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ALLEN MEMORIAL ART MUSEUM BULLETIN

VOLUME XXVII, NUMBER 1 FALL 1969

Contents

Two Bronze Plaquettes by Moderno by John R. Spencer ----- 3

A Wall Paneling by Jan Weenix by Wolfgang Stechow - - - - - 13

A Note on Rodin's Prodigal Son and on the Relationship of Rodin's Marbles and Bronzes by Athena T. Spear ----- 25

Notes Baldwin Lectures 1969-70 37 Oberlin-Ashland Archaeological Society 37 Exhibitions 1969-70 37 Loans to Museums and Institutions 39 Friends of Art Concert Series 42 Friends of Art Film Series 43

Friends of the Museum ----- 44 Museum Christmas Cards ----- 50

Published three times a year by die Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. Printed by the Press of the Times, Oberlin, Ohio. 1 Aloderno, Hercules triumphing over Antaeus (Cacus) Oberli: Two Bronze Plaquettes by Moderno

For a museum director small bronzes hold a particular fascination that is probably not shared by the general public. For the museum staff these objects have a weight, texture and character that are known by touch while the museum visitor can only know them by sight. More­ over, small bronzes are exceedingly difficult to classify. As utilitarian objects they would seem to belong to the category of the decorative arts, yet they can equally well be classified with the "nobler" art of relief sculpture. At their origin they were no doubt intended as quasi-utili­ tarian objects that were not completely popular in their appeal but still not strictly the sole province of the princely collector. In the last 100 years they have been increasingly sought after by collectors and mu­ seums both for their own intrinsic artistic value and for their value as representatives of one aspect of Renaissance art. The Allen Memorial Art Museum has recently acquired two plaquettes in bronze by the late 15th- early 16th century Paduan sculptor known as Moderno that pre­ sents all the problems and all the delights that only a small bronze affords (figs. 1-2).1 The artist who designed and cast these bronze plaquettes is one of the great enigmas of the Renaissance. He is known as Moderno from his signatures on a hard stone carving and two silver plaquettes in the Kunsthistorisches Museum in Vienna and from a series of four plaquettes depicting the Labors (or a Labor) of Hercules which are signed O(pus) MODERNI. It has been suggested that he may have taken the artistic name of Moderno to indicate his rivalry with the sculptor l'Antico who was active at about the same period in Mantua. He is named in the Dialogue of Francisco de Olanda along with Cellini

Hercules triumphing over Antaeus (Cacus). Ace. no. 68.28. H. 2nM in. W. 2%6 in. (68 x 53 mm). Mrs. F. F. Prentiss Fund. Hercules and the Nemean Lion. Ace. no. 68.29. H. 2+J in. W. 2M in. (75 x 56 mm.). Mrs. F. F. Prentiss Fund. 2 Aloderno, Hercules and the Nemean Lion Oberli and Caradosso and characterized as a maker of lead seals (bullae).2 Al­ though one is tempted to associate the artist with Papal Curia and its need for quantities of elaborate seals, it must be recognized that the bullae of Venice, Milan and Florence were no less elaborate than those of the Vatican. There have been no less than seven different identifi­ cations of Moderno with known sculptors, but none is wholly convinc­ ing.3 We can only say of him that he was active during the closing years of the 15th century and the opening years of the 16th. Stylistic analysis of his work indicates that he must have been trained in Padua and that he worked there most of his life. His sculpture is influenced by Riccio (c. 1470/5-1532). An engraving, an impression of which is owned by the Allen Art Museum, suggests that he knew or worked with Giovanni Antonio da Brescia who was active in Rome from 1509- 1525 (fig. 3). He executed a number of religious works but he was also much interested in antique themes. It has been suggested that his in­ terest in antiquity points to residence in Rome, but it should also be noted that Padua was a Roman city and a center throughout the 15th century for the study of the art of antiquity. Finally he executed no less than 59 plaquettes or, according to some authors, as many as 72. Molinier made the first, and perhaps the most successful, attempt to define the plaquette.4 Unlike a medal a plaquette is generally rec­ tangular, and it was never intended to have a reverse. It is primarily religious, mythological or allegorical in subject matter as opposed to a medal which is generally historical or commemorative in nature. Clearly there are exceptions to these rules and, as Molinier was quick to recognize, the artists themselves probably did not make such fine distinctions. Within broad terms Molinier's definition still generally applies and is followed by all cataloguers of Renaissance relief sculpture. Plaquettes were probably produced in considerable quantity and, like medals, were collected by amateurs as soon as they were made, although no precise records on collections of plaquettes have come down to us. The plaquette served primarily a decorative function. Those with religious subject matter were let into reliquaries and other pieces of church furniture or were mounted in a frame to serve as a pax. Those with mythological or allegorical subject matter served as items of per­ sonal adornment, worn either on the clothing or on a hat. On special

Emile Alolinier, Les Bronzes de la Renaissance. Les Plaquettes, Paris, 1886. vol. I, pp. 113-114. John Pope-Hennessy, Renaissance Bronzes from the Samuel H. Kress Collec­ tion. Reliefs, plaquettes, etc., London, 1965. See p. 42 for a summary of the proposed identifications. Alolinier, I, pp. I-XX. 3 G. A. da Brescia, Hercules and Antaeus, B. 13 Oberlin occasions they could be used to decorate the bridle or trappings of a horse. Round plaquettes were often mounted in the pommel of a sword. Many were used to decorate objects of household furniture such as ink­ wells, lamps, caskets. Our Hercules and the Nemean Lion has been found on a casket dated 1546 which is now in the Musee des arts de- coratifs in Paris.5 Contrary to earlier belief, the plaquette was not made in bronze as a record for the artist of an object cast in some precious material such as gold or silver. The number of bronze plaquettes that exist and the care lavished on each individual cast indicate that they were made for themselves alone and not as a record. Our Hercules and the Nemean Lion partially failed in the casting, yet the artist exercised as much care in cleaning and correcting this small (approximately 3 inches high) bronze as if it had been a work ten times the size and cast in a precious metal. Plaquettes were also highly esteemed by artists of the Renaissance as a means of transmitting themes, compositions and an interpretation of antiquity. They were eminently portable and much less subject to damage than paper, parchment or canvas. The wide diffusion of the compositions that appeared first on plaquettes has already been the sub­ ject of serious discussion in an essay by Molinier.0 Moderno's so-called Hercules Triumphing over Antaeus is repeated enlarged and in stone on the Porta della Rana of the cathedral of Como (1507). Amateurs must have early recognized the intrinsic value of pla­ quettes. They occasionally appear in 16th century inventories, but the earliest known serious collector of bronze plaquettes is Johann Wolfgang Goethe. This remarkable man must have begun his collec­ tion sometime after 1786 and his first trip to Italy. In 1848, sixteen years after his death, his collection was catalogued and found to con­ tain almost 100 of the finest Renaissance bronze plaquettes. According to Molinier,7 serious collecting did not begin until the middle of the 19th century with such amateurs as His de la Salle, Piot, Armand and Gustav Dreyfus. National museums founded in the 19th century now number their collections in the hundreds, but plaquettes have always been rare objects. Although Bange8 in his catalogue of the Berlin

5 Gaston Migeon, Les Arts, August 1908, p. 21. 6 Molinier, pp. XXVIII-XXXVI. 7 Molinier, pp. XXXVII-XXXVIII. See also Seymour de Ricci, Samuel H. Kress Collection of Renaissance Bronzes, vol II. Reliefs and Plaquettes, Ox­ ford, 1931, pp. viii-xiii. 8 E. F. Bange, Die italienischen Bronzen der Renaissance und des Barock, II. Reliefs und Plaketten, Berlin, 1922. collections was able to list almost 1000 items, the most common com­ positions are known only in 10 to 15 examples. The so-called Hercides Triumphing over Antaeus (fig. 1) is pro­ bably one of the better known plaquettes by Moderno. Although no proper corpus exists for plaquettes as it does for medals, Seymour de Ricci9 lists eleven known examples to which can be added a cast in the University of Kansas Museum, Lawrence, and the cast which has re­ cently entered the Allen Memorial Art Museum. Hercules is depicted nude, clad only in his lion skin with the forepaws knotted over his chest and the tail waving sinuously behind. The hero leans upon a staff (not a club as de Ricci and others have assumed) and places his left foot upon the left knee of the fallen giant. At the right rises a mountain on which a few plants grow. In the mountain is a grotto. On the left there is a piece of wall with an engaged column, a broken arch and, in the frieze, the artist's signature, O(pus) MODERNI. The composition can be dated prior to 1507, the date of the stone copy at the cathedral of Como. The composition has generally been assumed to relate to Flercules' victory over the giant Antaeus, perhaps because three different com­ positions by Moderno exist depicting Hercules' struggle with Antaeus. Moreover, the elements of the composition seem to conform to the ele­ ments of the narrative, for Antaeus lived in a grotto and roofed a near­ by temple to Poseidon with the skulls of his victims. Skulls are notably lacking in this relief, but the ruined architecture could be a reference to the apparently unfinished temple. There are, however, three other plaquettes of this series, all of the same size and all signed in the same way, that refer to the Tenth Labor of Hercules, (the Cattle of Geryon). They depict Hercules driving off the cattle of Geryon, Cacus stealing the cattle and Hercules fighting with a centaur. Although medieval and some Renaissance authors were quite free in arranging the sequence of the Labors of Hercules, it is clear that two of these plaquettes, Her­ cules driving off the cattle and the theft of the cattle by Cacus, belong together. The substitution in the "Antaeus" relief of the cowherd's staff for the club that usually appears with Hercules may be the key to the subject of the relief. As described by Virgil10 Cacus stole a num­ ber of the cattle while Hercules slept and, dragging them backward by the tail to confuse the track, led them off to his cave in the Aventine hill. In his anger Hercules split the mountain, or rolled aside a large stone, to uncover the hidden grotto, and killed the giant Cacus. The

