The Smart Museum of Art Bulletin 1996-1997

The David and Alfred Smart Museum of Art The University of Chicago CONTENTS

Report of the Chair and Director 5

Volume 8, 1996—1997. Photography Credits: Pages 8-19, figs. 1, 2, 4, 7, Studies in the Permanent Collection Copyright ©1998 by The David and Alfred 8, 9, 11, 12, Tom van Eynde, by permission of Smart Museum of Art, The University of Robert Barnes; figs. 3, 6, Department of Special Seeding the City of Truth: Robert Barnes's Illustrations for the First Ten Chicago, 5550 South Greenwood Avenue, Collections, University of Chicago, by permis­ Cantos of Ezra Pound 9 sion of the Newberry Library, Chicago; fig. 5, Chicago, Illinois, 60637. AM r ights reserved. MICHAEL ROOKS Giraudon/Art Resource, New York; fig. 10, Michael Rooks, by permission of Robert Barnes. ISSN: 1041-6005 Pages 20-27, fig. 1, Tom van Eynde; fig. 2, The Spurious Life and Possible Vicissitudes of an Etrusco-Runic Ingrid Rowland; fig. 3, Ingrid Rowland, by Inscribed Bronze 21 Editor: Courtenay Smith permission of the Vatican Library, Rome, Italy. INGRID D. ROWLAND Design: Joan Sommers Design Pages 28-34, 36, Tom van Eynde. Page 38, fig. 1, Printing: M&G Printing, Chicago Jon Randolph; fig. 2, Tom van Eynde. Page 39, fig. 1, Tom van Eynde; fig. 2, Lloyd DeGrane. Page 40, fig. 1, Tom van Eynde; Page 41, fig. 1, Activities and Support Tom van Eynde; fig. 2, Lloyd DeGrane. Page 43, fig. 1, Jennifer Zitron; fig. 2, Lloyd DeGrane. Collections Front cover, Lloyd DeGrane. Back cover, Tom van Eynde. Acquisitions 29 Loans from the Collection 35

Exhibitions and Programs Exhibitions 37 Events 40 Education 42

Sources of Support Grants 44 Contributors and Friends of the Smart Museum 44 Donors to the Collection 46 Lenders to the Collection 46

Operating Statement 47

Smart Museum Staff 48 Smart Museum Board of Governors 1996-1997

Richard C Jray, Chair Neil Harris Elizabeth Helsinger, Vice Chair Randy Holgate Mrs. Edwin A. Bergman William M. Landes Robert H. Bergman (ex officio) Raymond Smart Dr. Joel E. Bernstein Joel M. Snyder (ex officio) Robert Feitler John N. Stern Lorna C. Ferguson Patricia K. Swanson (ex officio) Alan M. Fern Michael Wyatt Stanley M. Freehling Jack Halpern Kimerly Rorschach, Director Joan Harris

The University of Chicago Visiting Committee on the Visual Arts Report of the Chair and Director

