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Clay Days at the BMA! the Bunting Biennial Ceramics Weekend Contents Medium · Winter · 2019 Hours Telephones Medium The Magazine of the Birmingham Museum of Art Winter · 2019 Clay Days at the BMA! The Bunting Biennial Ceramics Weekend Contents Medium · Winter · 2019 Hours Telephones Tuesday–Saturday, 10am–5pm Main Office, 205.254.2565 The Birmingham Museum of Art Sunday, Noon–5pm publishes the membership magazine, 16 | News + Giving Closed Mondays and select holidays Public Programs, 205.254.2856 Medium, quarterly. Museum Ball Chairs Oscar’s at the Museum Museum Tours, 205.254.2964 The mission of the Birmingham Art Museum Educator of the Year Tuesday–Friday, 11am–2pm Museum of Art is to spark the Volunteer Spotlight Members receive a 10% discount Membership, 205.254.2389 creativity, imagination, and liveliness New Contemporary Curator 205.328.7850; [email protected] of Birmingham by connecting all its Family Festival Recap Development, 205.297.8214 citizens to the experience, meaning, Miles College Night and joy of art. In Memoriam Clarence B. Hanson, Jr. Library Facilities Rental Tribute + Memorial Gifts By appointment: [email protected] Jestina Howard, Special Events James Outland Support Group Travel 205.254.2681; [email protected] Chairman of the Board Corporate Partners Visitors’ View The Museum Shop Graham C. Boettcher Open Museum hours The R. Hugh Daniel Director Members receive a 10% discount; 7 | Acquisitions + Exhibitions 28 | Annual Report 205.254.2777; Laura Monroe [email protected] Editor Dutch Delft Tulip Vase 12 | Programs + Events Introduction www.birminghammuseumstore.org Shan Goshurn Basket Impact James Williams Embodying Faith Ongoing Programs Financial Statement Designer Ways of Seeing: Fashion Rushton Concert Acquisitions Board of Trustees Holi Festival Contributions Sean Pathasema Steel City Men’s Choir Concert Mr. James K. Outland, Museum Board Chairman; Ms. Myla E. Calhoun, Secretary; Photographer Japanese Heritage Festival Mr. Braxton Goodrich, Endowment Chair; Mr. Joel B. Piassick, Treasurer & Finance Bunting Ceramics Weekend Chair; Mrs. Maye Head Frei, Governance Chair; The Honorable Houston Brown; Membership inquiries to: Judith Tankard Lecture Mr. Mark L. Drew; Dr. George T. French; Mrs. Joyce Crawford Mitchell; Mr. G. Ruffner [email protected] Page, Jr.; Mr. Sanjay Singh; Mrs. Nan Skier; Mrs. Kelly Styslinger; Mr. Larry Thornton; Mrs. Patricia Wallwork Editorial inquiries to: [email protected] Chairmen Emeriti: Mr. Thomas N. Carruthers, Jr.; Mrs. Margaret Livingston Accredited by the American Alliance of Museums. A portion of the general operating budget is supported by the City of Birmingham and a grant from the Alabama State Council on the Arts and the National Endowment for the Arts. On the cover: Sculpture by Bunting Biennial Ceramics Weekend featured artist and speaker Joan Bankemper 2 3 Director’s Letter the Old Men’s Almshouse (1880) and Robert Henri’s The Laughing Boy (1910)—were being lent to the Frans Hals Museum in Haarlem, the Netherlands. In early October, I had the chance to visit Haarlem for the opening of Frans Hals and the Moderns. I was extraordinarily proud to see paintings from our collection hanging alongside the masterworks by Frans Hals that inspired them. Moreover, it was thrilling to see the excitement that our paintings generated. Visitors were invited to compare Sargent’s copy to the original, and learned that the reason Sargent chose to replicate a passage of the painting at the far right is because artists typically stood to the side of the painting they copied so as to stay out of the way of other visitors, giving them the best view of the painting’s edges. Henri’s Laughing Boy, a portrait of a Haarlem boy named Jopie van Slooten, was given the welcome of a returning hometown hero, and was the subject of a two-page article in the local newspaper, numerous online articles, and a six-page essay in the exhibition publication, which revealed new research about Jopie and his family, including an interview with his niece. Most telling of the painting’s popularity, however, may be the fact that it was one of the few loans selected to be reproduced as a postcard for sale in the museum’s gift shop. I wonder how many refrigerators and office cubicles are now decorated with Jopie’s rosy-cheeked grin? Closer to home, in the exhibition Embodying Faith: Imagining Jesus Through the Ages, visitors have the chance to connect with a number of works of art that are making their public debut. Some of these have been in the collection for many years. One such work is George Biddle’s 1930 lithograph Christ Marches On and Twelve Are Led, which was one of 120 works the artist gave the Museum in 1963. Other works are more recent acquisitions, such as a painted Crucifixion by legendary Alabama folk artist Mose T, part of the Robert