Spring 2019 Save the Date | October , –January ,

spring 2019 Save the Date | October , –January ,

Thomas Je erson, Architect: Palladian Models, Democratic Principles, and the Conict of Ideals

Gilbert Stuart, Thomas Je erson (The Medallion Portrait), , Harvard Art Museums/Fogg Museum, Gift of Mrs. T. Je erson Newbold and family, in memory of Thomas Je erson Newbold, Class of , ., Photo: Imaging Department, © President and Fellows of Harvard College Background image: Thomas Je erson, Monticello: ionic portico and dome, recto, probably , Coolidge Collection of Thomas Je erson Manuscripts, Massachusetts Historical Society The Chrysler’s This summer, the Chrysler Museum of Art will enthusiastically present Eric Carle: Moonlit Nights & Other Illustrations. The exhibition of vibrant Commitment to Families paintings by the beloved children’s book author and illustrator will delight visitors of all ages and further our mission to inspire a lifelong love of art and reading. Carle’s distinctive style is immediately recognizable and accessible to children and adults. His books are noted for their rich coloration and humane narratives with sensitivity to both children and the natural world. The Chrysler’s exhibition is drawn entirely from the collections of The Eric Carle Museum of Picture Book Art and will feature original works from more than thirty of Carle’s books, which will be available in a reading library for children. Museum visitors will also enjoy interactive spaces with art- making activities, costumes, puppets, and more. Literacy is a key element of the exhibition and has long been a component of our education e orts. Every month, we o er Tickle My Ears, a program that introduces toddlers and preschoolers to the Museum with story time, guided tours, and art activities. Young learners from Title I schools benet from our innovative SAPLINGS program. The partnership with Virginia Beach Public Schools brings elementary school students to the Museum for enriching discussions about objects in the Chrysler’s collection. Parents and teachers benet from training and resources provided by docents and Museum educators. We also continue to strengthen our partnerships with Norfolk and Virginia Beach public libraries. Our summer line-up includes an Eric Carle-themed Family Day, Picture Play Art Camps for ages –, and Moonlit Nights Pajama Parties for the entire family. July marks the rst anniversary of the Wonder Studio, an interactive space that invites children and families to get an up-close look at objects in the Chrysler collection and use digital technology to spark their own creativity. The Chrysler Museum’s commitment to families remains strong. We strive to create memorable moments and educational opportunities for people of all ages with our exceptional permanent collection, traveling exhibitions, and strong community partnerships that allow diverse audiences to have meaningful encounters with art. This summer will be lled with immersive experiences that will encourage everyone to learn, explore, and discover the wonders of the world through art and literacy.

Erik H. Neil, Director On View

Eric Carle: Moonlit Nights & Other Illustrations June 14–September 8, 2019

A Labor of Love: The Caregiver Portraits by D. Michael Geller Closing June 23, 2019

Watercolor: An American Medium Closing June 23, 2019

A Good Life Illustrated: Art Created by the Children and Young Adults of St. Mary's Home Closing June 30, 2019

Michael Menchaca: Dioses Nuevos Closing June 30, 2019

Now Arriving: New Work from the CMGS Team at Norfolk International Airport Closing July 7, 2019

John Akomfrah: Tropikos July 9, 2019–January 5, 2020

Five Years of Photography: Building the Chrysler Collection July 26–November 10, 2019

Emerge | Evolve: Rising Talents in Kilnformed Glass Closing July 28, 2019

Maizelle: Celebrate Me Home On view at the Willoughby-Baylor House

Bruce Davidson, Brooklyn Gang, New York City, , Gift of an anonymous donor © Bruce Davidson

PHOTO

Eric Carle, Illustration for The Artist Who Painted a Blue Horse BY

(Philomel Books), Collection of Eric and Barbara Carle © Eric Carle ECHARD

WHEELER PHOTO

PHOTOGRAPHY

LAURA

MCFIE

Commitment to the Chrysler: The Museum’s Docents

A Perfect Third Place

Exhibitions Around Campus Masterpiece Society (Patron Level A Conversation with Eric Carle A Perfect Third Place and Above) Meet and Greet with An Artistic Documentary of Commitment to the Chrysler: Nancy Callan and Mel Douglas Norfolk’s African American The Museum’s Docents Fourth Annual Corporate Community Leadership Alliance Luncheon Members & Patrons A Spotlight on Conversations with the Curators Art Travel Kilnformed Glass Masterpiece and Director’s Circle Conserving the Members’ Trip to Philadelphia, PA On View Chrysler Collection A Brush with Old Masters Sta Notes Gatherings Chrysler Green Team Our Collection Visiting Artist Series with A Fresh Take on Porcelain Nancy Callan and Mel Douglas New Hires and Promotions Bruce Davidson: Deep Dive Art Out Loud: Exposed From the Pages of the Chaos and Awe Dance Chrysler’s Oldest Book: Performance featuring Todd Palladio’s Battle Illustrations Rosenlieb Dance and Virginia Glass to Capture the Sky Ballet Theatre Governor's School for the Arts Fashion Show Family Day

| EXHIBITIONS Museum of Picture Book Art Book Museum of Picture Carle Eric , 2018 © 2018 The Eric Carle Carle Eric , 2018 ©2018 The Eric Carle: Moonlit Nights & Other Illustrations June –September , EricCarleNights

A Conversation with

une marks the ftieth anniversary of Eric Carle’s The Very Hungry Caterpillar. For generations, the beloved picture book author and artist has been making children and parents smile with his vibrant representations of insects, animals, and classic fables. The Chrysler Museum of Art is excited to present a dynamic selection of his nighttime scenes in Eric Carle: Moonlit Nights & Other Illustrations. The exhibition features more than eighty original works and shows how Carle evocatively collages his nighttime scenes to tell stories about twinkling stars, blinking reies, and the gently smiling moon. Seth Feman, PhD, the Chrysler Museum’s Deputy Director for Art & Interpretation and Curator of Photography, recently caught up with Carle to talk about his long career and unique use of tissue paper and other materials to create his illustrations.

Eric Carle, Illustration for Draw Me a Star Eric Carle, © The Eric Carle (detail) (Philomel Books), Collection of Eric Museum of Picture Book Art and Barbara Carle © Eric Carle Eric Carle, Illustration for Panda Bear, Panda Bear, What Do You See? by Bill Martin, Jr. (Henry Holt and Company), Collection of Eric and Barbara Carle © Eric Carle

Seth Feman: I think the biggest surprise for visitors will be SF: We’ll include your smock and shoes in the show, and they’re seeing your original works. Even if they are familiar with the absolutely splattered with paint! Is making art always so messy? books, the handmade works o er something quite di erent. They are richly textured and layered with color, and often, EC: It can be messy, so wearing a smock is a good idea! But my they’re quite abstract. Each one o ers its own detailed world shoes have paint on them because I wore them while painting to explore and enjoy. Can you talk a little about the process of on Tyvek, the material that houses are wrapped in when under making these works using tissue paper and paint? construction. The Tyvek was rolled out on the oor of my studio, and I walked on the murals I created when the paint was still wet. Eric Carle: Yes, of course. I make my pictures out of hand- There are some paint splatters on my shoes from other projects, painted tissue papers that I paint with acrylic, adding texture too. The rst thing I do when I start to work in my studio is put with pieces of old carpet and the handle end of my brush to on my white coat or smock. Then, I can begin. make patterns. Then I cut and tear these painted papers and glue them onto illustration board. My painted papers are like SF: Our own collection has some nice examples of nocturnes, a my palette. I have days in which I do nothing but paint tissue fancy word for artworks that depict the night. It’s an important papers without regard for what I will use the papers for. Each genre in the history of art. Do you have any favorite artists, sheet of tissue paper is painted with many layers of paint with picture book or otherwise, whose night scenes stand out? di erent textures and colors. EC: Among some of my favorite artists are Paul Klee with SF: The exhibition at the Chrysler focuses on nighttime stories. his colorful, dreamlike paintings and Pieter Bruegel, whose Can you tell us how these works are unique? Do you have a landscapes of central Europe remind me of where I grew up di erent working process for depicting the night as opposed in Germany. For night scenes, The Starry Night by Vincent van to the daytime? Gogh and some of Bruegel’s paintings come to my mind.