Robert H. Bergman, Chair Mrs. Frederick T. Lauerman 1996-1997 was an exciting year for the Universi­ Henry Moore (represented by twelve sculptures Anne Abrons Julius Lewis ty of C .hicago s David and Alfred Smart Museum and twenty drawings), Barbara Hepworth, and Mrs. James W. Alsdorf David S. Logan of Art. We organized and circulated two interna­ Richard Hamilton. Currently on tour to two David L. Blumberg Mrs. Harold T. Martin tional exhibitions, created and implemented a other museums, this exhibition introduced our Phyllis Gordon Cohen Mrs. Robert B. Mayer new long-range strategic plan, and worked with extensive collection of 20th-century British art to Georgette D'Angelo Mary M. McDonald many generous funders and donors to under­ a wide audience. The project was supported by Gail M. Elden Helen Harvey Mills write our activities and to add significant works generous grants from the John Nuveen Compa­ Sally H. Fairweather Ruth S. Nath of art to our collections. We also offered a wide ny and the Pritzker Foundation. Joan E. Feitler Evelyn E. Padorr range of educational programs, from scholarly A concurrent exhibition of classical Greek Robert Feitler Marshall J. Padorr lectures and conversations with renowned artists Joan S. Freehling Beatrice Perry and Roman antiquities from our collection of to interactive programs for primary and sec­ Stanley M. Freehling Elizabeth Plotnick over eight hundred objects further accomplished ondary school students. Marshall B. Front Margot L. Pritzker the goal of making our collections more widely In the fall, we presented a major exhibition Allan Frumkin Thomas J. Pritzker known. Researched and assembled by Professor of Korean literati painting from the collection of Adele B. Gidwitz Laura Campbell Rhind Gloria Pinney and her students, Fixcavating the Helen F. Goodkin Joseph ). Rishel the Korea University Museum in Seoul, which Smart Museum: (Re)viewing the Classical Gree{ Michael J. Goodkin Irmgard H. Rosenberger we also circulated to museums at Columbia Uni­ and Roman Collections was the product of a grad­ Richard Gray Joseph P. Shure versity in New York, the University of Oregon, uate seminar focusing on our classical collec­ Joyce Z. Greenberg Larry A. Silver the University of California at Los Angeles, the tion and its contexts of fabrication, use, and col­ Leo S. Guthman John N. Stern University of California at Berkeley, and the lecting. This project was made possible by a large Alice Q. Hargrave Mrs. Paul Sternberg University of Pennsylvania. Made possible by the multi-year grant from the Andrew W. Mellon David C. Hilliard Allen M. Turner Hyundai Group, this project established the Foundation to encourage innovative faculty and Ruth Horwich James Nowell Wood Smart as an international venue for the presenta­ student use of the Museums collections. A cata­ Burton Kanter Mrs. George B. Young tion of groundbreaking exhibitions devoted to logue documenting the project will be published East Asian art. We also collaborated with the in 1998 with assistance from the (Jetty Foundation. University of Chicago's Oriental Institute Muse­ During the year we also mounted exhibi­ um to present in our galleries an exhibition of tions of post-war art made in Chicago from our ancient Egyptian artifacts drawn from their comprehensive collection; paintings by Peter extensive holdings, so that visitors could view Saul, the Texas-based artist whose work has this material while the Oriental Institute galleries greatly influenced many contemporary artists were closed for extensive renovations. This past active in Chicago; an annual exhibition of works spring, our exhibition From Blast to Pop: Aspects by graduating M.F.A. students from the Univer­ of British Modern Art, highlighted sity of Chicago's Midway Studios; and an exhibi­ works from our collection by such artists as tion featuring the work of Midway Studios facul-

