodes Dr. and Mrs. Alfred Baker Dr. and Mrs. Leslie J. De Groot Maria H. Hand Mr. and Mrs. Jas A. Bond Margaret A. Lewis Mildred Allen Ries Dr. Eugene Baiter and Ms. Judith Ms. Alice de las Alas Mr. and Mrs. Chauncy D. Harris Mr. and Mrs. Robert E. Boyd Dr. Eva F. Lichtenberg Ms. Leah Robinson Phillips Mrs. Joseph R. DePencier Inge Heckel Mr. and Mrs. Robert A. Brawer Ms. Gretel Lowinsky Julie Rogers Roger and Julie Baskes Mr. and Mrs. Leon M. Despres Dr. and Mrs. Arthur L. Herbst Mr. T. Kimball Brooker Mavis and Adrian Lozano Ms. Anne Rorimer Mr. Don Baum Virginia and George Dick Jason Hershberger Mr. and Mrs Henry Buchbinder Ms. Claire C. Lyden Joan and Homer Rosenberg Mr. and Mrs. Reginald Baxter Ruth Curd Dickinson James and Barbara Cowan Herst Mr. and Mrs. Robert L. Buck Ms. Edna Manes Mrs. Leona Z. Rosenberg Rebecca Elise Begelman Mr. Leonard W. Dodson Claudia Hill Mr. and Mrs. Philip M. Burno Mr. and Mrs. Herbert Manning Mr. and Mrs. Samuel R. Rosenthal Mrs. Pamela Berk Mr. and Mrs. Edward Drusinsky Dr. Knox C. Hill Robert Coale Anthony M. Maramarco Ernest and Mary Rosner Mr. and Mrs. David Bevington Ms. Victoria Duran Mr. and Mrs. George D. Hirsh Patricia J. Collette Friedericka Mayers Morris and Rochelle Rossin Mrs. Deana N. Bezark Mr. and Mrs. Jarl E. Dyrud Concordia Hoffmann Mr. Gerald S. Elliott Georgianna M. Maynard Mr. and Mrs. Edwin A. Rothschild Mr. Robert Biggs Mr. Joshua Eichenhorn Marshall and Doris Holleb Joe and Barbara Ferrari Virginia McDavid Dr. and Mrs. Frank Sherwood Mrs. Vanice C. Billups Dr. Phillip S. Epstein Mr. Seymour Homer Mr. and Mrs. Herbert B. Fried Mary M. McDonald Rowland Sidney and Hanna Block Mr. and Mrs. Robert Erickson Ms. Sheila H. Hori Mrs. Willard Gidwitz George and Jane McElroy Donald and Janet Rowley Sophie Bloom William and Norah Erickson Ms. Aimee I. Horton Philip and Suzanne Gossett Mrs. John H. Meyer James Rubens Mr. and Mrs. David L. Blumberg Mrs. Bergen Evans Mr. and Mrs. Cyril O. Houle Mr. and Mrs. Robert Grant Jerilee Michalak Carol and Leo Sadow Dr. and Mrs. Richard Evans Armen A. Hovanessian Joyce Turner Hilkevitch R. Darrell Bock and R.M. Menegaz- Mr. Shelby A. Miller Judith Sagan Dr. and Mrs. Philip Falk Mr. Orest A. Hrynewych Marshall and Doris Holleb Bock Katherine and Yutaka Mino Mrs. Lee W. Sagers Mr. and Mrs. Alan M. Fern Clyde and Jane Hutchison Ruth Horwich Joyce J. Bolden Robert R. Moeller Ms. Carolyn Saper Ms. Cynthia Fey Mr. Phillip W. Jackson Mr. Michael Igoe, Jr. Mr. and Mrs. Wayne C. Booth Mr. Thomas Monahan Ms. Elizabeth Scanlan Ms. Lisa J. Borodkin Helen T. Findlay Ms. Evelyn Jaffe Spencer L. Kimball Mr. and Mrs. Hans W. Morsbach Dr. and Mrs. Nathan Schlessinger Emily H. Fine Pat and Don Jessie Esther G. Klatz Gretel Braidwood and Raymond Jocelyn Mortensen Mrs. Bea Schneiderman Mr. and Mrs. Robert Fitzgerald Ms. Susan F. Joseph Dr. Susanne E. Larsh Tindel Mr. Charles Mottier Ms. Lynn D. Schnell Ms. Ellen Foley Mrs. Adele E. Kamp Robert B. Lifton Mr. James Braun Mrs. Bernard Nath Frank and June Schubel Ms. Barbara Foster Lewis