EC: In some of my nighttime pictures, I paint directly onto the SF: I once read that you had a transformative encounter with art illustration board to create the night sky or dark background when you were a child in wartime Germany, and your teacher rather than using painted tissue paper. But otherwise, my showed you reproductions of modern works that were probably process is the same. forbidden at the time. What made that moment so special? Eric Carle, Cat, , Collection of Eric and Barbara Carle © Eric Carle

EC: There have been many door openers peel back the bark of a tree to show me in my life, including in Germany. My brave the tiny creatures, the little crawly things teacher Herr Krauss, at great personal risk, that lived underneath. I have very fond secretly showed me the reproductions of memories of these special times with my paintings of modern and expressionistic father, and I feel I honor him with my books art deemed 'degenerate' at that time. and my interest in animals and insects. The paintings were unlike anything I had been exposed to before. This SF: This year, we will celebrate the experience at rst shocked me, and I ftieth anniversary of The Very Hungry found it unsettling. But in the end, this experience changed my Caterpillar. That’s two or three generations of families who view of art though I didn’t know it at the time. have admired and enjoyed this work! Why do you think the caterpillar caught on so well? SF: Another big surprise in the show is the menagerie of animal sculptures. I hadn’t seen these metal sculptures before and was EC: When people ask me about the popularity of my work, I tell totally captivated by their semi-abstract bodies with brightly- them honestly I don't know the determining factor for The Very colored spines, teeth, and hair. Can you tell us about what Hungry Caterpillar. I believe most children can identify with the inspired these and how you created them? helpless, small, insignicant caterpillar, and they rejoice with it when it turns into a beautiful buttery. I believe my story is one EC: A number of years back, I made these metal sculptures of of hope. It says, I too can grow up. I too can unfold my wings animals. They are a part of my non-illustration art, which I call and my talent and y into the world. This is a universal concern my Art Art. In addition to the sculptures, I have made Art Art or that children have. Will I grow up? Will I be able to function as an abstract pieces out of my painted tissue papers. I often say that adult? I’m gratied that so many people have found meaningful my aim with my work is to simplify and rene and be logical messages in The Very Hungry Caterpillar, and it is very moving to and harmonious. I believe these sculptures are examples of me that my books have been enjoyed by generations of readers. my approach applied to its fullest extent. They are the most simplied gures I have created. SF: I’ve heard that the caterpillar started out as a worm. Is that true? I sure would like to see a story about a worm. They don’t SF: Much of your work refers to the natural world—lively animals, get much credit, do they? crawling creatures, waving leaves, and the gently smiling moon. A lot of work in our museum highlights nature, too. We o er EC: It is true! One day, I was innocently punching holes with a several events that focus on caring for the environment. Can hole puncher into a stack of paper, and I thought of a bookworm, you share a little about why you look to nature so frequently? so I created a story called A Week with Willi the Worm. Later, my editor Ann Beneduce, who didn’t like the idea of a worm, EC: My father used to take me on walks in the forest and would suggested a caterpillar and I said 'buttery!' The rest is history.

| " Draw and imagine, write, and paint. Just begin." –Eric Carle

SF: While The Very Hungry Caterpillar is well-known and has a big birthday this year, can you tell us about your favorite book that isn’t as popular?

EC: My favorites are Do You Want to be My Friend? and Friends because they are both about friendship, which is very important to children.

SF: Artists never really work alone, and I imagine that’s especially true in the world of picture books. Can you tell us about what it’s like to work with editors and other writers? How have they been involved in the creative process?

EC: Ann Beneduce has been my editor from the very beginning of my career. When I rst started working with Ann, I knew I could make pictures but I still did not trust myself to write. The rst book that I submitted was a completely wordless Eric Carle, Alternate illustration for The Very Lonely Firey one, , , to the Zoo. I was being very careful. It was like dipping (Philomel Books), Collection of Eric and Barbara Carle © Eric Carle my big toe in the ocean. It was a straightforward counting book with pictures of animals. After Ann looked it over, she suggested that I somehow make the book unique and extraordinary so that it wasn’t just a conventional counting book. 'You can do it!' she added. And that was all she said. I went home and worked on the book, adding the train that runs along the bottom of each page. This was an important lesson for me—to always add something special to each book, to have something extra. Soon afterward, to my surprise and delight, I received a contract in the mail for , , to the Zoo. Encouraged, I submitted another story to Ann about a green worm that had eaten holes through apples, pears, and chocolate cake. This was the original version of The Very Hungry Caterpillar.

SF: Words can do so much to enhance what we see in a work of art, especially when telling a story. But words can also limit how we see by making things, well, too literal. How do you combine words and images so that language doesn’t inhibit the picture’s Eric Carle, Illustration for The Secret Birthday Message (HarperCollins), ability to inspire wonder? Collection of Eric and Barbara Carle © , Eric Carle EC: To me, pictures need writing and writing needs pictures. A minds. Do you have any advice for those young artists who are child once called me a picture writer, and that’s a good way to just getting started? describe me. There’s a quote that comes to mind from Leonardo da Vinci: 'The more minutely you describe, the more you will confuse EC: When I am asked for advice I always want to encourage, but the mind of the reader and the more you will prevent him from a I can only say how I do it. I can only o er the example of my own knowledge of the thing described.' approach and experience, and my way is just one approach. But I think you do need to just do it. Draw and imagine, write, and paint. SF: You’ve talked about your books as bridges that help connect Just begin. Also, sometimes children will write to me and ask if I ever people to new experiences in their lives like when kids leave home make mistakes when I’m creating illustrations. There are no mistakes, for school for the rst time. They are also bridges that help people I explain. It is all useful in some way—all a part of the creative process. connect with each other like when parents and children read your books together. Why is art especially good for this? SF: When you rst started your book career, did you imagine your work would be seen and loved by so many? How does it feel to know EC: I do believe that all kinds of art—literature, theater, dance, you have touched and transformed so many people’s lives? music, and poetry—ennoble humankind. All of the arts are so important for all people no matter their age. It is our common EC: I had no idea, and it is truly a great honor and joy for me. From humanity. the bottom of my heart, thank you to all.

SF: Though everyone can enjoy the exhibition, the show will Eric Carle: Moonlit Nights & Other Illustrations is organized by The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts. be especially geared toward families and young visitors with The Chrysler Museum of Art presentation is made possible by Wells Fargo. lots of hands-on creative activities to wind up people’s creative

| Maizelle: Celebrate Me Home On view at the Willoughby-Baylor House Maizelle

An Artistic Documentary of Norfolk’s African American Community

aizelle’s vibrant works are lled with In addition to moments and places in MNorfolk history. She uses her artistic history, Maizelle uses art to record the cast of practice to create a visual record of the city’s characters she remembers from her childhood. African American population and the places Among them are street peddlers who used they loved. “At a young age, I decided to forever pushcarts to collect discarded items for sale record—through the medium of art—the and fruit and vegetable vendors who sold history, lifestyles, and struggles of the storied their wares to passersby. She also presents past of my beloved community, Norfolk,” musicians, men and women attending church Maizelle said. She also conveys experiences services, and couples and families relaxing of African Americans in the South and across at home. Though viewers may not know the the country. The Chrysler Museum presents individuals in the paintings, they may recall Maizelle’s imagery in Celebrate Me Home at the similar people and moments such as elders historic Willoughby-Baylor House. playing games with their friends or children As a lifelong Norfolk resident, Maizelle dressed up for holidays. “The underlying thread witnessed the development of the city and its changing throughout my work is the treatment of my subjects with love, neighborhoods and community members. She recalls a time dignity, and respect,” Maizelle said. when Church Street was lined with businesses owned by blacks Her art is not limited to painting. The exhibition highlights as well as whites, including nightclubs, restaurants, banks, and several textile works, including an antique yo-yo quilt and two shops. In Night at The Attucks Theatre, Maizelle presents the ber wall hangings. These objects composed of scraps of cloth iconic venue, also known as the Booker T. Theatre, which still sits highlight the crucial legacy of the quilting tradition within the on Church Street today and is celebrating its th anniversary African American community. Quilting was a practical way of this year. Designed by African American architect Harvey protecting one’s family but also a form of creative expression and Johnson, the historic landmark was known as “the Apollo of another way to record history. Her works also allude to the even the South” for bringing headlining African American performers longer history of weaving in numerous West African cultures, one to Hampton Roads. that is still ongoing. “Through my documentary pieces, I have In one series, Maizelle celebrates the history of laborers who helped to dispel the contention that blacks had no history and helped create the Norfolk Botanical Garden. As a part of a Works culture and anything they produced would not be considered Progress Administration (WPA) project that started in , the art—certainly not ne art,” Maizelle said. original garden was cleared by a group of African American She has spent much of her life ensuring that the knowledge men and women. Laboring from dusk until dawn, the workers she gained from her elders is passed down. Celebrate Me Home prepared the once swampy area for new plants and owers. The is an opportunity to not only pay homage to a local treasure Norfolk Botanical Garden still remains and is a widely visited but to read from a living library and pass history and wisdom attraction. A statue sculpted by Kathleen Farrell commemorates to future generations. those early workers, and Maizelle’s Garden Club WPA is on view - Kimberli Gant, PhD, in the Norfolk Botanical Garden’s Baker Hall Visitor Center. McKinnon Curator of Modern & Contemporary Art Above: Maizelle, Night at The Attucks Theatre,