5 arts education. In these days of concern for the ty members. All exhibitions were accompanied and especially the long-range planning commit­ Chinese, Japanese, and Korean works were gen­ erously given by Brooks McCormick, Jr., who future of the arts in this country, in the wake of by educational programs ranging from an inter­ tee, including Robert Feitler, Lorna Ferguson, also established a fund for the purchase of Asian debates about government funding, censorship, national symposium on Korean art, an interdisci­ Neil Harris, Elizabeth Helsinger, and Patricia art. Finally, we continued to build our small col­ and community priorities, we feel a tremendous plinary British film series, and a reading by Swanson, as well as the entire Smart Museum lection of traditional African art with gifts from sense of energy and purpose. Educating tomor­ renowned Anglo-American poet Thorn Gunn, to staff, for their diligent and thoughtful work Dr. Richard and Jan Baum and Richard J. Falet- row's audiences—primary, secondary, and uni­ gallery talks by artists and critics, musical perfor­ throughout the planning process. ti, whose collection will be the focus of a special versity students—anil encouraging them to mances, and lectures. In the coming months, look for changes in exhibition in the spring of 1998. understand and support the arts are a major part Another significant activity this year was the and around the Smart Museum: more frequently Our educational outreach activities have of our educational mission, and we look forward development of a new long-range strategic plan changing exhibitions and additional educational flourished as well, anchored, as in previous years, with confidence to the next ten years. for the Smart Museum. As the Museum has programs, increased visibility for all of our acti­ by a major lead grant from the Sara Lee Foun­ matured and our activities have expanded over vities (including street banners and advertise­ dation, with additional support from the Polk Richard Gray the past 23 years, we sensed the desirability of ments), and expanded opportunities for students Bros. Foundation and the Chicago Arts Partners Chairman, Board of Governors pausing to reflect on what has been accom­ and museum members to take advantage of our in Education. Our innovative and effective plished. By formulating a plan that will guide us offerings. We are now open late on Thursday Kimerly Rorschach Docent for a Day and MusArts programs, for the next ten years, we will continue to develop evenings, and we welcome your visits to the gal­ Director described elsewhere in this Bulletin, continue to in a healthy fashion, managing growth and set­ leries, museum shop, and cafe anytime between serve record numbers of Chicago public school ting priorities and goals for programs, audiences, 10 A.M. and 9 P.M. on Thursdays. We are also students, many of whom have no other access to and fundraising. With skillful assistance from planning major renovations of our sculpture gar­ the global business consulting firm McKinsey & den, which will provide new areas for outdoor Company, Inc., we conducted a survey ot our seating and sculpture viewing, and of our exhibi­ operations and how we are regarded among the tion spaces, which will allow us to present larger various constituencies we serve, including the special exhibitions and more of our burgeoning University of Chicago, the greater Chicago com­ American and European modern, contemporary, munity, and the wider scholarly and museum and East Asian collections. The renovation will world. We also surveyed (often by means of on- also provide for a more flexible thematic display Mission Statement site visits and interviews) other university art of our Ancient and Old Master works, which museums from which we felt we could learn, will better reflect contemporary trends in art-his­ The David and Alfred Smart Museum of Art is spheres of study, the Museum especially seeks including the Harvard University Art Museums, torical thinking and museum display. We will the art museum of the University of Chicago. In to foster a cross-disciplinary understanding of the Art Museum at Princeton University, the also create a new, more accessible study room, support of the University's educational mission, the visual arts by means of its exhibitions and Spencer Museum of Art at the University of which will allow us to better serve both universi­ the Smart Museum collects, preserves, exhibits, programs. While embracing and serving the Kansas, and the Henry Art Gallery at the Uni­ ty students and primary and secondary school and interprets works of art for the benefit of the University of Chicago audience, the Museum versity of Washington, among others. These groups, and new storage space for our growing University community, the citizens of greater also reaches beyond this audience, serving general museums were selected for a variety of reasons, collections of paintings, prints, and drawings. Chicago and other general audiences, and the adult visitors, the greater scholarly and artistic including quality of collections, excellence and Thanks to many generous donors, we have scholarly world at large. By means of both its community, and primary and secondary school innovation in teaching programs, special rela­ continued to add to our collections, with an own collection and loaned works, the Museum students. By means of its exhibitions, programs, tionships with students and faculty, importance increased focus in modern, contemporary, and presents exhibitions of scholarly and visual merit, and publications, the Museum makes available of art history and studio art in the university cur­ East Asian art. Of special note are the large in the belief that contact with original works of the University's unique intellectual resources to riculum, and proximity to a major metropolitan ceramic sculpture Hau\ by Robert Arneson, art in a museum setting is an essential component this wider audience, thus providing a public area with other non-university art museums. given to the Museum by Joel and Carole Bern­ of a liberal education and a key factor in under­ "window" on aspects of the University's scholarly The result of our research was a much clearer stein, and a group of works by artists active in standing the world in which we live. To further discourse. At the same time, the Museum serves idea of how a university art museum can best Chicago in the 1960s, 1970s, and 1980s, including enrich understanding of the visual arts, the as a training ground for future teachers, artists, serve its many diverse audiences, and how it can paintings and drawings by Robert Barnes, Sarah Museum produces catalogues and other publica­ and museum professionals, involving a wide build long-term support for its efforts. Canright, Art Green, Richard Hull, Gladys Nils- tions, and sponsors programs such as lectures, range of University of Chicago students in essen­ We now have in place a new long-range son, and Suellen Rocca, given by several donors symposia, readings, and tours to elucidate the tial museum activities. In doing so, we serve strategic plan that sets priorities and goals for including Allan Frumkin, Ruth Horwich, Den­ works on view and connect them to a wider not only the University, but also the larger com­ the future and clearly articulates our mission. nis Adrian, and Don Baum. In anticipation of intellectual, historical, and cultural discourse. In munity, by enlarging the pool of individuals These issues are summarized in a new mission our Lasar Segall exhibition, we received an view of the University's long-standing commit­ committed to increasing understanding of the statement, adopted by the Smart's Board of Gov­ important print portfolio by this German-Brazil­ ment to interdisciplinary understanding in all visual arts among a range of diverse audiences. ernors on September 16, 1997 (see page 7). ian artist as a gift from Marcia and Granvil Thanks are due to the Smart Board of Governors, Specks. In the realm of East Asian art, significant

7 6 Studies in the Permanent Collection

Seeking the City of Truth: Robert Barnes's Illustrations for the First Ten Cantos of Ezra Pound

