The Smart Museum of Art Bulletin

1no7 1OQQ

The David and Alfred Smart Museum of Art The University of Chicago CONTENTS

Report of the Chair and Director 5 Mission Statement 7

Volume 9, 1997-1998. Photography Credits: Pages 8-15 Jerry Kobylecki Studies in the Permanent Collection Copyright ©1999 by The David and Alfred Museum Photography. Pages 18-26, figs. 1-3, Smart Museum of Art, The University of Chicago, Mo(o)re on the Other Side 9 Tom van Eynde; fig. 5, Jerry Kobylecki Museum 5550 South Greenwood Avenue, Photography; fig. 6, Tom van Eynde. Pages 28-32, RICHARD A. BORN Chicago, Illinois, 60637. All rights reserved. 34-36, Tom van Eynde. Page 38, Tom van Eynde.

Page 40, Tom van Eynde. Page 41, Matthew Artifacts of a Scholar: The Oracle-Bone Calligraphy of Dong Zuobin 19 ISSN: 1099-2413 Gilson. Page 42, Matthew Gilson. Page 43, fig. 1, KRIS IMANTS ERCUMS Matthew Gilson; figs. 2 and 3, Jim Newberry. Page Editor: Courtenay Smith 45 Jim Newberry. Front cover, Tom van Eynde. Design: Joan Sommers Design Printing: M&G Commercial Printing Activities and Support The works illustrated on pages 8-15 are repro­ duced by permission of the Henry Moore Collections 29 Foundation.

Every effort has been made to contact rights hold­ Exhibitions and Programs 39 ers for all photographs reproduced. Additional rights holders please contact the Smart Museum. Sources of Support 46

Operating Statement 51

Smart Museum Staff 52 Smart Museum Board of Governors 1997-1 998

Mr. Richard Gray, Chair Professor Jack Flalpern Professor Elizabeth Helsinger, Ms. Joan W. Flarris Vice Chair Professor Neil Harris Mr. Claudio Aspesi Ms. Mary Harvey (ex officio) Mrs. Edwin A. Bergman Ms. Randy Holgate Mr. Robert Bergman (ex officio) Professor William M. Landes Dr. Joel E. Bernstein Ms. Kimerly Rorschach (ex officio) Mr. Robert Feitler Mr. Raymond Smart Ms. Lorna C. Ferguson Professor Joel Snyder (ex officio) Mr. Alan Fern Mr. John N. Stern Mr. Stanley M. Freehling Mr. Michael Wyatt

The University of Chicago Visiting Committee Report of the Chair and Director on the Visual Arts

Robert H. Bergman, Chair Burton Kanter Ms. Anne Abrons Alan Koppel 1997-98 was a year of great activity for the we expect to complete as the museum cele­ Mrs. James W. Alsdorf Ardith M. Fauerman Smart, as we continued to carry out the initia­ brates its 25th anniversary in 1999. Dorothy Baumgarten Julius Fewis tives of our new Long-Range Strategic Plan, In June of 1997, Joan and Robert Feitler David L. Blumberg Eloise Martin developed with the advice of McKinsey & and the Smart Family Foundation announced Andy Austin Cohen Mrs. Robert B. Mayer Company and adopted by the Smart's Board of their intention to endow the Smart's director­ Phyllis Gordon Cohen Brooks McCormick, Jr. Governors in September 1997. We began plan­ ship in memory of their daughter Dana Feitler. Georgette D'Angelo Mary M. McDonald ning for an extensive renovation of our facilities In 1998, Kimerly Rorschach became the first Gail M. Elden Helen Harvey Mills and reinstallation of our collections, which will Dana Feitler Director of the Smart Museum. Sally H. Fairweather Evelyn E. Padorr allow us to present larger special exhibitions The museum was very honored to receive this Joan E. Feitler Marshall J. Padorr and more of our burgeoning American and gift, which is both the first endowed position at Robert Feitler Beatrice Perry European modern, contemporary, and East the Smart Museum and the first position other Joan S. Freehling Elizabeth Plotnick than a faculty chair to be endowed at the Uni­ Stanley M. Freehling Margot F. Pritzker Asian collections. The renovation will also pro­ versity of Chicago. Marshall Front Thomas Jay Pritzker vide for a more flexible thematic display of our Allan Frumkin Laura Campbell Rhind Ancient and Old Master works, which will bet­ 1997-98 was an exciting year for exhibi­ Adele B. Gidwitz Joseph J. Rishel ter reflect contemporary trends in art-historical tions at the Smart. We organized and circulated Helen F. Goodkin Irmgard Hess Rosenberger thinking and museum display. We are also cre­ the international exhibition Still More Distant Michael J. Goodkin Joseph P. Shure ating a new Education Study Room, which will Journeys: The Artistic Emigrations of Lasar Richard Gray Farry A. Silver allow us to better serve both university students Segall, which brought to public attention the Joyce Z. Greenberg John N. Stern and primary and secondary school groups, and career of an important but still too-little-known Feo S. Guthman Doris F. Sternberg new storage space for our growing collection of artist. Born in Vilna, Lithuania in 1891, Segall Alice Q. Hargrave Allen M. Turner paintings, prints, drawings, and photographs. studied in Berlin and Dresden, where he was David C. Hilliard James Nowell Wood Designed by John Vinci of Vinci/Hamp Archi­ part of the German expressionist movement. Ruth P. Horwich Mrs. George B. Young tects, the renovation will also include upgrades He later emigrated to Brazil, where he worked of our security and climate control systems, and until his death in 1957. Assembled from collec­ a new state-of-the-art lighting system. This tions in Brazil, and supported by grants from important project will require an investment of the Nathan Cummings Foundation, the Smart two million dollars, much of which has already Family Foundation, the Brazilian Ministry of been pledged by members of the Smart Muse­ Culture, and Safra Bank, Brazil, our exhibition um's Board of Governors and other generous traveled to the Jewish Museum in New York friends. During 1997-98 we worked to lay the after its showing at the Smart. The fully-illus­ groundwork for this fundraising effort, the trated color catalogue, by Stephanie D'Alessan- Silver Anniversary Renewal Campaign, which dro with contributions by Vera d'Horta and

5 University of Chicago art history professor programs, including gallery workshops for local Reinhold Heller, is the first substantial work in community mentoring groups, and continued English on Segall. We also sponsored a major our renowned Docent for a Day and MusArts international symposium entitled Jews, Society, programs for Chicago public school children in and Art after the Shoah, featuring speakers from 5th—8th grades. We continued our distinctive Brazil, England, and the U.S. education methodology of working collabora­ During the year, we also mounted exhibi­ tively with local schools and other community tions on art from ancient Sumer from the Ori­ partners to create programs that are effective ental Institute Museum collection, African art and responsive to the needs of our education from the Richard Faletti family collection, the program partners. As always, our efforts were British art nouveau designer Archibald Knox, sustained not only by our education department and an influential show of young contemporary staff, but by our wonderful corps of University painters entitled Post-Pop, Post-Pictures. All of Chicago student docents. We were saddened these exhibitions were accompanied by pro­ to say goodbye to our longtime education direc­ grams including lectures, symposia, perfor­ tor Kathleen Gibbons, who left behind an Mission Statement mances, and films, for audiences ranging from impressive legacy of first-class museum educa­ university students and the broader cultural and tion initiatives. We were pleased, however, to The David and Alfred Smart Museum of Art is spheres of study, the Museum especially seeks to visual arts community to local school children welcome her replacement, Jacqueline Terrassa, the art museum of the University of Chicago. In foster a cross-disciplinary understanding of the and families. former education director at the Hyde Park Art support of the University's educational mission, visual arts by means of its exhibitions and pro­ We acquired 96 works of art in 1997-98, Center. the Smart Museum collects, preserves, exhibits, grams. While embracing and serving the thanks to the generosity of many donors, whose Finally, one of the year's most significant and interprets works of art for the benefit of the University of Chicago audience, the Museum names are listed in the Acqusitions section and events was the second Joseph R. Shapiro Award University community, the citizens of greater also reaches beyond this audience, serving gener­ to whom we are especially grateful. We added Dinner, honoring John H. Bryan, Chairman of Chicago and other general audiences, and the al adult visitors, the greater scholarly and artistic to the collection important paintings by Robert the Board and Chief Executive Officer of Sara scholarly world at large. By means of both its community, and primary and secondary school Barnes and Robert Colescott; sculptures by Lee Corporation, which was held on September own collection and loaned works, the Museum students. By means of its exhibitions, programs, David Smith, Ivan Albright, and Red Grooms; 30, 1997. We were extremely pleased to be able presents exhibitions of scholarly and visual and publications, the Museum makes available and works on paper by Lovis Corinth, Joseph to honor John Bryan, a leader in international merit, in the belief that contact with original the University's unique intellectual resources to Yoakum, Jim Nutt, and Chuck Close; a large business circles who is also widely known as a works of art in a museum setting is an essential this wider audience, thus providing a public group of prints by Roger Brown; and pho­ discerning collector and a model of leadership component of a liberal education and a key fac­ "window" on aspects of the University's scholarly tographs by Graciela Iturbide, Ruth Thorne- in corporate philanthropy of the visual arts. We tor in understanding the world in which we live. discourse. At the same time, the Museum serves Thomsen, and Toshio Shibata. We were also were also pleased that J. Carter Brown, director To further enrich understanding of the visual as a training ground for future teachers, artists, given one of the original light fixtures designed emeritus of the National Gallery of Art, was arts, the Museum produces catalogues and other and museum professionals, involving a wide by Frank Lloyd Wright for the Robie House able to be with us as the keynote speaker. This publications, and sponsors programs such as lec­ range of University of Chicago students in essen­ dining room table, which will be restored and dinner, which honors a distinguished collector tures, symposia, readings, and tours to elucidate tial museum activities. In doing so, we serve not put on display in proximity to the replica fix­ of art whose vision and connoisseurship have the works on view and connect them to a wider only the University, but also the larger communi­ tures now gracing the table. Our Asian collec­ been instrumental in recognizing, preserving, intellectual, historical, and cultural discourse. In ty, by enlarging the pool of individuals commit­ tions have also been substantially enhanced and promoting the work of important artists, view of the University's long-standing commit­ ted to increasing understanding of the visual arts with significant Chinese and Japanese paintings, movements, or traditions in the visual arts, ment to interdisciplinary understanding in all among a range of diverse audiences. including a group of Zen calligraphies; Han attracted 400 attendees and raised over dynasty ceramics; and a Japanese Jomon period $100,000 for the museum. As we write this jar. Some of these were purchases made possi­ report, we are making plans for the third ble by the Brooks McCormick, Jr. Fund for Shapiro Award dinner in the spring of 2000. Asian art, which continued its generous support Many thanks for your interest in the of our acquisitions program. University of Chicago's David and Alfred Smart Our education programs continued to Museum of Art. We greatly value your support. flourish and expand, supported as in the past Richard Gray by a substantial grant from the Sara Lee Foun­ dation, with additional support from Polk Bros. Chairman, Board of Governors Foundation and Chicago Arts Partners in Kimerly Rorschach Education (CAPE). We piloted several new Dana Peitler Director

6 STUDIES IN THE PERMANENT COLLECTION

Mo(o)re on the Other Side

In 1997 the Smart Museum mounted an exhibition may be grouped according to a wide spectrum of nearly one hundred works of modern British of recurring subjects, themes, and types. For the art from its permanent collection, including all period between 1928 and 1956, the five most twenty of its drawings by the sculptor Henry prominent groups are: life drawings from the Moore (1898-1986).' These drawings, which date model, copies after Old Master paintings and from 1928 to 1956, span three of Moore's most sketches of ancient and tribal sculpture, ideas for decisive decades, from his early commercial suc­ sculpture, independent pictorial compositions, cess and first public commission as a promising and studies for prints and illustrations for literary but little-known modernist sculptor in London to publications. Three of the double-sided drawings the very prominent position he held as an interna­ in the Smart Museum collection (figs. 1, 3, 4) fall tionally acclaimed artist. Although six of the into the large category of studies for ideas for Smart's Moore drawings are double sided, only sculpture. One (fig. 6) is a figural composition of one of the versos was reproduced and commented the type that appeared in the artist's work with on in the exhibition catalogue.2 This article exam­ greater frequency after 1945, and another (fig. 5) a ines the other five of these rarely seen and even rarer sketch used for a magazine cover illustration. less discussed sides. They, like Moore s drawings Moore's engagement with drawing was not in general, are especially rewarding when his static. Not only did he employ a variety of media working sketches and more fully realized indepen­ over time, often in combination, and experiment dent compositions are viewed within the parame­ with new processes, but he also executed draw­ ters of their original role and function in Moore s ings for different reasons and uses. For example, broader artistic activity. in the 1930s—perhaps his most innovative decade, Moore produced drawings throughout his when he abandoned his earlier reductive, primi- career. The sheer number of his extant drawings, tivistic figure style and experimented with abstrac­ nearly five thousand known sheets,3 suggests the tion and Surrealism—he relied on quick drawn significance that such works held for the artist, studies as a convenient way of experimentally gen­ who steadfastly considered himself first and fore­ erating and exploring a new sculptural vocabulary most a sculptor. Some are single, loose sheets, and its potential variations. He then refined select­ while others were originally in bound notebooks, ed designs as the starting points for new sculptur­ some of which have since been dispersed. Moore al projects. In the decade of the fifties, by con­ often drew on both sides of a sheet, especially in trast, drawings seldom played a role in the genesis the sketchbooks, although double-sided single of a new carving or bronze. Rather the drawings sheet drawings occur as well. Moore s drawings of this period—most often figure-in-landscape

RICHARD A. BORN

9 compositions that would have been unrealizable more openly in Moore's 1952-53 monumental as sculptures—have an independent status that bronze of a seated king and queen (L.H. 253), and continues a direction begun with his Shelter and years later, when discussing the difference in Coal Mining drawings made during World War II height between the figures of this bronze group­ ire 2. and the numerous Family Group studies begin­ ek, Corinth, Middle ing, the sculptor wrote of his admiration for ning in 1945. nthian Column-Krater Egyptian sculpture.8 ./merit, circa 575 B.C.E., The X marks next to two of the head studies Shifting Dynamics Among "Ideas for lazed earthenware with (similar to shorthand notations of the type used sed and slip-painted Sculpture" Drawings on the sheet's other side) probably indicate that oration, 35/sx 49/i6 in. Moore considered these motifs to be particularly The earliest of the double-sided drawings in the • 11 .5 cm), University isfer.The F.B.Tarbell interesting, sculptural ideas he might develop into collection dates from 1929 (fig. i).9 The similari­ lection, 1967.115.246. a carving in stone or wood. These markings ties of style and execution between the verso and enabled him to review quickly his many studies recto indicate that they are contemporaneous when he was preparing to begin a new sculpture.9 working drawings. Both are examples of the inno­ A distinctive feature in several of the head studies vative "primitivist" style that also characterized in the Smart Museum drawing is the cursory treat­ Moore's reductive, abstracted figural sculptures of ment of the eyes. Two head carvings from 1930 the late 1920s. At the time, he was deeply interest­ (L.H. 88 and 89), each conceived in profile and ed in and formally influenced by the art of ancient carved from flat slabs of stone, exhibit simple eyes and non-western cultures, such as the sculpture of that have been realized in the stony matrix as pre-Classical Greece (in particular Cycladic fig­ round or oval depressions, one cut fully through urines), Egypt, and Sumeria; the stone carving of to the other side. The woman's head in the paired pre-Conquest Mexico and Peru; and the tribal group at the extreme upper right of the sheet, sculpture of sub-Saharan Africa. which is marked with an X, is even more directly On each side of this sheet, he used brush and related to a contemporaneous sculpture. In this a distinctive red ink wash to define simplified fig­ alabaster carving (L.H 73) from the same year as ural shapes with thick, blunt outlines. He used the the drawing, Moore conceived the woman's head same brush and ink wash to give these initial Figure 1. Henry Moore (British, in strict profile: the insistence of clear-cut, contin­ forms additional definition, adding a few interior exerted a profound impact on Moore's sculptural 1898-1986), Head Studies uous contour edges, the prominent squared curve markings to denote facial and body features. Indi­ vocabulary at the end of the 19205.' The motif of (verso), 1929, brush and ink on of the jaw, and the distinctive stepped hair bun vidual elements have been reduced to elemental paired heads itself is remarkably close to a type of wove paper, 167sx 139/ie in. are all three-dimensional translations of motifs shapes; for instance, the eye is an unadorned cir­ (42.9 x 34.5 cm), H.M.F. 740, painted handle on Middle Corinthian and Attic found in the two-dimensional outlines of this or a cular outline. The Joel Starrels, Jr. Memorial column-kraters from pre-Classical Greece. An similar drawn study. Moore filled both surfaces of the sheet from Collection, 1974.254. example from Corinth in the Smart Museum col­ The verso of another double-sided drawing top to bottom with small studies of the same lection is especially close in conception, even in in the Smart collection (fig. 3), which dates from motif, here the human head in profile and cut at such small details as the incised round eye of the 1950, is also a study of ideas for sculpture, but its the neck or shoulder. This motif is repeated, 6 male head (fig. 2>. There is little evidence of any relationship to sculpture is more circumspect than rebuslike, over a dozen times, in four more or less direct connection, however, to judge from Moore's was typical of works like the preceding, from vertically stacked rows of up to four discrete known studies after ancient works of art. Instead, twenty years earlier. It, too, is realized in an eco­ motifs each; several free floating heads appear to another aspect of the pairs—the tendency of the nomic outline manner, but in fine pencil lines the right of these rows. The ground is left blank. male head to be slightly taller than the female's— rather than broad brush-and-ink wash. The num­ The heads in the lower half of the sheet and at the points to yet another ancient source, one acknowl­ bers "49" and "50" in pencil in the artist's hand right edge are solitary, but the first two rows edged in a different context fifty years later by the Figure 3. Henry Moore (British, on the upper corners of recto and verso, respec­ include several paired heads, always a female head artist: dvnastic Egyptian art, especially free-stand­ 1898-1986),Composition- tively, indicate that this sheet was detached from a overlapping its male counterpart. The contours of ing New Kingdom stone carvings of officials for­ Figure (verso), 1950, pencil on bound notebook.10 In contrast to the richly col­ these paired groupings are blocklike, and the coif­ mally seated next their wives. In accordance with 5 wove paper,9 /s x 9 in.(24.4 x ored and technically complex mixing of media on fures of the women end in distinctive squared, ancient Egyptian systems of proportion and hier­ 22.8 cm), H.M.F. 2647,The Joel page 49, the verso is drawn in pencil only (the few stepped buns. These features suggest the influence archy, Moore has chosen to show the man as Starrels, Jr. Memorial ragged patches of wash are not part of the original of ancient Sumerian and pre-Columbian Mexican slightly greater in height than the woman.7 The Collection, 1974.252. composition). The working, even expendable sculpture, ancient sculptural traditions that had impact of these kinds of stone carvings surfaced nature of this composition is underscored by the

