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Collecting for a New Century – Recent Acquisitions January 18 – May 13, 2012

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Collecting for a New Century – Recent Acquisitions January 18 – May 13, 2012 1 Collecting for a New Century – Recent Acquisitions January 18 – May 13, 2012 Collecting for a New Century: Recent Acquisitions celebrates the continuing addition of important works of art to the collections of the Museum of Art and Archaeology during the twenty-first century. The Museum of Art and Archaeology has acquired many exceptional artworks in the recent years through generous gifts, bequests, and purchases. While some of the works have been included in Museum exhibitions, the vast majority of pieces remain unknown to our Museum visitors. This exhibition showcases the significance and diversity of these new additions to the collection. Encyclopedic in nature, the Museum continues to expand and deepen its holdings. Thus, this exhibition features objects consisting of a variety of art forms (paintings, sculptures, decorative arts, prints, and photographs), differing materials (ceramic, glass, gold, iron, and marble), numerous cultures (American, European, African, Pre-Columbian, South Asian, and East Asian), and a time span from antiquity to the present. Classical antiquities stand at the heart of the Museum, and significant new acquisitions continue to enrich these outstanding holdings. The addition of a colorful Roman ribbon glass bottle hearkens back to Dr. Gladys Weinberg, co-founder of the Museum of Art and Archaeology and a foremost expert in ancient glass. A remarkable life-size bust of a Roman empress and a rare Egyptian funerary stele combining Greek and Roman cultural elements featuring an independent and learned woman named Heliodora represent some of the important sculpture additions. Other outstanding accessions advancing this distinguished collection include a fine South Italian red-figure rhyton (a vase for libations or drinking) in the form of a griffin and an unusual South Italian askos (a type of vessel in the shape of a wineskin) surmounted by a molded figure of Scylla with an undulating sea serpent’s body. The European and American collections include artworks from the thirteenth century to the present, and new additions continue to elevate and expand this part of the Museum. A few of the numerous impressive artworks that will be shown include a French medieval illuminated manuscript page, a large woodcut of the Crucifixion by the renowned printmaker Dürer, a seventeenth-century painting on stone showing the 2 execution of St. Catherine of Alexandria, a French Impressionist etching and drypoint by Cassatt, and a lithograph by the Mexican artist Rivera. Other striking pieces include an expressive woodcut of the Expulsion from Paradise by Rohlfs (who was declared a degenerate artist by the Nazis), and radiant glass creations from the Persian series by the contemporary artist Chihuly. Donations continue to significantly enrich the Museum’s holdings of non-Western art. East Asian highlights of the exhibition include pieces from the fourteenth through eighteenth centuries: several Tibetan bronzes, whose gilding is believed to enhance the figurines' magical effectiveness, a gilded and painted Chinese Guanyin (Buddhist bodhisattva of compassion), a Thai bronze of a seated Buddha posed in the gesture showing he has attained supreme enlightenment, and a Korean bodhisattva seated on a lotus throne in a teaching pose. The Museum’s collection of Pre-Columbian artifacts was significantly strengthened with more than 500 objects all from one donor. A small representation of this outstanding gift includes a Late Pre-Classic Colima (Mexico) vessel in the form of a dog, an iconic form of funerary vessel from west Mexico, a vessel in the form of a seated captive warrior made by the Moche (Peru) that gives a glimpse into the world of ancient sacrificial rituals, and a fascinating urn in the form of a figure with elaborate headdress from Oaxaca (Mexico) that probably represents a venerated human ancestor. Aztec pieces from Mexico include a model of a temple and a statuette of the goddess of childbirth Chalchiuhtlicue. Because there are many more recent acquisitions to the Museum than our special exhibition galleries can accommodate, and because several of these are already on display in the permanent galleries, the labels of these other new additions will be marked [with a special insignia] so that visitors can continue their voyage of “Collecting for a New Century.” This exhibition highlights the Museum’s ongoing efforts to build on a remarkable collection of art and artifacts, advancing the knowledge and appreciation of art and the world around us, as well as our common cultural heritage. Since the inception of the Museum, the collections have grown each year to create the third largest visual arts museum in the state of Missouri. 