The following essay presents permutations of sub­ Cantos in mind, for he owned a copy of A Draft of jects and themes in a series of early pastels by the XXX Cantos (19^0), reprinted as the first "book" American artist Robert Myrddyn Barnes (b. of cantos in The Cantos of Ezra Pound, from Barnes's sources are taken from history, myth, art, which Barnes eventually culled his primary tex­ and literature, creating layers of meaning and allu­ tual references.' But after he began his studies at sion in each individual pastel as well as in the suite the Slade School of Art in 1961, the series of draw­ ensemble. ings was not resumed, apparently due to painting requirements set by the Fulbright committee. In 1961, the American painter Robert Barnes Barnes's approaching departure from New received a Fulbright grant to study at the Uni­ York motivated him to finish reading The Can­ versity of London's Slade School of Art. In the tos, which he had heen doing sporadically since summer of that year, before Barnes's September meeting Pound at New York's Gotham Book departure aboard the Queen Elizabeth, his dealer, Mart in 1958.'' Canto / begins with a voyage by Allan Frumkin, requested that he make ten sea: "And then went down to the ship, / Set keel drawings.' The resulting pastel drawings, eight to breakers, forth on the godly sea. . . ."7 Pound's of which have recently entered the collection of own departure from his native United States for the David and Alfred Smart Museum of Art Europe in 1908 is reflected in The Cantos by the through the benefaction of two donors, are illus­ recurring theme of "the wanderer," and would trations for Ezra Pound's The Cantos} be paralleled by Barnes's voyage. The pastels' sequence corresponds to the Barnes had developed a keen appreciation order of the first ten cantos as published in The for literature and poetry in his youth. While a Cantos of Ezra Pound of 1948.' Nine of the ten student (from 1952-56) at the School of The Art pastels were shown at the Allan Frumkin Institute of Chicago, he was encouraged by Jessi­ Gallery in New York in September of 1961. ca Nilson North, a former editor of Poetry Maga­ Seven of them bear a roman numeral in the zine whom he had met casually in Chicago's lower left corner denoting their correspondence Hyde Park neighborhood, to take drama and to a particular canto, and dates on all but one sug­ poetry classes at the University of Chicago.8 At gest that they were completed in sequence, from the university, Barnes may have been introduced "2-16-1961" to "4 XIX 1962."4 to The Cantos in "The World of James Joyce" or Although Frumkin requested only ten "Understand-ing Modern Poetry," classes taught drawings, Barnes initially planned to complete by the late surrealist poet Paul Carroll.' thirty. Perhaps he had the first thirty of Pound's Barnes felt an affinity with the young and

