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Journal of the Clark, Volume 20 the Woodcut Foxgloves Was Among the Most Complex Technical and Visual Achievements of Nikolai Astrup’S Printmaking Career

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Journal of the Clark, Volume 20 the Woodcut Foxgloves Was Among the Most Complex Technical and Visual Achievements of Nikolai Astrup’S Printmaking Career Journal of the Clark, Volume 20 The woodcut Foxgloves was among the most complex technical and visual achievements of Nikolai Astrup’s printmaking career. It depicts a dense birch forest with pink foxglove flowers in the foreground, two young girls in red dresses picking berries and animals drinking from a flowing stream in the middle ground, and a mountainous landscape in the distance. Of the five known impressions of this woodcut, each is different in color selection and in the shape of the mountain in the distance, but the main components remain the same. The fact that the artist at one point titled it Foxglove Children—The Mystique indicates the scene was intended to suggest a mysterious quality inherent in nature from a child’s perspective. Created using a different block of wood for each color, Foxgloves was extremely laborious to make. Astrup mimicked the Japanese ukiyo-e manner of color woodcut production whereby the artist put a piece of paper over the block and used a tool to rub the back side of the paper by COVER: Nikolai Astrup (Norwegian, 1880–1928), Foxgloves, hand instead of using a printing press. Because Astrup used 1927. Color woodcut on paper, 27 9/16 x 30 11/16 in. oil-based inks, the drying time for each color was substantial. (70 x 78 cm). The Savings Bank Foundation DNB/The Astrup The raised texture of these layered inks, as well as the artist’s Collection/KODE Art Museums of Bergen. additional hand-coloring, make for a tapestry-like effect. Journal of the Clark, Volume 20 Journal of the Clark Art Institute (ISSN 1534-6323) is published annually by the Clark Art Institute, 225 South Street, Williamstown, Massachusetts 01267. Individual copies and CONTENTS back issues may be purchased from the Clark Museum Store or online at clarkart.edu. Produced by the Clark Art Institute Anne Roecklein, Managing Editor Kevin Bicknell, Editor Samantha Page, Assistant Editor Elisama Llera, Publications Intern Designed by David Edge Copyedited and proofread by Pickman Editorial Printed by Journeyman Press Photography credits: cover: Dag Fosse; p. 1: Michael Agee; pp. 3–4, 6–7: Tucker Bair; p. 10: Michael Agee; p. 11 (top): James Ewing; p. 11 (bottom): Michael Agee; p. 12: Dag Fosse; p. 13 (top): Kathleen M. Morris; pp. 14–17, 18 (left), 19: Tucker Bair; p. 18 (right): Julia Matejcek; p. 23: Michael Agee; pp. 26–28, 30, 33 (left): Tucker Bair; p. 29, 31–32, 33 (right): Michael Agee; pp. 36–37: Tucker Bair; pp. 38–40, 41 (left): Michael Agee; p. 41 (center, right): Karalyn Mark; p. 42 (left): Michael Agee; p. 43 (left): Cooper Dodds; p. 43 (right): Michael Agee; p. 44 (right, top and bottom): Dag Fosse; p. 45 (right, top): Serge Hasenböhler; p. 45 (right, bottom): Jens Heine; p. 48: Michael Agee; visitor information: Kris Qua ISBN 978-1-935998-41-9 © 2019 Sterling and Francine Clark Art Institute All rights reserved. No part of this publication may be reproduced without the written permission of the publisher PREVIOUS PAGE: George Henry Seeley (American, 1880–1955), The Firefly, 1907. Photogravure, 7 15/16 x 6 3/16 in. (20.2 x 15.7 cm). Clark Art Institute. Gift of Paul Katz, 1981.614. One of the many works acquired under the directorship of David S. Brooke. CONTENTS 4 I DIRECTOR’S FOREWORD 6 I ART INSIDE AND OUT: SEVENTY YEARS OF EXHIBITIONS AT THE CLARK A look back at some of the Clark’s exhibitions in anticipation of summer 2020 14 I OPPORTUNITIES ABOUND An exploration of the Clark’s campus through the seasons 20 I A NEW GLOBAL FUTURE FOR CONSERVATION A glimpse into the Research and Academic Program’s upcoming conference 26 I CARING FOR COLLECTIONS: RARE BOOKS AND THE CLARK LIBRARY The journey to restoration for two special objects in the library’s collection 34 I LEADING BY EXAMPLE: MADAME LE CHEVALIER DENISE LITTLEFIELD SOBEL A Clark supporter is honored for her extraordinary dedication to the arts 38 I RECENT ACQUISITIONS 42 I UPCOMING EXHIBITIONS 46 I DAVID S. BROOKE: A REMEMBRANCE A tribute to the Clark’s celebrated third director 4 I Since the Manton Research Center’s reopening in Renoir: The Body, The Senses paid homage to our November 2016, the Clark Art Institute has grown into founders, who collected Pierre-Auguste Renoir’s work on its expanded campus and robust programming. We a large scale. This exhibition was a remarkable tribute continue to assess and enhance gallery interpretation to the artist and an incredible opportunity to revisit and signage to better understand the needs of our his legacy. Art’s Biggest Stage: Collecting the Venice diverse audiences and improve their experience. Visitors Biennale, 2007–2019 presented one of the Clark library’s have embraced the new Clark––this year has seen our special collections