3 Long Gallery Circle of Jacques Stella (Italian, 1596–1657) Miracle of the Martyrdom of St. Catherine of Alexandria, ca. 1625 Oil on jasper (2009.126) Gilbreath-McLorn Museum Fund After the beheading of St. Catherine of Alexandria (4th c.), milk was said to flow from her body instead of blood, and angels took her body to Mount Sinai, where it received a hidden burial. This painting shows a moment not long after Catherine’s execution. Her severed head lies on the ground as milk streams from it, symbolizing her purity. One angel holds a flaming candle while the other cradles the detached head, which emits a nascent aureole. Artists hardly ever depicted this scene in art. In this representation the artist paired the uncommon subject matter with an equally rare support, a piece of veined, colored stone, the mottled pattern of which forms part of the composition. Encased in a richly carved and gilded Louis XIII French frame, this work of art and frame reveal the seventeenth-century fashion for precious paintings manifesting intellectual artifice, uniqueness, and a highly refined manner. 4 Jacob Hoefnagel (Flemish, 1575–ca. 1630) After Joris (Georgii) Hoefnagel (Flemish, 1542-1601) Plates 7 and 8 from Part II From the book Archetypa studiaque patris Georgii Hoefnagelii…, 1592 [1st edition] Engraving (2006.3, 2006.4) Gilbreath-McLorn Museum Fund These two pages come from a portfolio, which served as one of the principal sources of seventeenth-century still-life painting. Jacob Hoefnagel engraved the plates as a youth under the supervision of his father Joris, the last of the great Flemish manuscript illuminators. Viewed as if seen from above, the creatures and plants cast shadows and are arranged as if they were specimens belonging to a cabinet of natural curiosities. The elements are not arranged according to any taxonomic system, but for pictorial and symbolic effect. Each sheet contains Latin inscriptions. Plate 7 has a strong religious content and reflects how the work was dedicated to the glorification of God in even his smallest creations. Plate 8 emphasizes the theme of death and the fleeting nature of life, which became an important part of the seventeenth-century still-life tradition. Translations of Inscriptions Plate 7: Top: Sin was committed by our first parents through the eating of the apple, not because it was bad in itself, but because it was prohibited. Bottom: Under every stone sleeps a scorpion. Plate 8: Top: Birth. Suffering. Death. Bottom: A trifling injury kills the lustful mice: thus this uncertain life is lost through a simple accident. 5 Anne Allen (British, 1749/1750 – after 1808) Stairway Leading to a Fragile Pavilion 1798 Etching on wove paper (2008.13) Gilbreath-McLorn Museum Fund Anne Allen was a talented English printmaker in the eighteenth century. She achieved her fame through collaborating with her husband, the popular French artist Jean-Baptiste Pillement, for whom she served as the primary printmaker. This color etching is made in the à la poupée (French: with the doll) technique, which describes a method of inking an incised metal plate, using small ball- shaped wads of fabric. Inks of differing colors are applied selectively to the copper, and then the inked plate is printed. Each impression has the appearance of a monoprint and is unique in its coloring. The print portrays a whimsical Chinese design often referred to as chinoiserie, which was popular in eighteenth-century Rococo art. 6 Mary Cassatt (American, 1844–1926) Susan Seated Before a Row of Trees 1883 Etching and drypoint (2004.9) Gilbreath-McLorn Museum Fund and Gift of Museum Associates Mary Cassatt, one of the most famous American Impressionists, was an expatriate artist from Pennsylvania, who spent most of her artistic career in and around Paris. In her paintings, drawings, and prints, Cassatt concentrated on images of the domestic realm, particularly scenes of women at leisure. Susan Seated Before a Row of Trees shows a woman seated in a three- quarter pose wearing a long dress. Although the sitter is identified as Susan (a cousin of Cassatt’s maid), the etching is not a “portrait” in the traditional sense. Rather, it is study of light and atmosphere characteristic of Impressionist art. Several vertical elements behind Susan suggest tree trunks. The model is illuminated by patches of light shining through the trees created through overlapping parallel lines of varying density and energetic broken contours. This print is especially rare since only a small number of impressions were produced, and this one is signed with the artist’s initials. 7 Félix Hilaire Buhot (French, 1847-1898) Les Voisins de Campagne (The Country Neighbors), 1879–1880 Etching, drypoint, and aquatint on laid paper (2008.15) Gilbreath-McLorn Museum Fund Buhot is known for producing several states of a print from the same plate. While experimenting with papers and inks, he continued to alter the plate using drypoint, aquatint, and the roulette tool. In particular, he used numerous techniques and tools as well as diverse strokes to create a variety of atmospheric conditions. In this delightful print, a couple is seen from behind as they rush to get out from the rain. The wind blows briskly as seen in the folds of their windswept clothing.
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