10 11 artist's notation in pencil script along the upper itself had been preceded by two small preparatory The Organic Columns study followed a year edge, "Drawings with pastel on wet paper," a maquettes (L.H. 292a and b), both completed in of intense sculptural activity by the artist, when he remark that does not relate to this study or to the 1950. One of these studies and the full-sized was engaged in fulfilling a commission destined fully realized Two Figures in a Landscape on the model for the Festival sculpture included the for the new Olivetti office in Milan. Seeking an other side, neither of which employs pastel. It is innovative feature of strings glued to the surface "upright rhythm," as he called it later,18 Moore probably a reminder the artist wrote to himself of the plaster. The strings served the same func­ fashioned thirteen small maquettes in plaster, each about a particular drawing process that interested tion as the two-way sectional lines of Moore's fig­ between nine and twelve inches in height, which him at the time." The contrasts in composition ure drawings. The sculptor had devised this sys­ he called Upright Motives. These small columnar and execution between the two sides of this sheet tem of drawing—in which lines move in two sculptures, inspired in part by Native American are startling—especially if one considers them directions, both down and across the forms, thus totem poles of the Northwest Coast, allowed the contemporaneous if n ot necessarily consecutive leading the eye over the fictive swellings and sculptor to experience the full three-dimensional productions as the artist worked through the depressions of the two-dimensional image—in potential of the entire structure. At this stage in his blank pages of his notebook, from front to back— 1928.12 As Moore later commented: career, Moore felt that two-dimensional drawn but understandable if one considers the changing studies, such as Organic Columns, limited the It is a technique that I've used sculpturally to function of drawing for Moore around 1950. sculptural conception to a few key points of view. emphasise a projection, by drawing lines round Whereas previously he had used drawn studies as Now he started by actually testing combinations the projection so that they gradually disperse in essential devices in generating ideas for sculptural of objets trouves—stones, bits of wood, shells, order that the eye is drawn to a focal point.... projects, in the 1950s he began to fashion small, nuts, and animal bones—that he collected and Similarly, in some of my drawings I have used hand-held maquettes in modeled clay or carved stored in his studio. He could further modify the imaginary sectional lines, going down and across hardened plaster, and virtually ceased using draw­ plaster casts taken from such natural objects forms to show their shape, without the aid of ings as studies for sculpture after i960. Released (through carving and the addition of more plaster) light and shade.13 from their role as the inception of a new work, and create potentially endless combinations with drawings like the one on the recto of this Smart Sectional lines in low relief appear again on the other cast elements until he was satisfied with the Museum notebook sheet were more often now four leaf figure bronzes of 1952 (L.H. 323-326) result. In Moore's words, such sculptures, when generated as independent pictorial compositions. and in Head: Lines of 195 5 (L. H. 397). The small constructed "by balancing different forms one The simple pencil study on the verso sug­ maquette for the latter bronze incorporates lines above the other . . . gained more unity also perhaps gests in this case a slightly different use by Moore that have actually been drawn in pencil.14 became more organic."19 of the drawn study, one in which the artist experi­ Near the center of the figure in the Smart Moore's rejection of the Organic Columns mented with individual motifs or formal concepts Museum drawing is a small rectangular area filled pure 4. drawing is indicated by his having cut down the rather than specific sculptural compositions. with parallel lines that rise perpendicular to its rnry Moore (British, ture. The verso (fig. 4) shows the lower halves top of the sheet, thereby destroying the integrity of Although difficult to decipher, the T-shaped con­ oblong length. This configuration and its place­ 198-1986), Two Ideas for of two vertically rising abstract configurations of the original composition. In the two column motifs, figuration with a dot at each end of the crossbar ment in a relatively blank section of the drawing is lulpture: Organic Columns interlocking, curvilinear biomorphic shapes, Moore has set down lines of varying thickness and Jerso), 1956, pencil and in the uppermost portion of the large central comparable to visually active zones of thin raised labeled "organic columns" by the artist at the drawn attention to individual sections with dense layon on wove paper, shape identifies this protrusion as the head of a ridges set in otherwise smooth surface areas of the bottom of the sheet. Since the Surrealist-inspired gatherings of parallel strokes, a manner of drawing |V8X8V4 in. (26.4x22.3 human figure. Emphatic outlines give the figure 15 Festival sculpture. The complex figure/ground r).H.M.F. 2909,The Joel Transformation drawings of 1932, Moore had that has its counterpart on the other side of the its initial shape, demarcating contours and princi­ and mass/space relationships of the drawing also larrels, Jr. Memorial often sought new sculptural ideas in the small nat­ sheet in the uppermost of two reclining figure pal interior regions. The latter are further find their counterparts in the Festival bronze, fllection, 1974.253. ural objects he collected by altering the initial studies. Although the drawings are contemporane­ enlivened by patterns of thin lines, some parallel especially when the reclining figure is viewed from straightforward sketch of a flint, for example, with ous, it is not possible to identify with certainty to one another, others coming closer together as the head and foot ends.16 Although probably not a skein of pencil overlays until it had became which preceded the other. Consequently, it is not they move across a shape and, in one instance, a design for a particular sculpture, the Smart transformed into human shape.17 Animal bones known if the trimming of the paper was done to meet at a point. Along the bottom of the sheet are Museum composition is clearly a sculptural study were important sources of inspiration, and the zig­ "cancel" the work on the verso because the artist smaller isolated studies that appear to be enlarged related to Moore's exploration of a new surface zag meeting of two curvilinear motifs in the left- was unhappy with the design, to modify the sheet's details of similar linear motifs. The date of this treatment in his bronzes at the time, one that had hand section of Organic Columns, emphasized in format to begin a new drawing on its unused drawing, 1950, is instructive in an understanding its oiigins in a familiar drawing technique invent­ the drawing by dense shading, recalls these earlier reverse side, or to provide better mise-en-page of the meaning of such linear schemes. The fol­ ed two decades earlier. explorations of bone morphology. Such studies placement of the two reclining figure studies in an lowing year, Moore completed his large bronze. A third sketch for sculpture on a double- reveal that Moore was interested not only in the existing composition on the recto. In any event, Reclining Figure, which had been commissioned sided drawing in the Smart Museum collection discrete shapes found in nature, but also in their the relationship between drawing and sculpture in by the British Arts Council for the 1951 Festival dates to the second half of the 1950s, when Moore organic structure, and, more broadly, in natural Moore's work of the 1950s does not follow a pre­ of Britain (L.H. 293). The monumental bronze undertook few preparatory drawings for sculp­ dictable trajectory.

12 13 design are from around 1939» or T the entire com­ Studies for Illustrated Texts motif above and to the right of the two seated fig­ ures in the Smart Museum drawing. Both motifs position was conceived later, in 1958 Was the text Moore had varied experience in producing draw­ in the drawing and the cover design share an added to a late 1930s drawing, or was the compo­ ings that had nothing to do with sculpture. Begin­ essentially linear style and abstract quality, and sition executed in its entirety in 19 5^ > although in ning in the early 1940s, he was involved intermit­ both are liberally scattered with judiciously placed an earlier style? tently with literary projects, designing covers for blocks of zigzag jottings. Finally, in both the draw­ This is not the first time that Moore had poetry journals and prints used as illustrations for ing and cover, the word "listen appears below, mined earlier studies when beginning a magazine poems.20 As was the case with his sculptures of but on the cover it is written in capital letters and illustration. For instance, in 1942 he designed sev­ this same period, such projects began with draw­ not in the lowercase script of the drawing, indicat­ eral covers for the magazine Poetry London, two ings, either new compositions or a selection of ing that the Smart Museum study is an intermedi­ of which were used for issues no. 7 (October- older sketches the artist deemed suitable either for ary work, since it is not the definitive design of the November 1942) and no. 8 (November—Decem­ ber). His preparatory drawings for these covers re-use or reworking. For example, Moore based actual cover. This lettering probably dates to the fifteen color lithographic prints and illustrated let­ period of the 1958 cover illustration; the magazine elaborated pencil studies in a sketchbook dated ters for the 1950 publication of Andre Gide's did not exist until 1954, making an earlier date for 1935 and 1942.25 Sometime after the completion of the 1958 translation of Goethe's poem Promethee on this part of the Smart Museum drawing unlikely. preparatory drawings of 1948-50.21 The date of execution of this verso drawing is thus cover for Listen, the artist defaced the verso of the Smart Museum sheet with a diagonal pencil One of the verso drawings in the Smart problematic. It is unclear if some parts of the Museum collection (fig. 5) is an infrequently line drawn from the bottom left to the upper encountered study for a cover illustration. The right. Moore further indicated his preference for upper half of the sheet consists of many small and the studies of reclining figures on the recto by a few larger pen-and-ink studies, some abstract noting "other side" in the center of the verso. doodles and others suggesting two seated human When the double-sided drawing entered the art figures. These are set above a technically more market in the 1960s and was eventually acquired complex motif, rendered in crayon resist technique by Joel and Celeste Starrels, who donated to the with a dark blue wash over white crayon script, Smart Museum in 1974, it was this other side spelling the word "listen." The pen-and-ink that was chosen for display as the more important sketches exemplify Moore's drawing mode of the of the two drawings. late 1930s, when he was engaged with Surrealist ideas and methods, including automatic drawing, Drawings in the Art Market Figure 5. as a relatively unmediated way of generating Henry Moore (British, 1898-1986), Listen (verso), circa During the 1950s Moore produced compositions shapes and sculptural ideas. Also typical of the 1939 and/or 1958, pen and ink, crayon, and watercolor on artist's drawings from that period are the distorted wove paper, 10 "/is x 7 '/s in. (27.1 x 18 cm), H.M.F. 1469, that are distinct from his working studies for anatomy of the seated figures; the reduction of The Joel Starrels, Jr. Memorial Collection, 1974.261. sculpture. For example, a sheet in the Smart heads to proportionally small extensions of torsos Museum, detached from a 1950—51 no tebook, has internally defined by short lines, dots, and spiky on its verso (originally page 135) three seated fig­ 22 ures in an imaginary landscape (fig. 6) and on its outlines; and the simplification of facial features. i960 cover, for example, is composed of a selection recto (page 134) a solitary figure seated in a richly The drawing on the recto was later misdated by of drawings done in 1938 and 1939.24 Perhaps he colored atmospheric spatial setting. In such works the artist as 1942, but it actually was drawn around felt that these earlier pen and pencil studies were he continued to develop the pictorial and coloris- I939-2> This suggests that the studies on the verso more suited for this project than his recent mixed- were also executed around the same time. media pictorial drawings. The covers of the early tic effects he had first achieved in the wartime Two decades later, Moore designed three volumes of Listen are executed in inexpensive off­ Shelter drawings and then in the many Family covers for a small-format quarterly review of poet­ set lithography printed on colored stock, and pos­ Group drawings from the second half of the 1940s.26 The verso remains unfinished, especially ry and criticism, Listen, published by the Marvel sibly financial restrictions did not allow more tech­ Press in Hessle, East Yorkshire beginning in 1954. nically complex color reproduction. noticeable when one compares the seated figure at the right to her companions, whose classicizing In preparation for these cover designs, which The cover Moore produced for the 1958 appeared in vol. 2, no. 4 (Spring 1958), vol. 3, no. issue features a large abstract design composed of Figure 6. faces and garments are more fully articulated and Henry Moore (British, 1898-1986), Three Seated Figures in 2 (Spring 1959), and vol. 3, nos. 3 and 4 (Spring several continuous lines that twist back on them­ richly colored. Instead of bringing this work to a Landscape (verso), 1950-51, pencil, crayon, gouache, i960), Moore apparendy reviewed drawings he selves to form an irregularly-shaped rectangle. Its completion, the artist abandoned it when he wrote and wash on wove paper, 11Vs x 9 'A in. (28.9 x 25.3 cm), had kept in reserve as handy visual resources: the "Hanover" in the upper right corner of the sheet. genesis lies in the related, but far less intricate H.M.F. 2672,The Joel Starrels, Jr. Memorial Collection, This word is a reference to his London dealer, the 1974.244.

