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The Grohmann Museum Collection at Milwaukee School of Engineering: an Overview

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The Grohmann Museum Collection at Milwaukee School of Engineering: an Overview H-Labor-Arts The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview Discussion published by Patrick Jung on Monday, October 23, 2017 Patrick J. Jung Professor of History, Milwaukee School of Engineering James R. Kieselburg Director, Grohmann Museum The Grohmann Museum on the campus of the Milwaukee School of Engineering (MSOE) in Milwaukee, Wisconsin is one of the only museums in the world dedicated to artistic depictions of human labor and industrial landscapes. The museum collection currently holds over 1,300 paintings, sculptures, and works on paper that comprise what is known as theMan at Work collection. Dr. Eckhart Grohmann, a member of the MSOE Board of Regents, began collecting art in the late 1960s. As an industrialist—operating an aluminum foundry on Milwaukee’s south side—he took a keen interest in art that depicted human labor over the centuries. In 2001, he donated over 400 works of art to MSOE that became the core pieces of theMan at Work collection. To better showcase the collection, he assisted MSOE in building the Grohmann Museum, which opened in October 2007. Since that time, the museum’s collection has continued to grow. Currently, the Grohmann Museum consists of 38,000 square feet of total space and 18,000 square feet of exhibition space over three gallery floors and a rooftop sculpture garden. The three gallery floors are organized by subject matter. The first floor is dedicated to the production of iron and steel and includes three excellent late Renaissance landscapes by Marten van Valckenborch (1535-1610) that illustrate examples of sixteenth-century iron production. The Iron and Steel galleries also features the work of well-known nineteenth- and twentieth-century industrial artists such as Leonhard Sandrock (1867-1945), Fritz Gärtner (1882-1958), Franz Gerwin (1891-1960), Erich Mercker (1891-1973), Ria Picco-Rückert (1900-1967), Anders Montan (1846-1917), and Constantin Meunier (1831-1905). The second floor features works depicting agriculture and construction. Of note are the paintings of the Baroque landscape artist Jan Josefsz van Goyen (1596-1656), the great Düsseldorf artist Ludwig Knaus (1829-1910), and the French Realist painter Julien Dupré (1851-1910). The second floor also includes Norman Rockwell (1894-1978) as well as a recently opened gallery dedicated to the paintings of the Munich painter and Biedermeier artist Carl Spitzweg (1808-1885). The third-floor galleries are dedicated to craftsmen and the trades. Included are works by Pieter Brueghel the Younger (1564-1638) and Jan Brueghel the Younger (1601-1678) members of the well-known Flemish family of Baroque painters. Also included is the work of the great German painter Max Liebermann (1847-1935), Dutch master Willem Drost (1633-1659), and American great John George Brown (1831-1913). Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Labor-Arts The Grohmann Museum collection spans over four centuries, from the late Renaissance to the late twentieth century. For scholars undertaking study of artistic depictions of human labor, the collection offers many possibilities. In particular, many of the works provide a visual record of earlier production processes and may be viewed as technical documents. Marten van Valckenborch’s Fantastic River Landscape With lronworks, 1609 (Ill. 1) is an excellent example that illustrates an early iron works in Valckenborch’s native Flanders. In the lower left-hand corner of the painting, a furnace is seen spewing fire from a charging hole into which workers deposit iron ore and charcoal. The waterwheel indicates the presence of a water-powered bellows that heats the raw materials to the proper temperature. Below, workers tap the furnace, from which molten iron pours out into sand molds. To the right is a water-powered forge that employs overshot waterwheels fed by a sluice from above. The forge shoots flames through a chimney. Here, the cooled bars of iron are heated further to remove impurities. On the plain beyond the furnace and the forge, other workers mine ore from underground shafts. Such iron-making operations were common in the early seventeenth century, and we know much about how they worked thanks to artistic representations such as this. 0451.jpg Ill 1. Marten van Valckenborch, Fantastic River Landscape With lronworks, 1609, oil on canvas, 38 x 65.5 in. In addition to older work processes, scholars may also examine the manner in which the worker is represented in various pieces. Artistic representations of craftsmen—blacksmiths, coppersmiths, wheelwrights, cobblers, etc.—are abundant in the collection. Interestingly, many date to the latter half of the nineteenth century, when the role of the craftsman slowly and inexorably gave way to the great factories, foundries, and steel mills of the Industrial Revolution. Indeed, many of these works suggest a sentimental longing for what was increasingly a vanishing world of craft industries that had dominated Europe since the Middle Ages. One the most powerful pieces in this regard isThree Smiths at Hornbæk, Denmark, 1877 (Ill. 2) by the great Danish painter Peder Severin Krøyer (1851-1909). Like many similar representations of blacksmiths, the glow from the forge illuminates the toiling master and his assistants. The blacksmith is shown as strong, confident, and determined. Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2 H-Labor-Arts 0142.jpg Ill. 2. Peder Severin Krøyer, Three Smiths at Hornbæk, Denmark, 1877, oil on canvas, 37 x 46 in. While some artists were initially reluctant to depict the labors and lives of the growing legions of industrial workers, many accepted the challenge. Of particular note are the paintings and sculptures of Constantin Meunier, who, beginning in the 1880s, chronicled the difficult labor of workers in the pays noir, or the Dark Country around Liege in his native Belgium. While he sought to depict the often harsh, gritty burdens of the industrial worker, he also captured their strength and the pride they took they took in the work. The Miners (Ill. 3) is characteristic of the dignity with which Meunier represented the emerging class of industrial workers. Meunier was unusual as he worked in multiple media, more specifically painting and sculpture. The Grohmann Museum collection holds four paintings, one sketch, and eighteen bronzes by Meunier. While Meunier dedicated most of his artistic energies to the industrial workers in Belgium’s burgeoning coal and steel industries, he did not neglect fishermen, stevedores, and other workers who had long provided his country with wealth from the sea. In Meunier’sBust of a Longshoreman (Ill. 4), one sees a strong and confident expression, steady eyes, and a proud countenance. Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 3 H-Labor-Arts 0329.jpg Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 4 H-Labor-Arts Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 5 H-Labor-Arts Ill. 3. Constantin Meunier, The Miners, oil on canvas, 41 x 23.5 in. 0190.jpg Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 6 H-Labor-Arts Citation: Patrick Jung. The Grohmann Museum Collection at Milwaukee School of Engineering: An Overview. H-Labor-Arts. 10-23-2017. https://networks.h-net.org/node/25767/discussions/639663/grohmann-museum-collection-milwaukee-school-engineering-overview Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 7 H-Labor-Arts Ill. 4. Constantine Meunier, Bust of a Longshoreman, bronze, 22.5 in. In many of these works, one can easily distill evidence of a definite, and at times idealized, masculinity. In his examination of art and labor in Victorian Britain, Tim Barringer provides an excellent starting point by which one can examine what he calls “the representation of the male laboring body…as the nexus of ethical and aesthetic value.” Art scholars who wish to pursue this topic will find many excellent pieces in the Grohmann Museum, particularly the large number of bronzes that depict the working male body as muscular, athletic, and a cultural artifact that provides evidence of Victorian ideas concerning the gender roles expected of men. An excellent example of this aesthetic notion is Adolf Müller-Krefeld’s (1863-1934) sculpture Bending Steel, ca. 1900 (Ill.
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