9 de Ricci, no. 203. 10 Aeneid, VIII. Also Propertius, Elegies iv, 9, 10; Ovid, Fasti, i, 545 ff; Livy, i, 7.

8 4 Aloderno, Hercules and the Nemean Lion National Gallery Samuel H. Kress Collection

giant was then dragged by the heels into the open to the great admira­ tion of King Evander and his followers. If these three plaquettes bear on the same subject, the battle between Hercules and a Centaur alone seems to lack precision. The most notable battle between Hercules and many Centaurs occurs in the Fourth Labor, the Erymanthian boar, but there is no single combat that resembles Moderno's plaquette. Nor is there any resemblance with Hercules' famous encounter with Nessus. In at least one early medieval text Diomedes is called a centaur, but this same text11 also describes Cacus as a centaur. Panofsky has pointed out12 that Cacus had a dual nature (Ideo et duplex dicitur) well into the Renaissance and is represented like Siamese twins by Diirer. Virgil's epithet of half-human for Cacus may have led to the medieval charac­ terization of Cacus as "duplex" which permitted him to be both a hu­ man and a centaur. Fulgentius uses the Cacus-Cattle of Geryon episode as an example of fortitudo. The four plaquettes as a unified group serve to point up the dual aspect of the Hercules legends for he not only rid the world of monsters and made it suitable for human habitation but he also conquered the monsters that symbolized human vices. In these terms it was almost a necessity for Moderno to repre­ sent the dual aspect of Cacus as a monster in his human form and as a human vice in his centaur form. The four plaquettes — Hercules driving the cattle of Geryon (through Italy?), Cacus in human form stealing the cattle, the battle with the Centaur Cacus, and Flercules triumphing over Cacus present a unified theme based on the concept of fortitude while also revealing the complexity of the theme. Such an approach to a series of works of art is typical of the thought and the art of Padua and Venice around 1500. Moreover, the four plaquettes that are so similar in design and signature would provide a narrative and symbolic unity and symmetry highly suited to the decoration of a casket or similar small container for the use of a Renaissance gentleman. Hercules and the Nemean Lion is a more straightforward subject. It was a favorite theme for Moderno as it was for many another Italian sculptor of the Renaissance. The battle between man and beast occurs in three different compositions by Moderno that each includes a number of variants. Our plaquette (fig. 2) shows Hercules nude, standing erect and facing left. He is strangling the Nemean lion who has braced his right foot against Hercules' left leg. Behind Hercules, to our right, is a truncated tree from which grows one new shoot. The club of Hercules rests against (?) the tree and his quiver hangs from one of its branches. The entire rectangular composition is surrounded by a double molded rim. There are a number of problems connected with this particular relief. The composition is related to a very rare circular plaquette (fig. 4) that includes more rocky hills on either side of the group. Al­ though the circular form is generally held to be the earlier composition,

11 Fulgentius, De Deorum Imaginibus Libellus in Hans Liebeschiitz, Fulgentius Metaforalis, Studien der Bibliothek Warburg, Leipzig-Berlin, 1926, p. 126. 12 Erwin Panofsky, Hercules am Scheidewege. Studien der Bibliothek Warburg, Leipzig-Berlin, XVII, 1930. Exkurs II, p. 182.

10 the temporal relation between the circular and rectangular format is not wholly clear. There are a number of unresolved technical problems connected with medals and plaquettes of which this is but one. A more obvious technical problem in our example has to do with the fact that it is a faulty cast. Somehow in the casting the mold must have slipped creating a "double exposure" in the legs of Hercules and to a certain extent in the tail of the lion and in the trees on the right. The marks of a goldsmith's chisel are clearly evident in the lower legs of the demi-god where the artist removed the superfluous bronze to give greater clarity and definition to his composition. At the same time he used the chisel extensively to reduce the area of the background between the legs. Bronze is not an easy material to carve and accidents are almost inevitable. Such an accident can be seen under magnifica­ tion where the burin slipped and left a shallow gouge from the inside of Hercules' left leg up along the thigh. At this point the artist must have decided that it was too difficult and too dangerous to try to thin down the tail of the lion and the new shoot of the tree. Although the cast was faulty, it has been so skillfully reworked by the artist that the composition does not suffer, but rather provides us with additional information on the working techniques of Renaissance artists and, in­ directly, of the high value they placed on even the smallest plaquette. The plaquette is an art form not previously represented in the Allen Memorial Art Museum. These two plaquettes are an important addition to the collection for they can be studied as decorati%'e art, bronze technology or Renaissance reliefs. They now join our small but select collection of Renaissance three dimensional bronzes and medals to give a fuller and clearer picture of the art of the Renaissance in Italy.

John R. Spencer

11 1 Jan Weenix, A Musical Party (Hearing) Oberli A Wall Paneling by Jan Weenix

The activity of Jan Weenix (1642-1719)1 as a painter of large decorative wall panelings has never been even briefly sketched, and the following lines do not pretend to provide more than a few brushstrokes for such a picture. To non-specialists Weenix is almost exclusively known as the painter of moderately large single canvases depicting still lifes, particularly of the dead game variety, and there is no doubt that he gave his best in this field. But his early genre scenes, in which he emulated — often to perfection — those of his father, the excellent Jan Baptist Weenix,2 are worthy of greater attention than they have received for a long time, and so are his wall decorations, in which reminiscences of the art of his father are also quite noticeable although they belong to the last phase of Jan's career. Hunting and hunting booty — a field in which his father likewise excelled — are also the main subjects of many of these huge canvases. The most famous cycle of this kind is the one which Weenix painted for three rooms in the castle of Bensberg near Cologne on commission of Johann Wilhelm, Elector of the Palatinate, between ca. 1710 and

1 See Thieme-Becker, Kiinstlerlexikon, XXXV, 1942. For the correct date of his birth, which is usually given as 1640, see W. Stechow, "Jan Baptist Weenix," Art Quarterly, XI, 1948, pp. 181 and 197, note 2. 2 Ibid., pp. 181 ff.; on early works by Jan, see p. 195, and the Catalogue of the exhibition Nederlandse 17e Eeuwse ltalianiserende Landschapschilders, Utrecht, 1965, no. 104 (wrongly as by J. B. Weenix).