B Y MICHAEL ROOKS

9 i ucrfi loci appcdeua. Gliqli rim1 SanquaSt, laaflfcu.cuGipfhroefctuata 1468. Poliphilo's architectural fantasies can be ambitious iconoclast Pound, who had also set out hnaal tuturo ann.ucrUnolhuano.htruoruaroloannou,tcqllc arcia- compared to actual buildings designed by the for London to establish himself and his art, but L .rolldc racoglicdolcgh iacramfimp..Uton,.l tacnficio iccndeuano. Finalmetedappotuto qtlofeftiuiffimamcte paflo&himacuobfeman' humanist architect, painter, and theoretician he did not share Pound's politics or convoluted tu celebrategli feraliofficiicu pee fuppl.ee cumrel.g.one& cenmome Leon Battista Alberti, and even the name Poliphi­ socio-economic hypotheses. He believed that dcclidii q ualuquc malogenio fugatodifumoiaccrdotcCurioncpriino * pofcudiccdo lccxtrcmcparolc.diicct .Ognuno hccntemctc & feft,- lo ("lover of Polia," "loved by many," "lover of Pound's failure was allowing politics to cloud his uo r.tomarc poteuual .ppno icolato &Irtiremcaread ladomu.conc. many things," "lover of cities") recalls the Greek vision, i.e. his cavalier acceptance of Mussolini's Cd quclfo tuleoriiinc lamia magmloqua Polia facondamcte haucdo, {ecuUandicelleparoletaiuaobfcruantiadignadi laudatiffima comme epithets Poliorcetes ("taker of cities") and Pol- Fascisti philosophy. In fact, the consequences of datione integramente exponendo narrate,fk mecompcnd.ofamcte in- umetis ("of many councils") given to Malatesta in fascist ascendancy in Italy and National Social­ llitutoal fpatiofo& harenulato I.tored. piaceuoh plemyruh irrucnu re lixo ouecra.ldeltructofe dcfcrto tempio pcruemffimo. Canto IX.h More essentially, the beautiful Polia ism in Germany are recalled in Barnes's Canto X, (perhaps derived from the Greek Polis, "city") is in which participants in an auto-da-fe hail the the catalyst for the wanderer's journey in the proceedings with the fascist salute1" (fig. i). Hypnerotomachia Poliphili, mirroring the role (Pound gave the same salute for the benefit of played by Dante's Beatrice and by Pound's Isotta, press photographers before returning to Italy Figure 3. for whom Malatesta builds Alberti's grandiose from the United States in 1958.) Poliphilo in Francesco Tempio Malatestiano in Rimini. Pound's working methods and thought Colonna's La Hyp- Barnes's interest in associations of hermetic processes in The Cantos have influenced Barnes's nerotomachia di themes, subjects, and sources complemented work since the late 1950s. For example, in his Poliphili, (Piii verso), Pound's deep fascination with esoterica and love important early painting Judith and Holofernes •ollection of the Newberry Library, of analogy or "subject-rhymes.'"* Through these (1958), now in the Whitney Museum of Ameri­ Chicago. interests, Barnes recognized that the first deca­ can Art, Barnes interweaves personal, artistic, logue of Pound's Cantos parallels a thematic pat­ and literary allusions and themes in seamless tern in the Old Testament Book of Ezra (anoth­ strands of reference and meaning comparable to er name with obvious significance for both poet the fluid shifts of form and time in Pound's Can­ and artist), also written in ten chapters." tos, where characters, events, and themes inter­ Stylistically, Pound lapses into a tone of bib­ twine throughout the 116 poems regardless of the lical austerity for the four "Malatesta Cantos" structure, chronology, logistics, or language (Cantos VIII-XI). Much of the Book of Ezra (and within each canto." The manifold, heteroge­ the Book of Nehemiah) is written in the form of neous themes and allusions in The Cantos lists and inventories, where the word "and" is impelled Barnes to study Pound's work closely. teric La Hypnerotomachia di Poliphili, which he used more for its metrical emphasis than its con­ His investigations are reflected in this suite of likely saw at the Newberry Library in Chicago junctive purpose: pastels, unique in his career since he considered while a student at the School of The Art Insti­ And in the days of Artaxerxes, Bishlam illustration to be "painting someone else's tute.14 and Mithredath, and Tabeel and the rest dreams."12 In spite of this, Barnes's shared stylis­ Preeminent as an incunabulum in the histo­ of their associates. . . .2" tic affinities with Pound made the idea of illus­ z. / / ) ry of illustrated books, the Hypnerotomachia Jt-'fStS This is mirrored in Pound's Canto X: trating his work attractive. Poliphili is thought to have been written by And the Angevins were gunning after Naples While the number of pastels that Barnes Figure 1. Francesco Colonna, a fifteenth-century Domini­ And we dragged in the Angevins, completed for this project is modest, his under­ Robert Barnes, Canto X, can monk; it was first published by Aldus Manu- And we dragged in Louis Eleventh, taking was conceptually very ambitious. He did 1962, pastel on laid paper, tius in 1499.15 It is an allegorical narrative of a And the tiers Calixte was dead, and Alfonso; . . ,21 12x15 in., Gift of Allan not set out simply to illustrate The Cantos but to young man, Poliphilo, who in a dream seeks his Frumkin, 1996.58h. enter a parallel exploration of themes undertak­ beloved, Polia. In search of her, he wanders This parallel with the construction of the en by Pound in the epic tradition. For example, biblical text engaged Barnes's love of irony, as did Figure 2. through fabulous cities filled with antique in Canto I Barnes satirizes the figure of the epic Robert Barnes, Canto I, monuments and other ruins (fig. 3). Polia (like the absurdity of Pound's anti-Semitic remarks in hero, alluded to in Pound's first Canto through a 1961, pastel on laid paper, Dante's Beatrice) is a symbol of the unattainable his 1938 radio broadcasts from Italy.22 The Old 1 reference to Book X of the Odyssey, by appropri­ 14 /4 x 18 in., Gift of Allan divine as earthly beauty and love; the analogous Testament, particularly the Book of Ezra, was ating the figure of Napoleon from David's Frumkin, 1996.58a. figure in Pound's Cantos is Isotta degli Atti, the fresh in Barnes's mind in 1961 because his broth­ Napoleon in His Study (1812) as his visual model wife of Sigismundo Pandolfo Malatesta.1" er's marriage to a Jewish woman had caused rip­ for Odysseus" (fig. 2). Barnes also explored Poliphilo's fictive dream occurs in late fif­ ples of dissent in his family, an oddly mixed Homer and Dante, using Pound's Cantos as a teenth-century Venice near Rimini, where group of Catholics and Quakers, some of whom starting point, enlarging upon them with the eso- Malatesta was the ruling lord until his death in were anti-Semites.23 One reference from the