to a large audience for the first time, strongest attendance since 2016. while continuing our commitment to contemporary The presentation of great art is central to the art. Janet Cardiff: The Forty Part Motet demonstrated, Clark’s mission. With a new calendar that includes four yet again, the versatility of the Conforti Pavilion. Like Sspecial exhibitions during the summer and continuous Art of Iron, on display in the pavilion in 2018, the rotations of projects in the galleries throughout the year, show provided immersive experiences for visitors—an the Clark strives to serve not only visitors from around objective we want to advance in this beautiful space. Last the world, but also our neighbors. The exhibitions on but not least, Ida O’Keefe: Escaping Georgia’s Shadow view during summer 2019—Renoir: The Body, The presented an opportunity to discover and investigate Senses; Ida O’Keeffe: Escaping Georgia’s Shadow; Janet an under-recognized artist and evaluate a complex Cardiff: The Forty Part Motet; and Art’s Biggest Stage: sisterhood in American art. With these four exhibitions, Collecting the Venice Biennale, 2007–2019— embodied a the Clark’s staff created what was our most critically new approach to how the Clark fulfills this core aspect of acclaimed summer to date, with extensive press coverage its mission. of Renoir and Ida O’Keefe in particular. The Clark also continues to strengthen relationships and collaborations with the Berkshires’ other renowned cultural institutions to achieve mutual goals of bringing art and culture to more people. On Friday afternoons in June for the past three summers, the Clark’s auditorium has been filled with people attending a reading series presented by the Williamstown Theatre Festival. This collaboration offers a wonderful opportunity to see how actors develop their characters and, without staging, create the magical illusion of space, movement, feelings, and action. Dance and music performances are especially well-suited to the Clark’s outdoor spaces, and this year’s appearances by the Martha Graham Dance Company and the American Modern Opera Company thrilled Director’s Foreword I 5 LEFT: After a thorough cleaning, the 1955 building is restored to its original glory. ABOVE: Lorenzo Pagano and Leslie Andrea Williams of the Martha Graham Dance Company transform the Fernández Terrace, thanks to a collaboration with Jacob’s Pillow. audiences and brought a well-appreciated contemporary students interning in our departments, contributing to component to our rich music programs. the successes of our programs, and going on to advance Less visible but no less important to the many their careers at prestigious universities and museums successes of the past year is the Research and Academic around the world. Program (RAP) and the Clark/Williams Graduate I would like to mention, in closing, one of the Program in the History of Art. The Clark welcomed most impactful visual changes of the year, rooted in the a cohort of curatorial fellows for the first time this history of the Clark: the cleaning and the landscaping fall. Coming from different countries and institutions, of the original 1955 building. This undertaking was participating art historians from varied backgrounds inspired and made possible by two Clark trustees who and professional interests gathered together, extending urged us to restore the iconic white marble building—a RAP’s initiatives and reinforcing the strengths of the temple of art—to its original, glistening splendor. With fellowship program. RAP’s variety of colloquia and this capstone project, the entire campus is fully at its best. symposia invited academics and curators to debate and discuss pressing topics in art historical scholarship, such as the state of the field in Latin America and digital Olivier Meslay humanities. And we continue to see Williams graduate Hardymon Director ART INSIDE AND OUT: SEVENTY YEARS OF EXHIBITIONS AT THE CLARK By Kathleen M. Morris A look back at some of the Clark’s exhibitions in anticipation of summer 2020 ART INSIDE AND OUT: SEVENTY YEARS OF EXHIBITIONS AT THE CLARK By Kathleen M. Morris 8 I Even before the institute existed as a building, exhibitions could be emptied to make way for temporary shows, formed an important part of the Clark’s public offerings. and a few basement galleries served as display areas for Three exhibitions of the Clark’s stellar silver collections works on paper, accessible only by a steep staircase. In were held at Williams College between 1951 and 1953 1973 the Manton Research Center, as it is now known, to herald the coming of the new museum. However, the provided dramatically expanded spaces for the institution, paintings and other treasures of the private and completely including a new lobby, library, auditorium, offices, and unknown collections of Robert Sterling and Francine classrooms. The building’s upper level was devoted to Clark were kept under wraps until the Clark Art Institute special exhibition galleries, which were busy with rotating opened its doors in May 1955.
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