13 1714.3 These twelve huge paintings were highly praised by Goethe when he saw them in situ in 1774;4 they now belong to the Bavarian State Collections in Munich. From a similar ensemble, painted for the same patron, comes the pair of large canvases of 1702 in Munich, both of which represent magnificent dogs and a hunter with booty.5 Another large painting, perhaps the artist's most popular work and certainly a masterpiece, the Dead Swan, today in the Mauritshuis in The Hague, was also part of an extensive wall decoration, made at an unknown date for a room in the "Garnalen Doelen" (a civic guard mansion) in Amsterdam.0 Evidence of some other ensembles of this kind turns up occasionally.7 Melchior d'Hondecoeter (1636-1695) had preceded his cousin Jan Weenix with large decorative panelings of a similar style, in which however his speciality, water fowl and other birds, play a predominant role.8 The signed Oberlin canvas (fig. I),9 which measures ca. 10 feet 10 inches by 5 feet 8 inches, is one of five wall panelings which were still together in the W. R. Hearst sale of 194110 and which represent

3 Full bibliography in (E. Brochhagen and B. Kniittel) Alte Pinakothek Mun- chen, Katalog 111: Hollandische Malerei des 17. fahrhunderts, Munich, 1967, pp. 90 ff. Only 1712 and 1714 appear as dates on works of this series; the date 1702 occurs on paintings which came from Dusseldorf but not from Bens- berg, the construction of which did not begin until ca. 1705. The dates given in older literature on Weenix must be corrected accordingly. 4 Dichtung und Wahrheit (translated from Gedenkausgabe, X, p. 685): "What enchanted me there beyond measure were the wall decorations by Weenix. All animals that hunting can procure were lying there, well ordered, as on the dais of a large columnar hall; above them one looked into a vast landscape. To reanimate these inanimate creatures, this extraordinary man had marshalled his whole talent, and in rendering the greatest variety of animal texture: bris­ tles, hair, feathers, antlers, claws, he had equaled and, with regard to effect, surpassed nature." 5 Cat. 1967, nos. 778 and 779, pp. 89ff. See note 3. 6 Cat. Royal Gallery, The Hague, 1914, no. 206. 7 F. i., in an anonymous sale in Paris (Galliera), March 30, 1963, no. 30. 8 See the three huge canvases in Alunich (Cat. 1967 — see note 3 —, nos. 1710, 1715, 1717), which were made for the mansion of Driemond near Weesp. The suggestion of E. Plietzsch, Hollandische und flamische Maler des XVII. Jahrhunderts, Leipzig, 1960, pp. 161 f., that these works were painted by d'Hondecoeter after designs by Weenix, has little to recommend it, the less so as they were not painted for Bensberg, as was formerly assumed. 9 Cat. 1967, p. 158, no. 53.3, where mention of the signature (J Weenix, lower left) was unfortunately omitted. Gift of Edwin C. Vogel, New York, and the R. T. Aliller, Jr., Fund, 1953, acquired through French & Co., in New York. 10 Sale William Randolph Hearst, New York (Hammer Galleries), 1941, p. 324, no. 526. Three of the series (figs. 1,2 and 3) were later with French & Co. in New York; I have no information about the other two.

14 2 Jan Weenix, Hunting Booty (Smell) Present location unknown their subjects as seen through a stone frame. The largest of these, measuring 11 feet 3 inches by 10 feet 5 inches, shows behind the win­ dow sill a hunter resting with his dog in front of slender trees, booty which partly hangs from a tall herm of a satyr, and a large dog under sunflowers and high trees; in the center, a landscape with a wood, a stream, horsemen, and distant mountains becomes visible (present whereabouts unknown; fig. 2). The other four pieces, more or less of the size given above for the Oberlin canvas, represent a musical party in front of a classical gateway (Oberlin), a scene with children playing with a dog in front of a park (Hotel Carlyle, New York; fig. 3), a sea harbor with classical architecture and sculpture and a fruit still life with an ape in front (Hotel Carlyle, New York; fig.4), and a large peacock, a parrot and two pigeons, one of which is perched on a stone vase, in front of a park with a lake (present whereabouts unknown). There can be little doubt that this group of five panelings was intended to represent the Five Senses, albeit in rather free terms. The Oberlin canvas (fig. 1) is clearly an allegory of Hearing, with the tra­ ditional luteplayer prominently displayed. In the Playing Children (fig. 3), Sight has been unambiguously (if untraditionally) characterized by the boy holding a mask; with it he frightens the furiously barking dog, who is restrained by a girl, while another boy looks on with an expression of dismay. The Sea Harbor (fig. 4) contains in front the combination of an ape and a fruit still life which unmistakably refers to Taste.12 The large piece (fig. 2) is perhaps somewhat less clearly characterized, but the large dog, here combined with the artist's fa­ vorite subject of hunting booty, is often found as a representative of Smell.ls The fifth piece, with the birds, seems at first to disprove the whole identification of the series with the Five Senses. But in Hen- drick Hondius' series of engravings with this subject,14 in which Auditus has the lutenist, Gustus the ape and fruit, and Odor the dog, the personification of Tactus holds on her hand a bird, which seems

11 Our reproduction is taken from E. Plietzsch (see note 8), fig. 290 (with wrong size). 12 H. W. Janson, Apes and Ape Lore in the Middle Ages and the Renaissance (Studies of the Warburg Institute, XX), London, 1952, pp. 239 ff. 13 Guy de Tervarent, Attributs et symboles dans Vart profane, 1450-1600, Geneva, 1958, I, col. 95. 14 Illustrated in F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts, Amsterdam, s. a., IX, p. 86, nos. 14-18. Visus here shows a lady mirroring herself.

16 3 Jan Weenix, Playing Children (Sight) Hotel Carlyle, New York to pick at the girl's thumb;15 Weenix (or his patron) may have been happy to avail himself of this tenuous tradition in order to produce an effect reminiscent of d'Hondecoeter's much admired bird pictures and panelings. The original placement of these panelings is fortunately known. They decorated a second floor room in a house situated on the Nieuwe Heerengracht (no. 99) in Amsterdam, a building still standing and more recently owned by Franciscan nuns; tradition has it that it was once inhabited by Louis Napoleon.16 The room which contained the five canvases still shows (or showed in 1953, when the present writer visited it) the spaces, now covered with wall paper, from which they were removed. The large piece occupied the wall opposite the modern balcony which faces the street; the other four were placed on the two side walls, two of them separated by a fireplace, the other two by a door. The style of the stucco decorations and of the architecture of the en­ tire house has caused the architectural historians who have commented on it to date it in the second quarter of the eighteenth century, which leaves us the choice between two assumptions: either the house was actually built a little earlier than has been thought and Weenix's de­ corations were made for this room some time before his death in 1719, or the room was adapted to the already extant paintings. We know too little about the chronology of Weenix's late works to decide be­ tween these two possibilities with any degree of certainty. A generally similar canvas of 1713 which appeared in a sale in Paris in 196317 would seem to postdate the present set; on the other hand, a painting with a dog attacking a goose, which is dated as late as 1718,18 does not contain any stylistic features which could be said to contradict the possibility of the panelings under discussion being of the same phase. The ceiling of the room from which they came shows the coat-of-arms

15 Guy de Tervarent, col. 163, who on the authority of Ripa's Iconologia (ed. of 1645, p. 562) lists the falcon as an occasional attribute of Touch, has already commented on the un-falcon-like appearance of Hondius' bird. The Touch of Hendrick Goltzius' series of the Five Senses (B, 118-122, Hi. 126-130), on which Hondius otherwise relies quite a bit, has a serpent and a turtle instead of a bird. 16 On this house see: Voorloopige Lijst der Nederlandsche Monumenten van Geschiedenis en Kunst, V, II (De Gemeente Amsterdam), The Hague, 1928, p. 232; J. G. Wattjes and F. A. Warners, Amsterdams Bouwkunst en Stads- schoon, 1306-1942, Amsterdam, 1943, p. 129. 17 See note 7. 13 Sale C. Sedelmeyer, Paris, Alay 25-28, 1907, no. 201.

18 4 Jan Weenix, Sea Harbor (Taste) Hotel Carlyle, New York 5 Room at Korte Vijverberg 3, The Hague

of the Reekers family, a member of which (F. Reekers) indeed sold the Weenix set at auction in Amsterdam in 1923.19 A good idea of the decorative effect that these canvases must have produced in the Reekers house can be derived from a number of pre­ served ensembles by other artists. A fine example is found in a room of the house at Korte Vijverberg 3 in The Hague (fig. 5)20 where, in­ cidentally, the reliefs over the fireplaces (by J. C. D. Cock, 1707) ante­ date the house. The painted panels here are dated 1725; the stucco

19 At F. Aluller's, Amsterdam, February 5, 1923 (special sale of this group of pictures), where it was bought by Hearst. 20 K. Sluyterman, Oude Binnenhuizen in Nederland, The Hague, 1908, plate 55; Al. D. Ozinga, Daniel Marot, Amsterdam, 1938, pp. 150ff. For the photograph I am indebted to the Rijksbureau voor Kunsthistorische Documentatie in The Hague.

20 decoration of the overdoor and of the ceiling is very closely related to that of the Reekers house. As far as the subjects of our series are concerned (apart from the iconographic program, on which see above), one finds rather few fully comparable works in Jan Weenix's oeuvre. As already indicated we can discover a distinct revival of features of the art of his father, Jan Baptist Weenix, in some of these works. Sea harbors were a specialty of the latter, and one of them, now in the Utrecht Museum (on loan from the Dutch National Trust) and dated as early as 1649 (fig. 6),21 foreshadows the architectural setting of the Harbor of our set (fig. 4), not to mention the free decorative use of the Dioscuri from Monte Cavallo in both works.22 Another late Sea Harbor by Jan, dated 1704, is in the Louvre and shows quite a bit of similarity with the present

6 Jan Baptist Weenix, Sea Harbor Utrecht

21 W. Stechow, (note 1), pp. 186 f. and fig. 2. Exh. cat. Utrecht (note 2), 1965, no. 100. 22 For other occurrences see W. Stechow (note 1), p. 186 and fig. 1, and Exh. cat. Utrecht (note 2), p. 130.