10 11 Book of Ezra is the eviction from Israel of the ten cantos, the beatific vision is often not a femi­ gentile wives of Jewish sons and their families. nine but an architectural ideal. Similarly, in the Barnes wrote to his parents in support of his Hypnerotomachia Poliphili, architecture betokens brother and found himself referring to this Old what Johann Winckelmann deemed the "noble Testament scripture to point out the hypocrisy of simplicity and calm grandeur" of the antique, the their objections.24 epitome of solemn beauty for Pound.9 Pound's In both The Cantos and the Book of Ezra, Canto III opens with a memory of Venice as seen the rebuilding of a temple is undertaken, by from the steps of the Dogana di Mare. This cus­ Christians and Hebrews respectively. In Cantos tomhouse, built in the late seventeenth century, is VIII and IX, Pound discusses Alberti's Tempio known for its tower topped by a figure of Fortu- Malatestiano. This project, initiated by Malatesta na—the same winged goddess who stands atop a in 1449, is a Gothic convent church (formerly pyramidal temple in the beginning of the Hy p­ San Francesco) that is given a new, classicized nerotomachia Poliphili (fig. 6)." Later in Pound's Renaissance form. In the Book of Ezra, the Jews Figure 6. Canto III, the "gilded tower" of Ecbatana looms Tower in Francesco return to the Holy Land from the Babylonian over the city's "plotted streets," and reappears at Colonna's La Hyp- captivity in 538 B.C.21 Handed down to the Jews the beginning of Canto V And in Cantos VIII and nerotomachia di IX, the construction of Alberti's Tempio is from Cyrus the Great, a charge from God com­ f-7- U WPoliphili, (Bi verso), manded them to "rebuild the house of the Lord Collection of the recounted in letters and through witnesses. which is in Jerusalem. . . ." 6 Figure 4. Newberry Library, Colonna's rich succession of sculptural and Robert Barnes, Canto V, The issue for both Alberti and Ezra is the Chicago. architectural descriptions (illustrated with lavish 1961, pastel on laid paper, rebuilding of the temple as guardian of a sacred woodcuts) are tangible surrogates for Polia, the 12x17 in., Gift of Allan object of Poliphilo's quest.41 Conversely, the root past that restores forgotten customs, beliefs, and Frumkin, 1996.58e. ideas, revitalizing the actual and intellectual of her name, as noted above, suggests that Polia symbolic edifices of ancient times. It is interest­ might be the personification of this fantastic ing that the temple in the Book of Ezra, the Tem­ architecture. Often the architectural decorations pio Malatestiano, Pound's Cantos, and Barnes's and hieroglyphic-like emblems described in illustrations were all left unfinished. Colonna's text and depicted in the anonymous The Book of Ezra also provides an account woodcut illustrations are figurative, including of the discovery of Cyrus's decree at the "house of grotesques in low relief on plinths and in the the archives in Ecbatana." Barnes connected ("'Caina' awaits"), a reference to the innermost round in niches. Alberti, like Vitruvius, peppered this with the "gilded tower" in Ecbatana, ring of hell in Dante's Inferno, named "Caina" for his treatise On the Art of Building with analogies described by Pound in Cantos IV and V This the biblical figure, Cain, who murdered his to the human figure: the interior walls of a build­ ancient tower is a citadel that served as the king's brother Abel. Dante's "Caina" holds those who ing are its "bones," and they should not be too treasury. Pound relates it to the subject of Canto have been treacherous to their kin. With Pound's thick, for "who would not criticize a body for 32 V—the greed that brings about the demise of allusion to Dante in mind, Barnes borrowed a having excessively swollen limbs." This analogy both Giovanni Borgia and Alessandro de figure from another Delacroix painting, The Bar­ is not unique to Vitruvius or Alberti—the body is Medici.28 For his part, Barnes gives us the blood­ que of Dante (1822), for the depiction of Borgia. a familiar literary metaphor for a building; in the ied figure of Borgia writhing in the Tiber Thrusting to the heavens, the tower of First Letter of Paul to the Corinthians, St. Paul between a ship in the foreground and the distant Ecbatana (like the Tower of Babel) becomes a wrote, "Do you not know that your body is a 33 citadel (fig. 4). symbol for the impossibility of reaching a com­ temple of the Holy Spirit within you. . . ." Barnes's protagonist stands at the helm of mon footing with God—the impenetrable circuit Carl Jung interpreted the City as a mother the ship, staring out over its taffrail toward walls around it recall the strata of purgatory and symbol, observing its personification in Renais­ Ecbatana. The sprawling city is surmounted by heaven in Dante's Purgatorio and Paradiso. Simi­ sance images as the mother goddesses Rhea or the tall, black citadel. Surrounding it are seven larly, Dante's Beatrice and Colonna's Polia Cybele. The mural crowns of these goddesses concentric walls described by Herodotus in his evanesce into the heavens and disappear from the symbolize their tutelary function for a city or History, each a different color. Barnes's depiction quests of their devotees, becoming physically and province, as in Andrea Mantegna's The Tri­ Figure 5. intellectually unattainable. umphal Carts (c. 1490), the second canvas of the of the citadel at Ecbatana alludes to an image of Detail depicting Ninevah burning, 34 Nineveh burning in the upper right corner of from Eugene Delacroix's The Death For Dante and Colonna, a vision of beauty series The Triumphs of Caesar (c. 1484-1506). Delacroix's The Death of Sardanapalus (1826) (fig. of Sardanapalus, 1826, (in this instance, a beautiful woman) is the sensi­ Cities are also figured as feminine in the Old Tes­ 5). In the canto Pound states "Caina attende" 12' 1" x 16' 3", Louvre, Paris. ble manifestation of truth. But in Pound's first tament, and the idea of the "Mother Church,"