14 15 15. This is especially clear in the photograph of the Festival NOTES Hanover Gallery, and it apparently signals the about sixty-five finished drawings that are bronze reproduced in John Hedgecoe, A Monumental rejection of this side of the drawing in favor of the enlarged revisions of studies in the notebooks. I would like to acknowledge the invaluable support of Ann Vision: The Sculpture of Henry Moore (New York: Stewart, Garrould, editor of the multi-volume Henry Moore cata­ Tabori & Chang, 1998), ill. on p. 119 other as the artist released this detached sketch­ The War Artists' Advisory Committee purchased logue raisonne of drawings, who first brought to my atten­ 16. Compare, for example, photographs from these angles, book sheet from the studio into the art market. seventeen of these, which were later distributed tion the formal intricacies and sometimes complex issues of ibid.; and Wilkinson, Henry Moore Remembered, 136. connoisseurship of Henry Moore's drawings in 1985 when Such notations on the backs of double-sided among museums throughout England. The sale of 17. For a discussion of an example of the Transformation cataloguing the twenty sheets in the Smart Museum. Her drawings in the Smart Museum collection (acc. no. 1974.243), drawings refer to a little-studied aspect of Moore's the drawings allowed the artist to support himself provisional data sheets for these works, on file in the Smart see Born and Hartley, Blast to Pop, 29, cat. no. 6. drawings: their negotiation from expendable stu­ without recourse to part-time teaching.50 Whereas Museum's Documentation Files, were the starting point for my own review of the versos of the five doubled-sided draw­ 18. Moore (speaking in i960), quoted in Philip James, ed., dio aid to commodified object. This occurred rela­ the drawings of the 1930s—whether true working ings featured in this article. All errors of interpretation are, Henry Moore on Sculpture (London; MacDonald, 1966), 25 3. studies or individual sheets related in style and tively early in the artist's career; indeed, in the late however, solely those of the author. 19. Ibid. 1920s and 1930s the sale of drawings provided subject to these ideas for sculpture but made 1. Richard A. Born and Keith Hartley, From Blast to Pop: 20. Moore's first poetry illustration is probably a pr int he one of his principal means of financial support. In expressly for exhibition or sale—have a clear-cut Aspects of Modern British Art, 1915- 1965 (Chicago: executed around 1946 for a poem by the British art histori­ David and Alfred Smart Museum of Art, University of an, critic, and poet Herbert Read, who was a personal friend 1928, for instance, Moore had his first one-person relation to Moore's activity as a sculptor, the Shel­ Chicago, 1997). of the artist and early supporter of Moore's sculpture. The exhibition at the Warren Gallery, London. Only ter drawings were a departure for the artist, con­ 2. Ibid., 60, cat. no. 34. etching and aquatint incorporates the text of the poem, which was transcribed by Read himself and transferred to the plate two sculptures sold (for a total of £60), and the ceived as they were literally outside the sculpture 3. A catalogue raisonne of the drawings is being published by heliogravure. See Gerald Cramer, Alistair Grant, and under the editorship of Moore's niece, Ann Garrould. Three remainder of sales consisted of thirty drawings, studio and without regard for his work as a sculp­ David Mitchinson, Henry Moore: Catalogue of Graphic Work of the projected six volumes have appeared; see Ann 27 (19)1-1972) (Geneva: Gerald Cramer, 1973), Cramer 4. priced at £1 each. As he recalled later, "... in tor. By the time Moore created and then rejected Garrould, ed., Henry Moore: Complete Drawings , vols. 1 my first four or five shows it was the drawings the verso of the detached notebook sheet in the (1916-1929), 5 (1977- 81). 6 (1982-83) (London: Henry 21. Alan G. Wilkinson, The Drawings of Henry Moore Moore Foundation in association with Lund Humphries, (London: Tate Gallery in association with Art Gallery of 28 that kept me going, not the sculptures." In the Smart Museum, such pictorial compositions were 1994-1996). In 1985, Garrould reviewed the drawings by Ontario, 1977), 45- See also ibid., Cramer 18-32. 1930s, he included and offered for sale large-for­ a fully developed and commercially successful Moore in the Smart Museum collection. They have since 22. See, for example, the 1936 Smart Museum drawing enti­ mat drawings of ideas for sculpture in his exhibi­ genre of drawing for the artist. been assigned Henry Moore Foundation (hereafter cited as tled Ideas for Sculpture (acc. no. 1974.267), in Born and H.M.F.) numbers, but only two have since been published in Hartley, Blast to Pop, 33, cat. no. 10. tions at the Leicester Galleries, London. While As a group, the five versos of double-sided this series, in volume 1 (AG 28.171 and 29.66, Smart 23. Ibid., 55. these were working drawings, they were executed drawings by Henry Moore examined in this article Museum acc. nos. 1974.247 and 1974.254, respectively). 24.1 wish to thank Ann Garrould for bringing these cover on larger sheets than the small notebook sketches are visually less spectacular than their counter­ 4. Ibid., vol. 1, AG 29.66. designs to my attention and sharing her commentary on the of the previous decade, which the artist never con­ parts on the other sides. The rectos are the kinds 5. Born and Hartley, Blast to Pop, 26. Smart Museum drawing in the forthcoming vol. 2 ^ (for the 6. See Gloria Ferrari, Christina M. Nielsen, and Kelly Olson, years 1930-39) of the catalogue raisonne of Moore's drawings. sidered for exhibition or sale.29 In a 1935 exhibi­ of drawn studies and independent compositions eds., The Classical Collection of the David and Alfred Smart 25. Wilkinson, Drawings of Henry Moore, 149. One is tempt­ tion at the Zwemmer Gallery in London, the normally collected and exhibited as "significant" Museum of Art (Chicago: David and Alfred Smart Museum ed to speculate that Moore's later misdating of the recto of drawings were displayed independent of the works of art by this seminal modernist British of Art, University of Chicago, 1998). 22 (entry by Emil Bova). the Smart Museum study is in part the result of a conflated 7. Henry Moore, Henry Moore at the British Museum (New remembrance of these two projects for poetry magazine sculptures. During this period Moore began to sculptor. But the versos are no less instructive as York: Harry N. Abrams, 19811,38. cover illustrations. work toward a more fully developed surface finish permanent records of Moore's activity as a drafts­ 26. Several such drawings in the Smart Museum's collection 8. Ibid. are discussed and reproduced in Born and Hartley, Blast to and pictorial complexity in his drawings, setting man over the course of three decades. Although 9. Born and Hartley, Blast to Pop, 26. The normal shorthand forms within imaginary environments; increasingly they may lack the "finish" and formal complexity notation is an X surrounded by four dots. Pop, 56-59- 27. Wilkinson, Drawings of Henry Moore, 17. at the end of the decade, he took fuller advantage of the drawings prized by the private collector and 10. This point was confirmed by Ann Garrould when cata­ 28. Moore quoted in James, Henry Moore on Sculpture, 44. of color in his drawn compositions, and such chro­ museum curator alike, they are, nonetheless, prod­ loguing the Smart Museum drawing in 1985. 11. The other text below this one, "Drawing opposite, also 29. Wilkinson, Drawings of Henry Moore, 17. matic effects added another layer to the formal ucts of the same protean imagination. Moreover, in Moore's hand, is most likely a note to his dealer or a 30. For a discussion of the Shelter drawings and their rela­ complexity and visual appeal of his drawings. they offer an unembellished glimpse into Moore's framer that the other side of the sheet was to be shown. tionship to the War Artist's Advisory Committee, see ibid., In the early years of World War II, when the working methods in the genesis of new sculptural 12 For a discussion of Moore's sectional line technique and 28-36. The Shelter drawings were also successfully market­ its use in a 1949 drawing in the Smart Museum's collection ed in the United States. Beginning in 1943, Moore had been bombing of his London studio prevented him forms and design principles, themes and subjects. (acc. no. 1974.268), see Born and Hartley, Blast to Pop, 60, promoted in America by Curt Valentin, who ran the Buchholz Gallery in New York, and it is largely through his from making sculpture, Moore turned to drawing Such works reveal the less public side of Moore's cat. no. 34. efforts that a number of Shelter drawings from one of the exclusively, embarking on an extensive series of artistic activity, and bring into sharper focus his 13_ Henry Moore and John Hedgecoe, Henry Spencer Moore disbound sketchbooks found their way into American col­ (London: Thomas Nelson and New York: Simon and studies of the fantastic subterranean scenes of wide-ranging innovations and accomplishments as lections. See Ann Garrould, Henry Moore Drawings (New Schuster, 1966), 263. wartime life in the tunnels of the London Under­ a sculptor and draftsman. York: Rizzoli, 1988), 26. 14. Alan G. Wilkinson, Henry Moore Remembered: Th e ground, where people took shelter during the Collection of the Art Gallery of Ontario in Toronto (Toronto: Richard Born is Curator of the Smart Museum of fearsome night-time air raids of the Blitz. Eventu­ Art Gallery of Ontario, 1987), 136-37. i67- Art. He has published works on early modernism ally these studies filled two notebooks; two other in England, most recently the Smart Museum sketchbooks were left unfinished and later broken exhibition catalogue From Blast to Pop: Aspects up and some of the sheets sold. Moore made of Modern British Art, 1915-1965 (1997).

17 16 STUDIES IN THE PERMANENT COLLECTION

Artifacts of a Scholar: The Oracle-Bone Calligraphy of Dong Zuobin

Herrlee G. Creel (1905-1994), as a token of their Archaeological discovery in China during the friendship, these scrolls were part of a larger twentieth century has not only engendered a pro­ bequest of paintings and calligraphy made by found rethinking of China's most distant past, but Creel's wife, Lorraine, to the University of Chica­ has also had a considerable impact on artistic go in 1996 and subsequently transferred to the innovation in modern China, especially in the field Smart Museum.1 While Professor Creel's peda­ of calligraphy. Four hanging scrolls of jiaguwen, gogical collection of early Chinese antiquities has or oracle-bone calligraphy (Shang dynasty, circa been an invaluable resource at the Smart since 1250-1045 B.C.E.)—an ancient script carved into 1986, his personal collection of hanging scrolls bone and shell as part of divinatory rituals—have remained relatively unknown.^ This collection recently entered the Smart Museum s Asian art comprised nine paintings, many purchased in Bei­ collection (see figs. 1-3). Brushed by the eminent jing where Creel lived from 1932 to 1936, and Chinese archaeologist Dong Zuobin (1895-1963), thirteen scrolls of calligraphy, written by some of these works of oracle-bone calligraphy exemplify a the leading intellectuals of Republican Beijing. recent phenomenon in Chinese art: the appropria­ After Creel completed his Ph.D. at the tion of archeological discovery for artistic use. University of Chicago, he secured a post-doctoral Since oracle bones were only "rediscovered" by fellowship to study in Beijing with the support of the academic community as recently as 1899, the the well-known sinologist Bertold Laufer. As the script that Dong utilized in these four hanging former imperial capital, pre-World War II Beijing scrolls, while thousands of years old, is a recent was an intriguing place, described by one author addition to the repertoire of Chinese calligraphy. as a city in "twilight amid uneasy splendor. ' Talk The association of this recondite script with paleo- of the archaeological excavations that were daily graphic circles, coupled with Dong's repute as a de-mystifying the legendary foundations of early pioneering scholar in the excavation and study of Chinese history buzzed through the air, resulting oracle bones, lends a distinctly academic flavor to in a stimulating, vibrant intellectual atmosphere. these works. Thus, the significance of this style of Creel later recalled that the "most important intel­ calligraphy rests as much on its scholarly content lectual institution of that Peking was one not only as on its artistic merit. Like an excavated artifact, completely informal but perhaps even unrecog­ Dong Zuobin's calligraphy is imbued with a multi­ nized: the frequent dinners in restaurants, attend­ tude of meanings, and it relies on context, both ed by scholars" where opinions were freely academic and artistic, to be understood thoroughly. Originally given by Dong to the eminent sin­ exchanged and ideas flowed as freely as the drinks.4 It was probably at just such an occasion ologist and professor at the University of Chicago,

KRIS 1MANTS ERCUMS 19 calligraphic repertoire." A versatile calligrapher, that Creel became acquainted with Dong, through Figure 2. Luo adapted the governing aesthetics of another the introduction of Mei Guangdi, his well-con­ Dong Zuobin (Chinese, 1895-1963), Three Fragmentary Shang Inscriptions script, zhuanshu, or seal script—found inscribed nected professor from Harvard. Over the next Written in Oracle-Bone Calligraphy, or cast into ritual bronzes of the Zhou dynasty three years, Dong became not only a teacher and mounted hanging scroll, ink on paper, (roughly 1045-221 B.C.E.)—to the calligraphic mentor to Creel but also a close friend. 3 49 Vie x 9 A in. (124.6 x 24.7 cm), Gift of rendering of the newly discovered but consider­ Dong's reputation as one of the leading the Estate of Lorraine J. Creel, 1996.81. ably more ancient oracle-bone script. Seal script, scholars of early China had been well established as it appears both in bronze and ink, is arranged by the time Creel met him in 1932. In 1928, under according to a grid format in which characters are the auspices of the fledgling Academia Sinica, evenly and uniformly spaced (see fig. 7). A consis­ Dong, at the age of thirty-four, had been invited tent, even application of ink is required to create to head the inaugural excavation outside of pre­ the tense, stalwart appearance desired by the sent-day Anyang in the suburban village of Xiao- literati class. tun—a ritual center used by the Shang royalty (see Luo distanced himself from the Shang con­ fig. 4).5 Located not far from the Yellow River in text of oracle-bone script by re-applying the for­ centra] China's Henan province, the vicinity in mal qualities of the characters to a modern subject and around modern Anyang, had once been the ** ft ^ \ matter. In one of his couplets, for example, he final site in a series of peripatetic capitals of the A *4 evoked the form of the graph while endowing the Shang dynasty, China's first historical dynasty.6 In t A glyphs with a decidedly Confucian content. the course of this initial excavation and the four­ K + V* & $ £ The Three Virtues and Six Actions in the Great teen subsequent ones, thousands of fragmentary 4. & Figure 1. i Learning are taught, oracle bones were unearthed, not to mention a I \ Dong Zuobin (Chinese, K •for m \ The Five Winds and Ten Rains in the prospering myriad of bronze and jade artifacts. Dong partici­ n 1895-1963), Original Couplet year remain 12 pated in nearly all of these excavations before dig­ 5 > IA Written in Oracle-Bone Similarly, in his later oracle-bone calligraphy, Dong ging ceased in 1937 due to the Japanese invasion Calligraphy, pair of mounted a » of North China. The ensuing scholarship not only hanging scrolls, ink on paper, >• x. **« * Zuobin also appropriated Shang writing for mod­ *> «• refashioned the historical concept of early China, each 533/s *9Va in.(135.5 x ern, or at the very least, non-Shang subject matter. *U vI but greatly advanced paleographic studies by 23.2 cm), Gift of the Estate of J * 7 Of the three hanging scrolls brushed in oracle- Lorraine J. Creel, 1996.82a-b. 4 shedding much-needed light on the evolution of * x bone calligraphy by Dong in the Smart Museum s t- «-* the Chinese language. 11 collection, two hanging scrolls are transcriptions Oracle-bone script was incised principally acquired by the Smart (fig. 6).8 Chen freely linked if + from actual Shang oracle bones, and two consti­ on bovine scapula or tortoise plastrons and was characters together with energetic, spontaneous * tute a couplet. On the paired set of scrolls (fig. ia utilized by Shang kings as part of ritual divination. strokes, skillfully fluctuating the width of each & and ib) he used the style of oracle-bone writing to The primary means of augury was a process known stroke to create a richly varied composition. By n * create an original composition, dedicated to Creel, as pyromancy—a type of divination employing contrast, the smoothly delineated incisions of ora­ k and rejoicing in the cycle of life. t * fire. After a series of well-ordered hollows were cle-bone graphs rely on constant regulation of * 5. *j. t* Forests deliver the rain so the fish's offspring drilled or incised on the back of cleaned, highly speed, pressure and positioning. The translation may go out, polished bones or plastrons, a discrete heat source of these incised graphs—oracle-bone script—to t * Gardens surround the wind so the bird s off­ would be applied, inducing the bone or shell to spring may come in." a brushed aesthetic—oracle-bone calligraphy— 33iir £ crack along its surface. These cracks were inter­ A 14 requires a different approach than that taken in Yet, while a creative appropriation of ancient preted by a diviner, and the prognostication was Chen's calligraphy. % styles to modern sentiment is a feature of both then inscribed direcdy onto the so-called oracle The first person to apply a calligraphic for­ Luo's and Dong's couplets, the differences in the bone by means of a stylus-like implement.7 mat to oracle-bone script was Luo Zhenyu two renditions arise from distinct approaches to These inscriptions operated in a fundamen­ (1866-1940), an etymologist already deeply inter­ the script. As discussed above, Luo based his ora­ tally different manner from later ink-and-brush ested in the ancient Chinese language.9 Shortly Figure 3. Dong Zuobin (Chinese, 1895-1963), cle-bone calligraphy more on the observation of calligraphy as shown by a comparison of a frag­ after the legendary rediscovery of oracle bones by Shang Inscription Written in Oracle-Bone historic calligraphic styles than on the actual ment from the Smart's own collection of oracle 10 Wang Yirong and Lie Tieyu in 1899, Luo began Calligraphy, mounted hanging scroll,ink Shang inscriptions. In Luo's couplet the beginning bones (see fig. 5) with a hanging scroll of calligra­ to study the enigmatic script and eventually on paper,2OV2X 7n/i6 in.(52.1 x 19.5 and ending points of each stroke where the phy brushed by the Ming Dynasty calligrapher became familiar enough with the novel morpholo­ cm), Gift of the Estate of Lorraine J. Creel, inked brush initially touches and is then finally Chen Xianzhang (1428-1500), also recendy gy of oracle-bone graphs to add them to his own 1996.85.