21 picture. In the panel with children (fig. 3) the setting has become very sophisticated: to the rapidly foreshortened architecture on the right side of the Harbor there corresponds here a similar one on the left, but the opposite side, too, is closed off by a large, curiously overlapped statue, so that the children, behind the sill, appear compositionally over-towered on both sides; yet they hold their own with astonishing effectiveness by virtue of their strong colors, which are gently reflected in the distant landscape. In the Oberlin canvas (fig. 1), the right side is relatively unimpeded but the middleground shows, parallel to the picture plane, a classical gateway which produces a significant con­ trast to the tunnel-like effect of the children's panel; the colors in the three figures in front (dark red and black in the gentleman, lemon yellow, blue and white in the lutenist) again produce a brilliant effect as they are set off against the greys of architecture and sculpture and the sunset in the distance. The allegorical genre features of these two panels — the musical trio and the boy frightening the dog — are typical of the last phase of Dutch seventeenth-century painting; one can recognize effects which occur a bit earlier in works by Nicolas Maes23 (of whose latest phase one is also reminded by some of the colors and the brushstrokes) and, more or less contemporaneously, in works by Adriaen van der Werff,24 another great favorite of Johann Wilhelm of the Palatinate. A musical party in a park under a statue is found in another painting by Jan Weenix (Leipzig Museum; from Liitzschena); variants of the same stone vase appear frequently in his late works.23 The heads and costumes of the Oberlin canvas, beauti­ fully painted, are matched in some of the master's portraits,26 a field in which he again vied with the art of his father. The art of Jan Weenix is vastly less appreciated today than it was in the eighteenth and even the nineteenth century; in many re­ cent surveys of Dutch painting of the seventeenth century one looks in vain even for his name. It may take a while before Goethe's admiration

23 For the motif of children with dogs and birds see C. Hofstede de Groot, Cata­ logue Raisonne . . . , VI, 1916, nos. 538, 540, 541, 542. 24 In van der Werff's enormously popular painting of 1687 in Alunich (Cat. 1967, p. 94, no. 250), such children's play is employed in the service of a complicated allegorical concept; see B. Kniittel in Oud Holland, LXXXI, 1966, pp. 245 ff. 25 F. i., in one of the pictures of 1712 from Bensberg, Alunich, Cat. 1967, p. 92, no. 776. 26 F. i., Cologne, Wallraf-Richartz-Museum, no. 1051, dated 1699; reproduced in H. Vey and A. Resting, Katalog der niederlandischen Gemalde . . . , 1967, fig. 198.

22 for the artist's ability to "reanimate inanimate creatures" will be shared by many but that time will certainly come, and that reappraisal will per­ haps be preceded by admiration for the skill and refinement which characterize his large decorative canvases such as the Reekers ensemble.

Wolfgang Stechow

23 1 Rodin, Prodigal Son, bronze, H. 54% in. Oberli] A Note on Rodin s Prodigal Son and on the Relationship of Rodin's Marbles and Bronzes

In an earlier article on Rodin published in this journal,1 I tried to trace the development of the Prodigal Son figure and related composi­ tions, and to place them within Rodin's oeuvre. A number of facts which have come to light subsequently necessitate this additional note. I remarked in my article (p. 34) that the head of the Prodigal Son has been used on one of the sons of the Ugolino group (the one leaning on his father's back), as well as in the group of Paolo and Francesca, both on the left panel of the Gates of Hell. I have since noticed that the same head was also used on a second son in the enlarged (H. 55 in.) group of Ugolino: the son lying down by the dexter side of the father. I also mentioned (p. 34) that the left arm of the Prodigal Son ap­ pears isolated near the lower right edge of the right panel of the Gates, above the lower Fugit Amor group. I have since observed that a similar arm appears again by itself, near the middle of the same panel, under the upper (reversed) Fugit Amor (fig. 2), further proving Rodin's use of "leitmotifs" as one of his compositional devices. Following this note is a list of the different versions of the Prodigal Son and related works, classifying and comparing all the bronzes, plas­ ters and carved replicas known to me at the present time (some of them brought to my attention since the publication of my article).

1 Athena C. Tacha, "The Prodigal Son: Some New Aspects of Rodin's Sculp­ ture," AMAM Bulletin, XXII, 1964, pp. 23-39.

25 2 Gates of Hell, middle of right panel

In that article were presented for the first time (pp. 30-33) some observations on the relationship between Rodin's marbles and subse­ quent plaster and bronze casts — a subject further discussed in my cata­ logue of the Rodin Sculpture in the Cleveland Museum of Art.2 It was then pointed out that the enlarged bronzes of the Prodigal Son had been cast after a carved version. And in note 17 of the article, a list was given of plasters in the Musee Rodin which seemed to have been cast after marbles. Now my theory can be substantiated with new proofs: the marbles for four of these plasters have been located.

2 Cleveland Museum of Art, 1967, pp. 67-71.

26 The Good Fairy (G. 310),3 plaster and bronze (fig. 3), 29x26x 19!/i in., at the Musee Rodin, Paris, was cast after a marble of the same dimensions in the Thyssen Collection, Lugano (fig. 4). A second, very similar marble, of the same height but 32 in. wide, is at the Ny Carlsberg Glyptotek, Copenhagen.4 The Christ and the Magdalene (G. 273), identical plasters, ca. 40Vix 25x28 in., at the Musee Rodin, Paris and the California Palace of the Legion of Honor, San Francisco (fig. 5), have been cast after a marble of the same dimensions in the Thyssen Collection, Lugano (fig. 6).5 A second, similar marble, H. 44% in. and W. 32M in., was sold at Sotheby's, London, on April 29, 1964 (no. 82, ill.), to B. M. Pon. The Earth and the Moon (G. 294), plaster, 48 x 27% x2l3A in., at the Musee Rodin, Paris (fig. 7), has been cast after a marble of the same dimensions at the National Museum of Wales, Cardiff (fig. 8). A second marble of this work exists at the Museo Nacional de Bellas Artes, Buenos Aires.6 Finally, the Dream (G. 237), plaster, 25lAx 391/4x24Vz in., at the Musee Rodin, Paris (fig. 9), may have been cast after a marble in the Thyssen Collection, Lugano (fig. 10), which has a base similar at the top but four inches taller than that of the plaster. All these examples indicate that Rodin often kept plaster casts as records of the carved replicas of works that he sold. He either wished to have them as models for future carved versions, or most probably, for reference and further study, since these replicas varied greatly from the modelled original." What is not certain is whether Rodin intended to cast bronze editions after all these plasters (i.e. after marbles). Although in the case of the large Prodigal Son we know that he approved of this casting, it is likely that other bronzes from plasters made after marbles (e.g. the Good Fairy) were cast posthumously upon the initiative of the Musee Rodin. This problem, however, cannot be solved until the se­ crets of the Musee Rodin become public knowledge.

3 G. numbers after tides hereafter refer to G. Grappe, Catalogue du Musee Rodin, 1. Hotel Biron, 5th ed., Paris, Musee Rodin, 1944. 4 Illustrated in my Cleveland Rodin catalogue, p. 77. 5 This marble is illustrated unfinished in W. G. Fitz-Gerald, "A Personal Study of Rodin," World's Work, Nov. 1905, p. 6826. 6 I have not been able to obtain from the Buenos Aires museum either a photo­ graph or the dimensions of this marble. Surprisingly enough, in I. Jianou & C. Goldscheider, Rodin, Paris, Arted, 1967, p. 107, the dimensions of this mar­ ble are given as identical with those of the plaster cast after the Cardiff marble. But this book contains so many mistakes that its information cannot be trusted. 7 Cf. original plaster of Christ and the Magdalene with plaster after the Thyssen marble, illustrated side by side in my 1964 article, figs. 9 and 10.