Manilow Ms. Patricia Braun Dr. and Mrs. Gerson Kaplan Cora Nelson Raye R. Schweiger Mrs. Zollie Frank Mona and Emile Karafiol Mr. Richard Mantia Mrs. William Brien Katheryn T. Nelson Jo Anne and Barry Scott Mr. Alan R. Brodie David and Barbara Frankel Mr. and Mrs. Byron C. Karzas Asher and Vera Margolis Bernice Neugarten Mr. and Mrs. Robert L. Scranton Mr. and Mrs. Paul Freehling Ira and Janina Marks Joel and Merrie Anne Brownstein Mr. and Mrs. Joseph Katz Ms. Deborah M. Neyens Suzanne Seed Dr. and Mrs. Stanton A. Friedberg Mr. John T. Keefe McKim Marriott Mr. Richard C. Bumstead Kenneth J. Northcott Mary Kelton Seyfarth Mr. and Mrs. Meyer Burakoff Deborah and Paul Friedrich Diane and Thomas Kelly Mr. and Mrs. Franklin Orwin Ms. Margaret Shanahan-Moore

64 SMART MUSEUM BULLETIN Ac T VITIES AND SUPPORT John H. Shiner Mr. and Mrs. Theodore M. Swain Mr. James M. Wells LENDERS TO THE COLLECTION Mr. and Mrs. D.F. Shortino Beatrice W. Swartchild Dr. and Mrs. George W. Wetherill Ethel Shufro Dr. and Mrs. Martin A. Swerdlow Dr. and Mrs. Jesse K. Wheeler Joseph P. Shure Mrs. Gustavus F. Swift Ms. Alpha M. White The Robert B. Mayer Memorial Loan Wm. H. and Lois Z. Sickels Mr. Juri E. Taalman Nicholas White Mr. and Mrs. Robert Barnes Collection Michael S. Hyman Roberta Siegel Mr. and Mrs. Steven A. Taylor Ralph E. Wiggen Don Baum Carol Prins Ronald B. Inden Ms. Rita M. Silveri Dr. and Mrs. Joseph Teegarden Ms. Martha Wilkinson Mrs. Edwin A. Bergman Marcia and Granvil Specks Estate of Kelvyn G. Lilley Mr. and Mrs. Marvin Simon Stephen and Marcia Thomas Ms. Serene Wise Henry Cohen Edwin D. Stains The Mary and Earle Ludgir Phillip A. Skoczelas, M.D. Mrs. Manley Thompson Grace and Arnold Wolf Wendy Doniger Mr. and Mrs. John N. Stern Collection Mr. Melvyn A. Skvarla Paul N. Titman Michael Preston Worley John L. Strauss, Jr. Allen R. Smart Harry and Marjorie Trosman Rita and Julius Y. Yacker William D. Smart Wilbur and Linda Tuggle Margaret Mary Young Glenel M. Smith Fidelis and Bonnie Umeh Donald Youngs V!?,TU,?TVE"SITY °F CHICAGO Susan Sobie R.B. and Vi Uretz Mr. Robert WHS Yung VISITING COMMITTEE ON THE Priyanuch Somsak Vaidas Uzgiris Mr. and Mrs. Daniel J. Zimring VISUAL ARTS Max and Helen Sonderby Mrs. Edna V. Vanek Sylvia Ziontz Robert Feitler, Chair (1989-1992) Michael J. Goodkin Mr. and Mrs. Eric Sonneman Lillian Wachtel Mr. Marvin Zonis and Mrs. James W. Alsdorf Marshall J. Padorr Mrs. Michael J. Goodkin Ms. Jennifer Sostaric Robert Woodman Wadsworth Ms. Lucy L. Salenger Pamela K. Armour Mrs. Marshall J. Padorr Leo S. Guthman Mrs. Janice Spofford Dr. Nancy E. Warner Mr. and Mrs. Michael P. Zurick Dodie Baumgarten Thomas J. Pritzker Mrs. Daggett Harvey Mrs. James D. Staver John A. Washburn Robert H. Bergman Mrs. Thomas J. Pritzker David Craig Hilliard Mrs. Jeane Stiefel Ms. Nathalie Weil Corporate Matching Gifts Frances Blair Claire Prussian William J. Hokin Marjorie Stinespring Susan Wein Abe L. Blinder Gordon S. Prussian Amoco Foundation Marshall M. Holleb Dr. and Mrs Francis H. Straus II Florence G. Weisblatt