21 20 account for the formulaic nature of most Shang lifted from the paper—are blunt and rounded, Figure 4. oracle-bone inscriptions, including each of the while Dong gradually lifted his brush off the Photograph of Dong Zuobin on the inscriptions on this scroll. paper to create characters that trail off as if a knife site of a Shang sacrificial pit in the The top inscription begins with a preface, were gradually leaving the incision it had just village of Xiaotun, Henan, the thir­ including the ganzhi or cyclical date, in this made. This accounts for the more incised look of teenth excavation at Anyang, 1936. Reproduced in Dong Zuobin instance, jiawte. Dong's calligraphy. Wanxiang: Jiaguwen shi hua ji (di son Unlike Luo's hybridized stylization, Dong's Jiawu (day thirty-one) Fujing2'. . instructs year ban) mulu, 3rd ed. (Taipei, 1983), 36. oracle-bone calligraphy grew out of a studied, three ... Que ... meticulous observation of the original script as it Speculation persists as to why these dates are so appeared carved into bone and shell. He spent meticulously recorded. Keightley remarks that the much of his career filling notebooks with precisely reason is probably equally grounded in religion drawn recreations of scapula and plastrons, begin­ and history: "The date of the divination recorded ning with the publication of Treatises on the His­ gure6. tory of Yin (Shang) complied during the early hen Xianzhang (hao years of World War II.14 The example reproduced aisha) (Chinese, in figure 8 was given to the Harvard—Yenching 428-1500), Calligraphy: Library in 1948, while Dong was lecturing at the oem, late 15th century, nounted hanging scroll, University of Chicago." This plastron, excavated ikon paper,49 x 20 in. during the thirteenth season at Anyang, exempli­ I 124.5x50.8 cm), Gift of fies oracle-bone writing from the period of Shang Mice and Barry Karl, ruler Wu Ding (1200-1181 B.C.E.), the earliest of 995.65. five periods according to Dong's division.16 It was ft« from these notebook renderings that Dong drew Figure 5. the material employed in his larger hanging scrolls. Fragmentary Oracle Bone from t One example of this type of hanging scroll is the Shang Dynasty (1200-1050 1 represented in the Smart Museum's collection B.C.E.), Gift of Professor and Mrs. (fig. 2). It is based on three fragmentary inscrip- Herrlee G. Creel, 1986.392. A tions.17 Distinct from the excavated material from which it is derived, Dong rendered the calligraphy using a hair brush (or maobi) with red and black n m ink on paper, handsomely mounting it in a tradi­ 15 111 tional, vertical format. The long inscription to the went to invest these objects with an aesthetic left of the main body, punctuated by two vermil­ appeal. Interestingly, Dong noted that the remain­ three discrete sections demonstrates Dong's close I ing portion of the central inscription was filled in ion seals at the bottom and brushed in Dong's observance of actual Shang inscriptions, most with a black pigment. Although the precise reason methodically tidy handwriting, records a date of noticeable in rubbings from the originals (see fig. A for the application of pigments remains a mystery, 1936, the year Creel left China for Chicago. Made 9).1' As Creel himself observed, "when one tries they were presumably utilized to add a degree of while Dong was in Nanjing, the inscription begins to draw these characters in facsimile it is virtually readability, or in the case of red pigments to high­ with a dedication to Herrlee G. Creel and contin­ impossible to prevent his mental preconceptions 21 ues by explaining the provenance of the oracle- from influencing the copy."20 Dong has nonethe­ light an important inscription. H In the central fragment Dong also included bone inscription: unearthed during the fourth less preserved some striking touches of authenticity * excavation at Anyang, like the Harvard—Yench­ in his work. the crack notations found on the original scapula (see fig. 9). Crack notations were indicators ing plastron mentioned above, it is datable to the The top and bottom inscriptions brushed inscribed during the diving process to record the period of Shang ruler Wu Ding. As examples of with sinuous, delicate lines, frame the larger mid­ sequence in which the pyromancy was performed. period I writing, these three fragments were fea­ dle inscription, which includes characters written b Since the inscription took place after the ritual act tured in numerous articles by Dong, among which with thick, robust strokes. The vermilion ink was the ground-breaking article in which he first of divining, "sacplimantic and plastromantic added to half of the central inscription indicates Figure 7. inscriptions," as David N. Keightley observes, proposed the five-period division of Shang oracle- the residual pigmentation found on the bone Luo Zhenyu (Chinese, 1866-1940), Couplet Written in bone inscriptions.18 "were not simply regarded as prayers or magical Oracle-Bone Calligraphy. Reproduced in Zhongguo Shufa itself, a detail that demonstrates Dong's attempt to letters formed to the spirits, but were partially Quanji: Jinxiandai bian (Beijing: Xinhua Shudian, 1993), The varied width of the brushed strokes contextualize the inscription, and furthermore employed to render the characters in each of the 22 110. underscores the lengths to which Shang engravers historic or bureaucratic in nature. This may 23 22 the time when the spiritual forces of the universe, x A the rubbing and formatting it in a more palatable revealed by the cracks, had been identified . . . Figure 8. and readable manner—Dong moved beyond documenting the orderly execution of the ritual Drawing of a complete turtle $ merely referencing the inscription to stylistically Ju schedule upon which the goodwill of the ances­ plastron, Xiaotun, no. 301861, interpreting it. 24 tors depended." by Dong Zuobin, in the collec­ The long marginal inscription, formatted tion of the Harvard-Yenching The middle inscription is divided into two 1 inversely from the central display inscription, indi­ Library, Cambridge, Mass. % different sections. The first, which is written cates that the original bovine scapula was first Reproduced in Harvard slightly larger in red ink, includes a dated preface \ Journal of Asiatic Studies 11 published in the bone drawings of Frank H. Chal- and the name of the diviner, and it continues with (1948). C fant (fig. 12) 28 Together with Samuel Couling, a fragmentary portion of the inscription termed K J Chalfant was one of the first foreign scholars to the "charge," or the topic of the divination: t study and collect oracle bones. Although his col­ Pi X. Xinyou (day fifty-eight) making cracks, Wei t lection was dispersed primarily to British institu­ %j divines: Tonight we ought not to ... t tions, several pieces eventually found a home at t. the Field Museum in Chicago.29 The fragment The content of the charge ranged from the mun­ reproduced here as a rubbing entered the British dane to matters of national significance. In this Library's collection in the early part of the twenti­ case, "tonight we ought not to" is part of a nega­ Figure 10. eth century and was recently rejoined with other tive charge. Debate continues as to whether Dong Zuobin,Shang fragments creating a more complete version of the charges were intended as questions; nonetheless, Inscription Written in Oracle- inscription than that depicted by Dong in the they were often composed in negative and positive by a curved tail, can be discerned. However, origi­ Bone Calligraphy. The Smart scroll (fig. 13).30 The inscription deals with pairs, usually positioned on opposite sides of the nal inscriptions are not always as clear as this calli­ Herrlee G.Creel Papers, the ritual sacrifices so vital to maintaining the link same shell or bone.25 By phrasing the charge in a graphic rendering. A rubbing taken from the actu­ The Department of Special "yes-no" format, a cogent reply could be more al tortoise plastron illustrates the "static" caused Collections, Regenstein between the Shang king and his deceased ances­ Library, University of Chicago. readily solicited from the ancestral spirits. The by stray cracks and the fragmentary lacunae tors. Unlike the inscription featured in the previ­ second part of the central inscription explicates resulting from rejoining that Dong has eliminated ous hanging scroll dating to period I, Dong has the charge: a royal outing presumably to seek out in his lucid rendering (fig. 11 ).27 assigned this inscription to the reign of Di Yi, a and hunt wild pigs: Dong continued to present an idealized ren­ period V ruler. Since the top portion of the dering of a Shang context in the third hanging Smart's inscription is incomplete, this sample Xinwei (day eight) making cracks, Xuan divines: translation begins with the fifth character from the To go in pursuit of pigs ... one pig ... scroll to be considered from the Smart collection (fig. 3). In contrast to the intimate excerpts found top right-hand side, which begins a new charge: Once the charge had been proposed, and the in the previous works, Dong has chosen a consid- Guisi (day thirty) the king making cracks divines: cracks interpreted and noted, the regal prognosti­ "In the (next) ten-day cycle [xun) there will be cation would be recorded, followed by a post- no disaster." The king prognosticating says: facto verification. By documenting what had hap­ "Auspicious." In the third month, on jiawu (day pened after the rite, the verification served to vali­ thirty-one) we performed rites to Qian Jia (and) Figure 11. date the divination process.26 The final fragmen­ Xie (?) Xiao Jia.31 Figure 9. Rubbing of incomplete turtle plastron no. 10198. tary inscription included on this scroll contains an Rubbing of a fragmentary Reproduced in Shang Zhou jiaguwen zongji,vo\.4 (Yiwen Since most bones both scientifically and non-sci- example of a verification: yinshuai yinxing). bovine scapula excavated at entifically excavated at Xiaotun were fragmentary, Xiaotun, no. 3339. Collection ... on that day, the king went in pursuit at Shang scholars such as Dong were faced with the of Academia Sinica,Taipei. Chong, in actuality (captured) nine wild pigs. erably longer oracle-bone inscription for this com­ daunting task of reassembling a massive jigsaw position. The characters, densely clustered at the A more complete version of a verification can be puzzle from thousands of disparate and dispersed top of the oblong paper panel, cascade downward seen on an unmounted calligraphy given by Dong pieces of bone and shell. Yet, by reconstituting to Creel and now in the archives of the Depart­ like a waterfall, dwindling to a trickle at the base these fragments, inscriptions can be completed, ment of Special Collections, Regenstein Library, of the scroll. The stability of each individual char­ placed in relation to one another, and eventually University of Chicago (fig. 10). Written in Vermil­ acter—formed out of thickly applied ink—is dra­ the original context understood, allowing for a lion ink, it lists the animals caught after a royal matically undermined by the slightly oblique lay­ fuller comprehension of inscriptional relation­ hunting trip, and even at a glance the shape of out of the inscription on the elongated sheet. ships. Through his own "epigraphic detective clawed turtles, deer with and without anders, and Although the slanted arrangement bespeaks a work," Dong was able to rejoin vast amounts of even a tiger, positioned on its side and supported commitment to the mimetic format of his earlier these fragments.32 Therefore, from the perspective recreations, by tuning out the "static"—that is, by of his own scholarship, this scroll is a manifesta­ clearing the inscription of interruptions evident in tion of an activity that consumed Dong's life and 24 25 career. As a representative work in his creative Figure 13. NOTES oeuvre, it demonstrates a move away from the Rubbing of rejoined My thanks to Richard A. Born for his many helpful com­ bone fragments no. 11. Luo Zhenyu, Yinxu shuji houbian (Later Supplement to mimetic facsimiles reproduced in scholarly publi­ ments, and to Professor Shaughnessy for introducing me to the Oracle-Bone Inscriptions at Yin xu), 2 vols., litho­ 2503, in the collection cations to a more interpretive idealization, in the complex issues surrounding oracle-bone inscriptions. graphed in 1915. of the British Library, which the context is preserved but also beautified 1. For a comple te listing of these paintings and calligraphy, 12. All translations are my own. London. Reproduced in see The Smart Museum of Art bulletin 1996-1997 (Chicago: 13. For a collection of similar calligraphy see Dong Zuobin, to grant a more pleasing appearance to the classi­ Oracle Bone Collections David and Alfred Smart Museum of Art, 19 98), 32-33. Wanxiang jiaguwen shihua ji (Ten Thousand Images: A Col­ cally trained scholar. Given Dong and Creel's rela­ in Great Britain, vol. 1, 2. Richard Born recalls Cree l's personal feelings abo ut his lection of Painting and Calligraphy in Oracle-Bone Script) collection: "Professor Creel considered these examples of tionship, Dong's oracle-bone calligraphy has a pt.2. (Taipei, 1983). documentary and archaeological interest rather than for dis­ 14. Do ng Zuobin, Yinlihu (Treatise on the History of Yin) special significance in light of Creel's own study play, certain that he did n ot have the resources to secure (Nanji, Sichuan, lithographed in 1945). 'museum pieces.'" see Harrie A. Vanderstappen et ah, eds., collection of forty-one oracle bones now in the 15. Tung Tso-bin (D ong Zuobin), "Ten Examples of Early Ritual and Reverence: Chinese Art at the University of Chica­ Tortoise-Shell Inscriptions with resume, notes and foreword Smart collection. Therefore, the scientific context go (Chicago: David and Alfred Smart Gallery, University of by Lien-sheng Yang," Harvard journal of Asiatic Studies 11 Chicago, 1989), 8. For a comprehensive treatment of the to which Dong's works owe their existence has (1948): 119-28. Creel collection of oracle bones, see Edward L. Shaugh­ been intricately interwoven with artistic and per­ nessy, "Shang Oracle-Bone Inscriptions," in ibid., 68—90. 16. For a contemporary discussion of oracle-bone peri- sonal choices to create a highly unique manifesta­ And for drawn facsimiles, Xia Hanyi (Edward L. Shaugh­ odization in English, see Edward L. Shaughnessy, "Recent Approaches to Oracle-Bone Periodization: A Review," Early tion of archaeological discovery. nessy), "Zhijiage daxue suocang Shangdai jiagu" (The Uni­ versity of Chicago Collection of Oracle Bones), in Zhongguo China 8 (1982-83): 1-13. Although scholars such as Luo Zhenyu and tushu wenshi lunji (Collected Essays on Chinese Bibliogra­ 17. A version of these three inscription by Dong is repro­ Dong Zuobin have long since ceased brushing phy, Literature and History: A Festschrift in H onor of the duced in Leon Long-yien Chang and Pe ter Miller, Four Eightieth Birthday of Professor Tsuen-hsuin Tsien), ed . Ma Thousand Years of Chinese Calligraphy (Chicago: University oracle-bone calligraphy, this special form of writ­ Tai-loi (Taipei: Zhengzhong Shuju, 1991), 197-207. of Chicago Press, 1990) , 67, fig. 3.8. ten expression has not remained static. Originally 3. John Blofeld, City of Lingering Splendor: A Frank 18. Dong Zuobin, "Jiaguwen duandai yanjiu li" (Studies in the Periodization of Oracle Bone Script), Zhongyang yan- associated with academic circles, it has since Account of Old Peking's Exotic Pleasures, (Boston: Sham- bala, 1989), 1. jiusuo jikan uiaibian 1 (1933): 323-424. Reprinted in Dong become a major creative resource in contemporary 4. Herrlee G. Creel, "On the Birth of The birth of China," Zuobin xiansheng quanji (The Collected Works of Dong Chinese calligraphy. Several artists featured in a Early China 11 -12 (1985-87): 2. Zuobin), vol. 2 (Taipei: Yiwen yinshuai, 1983). 19. Rubbing numbers 3339, 3340, 3341, in Dong Zuobin, recent exhibition at Columbia University's Wal- 5. Anyang is a modern city encom passing several Shang archaeological sites. Xiaotun, the name of a modern subur­ Xiaotun di er ben: Yinxu wenzi: jiabian (Xiaotun, the Sec­ lach Art Gallery have distanced themselves from ban village, is one of these sites. For further discussion see ond Volume . . . ) (Nanjing, 1948; repr. Taipei, 1977). Dong's traditional context-based approach to Li Chi, Anyang (Seattle: University of Washington Press, 20. Herrlee G. Creel, Studies in Early Chinese Culture: First 1977), and Tung Tso-pin (D ong Zuobin), Fifty Years of Series (Baltimore: American Council of Learned Societies in explore new ways of imbuing this ancient form of Figure 12. Studies in Oracle Inscriptions (Tokyo: Centre for East Asian Chinese and Related Civilizations, 1938), 108. writing with a sense of modern vitality. Among Drawing of fragmentary Cultural Affairs, Toyo Bunko, 1964). 21. Keightley, Sources of Sh ang History, 54-56. them is Wang Youyi, one of the most innovative bone no. 1661, by Frank H. 6. Artifacts pre-dating the Anyang per iod discovered at the 22. Ibid., 40. Chalfant. Reproduced in Erligang site in present-day Zhengzhou have been attrib contemporary calligraphers working with oracle- 23. Fu Jing is the name of a consort to the Shang king Wu Kufang ershicang jiagu puci uted by some to the so-called Xia Dynasty (circa 20 00-1600 Ding. bone script.5' His zoomorphic figures writhing B.C.E.), which, legend has it, preceded the Shang. Debate (Shanghai, 1935), 104. 24. Keightley, Sources of Shang History, 30. and squirming across the page (see fig. 14) evince continues as to whether or not this site is an early Shang settlement or possibly the remains of the Xia. For a cogent 25. See Qiu Xigui, "An Examination of Whether the an unbridled energy and zest lacking in Dong's discussion of the issues surrounding this complex problem, Charges of Shang Oracle-Bone Inscriptions Are Questions," and discussion by Fan Yuzhou, David N. Keightley, Jean A. work. Yiguo Zhang, the curator of this exhibition, see Chang, Kwang-chih, The Archaeology of Ancient China, 4th ed. (New Haven: Yale University Press, 1986), 307-16, Lefeurve, Li Xueqin, David S. Nivison, Rao Zongyi, Edward observes, "Wang Youyi varies the way he moves and Yin Wei-Chang, "A Reexamination of Erh-li-t'ou Cul­ L. Shaughnessy, and Wang Yuxin, in Early China 14 (1989). his brush, combining straight with curved. Each ture," in Studies in Shang Archaeology : Selected Papers from 26. Keightley, Sources of Sh ang History, 4 2-44. 3 # the International Conference on Shang Civilization, ed. K. C. character appears in its own unique form, render­ 27. Rubbing number 101098, in Shang Zhou jiaguwen Chang (New Haven: Yale University Press, 1986), 1-13. zongji, vol. 4 (Taipei: Yiwen yinshuguan yinxing, 19 89). ing the entire composition irregular and C •£. 7. For a com prehensive treatment of Shang oracle-bone 28. Fang Falian (Frank H. Chalfant) and Bo Ruihua uneven."34 Resurrected from two millennia of inscriptions, see David N. Keightley, Sources of Sh ang Histo­ (Roswell S. Britton), Kufang ershicang jiagu puci (Shanghai, ry: The Oracle-Bone Inscriptions of Bronze Age China 1935; repr. Taipei, 1966) , 104. obscurity, oracle bones are precious artifacts that (Berkeley: University of California Press, 1978). 29. Ibid., preface. have revealed the life and culture of the distant 8. Also known by his hao (or fancy name), Baisha. See 30. Rubbing number 2503 in Li Xueqin et al. Yingguo suo Shang. They are also a source of inspiration to Figure 14. Yujiro Nakata, ed., A History of the Art of China: Chinese zangjiagu ji, (Oracle-Bone Collections in Great Britain) vol. Calligraphy (New York: Weatherhill; Tokyo: Tankosha, long-held traditions in Chinese calligraphy. From Wang Youyi (Chinese, born 1949), 1, pt. 2 (London: School of Oriental and African Studies 1983), 146-49. University of London; Beijing: Zhonghua shuju, 1992 ). the works of Dong Zuobin to those of Wang Twelve Animals, 1997, ink on paper, 9. Cong Wenjun, "Xuetang shufa xulun" (Discussion of 31. Presumably the temple names for two ancestors. 103.8 x 69 cm. Reproduced in Calligraphy from Snow Hall), in Zhongguo Shufa Quanji: Youyi, this archaic script reminds us of the past 32. Keightley, Sources of Sh ang History, 151. Brushed Voices: Calligraphy in jinxiandai bian (Collection of Chinese Calligraphy), ed. Liu while inspiring the future. 33. Yiguo Zhang, Brushed Voices: Calligraphy in Conte mpo­ Contemporary China (New York: Zhengcheng (Beijing: Xinhua shudian, 1993), 18-21. rary China (New York: Miriam and Ira D. Wallach Art 10. In the most popular version of this story, Wang recog­ Miriam and Ira D.Wallach Art Gallery, Columbia University, 1998), 9 8-101. For more on Kris lmants Ercums is a graduate student in the nized oracle-bone writing on some "dragon bones" includ­ Gallery,Columbia University), Wang's oracle-bone calligraphy, see Zou Tao, "Gui zai shen- ed in a prescription for malaria. See Dong Zuobin, "Jiagu University of Chicago's De partment of Art cat. no. 53. zao qiu qi tong: qiantan Wang Youyi shufa de tansuo," nianbao" (Oracle Bone Chronicles), GuoliZhongyangyanji- History, and serves as a curatorial intern at the Zhongguo Shufa, no. 3 (1991): 48-49. uyuan lishi yuyan yanjiusou jikan (Bulletin of the Institute Smart Museum. His current research focuses on of History and Philology of the Academia Sinica) 2 , no. 2 34. Ibid., 99. early China. (1930): 241-60; for an English version, see Li Chi, An yang, 4-13. 26

27 ACTIVITIES AND SUPPORT/ COLLECTIONS

acquisitions to the Permanent Collection

Objects listed below entered the permanent collection from i July i997through 3oJune 1998. Dimensions are in inches followed by centimeters in parentheses; unless otherwise indicated, height precedes width precedes depth. Known catalogue references follow dimensions.