27 5 C

-3

W 9 The Dream, plaster Alusee Rodin, Paris

10 The Dream, marble Thyssen Collection, Lugano The Prodigal Son motif in Rodin's oeuvre:

A. Gates of Hell, 1881-1885, right panel: the Prodigal Son figure, combined with a female nude in the group known as Fugit Amor or La Sphinge, (G. 173), appears twice, at the lower right corner of the panel and in the middle (reversed). Length of torso: 5Vs in.8 Length of face: ca. 2 in. Also the sinister arm of the Prodigal Son, L. 7 in., appears by itself twice on the right panel: at the lower right, above the lower Fugit Amor group, and (somewhat modified) near the middle, half-way between the two Fugit Amor groups (hid­ den behind the squatting nude seen from the back) (fig. 2). Left panel: the head of the Prodigal Son is used in one of the sons of the Ugolino group and also as the head of Paolo in the Paolo and Francesca group, both lower middle of the panel. Length of face: ca. 2 in. In an earlier state of the Gates, as shown in a complete plaster cast at the Musee Rodin, Paris, a piece of drapery flows along the dexter side of the Prodigal Son in the lower Fugit Amor group and partly covers his dexter thigh (see traces of removed drapery on dexter side of pelvis in later stage of Gates, i.e. in the posthumous bronze casts).

B. Separate Fugit Amor group, same size as on the Gates of Hell, but readjusted; length of male figure from tip of sinister hand to sinis­ ter knee, 1734 in.; length of torso, 5Vs in. Bronze casts: 1. Musee Rodin, Paris. 2. Pushkin Museum, Moscow (bought by I. A. Morozov in 1913).9 3. Collection Antony Roux, Sale Catalogue, Galeries Georges Petit, Paris, May 19 and 20, 1914, no. 129, ill. (according to Grappe, purchased in 1889); present location unknown. 4. California Palace of the Legion of Honor, San Francisco (ex- collection Spreckels). 5. National Museum of Western Art, Tokyo (ex-collection M. Matsukata; foundry mark on base near bottom, "Alexis Rudier/ Fondeur. PARIS.").

8 By length of torso I mean the distance between the top of the sternum and the pubis. 9 The provenance, color of patina, signature, foundry mark etc. are given only when examined by the author or supplied by a reliable source.

32 6. Coll. Mrs. Stanley Simon, New York (ex-A. L. Kramer, Jr., Dallas; purchased in 1968; signed "A. Rodin;" marked "Alexis Rudier/Fondeur. PARIS/lere epreuve"). 7. Slatkin Galleries, New York. 8. Coll. Stanley Yarmuth, Louisville, Ky. (signed; foundry mark "Georges Rudier/Fondeur. Paris;" inscribed "Cy Musee Rodin 1956").10 9. Coll. Harold L. Renfield, New York (purchased from the Musee Rodin in 1965; 7/12); recently stolen.

C. Marble versions of Fugit Amor (enlarged): 1. With piece of drapery over male's thigh; tip of his sinister hand to sinister knee, ca. 23 in.; length of torso, 7 in.; Musee Rodin, Paris. 2. 22% x 4314x153/4 in. (G. 174), Musee Rodin, Paris. 3. Unfinished; Musee Rodin, Paris. 4. Different from the three above, illustrated in L. Maillard, Auguste Rodin, statuaire, Paris, 1899, p. 131; present location unknown.11

D. Enlarged Fugit Amor, cast after an unknown marble; total length, 31 in.; tip of sinister hand to sinister knee of male figure, ca. 23 in.; length of his torso, ca. 7 in. Plaster cast: Musee Rodin, Paris. Bronze casts: 1. Ex-collection Linde, Liibeck (acquired before Rodin's death); present location unknown. 2. Collection Antonio Santamarina, New Canaan, Conn, (pur­ chased 1924-1926; foundry mark A. Gruet aine). 3. Washington County Museum of Fine Arts, Hagerstown, Md. (ex-collection Mrs. Anna Brugh Singer, purchased from Musee Rodin; brown patina; signed; foundry mark A. Gruet aine).

10 No Max Fischer [sic] or Fisher in Detroit owns a Fugit Amor, as stated in I. Jianou and C. Goldscheider, op. cit., p. 91. 11 M. Ciolkowska, Rodin, Chicago, 1912, lists a Fugit Amor marble, belonging at the time to the collection Bland (?), which could be the one reproduced in Alail- lard or a still different one.

33 E. Small Prodigal Son (same size as on the Gates), total height 23 in.; tip of sinister hand to sinister knee, ca. 17Vz in.; torso, 5V& in. Bronze casts: 1. Mrs. Shuree Abrams, Cleveland (purchased in 1963, through Neikrug Gallery, New York and World House Gallerv, New York). 2. Dominion Gallery, Montreal.

F. Enlarged Prodigal Son, 1898 or earlier, stone, H. 55 in.; tip of sinis­ ter hand to sinister knee, 43 in.; length of torso, ca. 13 in.; length of face, ca. 5 in.; signed on dexter side of base, upper lip, "A. RODIN;" Ny Carlsberg Glyptotek, Copenhagen. Plaster cast after it (preserving the struts supporting back of torso): Musee Rodin, Paris.

G. Enlarged bronze casts of Prodigal Son (after the stone), H. ca. 54% in. (G. 210); tip of sinister hand to sinister knee, 43 in.; torso, ca. 13 in.: 1. Tate Gallery, London (ex-Victoria and Albert Museum, given by Rodin in 1914; front dexter and back sinister parts of base open, due to a casting fault; black patina with green highlights; signed "A. Rodin" on upper surface of base; foundry mark "Alexis. Rudier/Fondeur. Paris." back of base). 2. California Palace of the Legion of Honor, San Francisco (sold by Rodin in 1914 to Mrs. Alma de Bretteville Spreckels; front dexter and back sinister parts of base open, due to casting fault;12 black patina with blue in hollows of torso, and green and brown rubbed highlights on projections; signed on front dexter corner of base "A. Rodin;" foundry mark dexter upper back of base "Ais RUDIER. Fondeur. PARIS."). 3. Allen Memorial Art Museum, Oberlin (ex-collection Alexis Ru- dier, Paris, died 1917, i.e. same year as Rodin; dark green patina: signed "A. Rodin" dexter back, top of base; foundry mark "Alexis Rudier/Fondeur. Paris." lower dexter back of base). 4. Washington County Museum of Fine Arts, Hagerstown, Md. (given in 1931; black patina; signed; foundry mark Alexis Rudier). 5. Musee Rodin, Paris.

12 The front opening of the Tate base is considerably larger than the California one, but this may not mean that the two casts come from different editions.

34 6. Collection Mrs. Jean Guepin, Marbella, Malaga (purchased in 1961). 7. Collection David Aronson, Boston (purchased from Slatkin Gal­ leries, New York; foundry mark Georges Rudier; cast 6/12 of posthumous edition). 8. Frances and L. D. Cohen Gallery, Kings Point, New York (cast in 1963, Georges Rudier foundry, 7/12). 9. Collection B. Gerald Cantor, Los Angeles (purchased from the Musee Rodin, Paris).13

H. Adapted torso of small Prodigal Son used in Centauress (length of torso, ca. 6 in.). Plaster cast, 153/x \73Ax7 in.: Musee Rodin, Paris. Bronze casts: 1. Rodin Museum, Philadelphia (signed on base "A. Rodin"; foun­ dry mark lower right of left side of base, "Alexis Rudier/FON- deur Paris"). 2. Los Angeles County Museum (marked "3e epreuve").

I. Marble replica of Centauress, 28x40x10% in. (G.239), Musee Rodin, Paris.

J. Reworked and enlarged torso of Prodigal Son used in Orpheus, G. 161 (length of torso, ca. 19 in.). Bronze casts, 59x33x5l1/4 in.: 1. Musee Rodin, Paris. 2. National Museum of Western Art, Tokyo (ex-collection M. Matsukata). 3. Kunsthaus, Zurich.

K. Small head of the Prodigal Son, called Sorrow, H. 2% in.; length of face, ca. 2 in. Bronze casts: 1. Joseph H. Hirshhorn Collection (foundry mark Alexis Rudier). 2. Coll. Miss Elizabeth Davison, London.

13 In 1964, the Musee Rodin of Paris attested in a letter to the author that seven posthumous casts of the enlarged Prodigal Son had been sold. Nos. 6 to 9 of my list are certainly four of them. As the Rudier foundry retained as its mark the name "Alexis Rudier" several decades after his death in 1917, casts so mark­ ed can be proven to predate Rodin's death, also in 1917, only if there is docu­ mentary evidence. Since the Oberlin cast, No. 3, is said to come from Alexis' personal collection, it can be assumed that it was cast sometime before 1917.

35 L. Enlarged and reworked Sorrow, 9x9x lOVi in.; length of face, 7!/2 in. (G. 76).14 Bronze casts: 1. Musee Rodin, Paris. 2. Joseph H. Hirshhorn Collection (foundry mark Georges Rudier).