12 13

I columns," holding an open book in his lap. He sometimes represented by images of the Virgin addresses his reader in Canto VII with a line Mary, seems to follow from one of urban culture's from Dante's Paradiso: "O voi che siete in piccio- original functions, to serve as a temple. This letta barca" ("O you who are in a very small brings to mind St. Augustine's "autobiography of boat").38 The metaphorical voyage is taken up in the Catholic Church," The City of God (c. 412), a other pastels such as Canto V, where ships' bows discourse on the irreconcilable difference between and decks are depicted, as well as Canto VI, in the earthly city (Rome) and the heavenly city, per­ which Eleanor of Aquitaine and Louis VII of sonified as feminine, which he calls "a great city, France travel to Acre during the Second Cru­ new Jerusalem."" Thus, "the church" can be both sade.3'1 Less explicit journeys (flights of intellec­ civic and feminine. tual or poetic fancy) are suggested in others, such The ship is another entity featured promi­ as the hirdlike transformation of Philomela in nently in The Cantos that figures hoth as woman Barnes's Canto IVVI (fig. y). and city. In his treatise, Alberti referred to the Focusing on Malatesta's preoccupation with ancients who "compared the city to a ship on the the building of the Tempio Malatestiano, Pound, 36 high seas." And although even the sight of a like Colonna, adopted the metaphor of a work of woman at sea or before embarkation was (and architecture as woman. Isotta, Malatesta's wife, perhaps still is) considered by some the worst of only incidentally appears in Canto IX, referred to maritime ill omens, the ship, like the church, is Figure 9. in letters to Malatesta from which Pound quotes. j (• almost universally expressed as feminine—she. Robert Barnes, Canto IV, However, Pound showed Malatesta's devotion to Pound's metaphysical quest in The Cantos 1961, pastel on laid paper, her in his obsession with the Tempio. The Tempio Figure 7. 1813/ x 24% in., Gift of begins aboard ship. Canto I opens with an allu­ 16 is a monument of Malatesta's everlasting adora­ Robert Barnes, Canto II, Dennis Adrian in honor of sion to both the Odyssey and Psalms: "And then tion of Isotta.41 In Barnes's pastel illustrating 1961, pastel on laid paper, Bates Lowry, 1996.58d. went down to the ship . . . ,"37 and in Canto II a 14'/„ x 18 in., Gift of Canto VIII (fig. 10), Malatesta is surrounded by ship's captain, Acoetes, recognizes the true godly Allan Frumkin, 1996.58b. the objects of his obsession: building materials, identity of a child (Bacchus) who has been marble slabs, and workmen's tools. His figure is abducted by his men. Bacchus changes the sailors based on Piero della Francesca's fresco St. Sigis- into fish while making Acoetes a priest of his mund and Sigismondo Pandolfo Malatesta (1451), cult. Pound focused on the metamorphosis of the located in the Chapel of Relics at the Tempio. In sailors, which is also the moment depicted in the fresco, Sigismund (1369-1437) wears a Barnes's drawing. Pound fashions a new myth broad-brimmed hat with a high flaring crown; from Ovid's Metamorphoses, telling of the flight the samecappello is seen in Barnes's pastel, which of a sea nymph named Ileuthyeria from a band also recalls Pisanello's (Antonio Pisano) portrait of Tritons and her subsequent transformation of Sigismund in profile.42 Barnes may have also into coral. Pound seems to have derived the been familiar with the Pisanello drawing of the name Ileuthyeria from the Greek word for free­ Byzantine emperor John Palaeologus VIII dom," introducing this as one of the major (reigned 1425-48) in The Art Institute of Chica­ themes in the poem. In the pastel for Canto II go—the drawing is peculiar for the emperor s (fig. 7), Barnes focuses on the captain, who seems odd, architectonic hat. to be shedding layers of armor and clothing. Symbolic architecture lies at journey's end "Acoetes" is also a self portrait of Barnes, which Figure 10. for Pound's protagonists in the first ten cantos: indicates his own identification with the wan­ Robert Barnes, Untitled (VIII), for Odysseus in Canto I, it is Mt. Purgatory, 1961, pastel on laid paper, dering protagonist(s) of Pound's poem and sug­ depicted as a great architectonic spiral such as Private collection, Bloomington, gests that Acoetes's inner vision—his recognition that in the fresco Dante and His Poem (1465) by Indiana. of truth through its misleading appearances—is / 2 • Domenico Di Michelino in the cathedral at Flo­ like that of the artist while underscoring the rence; the ominous citadel at Ecbatana is the fate Figure 8. uncommon nature of artistic transformation. of Giovanni Borgia and Alessandro di Medici in Robert Barnes, Canto (VII), Even Venice in Canto VII is a water-world Canto V; the Temple at Jerusalem is the ostensi­ 1961, pastel on laid paper,