EUROPEAN AND AMERICAN ROBERT BARNES JOSEPH GOTO Belle Haleine, eau de Violette, 1996 American, 1920-1994 PAINTINGS Oil on canvas, 73 x 67'A (185.4 x 171.5) Untitled, 1954 Purchase, Anonymous Gift, Oil on canvas, 24 x io'A (61 x 26) ROBERT BARNES 1997.101 Gift of Richard Gray, 1997.41 American, born 1934 Reunion, 4 April 1966 ROBERT COLESCOTT O. LOUIS GUGLIELMI Oil on canvas, 20'A x 22 (51.4 x 55.9) American, born 1925 American, born in Egypt, Gift of Mrs. Edwin A. Bergman, Inside Outside, 1987 1906-1956 Festa, 1940 1998.2 Acrylic on canvas, 90 x 114 (228.6 x 289.6) Oil on canvas, 31V4 x 23 V2 Gift of Elisabeth and William (80.6 x 59.7) Landes, 1998.14 The Mary and Earle Ludgin Collection, 1997.105

O. LOUIS GUGLIELMI War News, 1942 Oil on canvas, 11 x 20 'A (27.9X 51.1) The Mary and Earle Ludgin Collection, 1997.109

MIYOKO ITO American, 1918-1983 Tanima or Claude M. Nutt, 1974 Oil on canvas, 45 x 32 (114.3 x 81.3) Gift of Muriel Kallis Newman in honor of her Grandchildren: Ellen Steinberg and Peter Steinberg, 1997.14

ISAAC SOYER American, 1902-1981 Students, circa 1940 Oil on canvas, 3 5 'A x 2 5 3A (90.2 x 65.4) Gift of the Joel and Carole Bernstein Family Collection, 1997.54

Robert Colescott, Inside Outside, 1987,1998.14 29 SCULPTURE IRWIN KREMEN H.C. [HORACE CLIFFORD] American, born 1925 WESTERMANN IVAN ALBRIGHT The 6 th of Tarnmuz. No. 4 (In American, 1922-1981 American, 1897-1983 Memory of Perry Kremen), 1986 The Head of Adam Emery Albright, Illustrated Letter, 16 January 1959 Paper collage, 61V16 x 6 '/i6 Pen and ink on wove paper, sheet: '935 Cast bronze, h. 15 (3 8.1) (17.6 x 15.4) io'A x 7V4 (26.7 x 18.4) Purchase, Gift of Dr. Samuel The Mary and Earle Ludgin Gift of Maryrose Carroll, 1998.9 Kremen in memory of his mother, Collection, 1997.107 KARL WIRSUM Reva Kremen, 1997.44 LEONARD BASKIN American, born 1939 American, born 1922 REUBEN NAKIAN Untitled, 7 December 1965 Mixed media on wove paper, sheet: John Donne in His Winding Cloth, American, 1897-1986 Untitled, 1958-59 14 x io'A (35.6 x 26.4) '955 Cast bronze, h. with wood base From the series, Mars and Venus Gift of Richard Gray, 1997.42 Wash and brush and ink on wove 23 'Is (68.7) KARL WIRSUM paper, sheet: 137/s x t67/s The Mary and Earle Ludgin Untitled, 9 May 1967 (35.2x42.9) Collection, 1997.108 Mixed media on wove paper, sheet: Gift of Mr. and Mrs. Phil Shorr, 14 x to'A (35.6 x 26.4) RED GROOMS 1997-47 American, born 1837 Gift of Richard Gray, 1997.43 BARBARA ROSSI Chicago, 1968 JOSEPH YOAKUM American, born 1940 Cut and bent sheet metal with tem­ American, 1886/88-1976 Very Rich Hims and Hers, 1970 pera painting, 16 x 20'A x 21 'A Transylvanian Alps near Ramnicu Colored pencils on wove paper, (40.6 x 32.1 x 54.6) David Smith, Low Landscape, 1946,1998.8 Valcae Romania in Asia, sheet: 29 x 227A (73.7 x 58.2) Gift of Allan Frumkin, 1997.13 24 August 1964 Gift of Mrs. Edwin A. Bergman, Black ball-point pen on newsprint, DAVID SMITH 1998.3 American, 1906-1963 sheet: 12x18 (30.4 x 45.7) Miyoko Ito, Tanima or Claude M. Nutt, 1974,1997.14 Low Landscape, 1946 The George Veronda Collection, Cast and welded steel and bronze, 1997.61 7 7 9V4 x 7 /» x 7 /s (23.3 x 20 x 20) JOSEPH YOAKUM Krauss 205 HANK KETCHUM HANK KETCHUM A Seen [sic] near Coolie Dam in Bequest of Joseph Halle Schaffner in American Dennis the Menace, circa 1950s Columbia near Olympia Washington, memory of his beloved mother, Sara Porky the Pig, circa 1950s Color animation cell, sheet: 1 Septem ber 1964 H. Schaffner, 1998.8 Color animation cell, sheet: 8 'A x 7 (21.6 x 17.8) Blue ball-point pen and watercolor 7V2 x 9 '/2 (19 x 24.1) Gift of the Joel and Carole Bernstein on newsprint, sheet: 12x18 DRAWINGS Gift of the Joel and Carole Bernstein Family Collection [campus loan (30.4x45.7) LOVIS CORINTH Family Collection [campus loan pro­ program], 1997.56 The George Veronda Collection, German, 1858-1925 gram], 1997.58 1997.62 Three Academic Studies: Male Nudes, JOSEPH YOAKUM 1886 Sardenia Island Out From Tunisia Pencil on wove paper, three sheets, State of Africa. The Capital each: 2o'/2 x 13 72 (52.1 x 34.4) City-Tunis: in Mediterranean Sea, Gift of Richard Gray, 8 October 1964 I997-38-i997-4° Blue ball-point pen and watercolor MARTHA ERLEBACHER on newsprint, sheet: 12x18 American, born 1937 (30.4x45.7) Girl with Arms Raised, 1982 The George Veronda Collection, Pastel on paper, sheet: 26 x 19 1997.60 (66 x 48.2) JOSEPH YOAKUM Gift of the Joel and Carole Bernstein Piatt River Through Denver Family Collection, 1997.51 Colorado, n.d. RAFAEL FERRER Blue ball-point pen on newsprint, Puerto Rican, born 1933 sheet: 12x18 (30.4 x 45.7) Untitled, August 21,1976 The George Veronda Collection, Black and gray crayon on brown 1997.63 paper bag, sheet: 10V4 x 75/s (27.3 x 19.4) The George Veronda Collection, 1997.64 Red Grooms, Chicago, 1968,1997.13

30 31 PRINTS ROGER BROWN ROGER BROWN ROGER BROWN ROGER BROWN Famous Artists from Chicago, 1970 Cost Fan Tutte, 1979 1986 Navy Pier, 1986 Saguaro's Revenge, 1993 ROBERT BECHTLE Color offset lithograph commercially Color lithograph, artist's proof 4 Color lithograph and silkscreen, ed. Color lithograph, ed. 3/30, American, born 1932 printed, from an original drawing and ed. 73/75, composition: 20/50, composition: 31 '/s x 23 composition: 22 x 16 (55.9 x 40.6) Untitled, 1973 made for the purpose, sheet: 22 x 17 26 x 18 (66 x 45.7) <79 x 58.4) Gift of Roger Brown, courtesy of Color lithograph, ed. 4/150, sheet: <55-8 x 43 .2) Adrian-Born 26 Adrian-Born 33 The School of the Art Institute of 20 x 14"/2 (50.8 x 36.8) Poster for a group exhibition at the The George Veronda Collection and Gift of Roger Brown, courtesy of Chicago, 1997.97 Gift of the Joel and Carole Bernstein Sacramento State Art Gallery, Gift of Roger Brown, courtesy of The School of the Art Institute of Family Collection [campus loan ROGER BROWN Sacramento, California, 10-24 The School of the Art Institute of Chicago, 1997.81 Hear No Evil, 1993 program], 1997.55 Chicago, 1997.90 and 1997.91, March 1970 ROGER BROWN Lithograph, artist's proof ed. 1/10, ROGER BROWN respectively Adrian-Born 37 Shit to Gold, 1986 composition: 30 x 297s (76.2 x 75.9) Gift of Roger Brown, courtesy of American, 1941-1997 ROGER BROWN Transfer paper lithograph, trial Gift of Roger Brown, courtesy of Shoelaces, 1967 The School of the Art Institute of Colorado Condos, 1981 proof (no regular edition), sheet: The School of the Art Institute of Silkscreen, proof impression Chicago, 1997.85 Lithograph, proof impression 11V16X 107.6(29.4x25.5) Chicago, 1997.98 (no regular edition), sheet 25 x 23 ROGER BROWN (no regular edition), composition: Adrian-Born 34 (63.5 x 58.4) ROGER BROWN ET AL. Standing While All Around Are 5 V2 x 3 '7.6 (14 x 9.6) Gift of Roger Brown, courtesy of Adrian-Born 3 III The Chicago Imagist Print, 1987 Sinking, 1977 Adrian-Born 28 The School of the Art Institute of Gift of Roger Brown, courtesy of Color offset lithograph, ed. 15/250, Etching and aquatint with hand The George Veronda Collection, Chicago, 1997.84 The School of the Art Institute of sheet: 22V16 x 32 'A (56.4 x 81.9) burnishing, ed. 9/50, 1997.92 Chicago, 1997.69 ROGER BROWN Gift of Roger Brown, courtesy of 9 plate: 19V4 x 15 /ife (50.1 x 39.5) ROGER BROWN Mother and Child, 1986 The School of the Art Institute of ROGER BROWN Adrian-Born 20 Giotto in Chicago, 1981 Lithograph, ed. 4/50, composition: Chicago, 1997.94 Magic, 1967 Gift of Roger Brown, courtesy of Color lithograph and photolitho- 13 x 9 (33 x 22.9) Color silkscreen, proof impression The School of the Art Institute of CHUCK CLOSE graph, ed. 30/50, sheet: Adrian-Born 3 5 (no regular edition), composition: American, born 1940 Chicago, 1997.70 22 74 x 30V16 (56.4 x 76.6) Gift of Roger Brown, courtesy of 9'A x 7V4 (23.3 x 18.4) Portrait of Bill Clinton #1 (frontal), ROGER BROWN Adrian-Born 29 The School of the Art Institute of Adrian-Born 4 III 1996 Sinking, 1977 Gift of Roger Brown, courtesy of Chicago, 1997.73 Silkscreen (only black outlines), Photolithograph, ed. 24/175, sheet: Etching and aquatint with hand bur­ The School of the Art Institute of proof impression (no regular Roger Brown, Standing While All Around Are Sinking, 1977,1997.70 ROGER BROWN 30 x 23 (76.2 x 58.4) nishing, ed. 8/50, plate (trapezoid): Chicago, 199779 edition), composition: The Jim and Tammy Show, 1987 Gift of the Joel and Carole Bernstein I9V4-I7,}/l6X 12 72-1 23/4 9!A x 7'A (23.3 x 18.4) ROGER BROWN Color lithograph, ed. 6/50, composi­ Family Collection, 1997.52 (50.1-45.3x31.7-32.3) Adrian-Born 4 II Cathedrals of Space, 1983 tion and sheet: 22V16 x 3274 Adrian-Born 21 CHUCK CLOSE Color silkscreen (skirt only), proof Color lithograph and silkscreen, ed. (56.4 x 81.9) Gift of Roger Brown, courtesy of ROGER BROWN Portrait of Bill Clinton #2 (profile), impression (ed. of 4), composition: 10/65, composition: 40 x 30 7.6 Gift of Roger Brown, courtesy of The School of the Art Institute of i of the storm, 1979 1996 474x472(37.5 x 11.4) (101.6 x 76.2) The School of the Art Institute of Chicago, 1997.71 Lithograph, ed. 2/20, composition: Photolithograph, ed. 24/175, sheet: Adrian-Born 4 I Adrian-Born 31 Chicago, 1997.80 7'7.6 x 10V.6 (19.8 x 26.8) 30 x 23 (76.2 x 58.4) Gift of Roger Brown, courtesy of ROGER BROWN Gift of Roger Brown, courtesy of Adrian-Born 24 ROGER BROWN Gift of the Joel and Carole Bernstein The School of the Art Institute of Which Way Is Up?, 1979 The School of the Art Institute of Gift of Roger Brown, courtesy of 1 Share Art Stock, 1989 Family Collection, 1997.53 Chicago, 1997.74-1997.76, Lithograph, ed. 3/20, composition: Chicago, 1997.93 The School of the Art Institute of Color lithograph, artist's proof ed. respectively 8'7.6x874(22.3x22,2) ROBERT MICHEL Chicago, 1997.87 ROGER BROWN 24/25, composition: 13 'A x 18 74 Adrian-Born 22 German, 1897-1983 ROGER BROWN Sketchbook i982, 1983 (34.3x47.6) Gift of Roger Brown, courtesy of ROGER BROWN MEZ (Mitteleuropdishe Zeit), No. 1, Roads, 1967 Bound sketchbook consisting of 23 Gift of Roger Brown, courtesy of The School of the Art Institute of Rolling Meadows, 1979 1919-20 Color silkscreen, proof impression folios with 20 individual composi­ The School of the Art Institute of Chicago, 1997.88 Lithograph on Arches Cover White From a series of four woodcuts, (no regular edition), composition: tions, lithograph with collage from Chicago, 1997.77 paper, ed. 17/20, composition: 5 7s x MEZ 9 74 x 974 (23.2 x 23.2) ROGER BROWN 10 aluminum plates drawn by the 9'7.6 (14.3 x 25.2) ROGER BROWN Woodcut printed in silver ink on Adrian-Born 5 Little Nimbus, 1979 artist and 2 photo plates; letterpress Lithograph on buff wove paper, ed. Museum of What's Happening Now, black paper, sheet: 18 "A x 1474 Gift of Roger Brown, courtesy of Color lithograph, ed. 7/50, on title page by Grenfell Press, New 20/20, composition: 5 Vs x 9i:7.6 1992 (46 x 37.5) The School of the Alt Institute of composition: 10 x 10 '/2 (25.3 x 26.7) York; bound and slip-covered by (14.3 x 25.2) Color lithograph, artist's proof 24, Purchase, Bequest of Joseph Halle Chicago, 1997.72 Adrian-Born 23 Sendoe Binders, New York, ed. Adrian-Born 2 5 composition: 17x13(43.1x33) Schaffner in memory of his beloved Gift of Roger Brown, courtesy of 16/50, overall book dimensions: ROGER BROWN Gift of Roger Brown, courtesy of Gift of Roger Brown, courtesy of mother, Sara H. Schaffner, by The School of the Art Institute of 11 'A x 978 x 74 (28.5 x 23.8 x 1.9) Untitled, 1968 (plate, 6 proof The School of the Art Institute of The School of the Art Institute of exchange, 1998.16 Chicago, 199789 Adrian-Born 32 impressions pulled in 1987) Chicago, 1997.78 Chicago, 1997.83 and 1997.82, Gift of Roger Brown, courtesy of JIM NUTT Etching, proof impression (no regu­ respectively The School of the Art Institute of ROGER BROWN American, born 1938 lar edition), plate: 3 'V16 x 3 1V16 Chicago, 1997.95 Talk Show Addicts, 1993 you-hoo little boy, 1977 (10 x 10) Etching and aquatint, ed. 62/80, Etching with plate tone, ed. 5/50, Adrian-Born 15 plate: 17'A x 23 'A (44.5 x 59) plate: 3 '716 x 45/i6 in. Gift of Roger Brown, courtesy of Gift of Roger Brown, courtesy of (10 x 10.9 cm.) The School of the Art Institute of The School of the Art Institute of Adrian-Born 195 III Chicago, 1997.86 Chicago, 1997.96 The George Veronda Collection, 1997.65