M. Enlarged marble versions of Sorrmv: 1. Called Dernier Soupir, 16xl8Vi in.; length of face 8V4 in.; Kunstmuseum, Dusseldorf (gift of Mrs. Louis Haniel, 1904). 2. Called Jeanne d'Arc, 17x21 x22Vi in.; length of face 7Vi in.; Ny Carlsberg Glyptotek, Copenhagen (purchased from the artist by Carl Jacobsen, in 1907).15 Plaster cast after this marble: Musee Rodin, Paris.

N. Enlarged bronzes of Sorrow cast after the Copenhagen marble, length of face ca. 7 in.: 1. Rodin Museum, Philadelphia (foundry mark back of base, lower right, "Alexis Rudier/Fondeur PARIS").

O. Enlarged head of Prodigal Son used on two sons of the enlarged Ugolino group (G. 75), 55 x 55 x 78% in. Plaster cast: Musee Rodin, Meudon. Bronze casts: 1. Musee Rodin, Paris.

Athena T. Spear

14 According to Grappe, this enlargement was done in 1905 and reworked into a likeness of Eleonora Duse. Therefore, the Dusseldorf marble (Al, 1), already sold by 1904, must have had as prototype the small head of Sorrow (see bulbous eyelids, non-existent in the other large versions of Sorrow). 15 Grappe (no. 76) mentions that the study for a monument to Jeanne d'Arc made after Sorrow ca. 1913 was given by the artist to a museum in southern France. This must certainlv be different from the Copenhagen marble already purchased from Rodin in 1907.

36 Notes

Baldwin Lectures 1969-70

The Baldwin Seminar will be given this year by Professor Fritz Novotny during four weeks in April-May. His topic will be "The Role of Naturalism in 19th Century Painting." Professor Novotny is director of the Osterreichische Galerie, Vienna, and professor of art at the Univer­ sity of Vienna. On October 17 Professor Egon Verheyen of the University of Michi­ gan gave a lecture on "The Studiolo of Isabella d'Este."

Oberlin-Ashland Archaeological Society

The Oberlin-Ashland (Ohio) chapter of the Archaeological Institute of America will sponsor four lectures during the 1969-70 academic year: November 6, in Oberlin, Dr. Evelyn L. Smithson, "Athens in the Dark Ages;" January 22, in Ashland, Michael L. Katzev, "The Excavation of a Greek Ship;" February 19, in Ashland, Robert Stuckenrath, Jr., "Paleo- Indian's Environment;" April 16, in Oberlin, Professor James R. Carpen­ ter, "The Propylon in Greek Architecture."

Exhibitions 1969-70

July 15 - September 15 Art and the Theater Paintings, drawings, prints, sculpture, costumes from the mu­ seum collection related to the theater, held in connection with the Oberlin Music Theater, Summer 1969.

September 20-October 13 New Acquisitions Works of art acquired by the museum during 1968-69

37 October 1-31 New York Is Photographs by Takayuki Ogavva. Lent by the George Eastman House, Rochester, N.Y.

October 18 - November 17 World War I Posters Posters by Howard Chandler Christy, James Montgomery Flagg, Charles Dana Gibson, etc. from the permanent collec­ tion.

October 18 - November 15 Through African Doorways 32 photographs of carved wooden doorways at Esu village, West Cameroon, West Africa. Circulated by DePauw University

November 30-December 20 Museum Purchase Fund Collection 24 paintings by contemporary American artists, including Anuszkiewicz, Lichtenstein and Warhol, acquired with a fund established by Gloria Vanderbilt, to be distributed to the ex­ hibiting institutions. Lent by the American Federation of Arts

February 2-March 8 Plastic as Plastic Toys, jewelry, clothing, furniture, industrial materials, house­ ware, sculpture. Organized by the Museum of Contemporary Crafts, New York. Circulated by the Smithsonian Institution

March 21-April 12 The Stencil Ornaments of Louis Sullivan 17 actual-size reproductions of ornaments from the recently restored Chicago Auditorium and 8 photographic panels show­ ing ornaments in situ. Circulated by the Smithsonian Institution

38 April 17-May 12 Three Young Americans Loan exhibition

May 15-June 5 Recent Gifts to the Print Room Prints and drawings from the 17th to the 20th century.

May 20-through summer Acquisitions from the Fund for Contemporary Art Paintings and sculpture acquired since 1964, including works by Poons, Bannard, Diao, Alexander, Reinhardt and Stella.

June 10-through summer Swift Collection of American Pattern Glass Goblets Permanent Collection

Loans to Museums and Institutions

Albrecht Altdorfer, The Large Crucifixion, B. 8 Yale University Art Gallery, October 9-November 16, 1969 City Art Museum of St. Louis, December 11, 1969-January 25, 1970 Philadelphia Museum of Art, February 10-March 24, 1970 Exhibition: "The Danube School and South German Art: 1500- 1550"

Louis Eugene Boudin, Philodendron Memorial Union Art Gallery, University of California, Davis, May 5-June 14, 1969 Exhibition: "Pre-Impressionism, 1860-1869"

Mary Cassatt, Elsie Cassatt Joslyn Art Museum, Omaha, Nebraska, April 10-June 1, 1969 Exhibition: "Mary Cassatt Among the Impressionists"

39 Frederick Church, Letter of Revenge Landau-Alan Gallery, New York, November 23 - December 24, 1968 Exhibition: "Ulusionism in American Art"

Thomas Cole, Lake with Dead Trees Memorial Art Gallery of the University of Rochester, Rochester, N.Y., February 14-March 23, 1969' Munson-Williams-Proctor Institute, Utica, N.Y., April 7-May 4, 1969 Albany Institute of Historv and Art, Albany, N.Y., May 9-June 30, 1969 Whitney Museum of American Art, New York, June 30 - Septem­ ber 1, 1969 Exhibition: "Thomas Cole"

Albrecht Diirer, The Fall of Man (Adam and Eve), B. 1 Baltimore Museum of Art, October 14, 1969-January 4, 1970 Exhibition: "Rembrandt's Biblical Etchings: Renaissance Prece­ dents and Baroque Inventions"

Rosalyn Drexler, Overcoat Hayward Gallery, London, England, July 5-August 31, 1969 Exhibition: "Pop Art"

German or Netherlandish, ca. 1600, University Mace Worcester Art Museum, Worcester, Mass., March 27 - May 25, 1969 Exhibition: "The Virtuoso Craftsman: Northern European De­ sign in the 16th Century"

Arshile Gorky, Study for the Plough and the Song University of Maryland Art Department and Art Gallerv, College Park, Md., March 20-April 27, 1969 Exhibition: "The Drawings of Arshile Gorky" M. Knoedler & Co., New York, November 25-December 27, 1969 Exhibition: "Gorky Drawings"

Arshile Gorky, The Plough and the Song Metropolitan Museum of Art, New York, October 18, 1969- Febru­ ary 1, 1970 Exhibition: "New York Painting and Sculpture: 1940-1970"

40 Greek (Lydian), late 2nd century A.D., Fragment of a Sarcophagus with Figure of Odysseus, Rose Art Museum, Brandeis University, Waltham, Mass., December 18, 1968-February 16, 1969 Exhibition: "Art of the Late Antique"

Josef Israels, Mother and Son — Twilight Jan Hendrick Weissenbruch, Landscape Norman MacKenzie Art Gallery, University of Saskatchewan, Re- gina, Canada, October 10-end of December, 1969 Exhibition: "Piet Mondrian and Hague School of Landscape Painting"

Franz Kline, Untitled Smithsonian Institution, Washington, D.C., for circulation in Bucharest, Timisoara (Romania), Cluj (Romania), Prague, Bra­ tislava, Brussels and Paris, January - November, 1969 Exhibition: "The Disappearance and Reappearance of the Image"

Jacopo Ligozzi, Portable Altar in Carrying Case Columbia University and the Metropolitan Aluseum of Art, New York, April 16-June 15, 1969 Exhibition: "Florentine Baroque Art from American Collections"

Horace Pippin, Harmonizing Civic Center Museum, Philadelphia, December 5 -28, 1969 Exhibition: "Afro-American Artists, 1800-1969"

Larry Poons, Away Out on the Mountain Gallerv of Art, Washington University, St. Louis, April 1 -May 2, 1969 Exhibition: "Development of Modernist Painting: Jackson Pol­ lock to the Present" Pasadena Art Museum, Pasadena, Calif., November 22, 1969-Jan­ uary 11, 1970 Exhibition: "Painting in New York: 1944 to 1969"

Rembrandt van Rijn, The Expulsion of the Moneychangers, H. 126 Jan Uytenbogaert, FI. 128 Rembrandt Leaning on a Stone Sill, H. 168 Ephraim Bonus, H. 226