David L. Blumberg Franz Schulze CNA Insurance Company Mrs. Leonard Horwich Dr. and Mrs. Jerome F. Strauss, Jr. Betty Weiss Janet Cudahy Joseph R. Shapiro IBM Richard Hunt Mr. Elliot Sussman Ms. Marjorie A. Wellington Georgette D'Angelo Edward Byron Smith, Jr. Illinois Bell Telephone Company Patricia Doede Klowden Zena Sutherland Gail M. Elden Barbara W. Staclder Mrs. Federick T. Lauerman Gerald S. Elliott John N. Stern Julius Lewis Sally H. Fairweather Mrs. Paul Sternberg David S. Logan James R. Foster Stanley Tigerman Mrs. Harold T. Martin DONORS TO THE COLLECTION Stanley M. Freehling Allen M. Turner Mrs. Robert B. Mayer Marshall B. Front Mrs. Thomas S. Tyl er Mary M. McDonald Anonymous (4) Friends of the Smart Museum Yutaka Mino and Katherine Tsiang Allan Frumkin James Nowell Wood Helen Harvey Mills Rolf Achilles and Patricia John Allan and Jean Frumkin Mino Mrs. Henry K. Gardner Mrs. George B. Young Ruth S. Nath Joan and Edward Anders Herbert and Anna George Norman V. Moore and his daughter Mrs. Willard Gidwitz Hubert B. Neumann Robert E. Ascher Temmie and Arnold Gilbert Anya Rochelle D. Aschheim Mr. and Mrs. Stanley G. Harris, Jr. Mr. and Mrs. Joseph O'Shaughnessy P.N. Barnes-The London Gallery Dr. and Mrs. Stephen M. Harrison Mrs. Diane Palmer Don Baum Florence S. Hattis Arthur Paul SMART MUSEUM BOARD OF GOVERNORS Dodie and Lee Baumgarten Dr. Phyllis Hattis Mrs. Geraldine Schmitt-Poor and Dr. Lindy and Edwin Bergman Alan P. Henry Robert J. Poor Allen R. Sanderson, Vice Chair Catherine Brawer Joel and Carole Bernstein Family Barbara Cowan Herst Dr. Barbara Schmitz (ex officio, 1990-91) Joan Harris Ellsworth Brown Collection Joyce Turner Hilkevitch Mr. and Mrs. Joseph Randall Shapiro Richard Gray, Chair (1991-92) Neil Harris Teri J. Edelstein (ex officio, through Friends and Students of Jerald C. Mr. and Mrs. B.C. Holland Phil Shorr Ronne Hartfield Elizabeth Helsinger, Chair (1990-91), March 1992) Brauer Mrs. Pietro Lazzari Sylvia Sleigh Vice Chair (1991-92) Randy Holgate Robert Feitler (ex officio) Katherine Lee Chester Brummel J.H.J. Lewis Smart Family Foundation Ann Jensen Adams Stanley M. Freehling Dr. Lien Chan Dr. Avi Lotan and Prof. Shulamit Ran Marcia and Granvil Specks Collection Robert Nelson (ex officio) Mrs. Edwin A. Bergman Alan Fern Margaret and Michael Chung Mary and Earle Ludgin Collection June and Francis Spiezer Linda Seidel (ex officio, 1990-91) Richard A. Born (ex officio, from Richard Gray Mr. and Mrs. Michael A. Mary McDonald Fay S. Stern April 1992) Raymond L. Smart Jack Halpern Cunningham Karl B. Mann John N. Stern Becky D'Angelo Collection of Edward A. and Inge Fay and John Stern Fund Eileen H. Duncan Maser David J. Teplica Mrs. Ruth M. Durchslag Edward A. Maser Memorial Purchase Judith and Howard A. Tullman Teri J. Edelstein Fund Naomi and Richard Vine Joan and Robert Feitler Mrs. Robert B. Mayer Lois B. Wolf Hy and Annie Laurie Fish

66 SMART MUSEUM BULLETIN ACTIVITIES AND SUPPORT 6~] SMART MUSEUM STAFF