EXHIBITIONS

Opposite page: Maizelle, Mary Jane Girls, Above: Maizelle, Night at The Attucks Theatre,

Emerge | Evolve: Rising Talents in Kilnformed Glass Closing July , EmergeEvolve A Spotlight on KILNFORMED GLASS

he working properties and aesthetic qualities spotlight on the variety of visual e ects achievable of glass make it a highly alluring material in the art of kiln glass. EMERGE presents the Tfor artists. Glassblowing, the technique of winning and honorable-mention artworks of an inating hot glass at the end of a metal pipe, is international, juried competition that Bullseye Glass perhaps more familiar to a modern audience, but Co. of Portland, Oregon sponsors biennially. EVOLVE forming glass objects within a kiln using heat and includes a selection of former EMERGE winners who gravity is a far older process and more diverse in have continued to push the boundaries of their own its possibilities. Some of the earliest glass vessels artistic practice in the medium. were made by slumping, softening a disk of at The artworks on view are all made using glass over a convex mold in a kiln to create a bowl- heat and gravity to shape glass within a kiln—a like shape. Today, kiln glass can range from simple special, high-temperature oven. Although the bowls and platters to cast sculptures, painterly precise working methods of the artists may vary panels, and even architectural installations. immensely, their creative practice typically involves EMERGE | EVOLVE: Rising Talents in Kilnformed several steps and multiple rings in a kiln at di erent Glass is a traveling, two-part exhibition that shines a temperatures ranging from –° F. This allows LEFT: Saman Kalantari, Still Life, EXHIBITIONS

frit (granulated glass) with a binder. Artists apply the resulting paste in layers to the inner surface of a ceramic mold and re it in a kiln until the glass particles partially fuse together. The method attained a very high artistic level during the Art Nouveau era and was employed by artists like Gabriel Argy-Rousseau, Amalric Walter, and Émile Gallé, all of whom are represented in the Chrysler Museum’s permanent collection. Kalantari focuses on the tactile qualities and textural surface e ects of fusing powdered glass into three-dimensional forms, but his is a revolutionary take on traditional pâte de verre. Rather than coating a Jade Tapson, Scale II, convex ceramic mold with glass paste, the artist brushes a thin layer of binder and sprinkles frit to cover the outer surface of a form made of paper. The paper burns away in the kiln. The resulting glass object is also paper-thin. Just as his work presents a subtle twist on technique, so too does Kalantari put a new spin on the traditional Still Life genre. As in seventeenth-century Dutch paintings of this type, Kalantari’s Still Life presents an artful arrangement of inanimate objects for the viewer to consider. There is also a hidden meaning in his presentation. He uses glass “to explain the consistency, fragility, the artists to explore and realize the potential of mortality, and subtleness of human beings, life, and the material. nature.” The departure, however, is that the paper- EMERGE | EVOLVE is so compelling because it thin, partially-fused glass objects could never be shows a new cohort of artists experimenting with used as a real plate, bowl, or jug. The work dees the methods of kiln glass, taking the medium to the normal encounter one may have with a group new heights of technical innovation and artistic of glass objects and instead explores the materiality vision. The EMERGE gold-medal winning of glass by drawing heightened attention to its artwork, Still Life by Saman Kalantari, is a superb physical consistency and fragility. It is just this example of this. He began his career in Iran as a combination of technical, aesthetic, and conceptual ceramic artist and discovered glass in after possibility that makes kilnformed glass such rich immigrating to Italy. Kalantari works in pâte de verre, and exciting territory for artists to explore. a kilnformed method that is easily recognized by its EMERGE | EVOLVE is organized by Bullseye Glass sugary texture and soft gradations of coloration. The Co., Portland, Oregon. process was developed by French artist Henry Cros - Carolyn Swan Needell, PhD, in the s and traditionally involves combining Carolyn and Richard Barry Curator of Glass

| Giovanni Francesco Romanelli, Allegory of Fame, ca. 1646–1648, On loan from a private charitable foundation ON VIEW

A Brush with Old Masters

he European Renaissance and Baroque Galleries at the TChrysler Museum have been enriched by a one-year loan of ten paintings from a generous anonymous collector. All of the works were selected to engage with pieces in the Chrysler collection. The earliest painting in the group is Madonna and Child by early Netherlandish master Jan Gossaert. The work is installed next to the Chrysler’s slightly earlier version by the same artist. Gossaert worked for Philip of Burgundy in Middleberg between Antwerp and Amsterdam. Only about sixty astonishingly intricate works by his hand survive. This reunion of the two paintings for the rst time since the Renaissance is especially fortunate. The compositions share the dazzling realism, bright color, and agrantly mannered style for which Gossaert was famous, yet they di er in design. One is set in a church while the other is set Much larger and more dramatic in a home. In one, the Virgin is in red; the other depicts her in blue. is the version by Jusepe de Ribera, The most dramatic of the works is the boldly colored Allegory a Spanish painter who worked in of Fame made by Italian artist Giovanni Francesco Romanelli Naples, Italy and was highly inuenced during a trip to Paris between –. He painted for Cardinal by Caravaggio’s dark, dramatically Jules Mazarin, who was also the minister of France. The oce was lit paintings that were installed in entrusted to him by the regent, Anne of Austria. The painting was churches there. Ribera’s Jerome is made to decorate his residence, the Hôtel de Chevry-Tubeuf. Today, prayerfully sorrowful for his decadent his former residence is a part of the National Library of France. The life and the many sins he committed. winged gure of fame carried the symbols described in Cesare The haggard, emaciated saint is Ripa’s Iconologia, the most popular symbol book artists used at wrapped in a red mantle, the robe of a the time. The two-starred coat of arms and cardinal’s hat as well Cardinal of the church. He holds a scroll, ABOVE: Jusepe de Ribera, as the order of malta refer to Mazarin’s own fame. Fame trumpets presumably the text of the Vulgate or Saint Jerome, s, her message, acclaiming the Cardinal’s achievements and status. Latin Bible, he produced. A skull, a On loan from a private charitable foundation The loaned works also include three di erent paintings of reminder of death and his ultimate end, Saint Jerome, an early Christian gure who was especially admired and a crucix are nearby to help him TOP IMAGE: Louis Le Nain, Saint Jerome, or , and frequently painted in the s. After the contentious focus on his meditations. Visitors will also nd important On loan from a private Reformation, Christians looked again at the heroic saints of the charitable foundation early Church. The image by Louis Le Nain is of exceptional clarity paintings by Anthony van Dyck, Jan and simplicity and is the only signed work by this master. His Brueghel, Anne-Louis Girodet, and brother, Mathieu, painted a portrait in the Chrysler’s collection. Frans Pourbus. The works are on loan Saint Jerome lived in the s and spent much of his life nearly from a private charitable foundation naked in the desert to concentrate on his prayer and studies. and will be on view through October . He was also famous for having translated the New Testament – Lloyd DeWitt, PhD, of the Christian Bible from Greek to Latin, which made it more Chief Curator and Irene Leache accessible. Louis Le Nain shows Jerome as a translator who is Curator of European Art busy reading the Bible.