41 Jan Asselijn, H. 227 St. Jerome beside a Pollard Willow, H. 232 Beggars at the Door, H. 233 Three Cottages, H. 246 "Dark" Presentation in the Temple, H. 279 The Goldsmith, H. 285 Peter and John at the Gate, H. 301 Smith College Museum of Art, Northampton, Mass., April 7-Mav 4, 1969 Exhibition: "Rembrandt Prints"

Rembrandt van Rijn, St. Francis Beneath a Tree, Praying, H. 292, II Museum of Fine Arts, Boston, October 1 - November 9, 1969 Pierpont Morgan Library, New York, November 24, 1969-January 10, 1970 Exhibition: "Rembrandt: Experimental Etcher"

Vrancke van der Stockt, Kneeling Donor with St. John the Baptist University of Kansas Museum of Art, Lawrence, Kansas, October 31-November 30, 1969 Exhibition: "The Waning of the Aliddle Ages"

Friends of Art Concert Series

A concert of baroque music on November 30 will open this year's series of three Friends of Art concerts. Included in the program is the cantata "Die Kindheit Jesu" for soloists, chorus and small orchestra by Johann Christoph Bach, conducted by Gene Young. Choral parts will be sung by the Oberlin Community Chamber Singers, directed by Carol Longsworth. The winter concert, a program of seldom performed cham­ ber music, will be given in February. It is being prepared by Britt Wheeler with a group of students as their project for winter term. A concert of contemporary music will be held in the spring. Program committee for the series is Linda Cerone, Mary Ann Danenberg, Marion Drummond, Eldo Neufeld and Britt Wheeler.

42 Friends of Art Film Series

October 2 Bach to Bach (Paul Leaf, with Nichols and May soundtrack) "A" (Jan Lenica, 1964) The Little Island (Richard Williams, 1958) Dutchman (Anthony Harvey and LeRoi Jones, 1967)

November 13 A Short History (Rumanian animation) Kivaidan (Kobayashi, 1965)

December 18 Film (Alan Schneider and Samuel Beckett) The General (Buster Keaton, 1926)

December 23 The Owl and the Pussycat (John Korty, 1963) The Red Balloon (Albert Lamorisse, 1960) Ichabod and Mr. Toad (Walt Disney, 1949)

January 22 Birds, Bees and Storks (Gerard Hoffnung, 1965) The Caretaker (Harold Pinter and Clive Donner, 1963)

March 5 Chinese Fire Drill (Will Hindle, 1968) Mr. Hulot's Holiday (Jacques Tati, 1954)

March 26 Simon of the Desert (Luis Bunuel, 1965) The Immortal Story (Orson Welles, 1968)

43 Friends of the Museum

BENEFACTORS: contributions or bequests of $100,000 or more

*A1R. AND *A1RS. JOSEPH BISSETT THE SAMUEL H. KRESS FOUNDATION *CHARLES L. FREER *R. T. MILLER, JR. *CHARLES Al. HALL * CHARLES F. OLNEY AIAX KADE FOUNDATION *A1RS. F. F. PRENTISS

PATRONS : contributions or bequests of $10,000 or more

*A!ARY A. AINSWORTH ADELE R. LEVY FUND * GENEVIEVE BRANDT AIR. AND MRS. HAIG M. PRINCE ESTATE OF SIR JACOB EPSTEIN AD REINHARDT *A1RS. ELISABETH LOTTE FRANZOS AIRS. EDNA G. REIZENSTEIN * EUGENE GARBATY PAUL ROSENBERG & Co. *A1ELVIN GUTMAN MRS. GALEN ROUSH IVAN B. HART NORBERT SCHIMMEL *A1RS. A. AUGUSTUS HEALY MR. AND MRS. GUSTAV SCHINDLER BARONESS RENE DE KERCHOVE MR. AND MRS. CLARENCE WARD LOYD H. LANGSTON MR. AND MRS. R. M. WOODBURY * ROBERT LEHMAN

DONORS : contributions or bequests of $1,000 or more

FREDERICK B. ARTZ JOHN J. BURLING WALTER BAREISS MR. AND MRS. H. HALL CLOVIS MRS. RAYMOND Al. BARKER Toms E. DANIELS * JUDGE MADISON W. BEACOM MR. AND MRS. THOMAS F. DERNBURG MRS. DUDLEY BLOSSOM DR. R. C. DICKENMAN MRS. ALBERT BROD ROBERT E. EISNER ADELE BROWN MR. AND MRS. ANDRE EMMERICH

* Deceased

44 AIR. AND MRS. ARTHUR ERLANGER AIRS. AIARTA ABBA A'IILLIKIN MRS. DONALD W. EVANS *MRS. CHARLES E. AIONROE *FREDERIC NORTON FINNEY JOHN G. D. PAUL *A1RS. THELMA CHRYSLER FOY EDWARD S. PECK, JR. AIRS. BERNICE CHRYSLER GARBISCH LEONA PRASSE J. PAUL GETTY MR. AND *MRS. GEORGE B. ROBERTS WlLLARD B. GOLOVIN THEODORE SCHEMPP WINSTON GUEST AIR. AND MRS. GEORGES SELIGMANN THE HONORABLE AIRS. Al. D. GUINNESS *A. AND *E. SlLBERMAN MRS. JOHN HADDEN HELENA SIMKHOVITCH ELLEN H. JOHNSON AIRS. KATHERINE B. SPENCER * HOMER H. JOHNSON * AIR. NATE B. SPINGOLD DR. GEORGE KATZ WOLFGANG STECHOW DAVID KLUGER DR. AND *A1RS. BRUCE SWIFT MRS. KATHERINE KUH MR. AND MRS. HARRY L. TEPPER *H. H. KUNG AIRS. HELEN B. TOLLES DOUGLAS H. LANGSTON AIRS. ANN TRYON DR. J. D. LANGSTON W. R. VALENTINER ESTATE ROBERT M. LIGHT EDWIN C. VOGEL AIRS. JOSEPH LILIENTHAL JEAN VOLKMER AIR. PHILIP LILIENTHAI. PAUL F. WALTER JACK LINSKY *LUCIEN T. WARNER *C .T. Loo * PARISH-WATSON *DR. A. I. LUDLOW AIRS. FRED R. WHITE MRS. AIALCOLM L. AICBRIDE *MR. AND *A1RS. JOHN YOUNG-HUNTER *A1ARY L. AICCLURE RICHARD H. ZINSER * AIRS. ANDREW B. MELDRUM MR. AND MRS. TESSIM ZORACH AIRS. GERRISH AIILLIKEN

' Deceased

45 Oberlin Friends of Art

m MEMORIAM MEMBERSHIPS

Arietta M. Abbott Florence Jenney Jacob Franklin Alderfer Dr. Louis C. Johnson J. E. Artz Dr. Frances E. Killoren Charles K. Bany Mrs. Hazel B. King Genevieve Brandt Mary Smith McRae E. Louise Brownback Fannie Bixler Murphy Mrs. Katherine L. Lewis Bushnell Julia Pattern Howard C. Carter Richard L. Ripin Cyrus Alonzo Clark Raymond H. Stetson George Draper Coons Mrs. Henry Stanton Storrs Mrs. Maud Baird Coons Henry Stanton Storrs Edith Dickson Jessie Tazewell Mrs. Amelia Hegman Doolittle Giovanni Terzano Antoinette Beard Harroun Helen Ward Meinhard and Gertrud Jacoby

LIFE MEMBERS

Ilaig M. Prince Frederick B. Artz Louise S. Richards Mr. and Mrs. John Z. Atkins Derwent Riding Mr. and Mrs. Carl Bacon George Bassett Roberts Mrs. Harry E. Barnard Mrs. Galen Roush Mr. and Mrs. Andrew Bongiorno James A. Saalfield Mr. and Mrs. Ford E. Curtis Margaret Schauffler Mrs. Robert W. Dobbins Janos Scholz Mrs. Sarah G. Epstein Mrs. George H. Seefeld Philip E. Foster Mrs. Alan B. Sheldon Erwin N. Griswold Constance D. Sherman Mr. and Mrs. Joseph II. Hirshhorn Alice H. Simpson Mr. and Mrs. Irvin E. Houck Geraldine N. Smith Mr. and Mrs. E. Robert Irwin Mrs. Pierre R. Smith Ellen H. Johnson Mrs. Katherine B. Spencer Philip L. Kelser Mr. and Mrs. Wolfgang Stechow Mrs. Philip L. Kelser Mrs. Hermann H. Thornton Mr. and Mrs. Carl Kinney, Jr. Franklin B. Toker Mr. and Mrs. Ben W. Lewis Frank C. Van Cleef Frits Lugt Clarance Ward Mrs. Elizabeth R. Murphy Mr. and Mrs. Robert W. Wheeler Earl Newsom Beatty B. Williams Mr. and Mrs. Charles Parkhurst Mr. and Mrs. Dudley A. Wood Mrs. Cassie Spencer Payne Barbara Wriston