32 33 KURT SELIGMANN PHOTOGRAPHS HAN DYNASTY (206 Swiss, active in U.S.A. 1900-1962 B.C.E.-220 C.E.) GRACIELA ITURBIDE The Myth of Oedipus, 1944 Mingqi: Well Head Mexican, born 1942 Suite of six etchings, each plate: Glazed modeled and molded Cemeterio, Juchitan, Oaxaca, 1988 i7'/2 xn'/a (44.5 x 29.5) earthenware, h. 13 (33) (negative, later impression) The Mary and Earle Ludgin Gift of Mrs. Geraldine Schmitt-Poor Gelatin-silver print, 18 x 12 '/a Collection, i997.io6a-f and Dr. Robert J. Poor, 1997.102 (46 x 31.1) (image) KURT SELIGMANN Purchase, Gift of the Friends of the CHINESE: CERAMICS Oedipus and Antigone (EIDON), Smart Museum, 1998, 1998.17 1944 NEOLITHIC PERIOD, RUTH THORNE-THOMSEN Etching, conceived for but not GANSU YANGSHAO CULTURE American, born 1943 included in the series The Myth of PHASE, BANSHAN-MACH ANG Head with Ladders, 1979 Oedipus, plate: 17 'A x ii'/s STYLE Toned gelatin-silver print, ed. 19/25, (44.5 x 29.5) Storage Jar, circa 2500-2200 B.C.E. 35A x 4 'A (9.2 x 10.8) The Mary and Earle Ludgin Unglazed earthenware with slip- Purchase, Bequest of Joseph Halle Collection, i997.io6g painted decoration, h. 14 (35.6) Schaffner in memory of his beloved Gift of Mrs. Geraldine Schmitt-Poor KARA WALKER mother, Sara H. Schaffner, by and Dr. Robert J. Poor, 1997.103 American, born 1969 exchange, 1998.18 Freedom: A Fable, 1997 JAPANESE: PAINTING Pop-up silhouette book, ed. of DECORATIVE ARTS ARTIST UNKNOWN, EDO 4,000, closed: 9V16X 8V16 FRANK LLOYD WRIGHT, PERIOD (161 0-1 868) (23.7x21.1) DESIGNER Buddhist Trinity, 18th century Gift of The Peter Norton Family, American, 1867-1959 Hanging scroll, ink, opaque color 1997-111 Dining Table Light Fixture, circa and gold on silk, painting panel: 1908 23'/2 x 26V4 (59.7 x 68) Designed for the Frederick C. Robie Gift of Brooks McCormick, Jr. in Residence, Chicago memory of Mr. Hisazo Nagatani, Leaded colored glass on original 1998.13 wooden base, approximate overall size: 27 x 20 x 18 '/s (68.5 x 51 x 46) DEIRYU Lasar Segall, Third Class, 1928,1997.50 Gift of Donald P. Powell in honor of 1895-1954 Richard E. Twiss, courtesy of The Single Line Calligraphy: Originally Art Institute of Chicago, 1998.4 not one Thing, n.d. Hanging scroll, brush and ink on JIM NUTT DANIEL P. RAMIREZ LASAR SEGALL ASIAN paper, calligraphy panel: I'm not stopping, 1977 American, born 1941 Third Class, 1928 3 CHINESE: PAINTING 50V8 x 13 A (128.6 x 34.9) Etching with plate tone, ed. 5/50, Twenty Contemplations on the Drypoint, plate: 11 x 13 (28 x 32.5) Purchase, Brooks McCormick, Jr. plate: 3 ,5/I6 x 67/s (10 x 17.4) Infant Jesus: An Homage to Olivier Gift of Mauricio Segall and Oscar XU YOU Fund, 1998.10 Adrian-Born 196II Messiaen, 1980 Klabin Segall, 1997.50 Active late Ming (Chongzhen reign, The George Veronda Collection, Suite of twenty mixed media intaglio i628-i644)-early Qing (early MYOHO, 17TH ABBOT OF LASAR SEGALL 1997.66 prints, ed. 5/10, each sheet: 22 x 30 Kangxi reign, 1662-1722) dynasties KOSHO-JI Head of a Black Man, 1929 (block, (55.9x76.2) Five Auspicious Images, circa 1650 1741-1830 JIM NUTT this impression 1994) Gift of Loretta Thurm, 1997.598-1 Hanging scroll, ink on satin, paint­ Bequest Virtue, 1813 your so coarse (tish tish), 1977 Woodcut, ed. of 100, block: ing: 57'/2 x 20'/2 (146.1 x 52.1) Hanging scroll, ink on paper, Etching with plate tone, ed. 5/50, LASAR SEGALL 77A x 5 'V16 (22 x 15.1) calligraphy panel: 15 "A x 33 'A ,5 Gift of Mary M. McDonald, 1997.46 plate: 8 /I6 x 7"'/16 (22.6 x 20.1) Brazilian, born in Lithuania and Gift of the Lasar Segall Museum, (39.4x84.5) Adrian-Born 197 III active in Germany, 1891-1957 Sao Paulo, Brazil, 1998.5 CHINESE: SCULPTURE Purchase, Brooks McCormick, Jr. The George Veronda Collection, Russian Village, 1913 LASAR SEGALL Fund, 1998.1 1997.67 Lithograph, composition: 15x12 HAN DYNASTY (206 Rio de Janeiro III, 1930 (plate, this (37.5x30.5) B.C.E.-220 C.E.) RENGETSU OTAGAKI JIM NUTT impression 1994) Gift of Mauricio Segall and Oscar Mingqi: Celestial Horse 1791-1875 oh! my goodness (NO NO), 1977 Etching, ed. of 100, plate: Klabin Segall, 1997.48 Slip-covered modeled and molded Tanzanku (Poem Slip): Picking Etching with plate tone, ed. 5/50, 8 V2 x IO'/I6 (21.5 x 25.5) earthenware with cold-painted deco­ Chrysanthemums, 1868 plate: 97/sx II7A (25.1 x 30.2) LASAR SEGALL Gift of the Lasar Segall Museum, Neolithic Period,Gansu Yangshao Culture Phase, Banshan- ration, h. 9V4 (24.8), 1. 12'A (31.1) Hanging scroll, brush and ink on sil­ Adrian-Born 198 IV Aimlessly Wandering Women II, Sao Paulo, Brazil, 1998.6 Machang Style, Storage Jar, circa 2500-2200 B.C.E Gift of Isaac S. and Jennifer A. ver-flecked paper, painting: The George Veronda Collection, 1919 Goldman, 1997.100 14V16 x 23A (36 x 6) 1997.68 Woodcut, block: 4 V4 x 117 /I6 Purchase, Brooks McCormick, Jr. (23x29) Fund, 1997.34 Gift of Mauricio Segall and Oscar Klabin Segall, 1997.49

34 35 ACTIVITIES AND SUPPORT/ RYUKA COLLECTIONS Meiji period Calligraphy, circa 1906 Two-panel folding screen, brush and il a ink on paper, painting overall: 53 x 52 V2 (134.6 x 133.4) Gift of Brooks McCormick, Jr., y 1997.36 A 5; SETSUDO JOUN 1 1718-1779 * Enso and Calligraphy, n.d. 1 < Hanging scroll, brush and ink on 4} i paper, painting: 38V8X IO,3/I6 (98.1 x 27.5) Purchase, Brooks McCormick, Jr. Fund, 1997.33 ns from the Permanent Collection Myoho, 17th Abbot of Kosho-Ji, Bequest Virtue, 1813,1988.1 JAPANESE: PRINTS

UTAGAWA HIROSHIGE 1707-1858 Dimensions are in inches followed by centimeters; height precedes width precedes depth. Shiha Zojoji Temple in Snow, JAPANESE: DECORATIVE ARTS early 1830s From the series, Views of Famous RYUKYU ISLANDS Places in Edo Large Circular Tray, late 18th century Museum of Contemporary Art, Chicago Kunsthaus Zug, Zug, Switzerland Color woodblock (oban format), Black lacquer on wood with mother- Roger Brown Memorial Exhibition Kurt Seligmann (1900-1962), Eine Retrospective sheet: 9V4X 14 (23.5 x 35.7) of-pearl inlay, diam. of rim: 21 February-26 July 1998 23 November 1997-15 February 1998 Purchase, Gift of Robert W. Christy, 13/2(34.4) Roger Brown Kurt Seligmann 1998.11 Gift of Mr. and Mrs. Michael R. American, 1941-1997 Swiss, active in U.S.A., 1900-1962 Cunningham in honor of Fr. Harrie Mask for Chairman of the Board of Directors, 1974 The Harpist (Joueuse de Harpe), 1933 RYURYUKYO SHINSAI A. Vanderstappen S.V.D., 1998.7 Acrylic on wood construction with leather thongs, Oil on board, 32/4x41 '/4 (81.9 x 104.8) Active 1789-1817 37 x 9 x 14 (94 x 22.9 x 35.6) The Mary and Earle Ludgin Collection, 1981.78 Untitled (Landscape with view of KOREAN: CERAMICS The George Veronda Collection, 1996.16 Mt. Fuji), n.d. Kurt Seligmann Oedipus at Colonus (Oedipus' Youth), 1944 Surimono woodblock, sheet: CHOSON DYNASTY Patrick and Beatrice Haggerty Museum, Milwaukee, Etching, printed as a relief print, artist's trial proof 5 'A x 7V4 (13.5 x 18.5) (1392-1910) Wisconsin before final state, 17/8 x 11 'A (44.8 x 29.2) (plate) Purchase, Gift of Robert W. Christy, Bowl, late i8th-i9th century Matta: Surrealism and Beyond The Mary and Earle Ludgin Collection, 1981.149 1998.12 Porcelain with blue underglaze 19 September-30 November 1997. decoration, h. 4 (10.2), diam. of Traveled to: Museo de Arte Contemporaneo 5 JAPANESE: mouth 4 /8 (i 1.8) (MARCO Museum), Monterey, Mexico, 12 PHOTOGRAPHS Gift of Mrs. Geraldine Schmitt-Poor February-10 May 1998 TOSHIO SHIBATA and Dr. Robert J. Poor, 1997.104 Robert Matta Echaurren, called Matta Born 1949 Chilean, active in U.S.A., born 1911 AFRICAN Late Jomon Period, Jar, circa 1500-1000 B.C.E., 1997.110 Grand Coulee Dam, Douglas County, Je m'arche, 1949 WA, 1996 Oil on canvas, 76 Zj x 55 (193.7 x 139-7) NIGERIA, YORUBA PEOPLES Gelatin silver print, ed. 1/10, sheet: Gift of Lindy and Edwin Bergman, 1991.289 Pair of Staffs for Eshu, late 19 th 40 x 50 (102.56 x 128.21) century Gift of Lorna C. Ferguson, 1998.15 Carved wood and leather, h. of male

JAPANESE: CERAMICS figure: 11 '/2 (29) Gift of Richard J. Faletti Family, LATE JOMON PERIOD i997-37a-b (1500-1 000 B.C.E.) Jar, circa 1500-1000 B.C.E. Unglazed burnished earthenware with incised, stamped and cord-impressed decoration, h. 4V8 (12.4), diam. of mouth 6in. (15.2) Gift of Mr. and Mrs. Michael R. Cunningham in honor of Fr. Harrie A. Vanderstappen S.V.D., 1997.110

36 37 ACTIVITIES AND SUPPORT/ EXHIBITIONS AND PROGRAMS

Exhibitions

Permanent collection, loan, and traveling exhibitions from i July 1997 through 30 June 1998.

In the Presence of the Gods: Art from Ancient Sumer in informed. The show positioned contemporary the Collection of the Oriental Institute Museum Chicago abstraction within the context of a larger 1 July 1997-8 March 1998 tendency that has no geographical boundaries. This exhibition displayed over forty artifacts from Courtenay Smith edited a full-color catalogue of ancient Sumer, one of the most important city- the exhibition. states of ancient Mesopotamia, located in present- Still More Distant Journeys: The Artistic Emigrations day Iraq. Dating from the 3rd millennium B.C.E., ofLasar Segall these objects ranged from stone and metal stat­ 16 October 1997-4 January 1998 uettes of praying priests and worshippers to ritual vessels and ceremonial inlaid plaques. Once Born in Vilna, Lithuania, Lasar Segall lived in adorning the sanctuaries of ziggurat temples that Berlin and Dresden, where he was associated with dominated Sumer's civic life, most of these pieces the German Expressionist movement. He later were originally used in the worship of local deities. emigrated to Brazil, where he lived and worked until his death. Celebrated in South America, his EXIT 1: Seven Artists from Midway Studios work is still little known in the U.S. Documenting ioJuly-5 August 1997 the Diaspora of the Jews and embodying modern The work of Constance Bacon, Nicole Been, Mark notions of "exoticism" and "primitivism" in mod­ Clarson, Katie Dowling, Michael Dreeben, Scott ern art, Segall's work presented a range of issues Marshall, and Jung Rhee Shim constituted the significant to today's world of global culture and fourteenth annual Midway Studios graduate exhi­ politics. Following its closing in Chicago, the exhi­ bition. Through the media of sculpture, painting, bition traveled to the Jewish Museum in New and photography, these artists explored such York. This exhibition was co-organized by the issues as fetishism, revising modernism, the social Smart Museum and Lasar Segall Museum, Sao construction of identity and gender, and the power Paulo, Brazil, National Institute of the Historical of ancient feminine myth. A brochure with an and Artistic Patrimony, Brazilian Ministry of introductory essay by Courtenay Smith accompa­ Culture, in collaboration with the Sao Paulo/ nied the show. Illinois Partners of the Americas. The exhibition was made possible by grants from the Nathan Post-Pop, Post-Pictures Cummings Foundation, the Smart Family 22 August-21 September 21 1997 Foundation, Inc., the Brazilian Ministry of Highlighting the work of 11 young abstract Culture, and the Safra Bank, Brazil. painters from Chicago, New York, and Texas, this Accompanying the exhibition was a full-color exhibition illustrated the current shift in abstrac­ English/Portuguese catalogue, published by the tion away from the heroic brushwork and emo­ Smart Museum and edited by Stephanie tional concerns first expressed in the 1950s to D'Alessandro with contributions by Reinhold painting that is more mundane and mediated Heller and Vera d'Horta. because it is more self-consciously culturally

39 ACTIVITIES A ND SUPPORT/ Archibald Knox (1864-1933), Liberty of London EXHIBITIONS AND PROGRAMS Designer and Master of British Art Nouveau 12 February-19 April 1998 Archibald Knox is one of the most influential designers in modern British history. Between 1897 and 1912, his blending of Celtic design with mod­ ern aesthetics and manufacturing processes came to define British Art Nouveau. At the same time, Knox helped the Liberty and Co. department store, which marketed his designs, become the most avant-garde design establishment in Britain. Knox's designs, together with examples of the sil­ ver, pewter, ceramics, jewelry, and textiles made from these designs, were displayed; most had never been exhibited before. This exhibition was organized by the Silver Studio Collection at the Events Museum of Domestic Architecture and Design, Installation view of Still More Distant Journeys-.The Artistic Emigrations of Lasar Segall. Middlesex University of London. The Smart Museum presentation was made possible in part by the John Nuveen Company and the Smart Felix Nussbaum: Assimilation & Dissimulation Family Foundation. 21 May-30 August 1998

This project was mounted by the Smart Museum EXIT 7: Seven Artists from Midway Studios Post-Pop, Post-Pictures Jerome Carlin: Autobiographical Paintings as part of the Field Museum's city-wide program­ Opening reception: 21 August 1997, featuring 9 April-14 June 1998 Opening reception: 9 July 1997 ming in conjunction with the exhibition gallery talk by Artforum critic Tom Moody. Part of the Smart Museum's alumni artists series, Assignment: Rescue, the Story ofVarian Fry and the Panel discussion: 31 July 1997 this was an exhibition of paintings by Jerome Emergency Rescue Committee (organized by the Discussion of contemporary art venues in Chicago In the Presence of the Gods: Art from Ancient Sumer in Carlin (Ph.D. 1956, Sociology). Carlin's works United States Ffolocaust Memorial Museum, moderated by Smart Assistant Curator Courtenay the Collection of the Oriental Institute Museum Smith and featuring Michael Hall, Chicago Project focus on the experience of growing up in the Washington, D.C.). The exhibition featured the Opening reception: 25 September 1997 upper-middle-class milieu of Chicago in the 1930s Smart Museum's rare, two-sided painting by Room; Joel Lieb, Ten in One Gallery; Dominic Molon, Museum of Contemporary Art; and Amy and 1940s. German artist Felix Nussbaum (1904-1944) who The Second Joseph R. Shapiro Award Dinner Theobald, TBA Exhibition Space. was a victim of Nazi persecution. These expressive Gala dinner benefitting the Smart Museum: images explore themes of cultural identity and the 30 September 1997 alienation of European Jews in pre-World War II Honoring John H. Bryan, Chairman and Chief Europe. Both sides of the painting were displayed Executive Officer, Sara Lee Corporation, and concurrently. featuring keynote speaker J. Carter Brown, Director Emeritus of the National Gallery of Art The Sublime and the Fantastic: African in Washington, D.C. Art from the Faletti Family Collection 14 May-28 June 1998 Still More Distant Journeys: The Artistic Emigrations of Lasar Segall This exhibition explored the range and depth of African artistic sensibility through 75 works of sub- Opening reception: 16 October 1997 Saharan art dating from the 16th to early 20th cen­ Symposium: 19 October 1997 turies. Drawing on African concepts, the Jews, Society, and Art After the Shoah contemplative quality of the sublime was illustrat­ Participants included Stephanie D'Alessandro, ed by emblems of leadership, divination materials, exhibition curator, University of Chicago; Sander and masterworks of devotional worship made L. Gilman, Henry Luce Professor of Liberal Arts from wood, ivory, parchment, and bronze. In con­ in Human Biology, and Chair, Department of trast, the fantastic was evoked through poly­ Germanic Studies, University of Chicago; Reinhold chrome spirit masks and altars constructed from Heller, Professor of Art and Germanic Studies, juxtapositions of animal and human forms. This University of Chicago; Jeffrey Lesser, Professor of Installation view of Archibald Knox (1864-1933), Liberty of exhibition was organized by the Phoenix Art History, Connecticut College; Margaret Olin, London Designer and Master of British Art Nouveau. Museum. Its presentation was made possible in Professor of Art History, School of the Art part by a grant from the John Nuveen Company. Institute, Chicago; Sarah Wilson, Professor of Art A full-color catalogue by Mary Nooter Roberts History, Courtauld Institute of Art, London; and Allen F. Roberts accompanied this show. James Young, Professor of English and Judaic Celebrating the exhibition opening of Still More Distant Journeys-.The Artistic Studies, University of Massachusetts at Amherst. Journeys of Lasar Segall,are (left to right) Jenny Musatti, Cultural Chair for the Sao Paulo Chapter ofthe Partners of the Americas; Marcello Mattos Araujo, Co-director of the Lasar Segall Museum, Sao Paulo, Brazil; Kim Rorschach, Director ofthe Smart Museum;Stephanie D'Alessandro,exhibition organizer;and Carlos Wendel de Magalhaes, Co-director ofthe Lasar Segall Museum. 40 41 African American Heritage Month: February 1998 A month-long special display of recent Smart acquisitions of traditional African art.