| OUR COLLECTION

A Fresh Take on Porcelain

he Chrysler Museum of Art reopened its of their collection of Worcester porcelain, Tporcelain gallery this winter to present assembled over more than forty years, to the a fresh take on the Hofheimer Collection of City of Norfolk in . The city entrusted the care Worcester porcelain. Nearly objects produced by this and display of the Hofheimer Collection to the Chrysler innovative English manufactory are on view, including marvelous Museum as a long-term loan. examples of tea services, dining ware, and decorative objects in A major goal for the Chrysler’s reinstallation project is to a variety of colors and designs. Sparkling new glass display cases highlight reasons for the success of the Worcester Porcelain and a brighter gallery color scheme complement the elegance Manufactory, founded approximately miles northwest of and signicance of the collection, which largely dates to the First London in . During a time of high competition among English Period of production from –. The porcelain is grouped porcelain manufacturers, Worcester stood out and ourished thematically to engage visitors in an exploration of the history, thanks to the high quality and inventiveness of its wares. The design, and use of these objects. company used steatite to create soft-paste porcelain that was Elise Nusbaum Hofheimer (–) and Henry Clay stronger and more durable than other local products and used Hofheimer, II (–) were born in Norfolk and called this city a harder and thinner glaze that was less prone to developing their home for many decades. The couple’s lifelong commitment ne lines on the surface. Worcester’s innovative designs often to the Hampton Roads community is reected by the donation borrowed concepts or imagery from East Asia and Continental Europe but gave them an English twist to create entirely new products Worcester’s innovative designs often that could not be obtained anywhere else. In addition to its quality borrowed concepts or imagery from East Asia and variety of design, Worcester and Continental Europe but gave them an porcelain was readily available at a low cost, making it appealing to a English twist to create entirely new products. wide range of English consumers. Each of the six display cases in the gallery represents a di erent theme. One case highlights how each object’s shape is closely linked to how it was used. Porcelain is a material that is both familiar and foreign to many people. Some objects resemble things that are in use today, but how many people still use a sweet-meat dish or an asparagus server? This begs Departure Point Films, Recreating a Worcester Teapot, the social and cultural question of why not? The new display encourages our visitors to consider the objects in this way. A nearby case invites viewers to compare the visual e ects of the To further the goal of bringing these beautiful objects to life two major methods of decorating porcelain, painting by hand in an engaging way, the Chrysler Museum also commissioned and printing with a transferred design. Because many of the an educational video in which Richmond-based ceramic artist A. designs depicting people are unfamiliar to a modern American Blair Clemo recreates a teapot from the collection. The Hofheimer viewer, a third case points out the famous people and favorite teapot that was the inspiration for the project, with its popular motifs of the eighteenth-century English consumer. Yet another blue and white “cannonball” pattern, sits proudly in a display case underscores the close connection of the production of case nearby. porcelain in England with an upswing in the cultural practice of – Carolyn Swan Needell, PhD, drinking tea. The nal two display cases explore the decoration Carolyn and Richard Barry Curator of Glass that made Worcester porcelain so famous and appealing, namely the company’s innovative adaptation of Chinese, Japanese, OPPOSITE PAGE: Teapot and Cover, “Cannonball” Pattern, ca. , French, and German patterns and designs. On loan from the City of Norfolk, Gift of Elise & Henry Clay Hofheimer, II

| Bruce Davidson: Deep Dive

Bruce Davidson, Subway, ast year, the Chrysler Museum received Born in the Chicago suburbs in , Davidson New York City, , Gift of Lphotographs by Bruce Davidson, one of the most took up photography when he was ten years old. an anonymous donor signicant visual storytellers of the late twentieth As a teenager, he apprenticed with a local news © Bruce Davidson century. The incredible gift represents the full photographer who taught him the trade. After span of Davidson’s photographic career, including studying photography at the Rochester Institute his searching series on Jimmy Armstrong, of Technology, he took courses at Yale University, the “Little Man” of the Clyde Beatty Circus; his where he made a photo essay on the school’s famed haunting color photographs of the gritty New football players that appeared in Life magazine in York City subway from ; his powerful images . Rather than producing heroic images of Yale’s of the Civil Rights Movement; and his recent series star athletes on the eld, Davidson focused on the on the presence of nature in urban Los Angeles. players’ emotional turmoil and physical exhaustion The enormous group is a valuable addition to the on the sidelines and in the locker room. His ability to Museum’s deep holdings of twentieth-century expose his subjects’ complex inner feelings set his photojournalism and documentary photography. work apart from media images that tended toward Bruce Davidson: Deep Dive

spectacle, exaggeration, and simplication. His OUR COLLECTION sensitivity to lived experience and his unagging respect for his subjects dened his work for his entire career. When he was drafted into the Army and stationed outside of Paris, he connected with photographer Henri Cartier-Bresson, a co-founder of Magnum Photos. As one of the rst photo agencies cooperatively owned by its photographers, Bruce Davidson, Magnum was committed to encouraging each The Dwarf, Jimmy Armstrong, Palisades, artist’s individual style and a humanistic mode New Jersey, , Gift of of visual storytelling. At twenty-four years old, an anonymous donor Davidson joined the group as its youngest member. © Bruce Davidson Upon returning to the States, he made his now- iconic series at the Clyde Beatty Circus that focused on Jimmy Armstrong’s isolation and fundamental humanity. The following year, he produced work Bruce Davidson, Arrest on a gang of teenagers in Brooklyn. Rather than of a Demonstrator, sensationalizing their illicit behavior, he depicted Birmingham, , Gift of them simply and sympathetically as teenagers. an anonymous donor After a New York Times assignment on the Freedom © Bruce Davidson Riders, Davidson committed himself to making images about poverty in America and the Civil Rights Movement in both the North and the South. A Guggenheim Fellowship Davidson’s incisive yet sympathetic look at the in supported this work and led to wide recognition and richness and diversity of the twentieth century exhibitions at The Museum of Modern Art. In , he received focuses new attention on how photojournalists a grant from the National not only document the past but also create it Endowment for the Arts, the rst ever awarded to a photographer. through their own representations. He continued his focus on poverty in the s, producing a series on the residents of East th Street in stories. Davidson’s incisive yet sympathetic look at Harlem, a site to which he returned in the s to the richness and diversity of the twentieth century depict the e ects of urban renewal. focuses new attention on how photojournalists not The Chrysler collection has long included only document the past but also create it through signicant holdings of documentary photographs. their own representations. Selections from the Works by artists like Larry Clark, Roy DeCarava, collection will go on view in a special exhibition Elliott Erwitt, Benedict J. Fernandez, Bob Lerner, in early . Danny Lyon, W. Eugene Smith, Louis Stettner, –Seth Feman, PhD, and Ernest C. Withers tell rich stories about the Deputy Director for Art & Interpretation events and people of the twentieth century. The and Curator of Photography large and transformative gift of Bruce Davidson’s photographs adds many new dimensions to these

| From the Pages of the Chrysler’s Oldest Book: Palladio’s Battle Illustrations

he Jean Outland Chrysler Library holds a great number of all those who came after them.” Caesar was largely credited— Trare books. This fall, the oldest book in the Chrysler’s library, a or blamed—for turning the Roman republic into an empire rst-edition work illustrated by Andrea Palladio, will be featured by colonizing neighboring territories, making extensive use of in Thomas Jeerson, Architect: Palladian Models, Democratic technology and fortications to do so. The rst-century ancient Principles, and the Conict of Ideals. Roman emperor was thus a positive and negative example to Published in , Palladio's edition of Julius Caesar's later generations. Caesar's straightforward writings on wars I Commentari di C. Giulio Cesare (The Commentaries of C. Givlio also served young pupils as a primer in the Latin language for Cesare) will appear in the exhibition with several editions of educated people like Thomas Je erson as well as those in many Palladio’s Four Books of Architecture, rst published in . generations before and after him. These texts, together with the Palladio’s Commentari is an Italian-language edition of Caesar’s classical education of Je erson and his fellow founding fathers, discussion of nearly all Roman battles up to his own day. Palladio heavily informed the debates about republicanism, colonization, was the rst artist to undertake a complete set of illustrations of imperialism, and slavery. those battles, which made the book much more vivid and useful Thomas Je erson, Architect: Palladian Models, Democratic to military leaders and the public alike. Principles, and the Conict of Ideals opens October . Such a book was an unusual project for the immensely The Jean Outland Chrysler Library is a premier resource for successful architect and author, who previously had not artists, historians, scholars, and students. Visit by appointment concerned himself with military planning and fortications for only. For more information, call --. which architects were often hired. In his introduction to this – Lloyd DeWitt, PhD, book, Palladio explains that he published it because in warfare, Chief Curator and Irene Leache Curator of European Art as in architecture, “…the ancient Romans had gone far beyond