46 FAMILY MEMBERS, 1969-70

Mr. and Mrs. David L. Anderson Mr. and Mrs. Eric Nord Mr. and Mrs. Walter Aschaffenburg Mr. and Mrs. John A. Paxton Mr. and Mrs. Douglass Boshkoff Mrs. Doris Mayes Ploog Mr. and Mrs. Hugh R. Brown Mr. and Mrs- Donald R. Reich Mr. and Mrs. David P. Cerone Mr. and Mrs. Joseph R. Reichard Mr. and Mrs. Edward Couch Mr. and Mrs. Raymond Schiff Mr. and Mrs. Emil Danenburg Mr. and Mrs. R. C. Schoonmaker Mr. and Mrs. Robert Drummond Rev. and Mrs. Fred Schumacher Dr. and Mrs. Roy Ebihara Dr. and Mrs. Warren Sheldon Mr. and Mrs. David A. Egloff Mrs. Diane B. Sherman Mr. and Mrs. Dewey Ganzel Mr. and Mrs. Philip W. Silver Mr. and Mrs. Harvey Gittler Mr. and Mrs. John R. Spencer Mr. and Mrs. Herbert Harris Mr. and Mrs. Ira S. Steinberg Mr. and Mrs. James J. Helm Mr. and Mrs. Victor R. Swenson Mr. and Mrs. Richard Huber Mr. and Mrs. Edward S. Tobias Mr. and Mrs. H. J. Johnson Mr. and Mrs. Robert E. Warner Mr. and Mrs. Melvin Martens Mr. and Mrs. E. A. Wilson Mr. and Mrs. Kenneth Moore Mr. and Mrs. Andre Yon Mr. and Mrs. Eldo Neufeld

SUSTAINING MEMBERS, 1969-70

Mr. and Mrs. Paul B. Arnold Mr. and Mrs. L. D. Ilartson Mr. and Mrs. Theodore Bates Mr. and Mrs. Andrew Hoover Mr. and Mrs. John D. Baum Mr. and Mrs. Dale Johnson Adele H. Brown Lawrence P. Johnson Mr. and Mrs. Richard D. Buck Mr. and Mrs. Owen T. Jones Mr. and Mrs. Edward Capps, Jr. Mr. and Mrs. Michael L. Katzev Mr. and Mrs. Parks Campbell Mr. and Mrs. William E. Kennick Anne F. Clapp William C. Kidd Mr. and Mrs. Stanley M. Cowan Mrs. Charles B. King Mr. and Mrs. Charles R. Crawford Mr. and Mrs. Loren W. Kitt Dr. and Mrs. Robert R. Crawford Mr. and Mrs. Alex Klimoff Mrs. F. Reed Dickerson Mr. and Mrs. John Kurtz Mrs. Marian C. Donnelly Mr. and Mrs. John G. P. Leek Mr. and Mrs. Richard Dunn Lucy Lewis D. Ross Edman Mr. and Mrs. James F. Long Mr. and Mrs. Robert Fountain Mr. and Mrs. R. M. Longsworth Mr. and Mrs. D. L. Gilbert Donald M. Love Mr. and Mrs. Eric Gislason Mr. and Mrs. David C. Montgomery Mr. and Mrs. Samuel Goldberg Charles T. Murphy Richard A. Goldthwaite Mr. and Mrs. J. Herbert Nichols Mrs. Paul C. Graham Mr. and Mrs. Kenneth Packard Norman K. Grant Mr. and Mrs. John Perry Mr. and Mrs. Henry A. Grubbs Mr. and Airs. Carl Peterson Air. and Mrs. William H. Hamilton Mr. and Airs. Kenneth A. Preston Barbara Hartman Mr. and Airs. Gregory Proctor

47 Air. and Airs. Francis X. Roellinger Britt Wheeler Mr. and Airs. Vinio Rossi James W. White J. Reece Roth Air. and Airs. Robert Williams Air. and Airs. Albrecht Saalfield Mr. and Mrs. Joseph R. Wood Air. and Airs. Henry Saalfield Air. and Airs. James Worcester Theodore Schempp Air. and Airs. Robert Williams Air. and Mrs. Kenneth W. Severens Air. and Airs. David P. Young Air. and Airs. Richard E. Spear Air. and Airs. Grover Zinn Air. and Airs. R. R. Stoll Mr. and Airs. Richard A. Zipser Air. and Airs. Sylvan Suskin Airs. Julia Terry Harold Tower Dr. and Airs. Don P. Van Dyke Dr. Andre Ventresca In addition to the above members, there are: Paul F. Walter 80 annual members Dr. and Airs. John H. Warner 368 student members

48 MEMBERSHIP INFORMATION OBERLIN FRIENDS OF ART

Privileges of membership: All members will receive

A cop}' of each issue of the Bulletin

A discount on the new museum catalogue and on museum Christmas cards

Invitations to private receptions and previews at the Aluseum and to the annual members' acquisition party

Announcements of special exhibitions, Baldwin public lectures and other major events sponsored by the Aluseum

Free admission to the Friends of Art Film Series and the Friends of Art Concert Series

Categories of membership:

In Memoriam Memberships may be established by a contribution of $100 or more

Life Members contribute $100-$1,000 at one time to the Friends of Art Endowment Fund

Family Members contribute $30 annually

Sustaining Members contribute $15-$100 annually

Members contribute $7.50-$10 annually

Student Members contribute $4-$10 annually

The adequate maintenance of the Museum and the development of its collection are dependent upon the assistance of its friends. We invite anyone interested in the Allen Memorial Art Museum of Oberlin College to contribute to its growth by becoming a Friend of Art under one of the foregoing groups.

49 MUSEUM CHRISTMAS CARDS

The works of art in the museum collection listed below have been made as Christmas cards. The price is 10 cents each or 5 cents to members of the Oberlin Friends of Art. All cards are printed on single-fold paper in black and white, without greeting. The Mariotto di Nardo is also avail­ able in color at 20 cents, or 15 cents to members.

Two Horsemen Adoration of the Magi, Rubbing from a Relief Woodcut. B. 87 Chinese, later Han Dynasty, III c. A.D. From The Life of the Virgin. 1503 Albrecht Diirer, 1471-1528 Adoration of the Magi Tempera on panel Alariotto di Nardo, active 1394-1424 The Poet, Etching. 1630's Jusepe Ribera, 1588-1652 St. Christopher Alanuscript leaf, French, ca. 1440 Bakery Shop, Oil on canvas Job Berckheyde, 1630-1693 City of Genoa (detail). Woodcut From the Nuremberg Chronicle, 1493 Available in black on white or Still Life, Alonotype, ca. 1914 blue on green Henri Matisse, 1869-1954

50 STAFF OF THE MUSEUM

John R. Spencer, Director Airs. Alargery Al. Williams, Librarian Clarence Ward, Director Emeritus Airs. Doris B. Aloore, Assistant to Airs. Chloe H. Young, the Director Curator of Collection Delbert Spurlock, Airs. Athena T. Spear, Technical Assistant Curator of Alodern Art Arthur Fowls, Head Custodian

INTERAlUSEUAl LABORATORY

Richard D. Buck, Conservator Delbert Spurlock, Assistant Conservator Anne F. Clapp, Associate Conservator Airs. Ruth Spitler, Secretary

AlUSEUAl PURCHASE COAIAIITTEE

John R. Spencer, Chairman Airs. Thalia Gouma Peterson Paul B. Arnold Airs. Athena T. Spear Frederick B. Artz Richard E. Spear Richard D. Buck Wolfgang Stechow Robert K. Carr Clarence Ward Ellen H. Johnson Forbes Whiteside Donald Al. Love Airs. Chloe H. Young

EDITOR OF THE BULLETIN AlUSEUAl HOURS

Wolfgang Stechow School Year: Alonday through Friday 10:00-12:00 A.A1. (side gate) PHOTOGRAPHER 1:30-4:30 and 7:00-9:00 P.AI. Robert Stillwell Saturday 2:00 - 5:30 P.AI. Sunday 2:00 - 5:30 P.AI.

PUBLICATIONS Summer: Alonday through Friday The Bulletin, the catalogue of the 10:00-12:00 A.M. and painting and sculpture collection, 2:00-4:00 P.M. photographs, postcards, slides, and color reproductions are on sale at Saturday 1:00 - 5:00 P.M. the Aluseum Sunday 1:00 - 5:00 P.AI.