Archibald Knox (1864-1933) Liberty of London Designer and Master of British Art Nouveau

Opening reception: 11 February 1998 Collectors Series Event for Members: Friends of the Smart Museum 14 February 1998 and members of the community Featuring Stephen A. Martin, collector, Knox attend the opening of A Sense of expert and lender to the exhibition. Wonder: African Art from the Lecture: 11 March 1998 Faletti Family Collection. In the Ministry of the Beautiful by Tony Jones, President of the School of the Art Institute of Chicago and leading authority on Knox and other arts and crafts designers.Co-sponsored by The Arts Club of Chicago. Silver Metalworking Demonstration: 18 April 1998 Demonstration of Knox-inspired silver metal- working by Oak Park-based artist Veronica Fremont.

Mostly Music Concert: 1 Ma rch 1998 Featuring Dmitris Marinos performing classics, Mostly Music Concert: 14 June 1998 John H.Bryan, Chairman and Chief Operating Officer of contemporary music, and popular Greek works Young Award Winners of 199J, featuring virtuosi Sara Lee Corporation, accepts the second Joseph R. for mandolin. winners of Midwest competitions. Shapiro Award from University of Chicago president A Sense of Wonder: African Art from the Faletti Family Hugo Sonnenschein. Alumni Artist Jerome Carlin: Recent Paintings Opening reception: 19 April 1998 Collection Opening reception: 13 May 1998 Collectors Series Event for Members: Mostly Music Concert: 26 April 1998 Featuring a lecture by exhibition curators Mary 22 November 1997 Pacifica String Quartet, with guest violinist Rachel Nooters Roberts and Allen F. Roberts. Behind the Scenes: The Lasar Segall Exhibition Barton, performed the Dvorak Quintet. featuring a talk by Stephanie D'Alessandro, exhi­ Lecture: 21 May 1998 bition curator. If You're Talking to the Gods, What Language Do You Speak? The Dialiect/ic of Art in Africa and the University of Chicago Humanities Day: Diaspora, by Suzanne Blier, Professor of Fine Arts 25 October 1997 and Afro-American studies, Harvard University. Featuring docent-guided tours of Still More Collectors' Series Event: 6 June 1998 Distant Journeys: The Artistic Emigrations of Lasar Featuring collector Richard Faletti. Segall and In the Presence of the Gods: Art from Ancient Sumer in the Collection of the Oriental Young visitors take part in the Smart's Annual Family Day Family Day: 7 June 1998 Institute Museum. featuring a performance by Muntu Dance Theatre and Annual open house at the Smart Museum co- art activities for children. sponsored by the Oriental Institute Museum and Mostly Music Concert: 2 November 1997 Hyde Park Art Center. Featured performance Featuring Ray Still, former principal oboe of the from the Muntu Dance Theatre of Chicago. Chicago Symphony Orchestra. Concert: 17-18 May Newberry's Very Merry Bazaar: L.V. Banks and His Swinging Blues Band, in cele­ 21-23 November 1997 bration of the culmination of the 1998 MusArts Participation in annual bazaar featuring Chicago's program. museums, cultural centers, and other nonprofit organizations at the Newberry Library, Chicago. Annual Friends' Meeting and Brunch: 30 May 1998

Mostly Music Concert: 7 December 1997 Performance Art Day: 10 June 1998 Fleur De Lys Chorale, performing English Individual pieces performed by University of Christmas music and American madrigals. Mary Nooter Roberts, co-curator of the exhibition A Sense Chicago students from Steven Totland's perfor­ of Wonder: African Art from the Faletti Family Collection, mance art class at the Smart Museum. New Year's Open House: 15 January 1998 presents an introductory slide lecture The Fantastic and Annual party for campus and community, featur­ the Sublime in African Art. ing a dance performance by Michael Giocomini.

42 43 ACTIVITIES AND SUPPORT/ In 1997-98 the Smart Museum introduced EDUCATION evening hours and initiated an exciting series of stu­ dent performances, readings, and events on Thursday evenings. Planned and presented in collaboration with individual students and student groups, this informal series was designed to introduce students to the Museum.

Community Programs

For the second year, the Smart Museum collaborated with the Harper Court Foundation, the South East Chicago Commission, the Hyde Park Art Center, the Museum of Science and Industry, Regents Park by the Clinton Company, and Artwerk Gallery to organize and present Artscape 1997 in September. This street Education Programs festival offered local residents the chance to interact with artists as they created works of art on the streets School children enjoy live music performed by L.V. Banks of Hyde Park. An awards reception for the artists was and his Swinging Blues Band in celebration of the 1998 held at the Smart Museum on October 24. MusArts program. School Programs Other arts-in-education collaborations: The Smart On Sunday, June 7, 1998 the Smart Museum, the Museum played an increasingly important role in edu­ Oriental Institute, and the Hyde Park Art Center held Docent for a Day: 1997-98 marked the sixth suc­ cating Chicago area school children through collabo­ the Smart Museum and other community arts organi­ the annual Family Day at the Smart Museum. This cessful year of the Docent for a Day program, thanks rative programming with a variety of arts institutions zations including the Hyde Park Art Center and year, the event was organized in conjunction with the to the support of the Sara Lee Foundation. During and schools. For the second year, the Smart collabo­ Frank Lloyd Wright's Robie House. Smart Museum's exhibition A Sense of Wonder: the year, a total of 570 fifth graders served as "docents rated with Urban Gateways through the Atelier African Art from the Faletti Family Collection. Over for a day" after spending five weeks studying the Fellowship Program to present a series of Programs for University of Chicago 125 children and adults enjoyed a performance by elements of art and carefully looking at works in the teacher/artist training sessions followed by museum Students Muntu Dance Theatre, gallery tours, and a variety of Museum's permanent collection. Parents and friends visits from participating school groups. Student visits The Smart Museum's Docent Program is staffed by hands-on activities. In connection with the exhibition joined the students, teachers, and museum staff for the were designed to focus on themes related to the graduate and undergraduate students at the University Archibald Knox (1864-i^jj): Liberty of London final events featuring student-led gallery discussions. Smart's Archibald Knox and African Art exhibitions of Chicago. The program not only fulfills the Muse­ Designer and Master of British Art Nouveau, the and included discussions and sketching sessions in the um's mission to make its collection and exhibitions Museum hosted a metalsmithing demonstration fea­ Supported by a grant from the Polk Bros. MusArts: galleries. Nineteen classes (600 students) from Our accessible to school and community groups, but also turing artist Veronica Fremont. This popular event Foundation, MusArts is designed to help sixth, sev­ Lady of the Garden School, Greeley School, Hartigan trains University of Chicago students to be educators drew over 60 participants. enth, and eighth graders explore the expressive quali­ School, and Ninos Heros participated in the program. and offers them an opportunity to connect to the As in past years, the Smart collaborated with ties of music and visual art. An all-day, hands-on In addition to working with classroom teachers as broader South Side community. The program, which Mostly Music to present a series of Sunday afternoon teacher workshop helped teachers prepare for the part of the Atelier program, the Smart Museum edu­ is open to students from all departments in the concerts at the Museum. Before each concert, program. During the academic year, 760 students cation staff developed classroom materials for the University, provides paid positions to students who Museum docents led tours of special exhibitions and from thirteen Chicago Public Schools participated in exhibition A Sense of Wonder: African Art from the wish to expand their knowledge of art and learn more permanent collection galleries for audience members. MusArts. Focusing on Blues music, they compared Faletti Family Collection and worked closely with about museums and teaching. The program provides In addition to these programs, the Smart selected artworks to musical pieces during classroom teachers to help them integrate the exhibition into year-long training sessions and extensive opportuni­ Museum offered public tours of special exhibitions sessions, visited the Smart Museum's permanent col­ their classroom activities. ties to hone key communication, interpersonal, and and collection galleries on Sunday afternoons, and lection galleries, and created artworks in response to On campus, the exhibition In the Presence of the group management skills. Many former docents have presented guided tours to numerous adult groups. music. Student works were exhibited in the Museum's Gods: Art from Ancient Sumer in the Collection of the continued to work in the museum field, and now lobby and were judged by a volunteer jury of profes­ Education Advisory Committee Oriental Institute Museum offered the staff of the occupy curatorial, education, and other positions in sional artists and musicians. The culminating event Smart Museum and the Oriental Institute an exciting museums around the country. Created in 1996-97 with support from the Polk Bros. took place on a Sunday and featured a concert by opportunity to develop joint education programs. The Foundation, the Education Advisory Committee con­ L.V. Banks and his Swinging Blues Band and an exhibition presented works from the Oriental tinued to provide crucial advice to Smart Museum award ceremony. Institute's permanent collection in the Smart staff regarding community and outreach program­ Museum's galleries. The two institutions designed a ming for a range of audiences, including adults, The South Side Arts PartnershipVne Smart Museum two-part gallery tour for elementary school students school children, and the University of Chicago com­ continued to be an active member of the South Side relating Sumerian objects to classical Greek and munity. In 1997-98 the Committee members were: Arts Partnership, a Chicago Arts Partnerships in Roman pieces in the Smart's permanent collection. Mary Cobb (Teacher, William H. Ray School), Aracely Education initiative founded in 1992 to infuse the arts Teachers from area schools attended a workshop in The MusArts 1998 Munoz Contreras (Coordinator, UofC Community into the daily curriculum of William H. Ray School October 1997; 220 students participated in the tours. awards ceremony and Service Center), Zach Intrater (UofC student and and Philip Murray Language Academy. Smart The Smart Museum also collaborated with The reception. coordinator, UCISee), Mark Johnson (Executive Museum education staff worked closely with teachers PEACH Club, a not-for-profit mentorship and arts Director, Harper Court Foundation), Michelle at Ray and Murray to create thematic visits custom- organization that provides at-risk children with Obama (Associate Dean of Student Services and tailored to the needs of particular classrooms. Visits opportunities to develop their creativity during after- Director, UofC Community Service Center), Richard included Rothko in Writing, Landscape: Understanding school activities. The five-week program Spaces and Pettengill (Director of Arts in Education, Goodman the Forces of Nature, and Imagining the Universe. Structures: Reactions to Environments, took place at Theatre), and Jackie Terrassa (UofC alumna, artist).

44 45 Dr. John A. Simpson Mr. and Mrs. Jules Knapp Eileen Hastings Duncan ACTIVITIES AND SUPPORT/ Tori Simms Gary and Lilianna Lark Mr. and Mrs. E. Bruce Dunn SOURCES OF SUPPORT Rebecca Sive and Steve Dr. Eva F. Lichtenberg Mr. and Mrs. Jarl E. Dyrud Tomashefsky Barbara and Jim MacGinnitie John Q. Easton and Sem C. Sutter Richard and Rosemary Snow Asher and Vera Margolis Sondra Ward Eisenberg Charles and Joan Staples Ira and Janina Marks Deborah and David Epstein Nikki and Fred Stein McKim Marriott Dr. and Mrs. Richard Evans Ernest Stern Inge Maser Dr. and Mrs. Philip Falk Jon Stern Robert McDermott Chris and Susan Faraone Marjorie Stinespring Sue McGowen Emily H. Fine Howard and Donna Stone J. Clifford Moos Mr. and Mrs. Jacob L. Fox Dr. and Mrs. Francis H. Straus, II William and Kate Morrison Dr. Erika Fromm Mrs. Alec Sutherland Charles and Melanie Payne Mr. and Mrs. Jacob W. Getzels Mr. and Mr s. Martin Swerdlow Ward and Dorothy Perrin Mr. and Mrs. Arnold M. Gilbert Mrs. Manley Thompson Mr. and Mrs. Richard B. Philbrick Richard and Andrea Ginsburg Fidelis and Bonnie Umeh Mr. and Mrs. John F. Richards Mr. and Mrs. Howard Goldberg Harrie A. Vanderstappen Howard J. Romanek Ethel F. and Julian R. Goldsmith John Vinci Sources of Support Kimerly Rorschach Mr. and Mrs. Charles E. Gregersen Bob and Barbara Wagner Irmgard Rosenberger Dr. and Mrs. M. S. Gunther Jim and Joan Webster Mrs. Samuel R. Rosenthal Mr. and Mrs. Chauncy D. Harris Mr. and Mrs. R. A. Weiler Rochelle Rossin Robert and Margot Haselkorn Dr. and Mrs. Jesse K. Wheeler Cash and in-kind contributions received from i July 1997 through 30 June 1998. Susan and Charles P. Schwartz, Jr. Dr. and Mrs. Arthur L. Herbst Norman C. Wolff Mr. and Mrs. Phil Shorr Barbara Herst Mr. and Mrs. Roger Hildebrand Wu Hung and Judith Zeitlin Corporate and Foundation Samuel Kremen Robert Bergman and Marie Krane Mr. and Mrs. Granvil Specks Mr. and Mrs. George D. Hirsh Joanne Zimmerman Grants William and Elisabeth Landes Bergman Dr. Jean Paul Spire Brooke Hummer and George Marvin Zonis and Lucy Salenger Mrs. Harold T. Martin Mr. and Mrs. David Blumberg Dr. Jane W. Stedman and George Acorn Foundation Mower Mr. and Mrs. Allen A. Zuraw Laura Campbell Rhind and James T. Laura and Robert Boyd McElroy The Brazilian Ministry of Culture Mark A. Johnson and Judith Wright Rhind Lilo Closs Dr. Paul and Dorie Sternberg Chicago Arts Partners in Education Emile Karafiol John N. Stern Robert P. Coale Mr. and Mrs. Geoffrey Stone Gifts under $50 (CAPE) Mr. and Mrs. John C. Kern Mr. and Mrs. Michael A. Wyatt Douglas and Carol Cohen Arthur Strauss Ani Afshar The Nathan Cummings Foundation, Dr. Susanne E. Larsh E. David Coolidge, III Patricia K. Swanson Sylvia Sleigh Alloway Inc. Nika Semkoff Levi-Setti Mr. and Mrs. Roger Covey Mr. and Mrs. David Vitale Mrs. Robert Gardner Anderson Illinois Arts Council Council of Fellows and gifts Robert B. Lifton Mrs. Frederick Asher Dorothy and David Crabb Iris Witkowsky Institute of Museum Services Mr. and Mrs. Ted Asner of $1000-$4999 Arthur M. Wood Marguerite Lytle Mr. and Mrs. Leon M. Despres Sylvia Astro McKinsey & Company, Inc. W. R. M agnus Dr. Robert W. Christy Richard J. Faletti Dr. and Mrs. Alfred Baker The Andrew W. Mellon Foundation R. M. Menegaz and R. D. Bock The Duchossois Foundation Mr. and Mrs. Alan Fern Elizabeth Baum The John Nuveen Company Friends and gifts of $50-$ 149 Mr. and Mrs. David B. Midgley Richard and Barbara Franke Mr. and Mrs. Robert D. Fitzgerald Don Baum Polk Bros. Foundation Shelby A. Miller Dr. and Mrs. Richard Baum Mrs. Joyce Zeger Greenberg Mr. and Mrs. Paul Freehling Rolf Achilles and Pam Morris The Safra Bank, Brazil Robert N. Beck and Ariadne P. Beck Deborah Aliber Lauren Moltz Jack and Helen Halpern Tom and Darlene Furst Michael Behnke The Sara Lee Foundation Mr. and Mrs. Hans W. Morsbach Mr. and Mrs. Robert M. Levy Mrs. Willard Gidwitz Robin Andrade Mr. and Mrs. David Bevington The Smart Family Foundation, Inc. David Muschler and Ann Becker Richard B. Philbrick Mr. and Mrs. Walter Goldschmidt Dr. Andrew Aronson and Dr. Iris Joseph Bibb, III The University of Chicago Visiting Melvin and Naomi Nickerson Robert Biggs Virginia P. Rorschach Eugene Goldwasser and Deone Aronson Committee on the Visual Arts Henry Otto Vanice Billups Mr. and Mrs. Hugo F. Sonnenschein Jackman Dr. Eugene Baiter and Judith The Andy Warhol Foundation for Jane and George Overton Catharine Blair Dr. and Mrs. John E. Ultmann Harold Gootrad Philips Sophie Bloom the Visual Arts Mr. and Mrs. Marshall Patner Arthur M. Gordon Howard and Marjorie Barron Gisela Mendel Booth Mrs. Howard R. Peterson Philip and Suzanne Gossett John and Gail Bauman Gretel Braidwood and Raymond Tindel Contributors and Friends of Sustaining Fellows and gifts Mrs. Guity N. Becker Mr. and Mrs. Robert Picken Mrs. William Brien the Smart Museum Mr. and Mrs. Robert Grant Mrs. Robert R. Brinker of$500-$999 Mr. and Mrs. Murray Berg Dr. William Plotkin Paul and Dedrea Armour Gray Alan R. Brodie Mr. and Mrs. Alfred Putnam Thomas Blackman Mr. and Mrs. Lester Guttman Mrs. Edwin A. Bergman Morris Brodwin Gifts of $10,000 or more Mrs. Max J. Putzel Robert G. Donnelley Helen Ann Hagedorn Mr. and Mrs. R. Stephen Berry Dr. Catherine Brosman Thaddeus Pyrce Carole and Joel Bernstein Sharon Flanagan Miriam Hansen and Michael Geyer Leonard and Mary Jane Bezark, Jr. Jean Brown Mr. and Mrs. James M. Ratcliffe Cleve Carney Mary and Roy Cullen Brian and Linda Hanessian Neil Harris and Teri Edelstein Helen Lewis Bidwell Mr. and Mrs. H. P. Davis Rockwell Mrs. S. Chandrasekhar Lorna C. Ferguson and Michael Hyman Mary Harvey Mr. and Mrs. Sidney Block Dr. and Mrs. Richard Chessick Anne N. Rorimer Terry N. Clark Hon. and Mrs. Edward H. Levi Mr. and Mrs. R. H. Helmholz Philip M. Burno Mrs. Jane Christon Mr. and Mrs. Ernest Rosner Brooks McCormick, Jr. Mrs. Glen A. Lloyd Joyce Turner Hilkevitch Mr. and Mrs. Leonard Byman Lydia G. Cochrane Patricia Collette Irmgard Rosenberger Victor Cohen Martin Runkle Mr. and Mrs. Marshall M. Holleb Mr. and Mrs. Eugene Cotton Mr. and Mrs. Gilbert Cornfield Carolyn L. and Robert G. Sachs Benefactors and gifts Mr. and Mrs. William R. Tobey, Jr. Ruth Horwich Lilian Cropsey Irene and Charles Custer Sara and Horst Schastok of$5000-$9999 Mr. and M rs. Arnold Zellner Michael Igoe, Jr. David Curry Mrs. Robert L. Scranton Patricia John and Kenneth Kenneth and Marcia Dam Dr. and Mrs. LeslieJ. DeGroot Anonymous Jan Serr and John Shannon Mrs. Robert Donald Erickson Northcott Professor and Mrs. Sidney Davidson Claudio Aspesi Fellows and gifts of $150-$499 Mr. and Mrs. Melvyn Shochet Mr. and Mrs. William E. Erickson Mr. and Mrs. Burton Kanter Alyce H. DeCosta Mr. and Mrs. Robert Feitler Bernece and Marvin Simon Sally Fairweather Mr. and Mrs. James Alter Professor and Mrs. Barry Karl Mr. and Mrs. George Dick Ilene Farkas-Conn Richard and Mary L.Gray J. A. Simpson E. M. Bakwin Esther G. Klatz Dr. and Mrs. Erl Dordal Dr. Beverly Bennett