Teri J. Edelstein, Director (1990-92) Vipula M. Patel, Membership Denise Mustafa Richard A. Born, Acting Director Noelle Wenger, Bookstore Shahzad Najmuddin, Guard Captain (April 1992- ), Curator Austin Nichols Rudy Bernal, Chief Preparator Student Guards Noelani Nitz Mary E. Braun, Registrar (through Siobhan Arnold Timothy Olsen May 1992) Joseph R. Becker Rachel G. Overton Emmett Collins, Security Supervisor Matthew Beckerman Gretchen Papazian (through May 1991) Anthony Berkley Andrew B. Payne, Guard Captain Stephanie D'Alessandro, Assistant Christine L. Blackburn David R. Pehlke, Guard Captain Curator Edward N. Boehme Julia Perlman Lisa Evans, Marketing Manager Faith E. Bugel David Pyle (through June 1991) James Calvin Burwell Cathy Momeni Kathleen A. Gibbons, Education Vincent P. Byrne Vijay Prashad Coordinator Scott W. Campbell Christopher Randle Julianne Gorney, Public Relations Joe D. Campos Jessica L. Rose, Guard Captain Officer (through September 1990) John S. Caperton Shami Shenoy Glen Lafferty, Administrative Assistant Jeannie Carmody Lihbin L. Shiao (through July 1990) Piya Chatterjee Jennifer L. Spreitzer Felix Lambert, Security Supervisor Gabrielle Chosney Benjamin Staniger Rachel E. Lemer, Public Information Randall Clark Meggan E. Stock Officer and Membership Elizabeth Clewett Andrea Taylor Coordinator Laura N. Clewett Mark H. Tengenfelt Laura McKenna, Administrative Shane Conterez James F. Tracy Assistant (1990) Malathi N. de Alwis Rachel Trummel Mary C. Panzer, Assistant Director for Thomas A. Doyle John D. Ward Development (1991) Shawn Early Joelle Jacques-Rodriguez, Jennifer Fenza Volunteers Administrative Assistant Leela Fernandes Helen Halpern (1991-92) Erika R. George Joseph P. Shure Priscilla Stratten, Operations Manager Bryan Glover Joyce Poole Sue Taylor, Assistant Curator Amanda Godley, Guard Captain Michael Worley (through July 1991) Cesar Gutierrez Agnes Zellner Edward M. Gutting Interns Michael Hajost Docents Stacey Ebel, Registrarial Virginia A. Hoffman Calvin Burwell Suzanne Gerstner, Registratrial Joan Holthaus Mahinda Deegalle Gregory Lane, Preparatorial Timothy Howington Sheree Fogel Bruce Linn, Registrarial Scott M. Hueston Ellen Foley Thomas Mudloff, Preparatorial Zachary J. Hunter, Guard Captain Suzanne Gerstner Britt M. Salvesen, Curatorial Omaya Ismail Julia Giardina Lilianna M. Sekula, Curatorial Jessica L. Jennings Anne Harris Steven Streng, Preparatorial David Kadlec Julie Johnson Gavin H Witt, Development/ Anne C. Kho Rob Levine Preparatorial Erik Laughlin Merle Khoo-Ellis Anne Locascio Andrew Moore Office Assistants Jennifer L. Locascio, Guard Captain Karla Niehus Laurie Baratta, Bookstore Heather Lord Julia Perlman Carrie Bryan, Administration Andrew Lyons, Guard Captain Jennifer Spritzer Jessica Clark, Public Relations Christine Malcom Eva Silverman Meredith Cricco, Administration Joseph Martz Wanda Turks Julie Hendricks, Membership Page Matheson Aileen Wang Carolyn Oliva, Administration Carolyn Meltzer Noelle Wenger Gabrielle Pak, Administration Kenan Minkoff

68 SMART MUSEUM BULLETIN m : . - - - • • • : : .

' • • v- •