Above: Julius Caesar, Illustrated by Andrea Palladio, I Commentari di C. Giulio Cesare, Venice, , Rare Books Collection, Jean Outland Chrysler Library OUR COLLECTION

Glass to Capture the Sky

ight has always fascinated artists. Claude Monet’s glass during the cooling process, reflect Lintensive study of the phenomena of light and and scatter light. Depending upon the color resulted in more than three dozen canvases of thickness of the glass and how light interacts Rouen Cathedral, each painted at a different time of with it, the precise glass color that a viewer day or under different climatic conditions. Monet’s perceives will change. The hues of Passage real subject was not the cathedral, of course, but 7 appear most saturated at the sculpture’s rather the changing qualities of light upon the thick edges and become increasingly pale cathedral doorway. Similarly, the atmospheric as the eye travels along the thinning glass. The Mark Peiser, Passage 7, effects of light-scattering phenomena, like sunsets glass may look blue, violet, rose, or even amber 2015, Museum purchase and rainbows, are the focus of the solid cast glass depending on the light. with funds provided by Pat and Doug Perry, Jim sculpture Passage 7, a recent work made by Studio Over the course of his fifty-year career, Peiser Hixon, Penny and Peter Glass pioneer Mark Peiser. has filled notebooks with sketches of pieces that Meredith, Carolyn and Dick Thanks to the generous support of eighteen were never made because he didn’t have the Barry, Joan Brock, Jeffrey Museum Members, Passage 7 was added to the right tools or materials. “The pieces I envision and Scherry Johnson, Anne Corso and Timothy Griffith, Chrysler Museum’s permanent collection last year. emerge from my imaginings, not the knowns of Linda Kaufman in honor The graceful, asymmetrical arched form is meant glassworking; and more often than not, it’s the of Lisa S. and Dudley B. to evoke solar flares and the aurora borealis. Sky technology that frustrates my work, not my hand or Anderson, Amy and Kirk imagery, however, is just one aspect of the artwork. my eyes,” he said. The invention of his opal glasses, Levy, Harry T. Lester, and Virginia and John Hitch Peiser is known for inventing new glasses and however, has unquestionably allowed Peiser to working processes to realize his artistic visions. realize his quest to capture the transparency and For Passage 7, he uses a uniquely-formulated luminosity of the sky. opal glass for atmospheric coloration effects that — Carolyn Swan Needell, PhD, Carolyn and are impossible to achieve with other glasses. Richard Barry Curator of Glass Microscopic particles, which formed within the

20 | 21 useums are vibrant community Introduced by urban sociologist Ray Oldenburg, a person’s third place is one that comes behind home places that house our collective (the rst place) and work (the second place). Third history and culture. They bridge the past and places are venues where people come together to the future and help us understand and thrive share common activities or interests, relax, exchange ideas, build relationships, or simply have fun. in our current world. They are also special They are places where people can be themselves, places where people nd creativity, joy, and grow as individuals, help others grow, and leave comfort. For many, Museums are a third place. fullled. For some, these venues are safe places to visit alone when they feel frustrated, angry, or sad. For others, that third place is somewhere to grow closer to family and friends. It’s a home away from home. The Chrysler Museum is a third place for many people – a sanctuary, community center, and space for spiritual enlightenment and self-discovery. " The Chrysler Museum awakens something in the soul." –Gary Koda

A Place to nwind A Place for eace Jon McNamee lives on the other side of the country but has When Gary Koda visits the Chrysler Museum, beautiful music taken nearly every class at the Chrysler Museum's Perry Glass ows throughout the galleries and into Huber Court. It comes Studio. When work brings him from San Diego to Norfolk for from the nineteenth-century Érard piano in one of the Chrysler weeks and months at a time, the Perry Glass Studio is one of his Museum’s second oor galleries. The piano needs to be played favorite places to visit. “My work is very stressful, so it’s a release by skilled musicians to remain healthy, and Koda makes sure the to visit the Studio. It’s very relaxing,” he said. piano stays in great shape. The self-taught musician doesn’t own McNamee found his appreciation for art later in life. During a piano, so the Museum is the only place where he can practice. a visit to Norfolk several years ago, he discovered the Chrysler “The Chrysler Museum awakens something in the soul,” he said. Museum. “I enjoy the layout, the varied collection, and the “It’s welcoming to everyone, even those who don’t yet know how changing exhibitions,” he said. to appreciate art or those who can’t a ord an admission charge.” During a long stay in the city, McNamee took his rst class While the sound is lovely, this music means much more. Koda at the Glass Studio, Introduction to Glassblowing. By the end of su ers with depression and sometimes has trouble expressing that class, he was hooked. Now when he travels to Norfolk several his emotions. “I discovered that music is very therapeutic for times a year, he tries to take at least one class during each visit. me. The repetitive nature of the music is comforting, and I love “I took a glass class in another location last year, and although I hearing the strings and being enveloped by the sound,” he said. enjoyed it, nothing compares to the Chrysler,” he said. Koda describes the Museum as a haven. In the past, he Of all of the classes, his favorite is Mug Club. It’s a small struggled to nd a way to vent his frustrations. He is happy class that encourages participants to glean inspiration from the to have found a healthy outlet that uses his body and mind Chrysler’s collection of historic beer steins to engrave their own and appreciates a place like the Chrysler where the community mug. The one-day class ends with a private tour of O’Connor can converge. Brewing Company. McNamee nds that part especially enjoyable. “This class allows for a lot of one-on-one time, and you can take your creation home that day instead of leaving it behind to cool in the kiln,” he said. “ My work is very stressful, so McNamee is always excited to spend time at the Perry Glass it’s a release to visit the Studio. Studio and especially enjoys his interaction with the artists and sta there. “When I arrive for each class, I am greeted by name It’s very relaxing." by the entire Studio team. They are all glad to have me back in town, and it’s not just because I sometimes bring donuts,” he –Jon McNamee said. McNamee looks forward to returning to the Studio several times this year to take more classes and add to his collection of handmade objects.

| A Place of nlightenment Zachary Tabor grew up in Hampton Roads but rediscovered the Chrysler Museum when he moved back to the area from Minnesota a few years ago. Upon his return, he contacted Bill Brenner, his former philosophy professor at Old Dominion University. The two started meeting once a week at the Museum to discuss philosophy. Once a week turned into twice a week and the pair has been a regular sight in Huber Court for years. “Our discussions are like an ongoing graduate philosophy seminar. It is something I care about, and I want it to be a part of my life. I work very hard to make it a priority,” Tabor said. While these discussions could happen anywhere, Tabor says the Chrysler Museum is both comfortable and inspiring. “You couldn’t ask for a more beautiful place—a place dedicated to art and humanities. We are in a space that is dedicated to the reection on human life and experience,” he said. In addition to the “ We are in a space that is dedicated to the ve hours a week the two spend in Huber Court, reection on human life and experience.” Tabor also nds time to –Zachary Tabor explore the galleries. He always sees something new, exciting, and fascinating. “Studying philosophy is similar to art in that we are standing back observing the human condition and reecting on it,” he said. PHOTO BY ECHARD WHEELER PHOTOGRAPHY