46 Mr. and Mrs. Joe Ferrari Neison Harris Fiona A. Robertson Iris Witkowsky, in honor of John N. $3,000 or more $500 or more Mary D. Fieldman Leona Z. Rosenberg Mr. and Mrs. Thomas Heagy Etha Beatrice Fox Stern's birthday Mrs. Murray C. Brown Mr. and Mrs. Albert J. Rosenthal Arthur Andersen, LLP Nancy A. Horner Mrs. Zollis S. Frank Dr. Maurice Rosenthal Norman C. Wolff, in honor of John Gilda and Henry Buchbinder E. M. Bakwin Blanch Koffler Barbara H. Frei James Rubens N. Stern's birthday Mr. and Mrs. Sidney Davidson Lore Friedrich John W. Ballantine, First Chicago Sister Candida Lund Susan B. Rubnitz Mr. and Mrs. Daniel J. Edelman Laura de Frise Dr. and Mrs. Leo Sadow NBD Eileen Mackevich Visiting Committee on the Jamee and Marshall Field Mr. and Mrs. Maurice Fulton Margaret Sagers Linda and David Blumberg Arnold Newberger Drs. Stefi S. and Gustav Geisel Visual Arts Contributions Allan Frumkin Lawrence J. Scheff Christopher Burge Muriel Kallis Newman Mr. and Mrs. Flerbert George Marie Schilling Christie's Mr. and Mrs. Ralph Goldenberg Sylvia Glagov Jane and George W. Overton Dr. and Mrs. Nathan Schlessinger These gifts benefit the Smart Lawrie C. and Anthony T. Dean Mrs. Robert S. Hartman Cara Glatt Robert E. Schrade Morris Philipson Museum, the Department of Art Ardith M. Lauerman Robert R. Gowland David E. Schroeder Lorna C. Ferguson and Elizabeth Reneker Marcus D. Grayck History, and Midway Studios. Mrs. Glen A. Lloyd Carl Selby Terry N. Clark Marion E. Rosenbluth Georgina G. Gronner William Sewell Karen and Jim Frank Judy and Scott McCue Leo Guthman Mary Kelton Seyfarth Mary Kelton Seyfarth Robert and Marie Krane Bergman Mr. and Mrs. Richard J. Franke Robert B. McDermott Nancy C. Harney Ilene Shaw Joseph P. Shure Andy Austin Cohen William and Kathleen Gibbons Helen Harvey Mills Vivian S. Hawes Alan and Daila Shefner John Sickle Mr. and Mrs. Richard M. Morrow Albert and Alice Hayes Ethel Shufro Phyllis and Barton J. Cohen Leslie Hindman Arthur Strauss David and Betty Hess Marilyn and Barry Preston Joseph P. Shure Mr. and Mrs. Richard Elden Randy L. Holgate Mrs. Jerome F. Strauss Dorothy Heyman Sara Skerker Rhoda Pritzker Sally Fairweather Mrs. Ruth Horwich Mr. and Mrs. Bernard Susman Dr. Knox C. Hill Charlene K. Smith Mr. and Mrs. Robert Feitler Mr. and Mrs. Burton W. Kanter Dolores and Donn Shapiro Sarah P. Hill Mr. and Mrs. Eric O. Sonneman Janet M. Tavakoli Lorna and Francis Straus Aimee I. Horton Janice Spofford Mrs. Willard Gidwitz Mr. and Mrs. Martin J. Koldyke Willard White Patricia Hume Patricia Swanson Oliver Statler Leo S. Guthman Elisabeth and William Landes Michael B. Zukerman Robin Intrs Mrs. Helaine R. Staver Mr. and Mrs. David C. Hilliard John D. Mabie Mr. and Mrs. Harvey Walken Mary Irons Ursula Storb Ruth Horwich Charles Mulaney, Skadden, Arps, Mr. and Mrs. Morris Weeden Mr. and Mrs. Philip Jackson Helmut Strauss Burton and Naomi Kanter Slate, Meagher and Flom Mr. and Mrs. Arnold Zellner Under $200 Dori Jacobsohn Mr. and Mrs. Steven A. Taylor Evelyn Jaffee Florence Teegarden Ardith M. Lauerman Hortense G. Singer Mrs. Lester Abelson Ruth Elizabeth Jenks Mrs. Richard Thain Julius Lewis $300 or more Mrs. Walter Alexander Lillian Johnson Stephen Thomas Mrs. Robert B. Mayer Neal Ball Penny R. Johnson Loretta Thurm $1,000 or more Mr. and Mrs. Robert L. Baumgarten Thomas H. Kapsalis Brooks McCormick, Jr. Mr. and Mrs. Arnold Brookstone Dr. Paul Titman Mary Jane and Leonard Bezark Mrs. C. Sonia Katz Maria Titterington Helen Harvey Mills Marilynn B. Alsdorf Deborah Epstein Laurence and Patricia Booth Dan Kletnick Dr. and Mrs. Harry Trosman Mr. and Mrs. Marshall J. Padorr Carole and Joel Bernstein Brian Ferriso and Amy Pellegrin Ruth A. Kolb Dorothy and David Crabb Mr. and Mrs. Robert Uretz Beatrice Perry C3 Holdings, LLC Mr. and Mrs. Robert J. Greenebaum Maurine Komfeld Lillian Wachtel Mr. and Mrs. Harvey B. Plotnick Carol and Douglas Cohen Robert and Denise Curry Peter J. Kosiba Nathalie Weil D. Carroll Joynes The Otto L. And Hazel T. Rhoades Phyllis and Barton J. Cohen Mr. and Mrs. Leon Despres Catherine Krause Florence G. Weisblatt Mr. and Mrs. Frank Klapperich Stefan Edlis Jack M. Kremen Olga Weiss Fund The Crown Family Nancy S. and Robert R. Lipsky Richard G. Kron Mr. and Mrs. Richard Faletti James M. Wells Irmgard Rosenberger Mr. and Mrs. Robert O. Delaney Jill Carlotta Maher and David Louise H. Landau Michael P. Worley Joseph P. Shure Miranda and Robert Donnelley Helen and Michael Goodkin Mr. and Mrs. Willard Lassers Maher Eva-Maria Worthington Larry A. Silver Mr. and Mrs. Maurice F. Fulton Mr. and Mrs. Rajat Kumar Gupta Madeleine Levin Michelle York Mr. and Mrs. James A. McClung Mr. and Mrs. R. H. Helmholz Lois Lewellyn Sonia Zaks John N. Stern Mrs. Willard Gidwitz Charles Newell and Kate Collins Paul Oliver and Camille Hoffman Melynda Lopin Mrs. Alice J. Zimring Dr. Paul and Dorie Sternberg Harold Gootrad Mr. and Mrs. Ellard Pfaelzer Deborah Lovely Kineret Jaffe and Dr. Morton M. Mrs. George B. Young Leo Guthman Mr. and Mrs. Thomas Philipsborn Gretel Lowinsky Silverman Ann G. Lutterbeck Corporate and Foundation Mr. and Mrs. J. Parker Hall Mr. and Mrs. Edward Rabin Laurie Kaplan Sylvia B. Mann Matching Gifts Joseph R. Shapiro Award Helen and Jack Halpern Alan and Laurie Reinstein Jules and Gwen Knapp Dr. and Mrs. Martin Marty Dinner Contributors Barry G. Hastings Kimerly Rorschach and John Hart Mr. and Mrs. Arthur Mason Ameritech Foundation Mr. and Mrs. Alan Koppel Mr. and Mrs. David C. Hilliard Susan B. and M. E. Rubnitz Mr. and Mrs. Evan Maurer CNA Mr. and Mrs. H. George Mann $5,000 or more Doris and Marshall M. Holleb Georgianna Maynard Illinois Tool Works Foundation Lore Silberman Maurice Jacobs Sue McGowan Mary M. McDonald John D. and Catherine T. AON Foundation Oliver Statler Eunice McGuire Helmut Jahn Mr. and Mrs. Ralph Muller MacArthur Foundation Mrs. Edwin A. Bergman Virginia C. Vale Sarah Meisels Edgar Jannotta Mr. and Mrs. Joseph E. Nathan Northern Trust Company Patrice Bugelas-Brandt and William Arthur M. Wood Ruth Aizuss Midgal-Brown Ursula and R. Stanley Johnson Dr. and Mrs. John Hallmark Neff James E. Miller, Jr. The John Nuveen Company A. Brandt, Jr. James N. Wood Lucia Woods Lindley and Daniel A. Philip Rollhaus Helen Harvey Mills Sonia Zaks The Otto L. and Hazel T. Rhoades Mary and Roy Cullen Mrs. Irmgard Hess Rosenberger Margaret P. Mine Lindley Fund Gail and Richard Elden Jennifer Zitron Eugenie R. Mirelowitz J. Clifford Moos (Mrs. Ludwig) Mr. and Mrs. Robert Feitler Charles H. Mottier Bernice and Kenneth Newberger Mary Smart Susan Orden Gifts in Honor Joan and Stanley M. Freehling Mr. and Mrs. Marshall J. Padorr Mr. and Mrs. Jerome Torshen Mr. and Mrs. Franklin Orwin Mary L. and Richard Gray Mr. and Mrs. James Alter, in honor Carol Prins and John Hart Gary M. Ossewaarde Joan W. and Irving B. Harris $200 or more Cora Passin of Mr. and Mrs. Robert Feitler Mr. and Mrs. James T. Rhind Susan and Lewis Manilow Mr. and Mrs. Howard R. Barron Eleanor Petersen Mrs. Frederick Asher, in honor of Shirley Welsh Ryan Gloria Phares Mrs. Robert B. Mayer Marilee Asher s birthday Dr. Paul and Dorie Sternberg Sandra Crown Dr. Louise L. Polak McKinsey & Company, Inc. Douglas Druick Eugene Pomerance Mrs. Edwin A. Bergman, in memory Jerome Stone Mr. and Mrs. Harvey Plotnick Neil Harris and Teri Edelstein Dr. Ruth G. Ramsey of Janice Gray Lynn and Allen Turner The Pritzker Family Joy Reese Mr. and Mrs. Maurice Fulton, in Else Regensteiner The Sara Lee Corporation honor of John N. Stern's birthday Marlene F. Richman Fay and John N. Stern Howard and Donna Stone, in honor Mr. and Mrs. Steven Taslitz of Dennis Adrian's birthday

48 49 Donors to the Collection Mary and Earle Ludgin Collection Lenders to the Collection OPERATING STATEMENT Anonymous (I) Brooks McCormick, Jr. Anonymous (2) Brooks McCormick, Jr. Fund Mrs. Edwin A. Bergman Rolf Achilles Mary M. McDonald Joel and Carole Bernstein Family Estate of Lloyd Bowers Muriel Kallis Newman Collection Henry Cohen Peter Norton Family Roger Brown, courtesy of The G.U.C. Collection Mrs. Geraldine Schmitt-Poor and School of the Art Institute of Robert W. Christy Chicago Dr. Robert J. Poor Mr. and Mrs. Lester Guttman Maryrose Carroll Donald P. Powell, courtesy of The Julius and Harriet Hyman Art Institute of Chicago Robert W. Christy Ronald B. Inden Mr. and Mrs. Michael R. Lasar Segall Museum, Sao Paolo, Mary and Earle Ludgin Collection Cunningham Brazil Mary M. McDonald Richard J. Faletti Family Mauricio Segall Oriental Institute Museum Lorna C. Ferguson Oscar Klabin Segall Mr. and Mrs. French Peterson Friends of the Smart Museum Bequest of Joseph Halle Schaffner Judith and James Rhinestein Allan Frumkin Mr. and Mrs. Phil Shorr David Sharpe Isaac S. and Jennifer A. Goldman Loretta Thurm Marcia and Granvil Specks Richard Gray George Veronda Collection John N. and Fay S. Stern Dr. Samuel Kremen John L. Strauss, Jr. Elisabeth and William Landes Statement of operations (unaudited) from 1 July 1997 through 30 June 1998.

Revenues 134,000 Earned income 107,000 Corporate grants 73,000 Foundation grants 66,000 Government grants 147,000 Individual contributions 106,000 Gala benefit 263,000 University allocation for direct expenses University allocation for physical plant expense 125,000 University allocation for capital improvements 40,000 225,000 Endowment payout

TOTAL REVENUES $1,286,000

Expenses 432,000 Staff salaries 78,000 Benefits Operations and maintenance of physical plant 147,000 Amortized capital improvement expense 40,000 463,000 Supplies and services I 26,000 Contingency/Reserve fund

TOTAL EXPENSES $1,286,000

o Net operating results

50 SMART MUSEUM STAFF 1997-1998

Kimerly Rorschach, Director

Burton Avery, Administrative Assistant Rudy Bernal, Preparator Richard Born, Curator LaShawn Bryant, Receptionist (as of April 1998) Martha Coomes-Sharma, Registrar Stephanie D'Alessandro, Coordinating Curator of Mellon Projects (through May 1998) Brian Ferriso, Assistant Director Julie Gard, Membership and Special Events Coordinator Kathleen Gibbons, Education Director Elizabeth Rodini, Coordinating Curator of Mellon Projects (as of June 1998) Courtenay Smith, Associate Curator Priscilla Stratten, Operations Manager Stefanie White, Public Relations and Marketing Manager Jennifer Zitron, Education Programs Coordinator

Interns Joseph Lyons Peter Hattan Alexis Mills Jared Heck Amy Bingaman, Curatorial Dustin Mitchell Genevieve Kirk Sienna Brown, Registrarial Joe Monaghan Joseph Catalano, Preparatorial Security Supervisor Joanna Moon Carla Dunham, Curatorial Juana T. Moore Joseph Monaghan Kris Ercums, Curatorial Areli Padilla Katharine Harris, Registrarial Education Programs Gloria Padilla Chris Roch, Curatorial Karla Ramos Meredith Fluke, Student Education Volunteers Kavitha Reddy Intern Helen Halpern, Curatorial Eric Riggers Matt Irvin, Education Assistant Joseph P. Shure, Curatorial Michelle Skaer Agnes Zellner, Curatorial Jason Slous Student Docents Matthew Stern Elise Beyer Student Guards Sean Stevenson Sienna Brown Ayhan Akman Read Taylor Sophia Carroll Victor Bayona James Tragos Catherine Cooper Catherine Bendowitz Mauricio Vieira Carolyn Cracraft Kevin Bernstein Kevin Wanner Joanna Dowd Ananda Billings Tijuana Witt Rhaina Echols Laura Elie Summer Block Operations Manager Megan Fisk Shawn Bowsher Assistants Kyle Cole Adrienne Hosek Charles Combs Juliett Brownell Robin Kim Matthew Fillo Lauren Crabtree David Lojkovic Sally Gee David Gates Esther Na Karin Haberlin Rose Grayson Madeline Ravich Mary-Elizabeth Hackett I-lun Hsu Chris Roch David Haglund Cory McClure Mari Shopsis Celka Straughn Brioni Huff Cafe Attendants Mark Kheyfetz Allie Terry Rhaina Echols John Krupa Aaron Tugendahaft Meredith Goodwin Shan Lin Katherine Greene Henrietta Loh Leslie Hale

52 The Smart Museum of Art

THE UNIVERSITY OF CHICAGO