Cargo Folk Art Collection given by his daughter Caroline Cargo in 2013, and a carved fruitwood sculpture of the Crucified Jesus, which was purchased in 2017 with funds provided by the Beaux Arts Krewe. Thanks to our talented team of curators and Dear Member, educators, our permanent collection is receiving more attention than ever before, and we In Oscar’s Wilde’s 1892 comedy Lady Windermere’s Fan, the character Lord are discovering the incomparable value of what we are already fortunate to have. Darlington defines a cynic as “a man who knows the price of everything, and the value As we begin this new year, I want to thank of nothing.” This quip was repeated by the Chicago plastics magnate and art collector you for your steadfast support, without which Stefan Edlis in a recent HBO documentary entitled The Price of Everything, which we could not exist. I sincerely hope that examines the relationship between commerce and the contemporary art market. If you will make the Birmingham Museum of you haven’t yet seen it, it’s worth viewing. With auction records making headlines Art a regular destination for your priceless right and left—$179.4 million for Picasso’s Femmes d’Algiers, $450.3 million for experiences. Leonardo da Vinci’s Salvator Mundi, $21.1 million for Kerry James Marshall’s Past Times, $90.3 million for David Hockney’s Portrait of an Artist, et cetera—we run the Yours in art, risk of becoming preoccupied by the monetary worth of art. I am frequently asked to name the most valuable work in the Museum’s collection. To be sure, we have to calculate and update values for insurance purposes, but my typical response is that it is all priceless. How can you truly calculate a work of art’s full worth if you exclude the value of the experience it provides to our visitors? We have more than 27,000 Graham C. Boettcher, Ph.D. priceless experiences under our roof—some cost hundreds of thousands of dollars, The R. Hugh Daniel Director while others were purchased for next to nothing on eBay, but each has the potential to create an invaluable connection with the interested viewer. In the last issue of Medium, I mentioned that two paintings from the Museum’s Opposite page: The Museum's John Singer Sargent painting on view next to the original Frans Hals' Regentesses of the Old Men's collection—John Singer Sargent’s copy of a detail from Frans Hals’ Regentesses of Almshouse at the Frans Hals Museum in Haarlem, Netherlands. Above: Photo of Graham C. Boettcher by Beau Gustafson 4 5 Acquisitions Delft Tulip Vase By The Marguerite Jones Harbert and John M. Harbert III Curator of Decorative Arts Anne Forschler-Tarrasch, Ph.D. Flower or Tulip Vase, about 1693, The BMA is pleased to add another outstanding example of ceramic art to its permanent col- tin-glazed earthenware (Delft), De Griexe A factory (The "Greek A" lection. This 17th-century, blue and white, glazed earthenware vessel with two applied han- factory), the Netherlands, operat- dles and applied spouts was made to hold tulips or other flowers. ed 1657–1818, Period of Adriaen Kocks, Dutch, active 1689–1694, Tulips were introduced to Europe from Turkey in the 16th century. Once it became known died 1701; Museum purchase with funds provided by Dr. and that tulip bulbs could tolerate the harsher weather conditions of the Low Countries, the tulip Mrs. Frederick Baekeland, Daniel grew in popularity. Its saturated colors made it unlike any other plant and it soon became a R. Bibb, Earl Buckman, Mr. and Mrs. Thomas Blair Cox, Jr., the es- status symbol and thus a coveted luxury item. Prices for tulips reached an extraordinary high tate of Professor William J. Dorn, Robert C. and Thomas C. Ford, during this period, and then collapsed suddenly in 1637. This “tulipmania” is generally consid- Robert Kaufman, Mrs. Katherine ered the first recorded economic “bubble.” Meadow McTyeire, the estate of Sybil Noble Murray, Mrs. William This vase relates closely in both form and decoration to an example in the Het Loo palace M. Rogers, Louise Sapp, Robert collection in Apeldoorn, Netherlands, as well as to two examples at Schloss Favorite near Sistrunk, Dr. and Mrs. M. Bruce Sullivan, Robert Parks Thomason, Rastatt, Germany. The Schloss Favorite vases are believed to be part of a group of objects and Dr. and Mrs. Bert Wiesel, by exchange, 2018.24a-b given in London by William and Mary, rulers of England, Ireland, and Scotland from 1689 to 1702, to the Markgraf Ludwig Wilhelm von Baden-Baden during the winter of 1693-1694. Ludwig Wilhelm brought the vases back to Germany for his wife Sibylla Augusta, an avid ceramics collector. The decoration on all four tulip vases relates to the decoration on a series of tiles also made by De Griexe A, a factory that operated between 1657 and 1818, for the Water Gallery at Hampton Court palace in London.
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