A Place for all Occasions Whether Rowena Finn is planning family time, looking for a place to teach her students, or in search of some alone time, the Chrysler Museum has her covered. “One of the reasons that the Chrysler is my favorite art museum is that it’s not so big that you can’t see everything in one day. The sta is always helpful, and it’s not an intimidating place to come,” Finn said. She frequently visits the Museum with her three children. Her three- and ve-year-old daughters enjoy visiting the Wonder Studio to draw and play and are also happy to explore the galleries. “Their favorite area of the Museum is the glass galleries, which are full of sparkly and colorful objects. They enjoy looking at the walls of glass and choosing their favorite objects,” Finn said. Her twelve-year-old son loves art and history and enjoys discovering new things. He even takes classes at the Museum. “ For me, the Museum is the Finn also visits the Chrysler without her children. She teaches classical drawing classes for teenagers and adults using the perfect place to spend quiet time.” techniques of the Old Masters. As part of their course, she brings –Rowena Finn them to the Museum to draw from the statues. When Finn has free time, she nds herself back at the Chrysler. “For me, the Museum is the perfect place to spend quiet time,” she said. PHOTOGRAPHY

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PHOTO HT YWL IGPHOTOGRAPHY KING WILL BY PHOTO A Place for amily Felicia Isaac always thought she would have a small, simple wedding. The grand staircase in the Chrysler Museum’s Huber Court changed her mind. She rst saw it while scrolling through photos on the internet. “It was breathtaking. It was even more beautiful after I saw it in person, and it was at that moment that I knew no other venue could compete,” Isaac said. After seeing the art on view, Isaac along with her ancé and parents agreed that the Chrysler was the perfect place to exchange vows and start a new journey together. With Mary Collins, the Chrysler’s Special Events Manager, by their side, the Isaacs had the perfect wedding day at the Museum and even treated their guests to a demonstration at the Glass Studio between the ceremony and reception. “The Chrysler Museum made our wedding incredibly special,” Isaac said. “ The Museum will always Since that extraordinary day, Isaac has been waiting for the perfect occasion to return to the Museum for a memorable be a signicant place for our moment. That opportunity came last year for the family’s family because that’s where Wakanda-themed Christmas photoshoot inspired by the lm Black Panther. “We thought there was no better place that it all started.” embodied the beauty of Wakanda than the Chrysler Museum, and even luckier for us, the Museum had African art on display. –Felicia Isaac It was perfect!” Isaac said. Coincidentally, they were greeted by Collins before their photoshoot. “She reminded us of how special the Chrysler Museum was on our wedding day,” Isaac said. “The Museum will always be a signicant place for our family because that’s where it all started.” | AROUND CAMPUS share the excitement – Docent Mieko Ishibashi Mieko Docent – of new discoveries new of "It is such ajoy to encounter arts in in encounter arts whenever you you whenever front you." of I Maureen Harms was an English teacher and also members,service and others. Before retirement, military medical providers,professionals, business Chrysler’s Docent Council. organization,” saidGayle Nichols, president ofthe group bringsnewenergy to andperspective the tour memorable. diversity withinthedocent “The previous experiences and love make each for art provide tailored tours for Museumvisitors. Their docents whoenthusiastically than seventy Chrysler and again in . Today, Kitchin isamong more Museumin andtheChrysler returning to Norfolk asadocent atand served othermuseumsbefore Hampton t. in Roads Sheleft was theperfect teacher,League. history As ahighschoolart therole fulll a volunteer requirement for the Junior Commitment to the Chrysler: The Museum’sThe Docents at the Norfolk Museum of Arts and Sciences to andSciences MuseumofArts at theNorfolk n themid-s, Virginia Kitchin becameadocent The Museum’s docents includeretired educators, program for rst graders from Title I schools and are calleduponto lead, especiallytheSAPLINGS he said. “I enjoy ofthetours thevariety that we has enrichedmy life beyond my expectations,” States andcommercial Navy airlines. adocent “Being more thanfour decadesasapilotfor boththeUnited of somethingcompletely di erent spending after in search , heturned to In the Chrysler Gaenslen. for Carl iswonderful ofvolunteerkind opportunity , volunteer hours to theMuseumannually. This Alphabet Tour, andseveral others. Docents devote ofGlass, andScience Egypt andChina, History year. Specialized tours includeAncient Worlds, learning isajoy.” docent program. Learning isfun,andsharingthat classes,” shesaid. Iappliedto theChrysler’s“Then “I usedretirement’s history oftimeto gift take art sold oce furniture to government organizations.

Docents lead approximately , tours each PHOTOGRAPHY

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Commitment to the Chrysler: the Peers and Partners program for people with Becky Livas, who made local television history ABOVE: Docents Virginia Alzheimer’s disease and their caregivers,” he said. in the s as the area’s rst African American Kitchin, Carl Gaenslen, and Becky Livas Serving the needs of various groups is among female news reporter, grew up in Hampton Roads The Museum’s Docents the lessons learned by prospective docents during and recalls a time when she believed the Chrysler an intensive, nine-month training program. wasn’t a welcoming place for people of color. She Curators, seasoned docents, and other experts later visited the Museum regularly and found it provide information about the Chrysler collection, to be a wonderful place for all people to admire Standards of Learning criteria for school tours, the beauty of art, learn about history, and develop group engagement, touring techniques, and more. valuable perspectives of the world. Today, she is “Docents engage their groups in conversation; committed to dispelling any myths people may have help them understand the art they are seeing; and about the inclusiveness of the Chrysler Museum. present a variety of themes, ideas, and artistic works “Because I believe that a museum should belong and styles based on the requests of the visitors or to the whole community and inspire everyone from their own interests,” Nichols said. all economic and social backgrounds, I decided I Visitors span from toddlers and preschoolers should be part of the solution to make the Museum who participate in Tickle My Ears programs to curious feel in touch with the entire community,” she said. elementary school students, inquisitive teenagers, The Chrysler Museum of Art will welcome and adult groups with interest in specic artists and its next class of docents in September. For more time periods. “It is such a joy to share the excitement information, please contact Ruth Sanchez, of new discoveries whenever you encounter arts in Docent/Tour Coordinator, at -- or front of you. Giving tours to elementary students [email protected]. or to anyone regardless of age is also such a special moment of experiencing art together,” said Docent Mieko Ishibashi.

| Art Travel

Vacation with fellow Chrysler Museum Members, and see some of the most exquisite art destinations in the world. Itineraries include exclusive tours, amazing excursions, and opportunities to explore the unique destinations on your own.

MEMBERS & PATRONS MEMBERS & Thomas Je erson’s Monticello & Barboursville Vineyards, Charlottesville, VA | September Before the opening of Thomas Jeerson, Architect: Palladian Models, DB TC PHOTO STOCK ADOBE Democratic Principles, and the Conict of Ideals this fall, join Museum Director Erik Neil for a day at Thomas Je erson’s Monticello and wine tasting at Barboursville Vineyards. The bus trip is open to all Museum Members. Register by July .

Passage Along the Danube River: Vienna to the Black Sea | October –, Explore seven countries in the enchanting eastern Danube River Valley. Spend nine nights aboard the exclusively chartered Amadeus Queen. Visit medieval cities, charming villages, and rugged countryside, and spend two nights in Bucharest. Vienna Pre-Program and Transylvania Post-Program options are available. The trip is open to all Museum Members. Register by July . Conserving the Penland and Asheville, North Carolina October –, Join us for an adventure down South with Carolyn Swan Needell, Chrysler Collection PhD, the Chrysler Museum's Carolyn and Richard Barry Curator of Glass. Explore the studios of artists working in modern craft his spring, the Chrysler Museum received a and studio glass, discover the rich history and legacy of the area, Tgrant from The Sherman Fairchild Foundation and meet artist Mark Peiser. His hot cast glass work Passage was to conserve several objects in the permanent added to the Chrysler’s permanent collection last year through collection. The grant was awarded after extensive the generosity of eighteen Museum Members. The two-night trip planning by the Museum’s conservation, curatorial, is open to Masterpiece Society Members. Register by August . and registration sta . Receipt of the grant is a true testament to the Museum’s reputation and Oberammergau Passion Play and Cruising the conservation program led by Mark Lewis. Over the Danube River | May –June , next three years, the Chrysler will use the grant ADOBE Experience a rare performance of the to conserve steel sculptures, daguerreotypes, a

STOCK extravagant Passion Play, performed for nineteenth-century photo album, and works by

PHOTO nearly four centuries and staged once Thomas Cole and Louis Comfort Ti any. a decade in storybook Oberammergau. The Neustadt Collection of Ti any Glass in Enjoy a ve-night, deluxe cruise along New York will provide original Ti any replacement the Danube River, spend two nights glass to restore Woman in a Pergola with Wisteria each in the Bavarian Alps and Munich, and visit four countries. and While Shepherds Watched Their Flocks at Night. Budapest Pre-Program and Munich Post-Program options are Both serve as the centerpieces of the Museum’s available. This trip is open to all Museum Members. Register by glass gallery. Over the years, the exceptional February , . examples of stained glass art have deteriorated in places. There is also damaged lead, cracks, and For more information about booking your Chrysler vacation, a prominent fracture. contact the Development Department at --. Visitors will be able to witness the conservation PHOTO

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The Chrysler will also conserve thirty-six rare daguerreotypes, a gift from local collectors and Museum supporters Christina and Dr. George M. Kemp. Assembled over the past thirty years, the collection includes photographs of Corbin Drummond Fletcher, MD; Colonel George Wythe Munford; and Peter Tinsley, who served as a chaplain in the Army of Northern Virginia. The images are captured on a polished silver surface that must be sealed to safeguard them ABOVE: Ti any Studios, from tarnish, a task originally accomplished by Woman in a Pergola with Wisteria, ca. , Gift of securing the image behind protective glass housed Walter P. Chrysler, Jr. in a hinged, tted case. The Chrysler will prevent TOP: Ti any Studios, corrosion and loss of the image by repairing the While Shepherds Watched daguerreotypes that have broken and degraded their Flocks at Night, ca. , seals. Many of the cases are damaged or missing Gift of William J. Feldstein, Jr. components that protect the metal plates, and a of Thomas Cole’s The Angel Appearing to the few are missing their cases entirely. Conserving the Shepherds in the Chrysler’s American galleries. A nineteenth-century photo album of more The eight-by-sixteen-foot work was previously than images is also among the objects to be on display at Boston Athenaeum and rolled for conserved. It was assembled by Irene Leache Chrysler Collection storage following a re. While unsupported in and Anna “Annie” Cogswell Wood, the two storage the canvas was attened, causing vertical women who laid the foundation for the Chrysler tears and creases. X-ray uorescence and infrared Museum. The album of professionally-produced reectography will help conservators analyze the albumen prints documents the women's nearly materials used on the work. It will also reveal the decade-long travels throughout Europe and the artist’s underdrawings and compositional changes. Middle East in the s and includes personally The nal results will be submitted for presentation annotated descriptions on each page. Although the at the American Institute for Conservation’s annual images in the album are in good condition for their meeting. Painted by America's rst great landscape age, acids in the pages are attacking them and painter and the founder of the Hudson River the adhesive used to mount the photographs School, the work was produced during the winter has become brittle. To preserve this fragile of – in New York and is one of Cole’s largest, artifact, a high-resolution digital earliest, and most ambitious attempts at historical image of each page must be landscape painting. made. Then conservators will The grant will also help restore Tony Rosenthal’s carefully detach the delicate albumen prints Big Six as well as Floor Kite XII by Jasha Green. The from the acidic paper; wash them to remove Cor-Ten steel sculptures grace the Museum lawn the adhesive, stains, and acid residues; and have su ered the e ects of corrosion, are reinforce the photographs with Japanese tissue weak at the joints, and require stabilization. Big paper; and mount them on archival paper. The ABOVE: Tony Rosenthal, Six was added to the collection in . Its mate, Chrysler plans to display the images in to mark Big Six, , Gift of Walter the th anniversary of the Irene Leache Memorial. P. Chrysler, Jr. © Tony Floor Kite XII, was installed outside of the Museum Rosenthal/Licensed by in . Repair and reinstallation of these works - Emily Zak, Artist Rights Society, onto concrete pads will enhance their visibility and Corporate and Foundation Relations Manager New York, NY prominence on the Museum’s campus.

| 1 2 3 GATHERINGS

1 4 Visiting Artist Series with Nancy Callan and Mel Douglas Douglas (left) and Callan (right) present free demonstrations at the Perry Glass Studio. Photo by Echard Wheeler Photography 2–3 Art Out Loud: Exposed (2) Brad McMurran from Push Comedy Theater entertains Museum visitors. (3) Visitors enjoy a performance by Nocte Covina Burlesque’s Isabel Astrum. Photos by Eleise Theuer Photography 4 Chaos and Awe Dance Performance 5 featuring Todd Rosenlieb Dance and 5 Virginia Ballet Theatre Dancers Daena Bortnick and Timothy Knoll perform in response to Chaos and Awe. Photo by Steven Ludwig 5 Governor’s School for the Arts Fashion Show Tatum Finn models Awesome Chaos by Piper Rasmussen. Photo by Eleise Theuer Photography 6–7 Family Day (6) Docent Barbara Higgins reads Life Doesn’t Frighten Me by Maya Angelou. (7) Visitors learn dance moves from Ubuntu Dance Collective. Photos by Alyssa Strackbein 6 7

Masterpiece Society (Patron Level and Above) Meet and Greet with Nancy Callan and Mel Douglas Photo by Robin Rogers – Fourth Annual Corporate Leadership Alliance Luncheon () From left to right: Don Winchester, Senior Vice President, Director of Wealth Management, Hampton Roads Region, PNC; Aubrey L. Layne, Jr., Virginia Secretary of Finance; Erik Neil, Museum Director; and Bob Sasser, Executive Chairman, Dollar Tree, Inc. ( ) (Left) Aubrey L. Layne, Jr., Virginia Secretary of Finance, and Dr. Amelia Ross-Hammond, Founder, African American Cultural Center of Virginia Beach Photos by Glenn Bashaw – Conversations with the Curators ( – ) Museum Members enjoy special gallery talks and behind-the-scenes tours with the Chrysler’s curators and conservator. ( ) Museum Members pose for a photo with Chrysler curators. From left to right: Lloyd DeWitt, Carol and David Baran, Jody Mattison, Linda Kaufman, Corey Piper, and Carolyn Swan Needell Photos by Alyssa Strackbein – Masterpiece and Director’s Circle Members’ Trip to Philadelphia, PA ( ) From left to right: Lelia Graham Webb, Sally Kellam, and Christy Hamlin visit the home of Jill and Sheldon Bonovitz, private collectors of outsider art. Photo by Caitlin Blomstrom ( ) Masterpiece Society and Director's Circle Members pose for a picture in the exhibition Rina Banerjee: Make Me a Summary of the World on view at the Pennsylvania Academy of the Fine Arts (PAFA). From left to right: Tom Hubbard, Christy Hamlin, Betty Willcox, Randy Webb, Helen Junkin, Tish Counselman, John Katsias, Lloyd DeWitt, Jodi Throckmorton, Sally Kellam, Staci Katsias, Gudi Stambuk, Caitlin Blomstrom, Lelia Graham Webb, and Janet Stuhleyer Photo by PAFA sta

| STAFF NOTES T and protect the city’s watershed. and work withtheElizabeth River Project to keep Downtown clean Norfolk Museum will continue toChrysler increase in its daily sustainability operations irrigation alsocontribute ofNorfolk’s to thesustainability watershed. The treatment and pollutant removal. on thegrounds Reduced fertilizer and timed Filterra lotsthat bioltration are unitsintheparking optimized for highvolume gallons ofwater from acondensate recovery system aswell aslow-ow and pounds oflitter. an assigned area inDowntown Norfolk. To date, the Team hascollected Adopt-A-Spot in quarterly clean-upparticipate days to remove litter from to work inorder to reduce waste, cleaningsupplies, useeco-friendly and conscious culture. sta membersbringtheirown reusable cups Chrysler negative onNorfolk’s impact watershed andcreate anenvironmentally- by Blair, HumanResources Mirna Manager hasworked to reduce theMuseum’s environmentally ,theChrysler’s sustainable. Since January Green Team, led Team Green Chrysler extraordinary e orts to reduce e orts toxins,extraordinary resources, conserve andbecome more the Chrysler Museum of Art with a One-Star Commitment Level withaOne-Star award MuseumofArt the Chrysler for he Elizabeth River Project’s River Star Business program recently recognized Stormwater improvements include porous concrete and in the courtyards The Museumhasalsorecycled .cubicyards ofwaste, recovered , LED lights alsohelptheMuseumsave energy. motionswitches andninety-one Forty-one system sensorsinworkspaces. withoccupancy installedanenergy-ecient HVACChrysler equivalent to onetree peryear. ,the In completely electronic payroll system. That’s , sheetsofpaper by transitioning to a automatic at xtures theMuseum, andsaved Cassie Rangel MurphyKathryn Damany King Colleen Higginbotham Dana Fuqua Brandon Finney Feman,Seth PhD PROMOTIONS NEW Graphics Manager Coordinator &Sta Instructor Glass Studio Program Building Mechanic Engineering Technician, Visitor Experience Director for Deputy Director for OperationsDeputy FellowNEH Conservation Curator ofPhotography &InterpretationArt and Director for Deputy

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Plan Your Visit – CREDITS PAGES –: Giovanni Francesco MUSEUM HOURS MEMBERSHIP BOARD OF TRUSTEES FRONT COVER: Eric Carle (American, Romanelli (Italian, – ), Allegory of Fame, ca. – , Tuesday–Saturday: Chrysler Magazine Lelia Graham Webb, Chair b. ), Illustration for Papa, a.m.– p.m. is produced for and Please Get the Moon for Me (Simon Oil on canvas, On loan from a private C. Arthur Rutter III, Vice Chair & Schuster), Collection of Eric and charitable foundation; Jusepe de Sunday: mailed to Chrysler Charlotte M. Minor, Secretary Barbara Carle © Eric Carle; Ribera (Spanish, – ), Saint noon– p.m. Museum Members Peter M. Meredith, Jr., Treasurer INSIDE FRONT COVER: Gilbert Stuart Jerome, s, Oil on canvas, On loan Third Thursday: as a benet of their Yvonne T. Allmond ( − ), Thomas Je erson (The from a private charitable foundation; Louis Le Nain (French, – ), a.m.– p.m. generous support. Dudley Anderson Medallion Portrait), , Grisaille, Oil and egg mixture on blue laid paper Saint Jerome, or , Oil To update or verify Kathleen Broderick on canvas, Harvard Art Museums/ on canvas, On loan from a private GLASS STUDIO HOURS your membership Harold J. Cobb Jr. Fogg Museum, Gift of Mrs. T. Jeerson charitable foundation; PAGES – : Tuesday–Saturday: information call Paul D. Fraim Newbold and family, in memory of Teapot and Cover, “Cannonball” Pattern, ca. , On loan from the a.m.– p.m. --. Christina L. Goode Thomas Jeerson Newbold, Class Sunday: of , . , Photo: Imaging City of Norfolk, Gift of Elise & Henry Edith G. Grandy Department © President and Fellows Clay Hofheimer, II; Recreating a noon– p.m. CHRYSLER CONNECTIONS Dianne Greene of Harvard College; Thomas Jeerson Worcester Teapot, , -minute Free glass demo at @CHRYSLERMUSEUM Virginia C. Hitch (American, − ), Monticello: video by Departure Point Films; PAGES noon Tuesday–Sunday James A. Hixon ionic portico and dome, recto, –: Bruce Davidson (American, b. probably , Coolidge Collection ), Subway, New York City, , Claus Ihlemann C-print, Gift of an anonymous donor HISTORIC HOUSES HOURS of Thomas Jeerson Manuscripts, Stay Updated! Linda H. Kaufman Massachusetts Historical Society, © Bruce Davidson, .. ; Bruce Saturday and Sunday Pamela C. Kloeppel N ;K; PAGE : Eric Carle (American, Davidson (American, b. ), The noon– p.m. Subscribe at Harry T. Lester b. ), Illustration for The Dwarf, Jimmy Armstrong, Palisades, chrysler.org New Jersey, , Gelatin silver print, Limited Accessibility Suzanne Mastracco Artist Who Painted a Blue Horse (Philomel Books), Collection of Eric Gift of an anonymous donor MOSES MYERS HOUSE Colin M. McKinnon and Barbara Carle © Eric Carle; © Bruce Davidson, .. ; Bruce E. Freemason Street, Deborah H. Painter Bruce Davidson (American, b. ), Davidson (American, b. ), Arrest Norfolk J. Douglas Perry Brooklyn Gang, New York City, of a Demonstrator, Birmingham, Bob Sasser , Gelatin silver print, Gift of an , Gelatin silver print, printed WILLOUGHBY-BAYLOR – , Gift of an anonymous HOUSE Lisa B. Smith anonymous donor © Bruce Davidson, .. ; PAGES –: Eric Carle, donor © Bruce Davidson, .. ; E. Freemason Street, Thomas L. Stokes, Jr. © The Eric Carle Museum of PAGE : Julius Caesar (Roman, Norfolk Joseph T. Waldo Picture Book Art; Eric Carle (American, BC– BC), Illustrated by Andrea Wayne F. Wilbanks b. ), Illustration for Draw Me Palladio (Italian, – ), I Commentari di C. Giulio Cesare, JEAN OUTLAND Cheryl Xystros a Star (detail) (Philomel Books), Collection of Eric and Barbara Carle Venice, , Rare Books Collection, CHRYSLER LIBRARY © Eric Carle; Eric Carle (American, Jean Outland Chrysler Library, RARE Barry Arts Building, b. ) Illustration for Panda Bear, NE.P C ; PAGE : Mark Room Peiser (American, b. ), Passage CHRYSLER MAGAZINE Panda Bear, What Do You See? by Bill Monarch Way, Meredith Gray, Martin, Jr. (Henry Holt and Company), , , Hot cast phase separated glass, Museum purchase with funds Norfolk Director of Communications Collection of Eric and Barbara Carle © Eric Carle; Eric Carle (American, provided by Pat and Doug Perry, Jim -- DeAnne Williams, b. ), Cat, , Collection of Eric Hixon, Penny and Peter Meredith, By appointment only. Content Manager and Barbara Carle © Eric Carle; Eric Carolyn and Dick Barry, Joan Brock, Jerey and Scherry Johnson, Anne Ed Pollard, Carle (American, b. ), Illustration GENERAL ADMISSION Museum Photographer for The Secret Birthday Message Corso and Timothy Grith, Linda (HarperCollins), Collection of Eric Kaufman in honor of Lisa S. and FREE and supported by Cassie Rangel, and Barbara Carle © , Eric Dudley B. Anderson, Amy and Kirk Museum Members! Graphics Manager Carle; Eric Carle (American, b. ) Levy, Harry T. Lester, and Virginia and John Hitch, .; PAGE : Alternate illustration for The Very DINING The Chrysler Museum of Art, Lonely Firey (Philomel Books), Tiany Studios (American, – ), all rights reserved © Collection of Eric and Barbara Carle © Woman in a Pergola with Wisteria, Wisteria, the Museum Eric Carle; PAGES – : Maizelle ca. – , Leaded glass with restaurant, is open Photos by Ed Pollard, Chrysler (American, b. s), Mary Jane Girls, copper foil, stain, and enamel, Gift of Tuesday–Saturday: Museum Photographer, unless , Acrylic on board, Courtesy of the Walter P. Chrysler, Jr., .; Tiany Studios (American, – ), While a.m.– p.m. otherwise noted. artist; Maizelle (American, b. s), Sunday: Night at The Attucks Theatre, , Shepherds Watched their Flocks at Acrylic on canvas, Courtesy of the Night, ca. , Leaded glass, Gift of noon– p.m. artist; PAGES –: Saman Kalantari William J. Feldstein, Jr., .; Tony (Iranian, b. ), Still Life, , Pâte Rosental (American, –), PARKING Big Six, , Structural steel, Gift de verre and porcelain, (porcelain Free component, Jacyln Harris), Photo of Walter P. Chrysler, Jr. © Tony credit: Bullseye Glass Co., Emerge Gold Rosenthal / Licensed by Artists Rights Wheelchair Accessible Award; Jade Tapson (English, b. ), Society, New York, NY, . Scale II, , Kilnformed glass and INFORMATION screenprinted glass powder, Photo credit: James Ratli, Emerge -- Bronze Academic Award; Chrysler.org NON PROFIT ORG. U.S. POSTAGE One Memorial Place | Norfolk, VA PAID -- | chrysler.org NORFOLK, VA PERMIT

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