that can be imagined as a fleet of ships at sea. The 1 12 /2 x 16 in., Gift of Allan ble object of Eleanor's and Louis VII's voyage to seated figure in Barnes's pastel (fig. 8) is an imag­ Frumkin, 1996.58c. Acre in Canto VI (fig. 11); and Malatesta is pre- inary portrait of Pound among "sham Memphis 15 14 of the Inferno, in which the poet wanders alone in pastels were probably dated long atter the opening at the occupied with the building of a pagan temple for Frumkin Gallery—an illustration ot Canto V accompa­ a dark wood (fig. 12). Like Dante, Malatesta his mistress and future wife in Cantos VIII and nying the Chicago Daily News exhibition review ot 16 IX. Malatesta's Tempio is the ultimate symbol of wanders alone (but through tall marsh grass), September 1961 shows no date—possibly on separate occasions after Barnes's return from London to the Unit­ the humanist endeavor for philosophical, intel­ eluding pursuers in the distance. ed States in January 1963. While in London, he had Pound resurrected the not-yet-corrupted lectual, and spiritual totality, identified in some adopted a "European" method ot dating his work, using ways, perhaps, with a renaissance vision of the spirit of ancient times, when the search for Roman numerals for the days of the month. T he first six knowledge and beauty—Truth—was inexorably are dated too early, the last date, "4 XVII 1961," being Mother Church. more than two months before Barnes received the Pound's Cantos provided Barnes with a liter­ connected with universal harmony. Although for request from Frumkin, although these may have been in ary source for his investigation of the creative Pound the great corruption of civilization was progress long before Frumkin's request. Canto (VII) and usury (which can be seen as an aspect of the poet s Canto (IX) are dated "9 II 1961" and "9 VI 1961," respec­ process and the artist's condition, revealing tively—Barnes left the U.S. on September 8. It is improb­ Barnes's Hoffmanesque interest in the involve­ anti-Semitism), for Barnes, it was bondage— able that these pastels were finished to an acceptable ment of universal and metaphysical forces that physical, emotional, and intellectual. Thus Truth degree and shipped to the gallery in New York within for Barnes is manifested in the freedom of the two days of Barnes's departure for London and within a may never be resolved in the artist's destiny since, week of the opening on September 14. 1 he last pastel in perhaps unavoidably, this quest is self-destruc­ artist to strive for unattainable resolution. This the suite, Canto X, is signed and dated 4 IX 1962. While tive. At least it was for Barnes, especially in the striving is only possible for Poliphilo in the free­ it may have been the one work from the suite not shown dom of his dream; for Dante, only in privileged at Frumkin's gallery (nine were shown), it seems unlike­ 1960s, when his troubled marriage made each ly since "Canto VIII" is not titled, dated, or signed. Of day "blacker than the next."43 If Pound's own access to the highest realm of God; for Pound, them, the signed drawing would have been displayed. example was not enough, there was that of only conceivable in the mythical world of the 5. Robert Barnes to Marjorie Dorothy Barnes, 12 July 1961; Ezra Pound, A Draft of XXX Cantos (New York: Odysseus from The Inferno whose attempt to dis­ Figure 11. ancients; and for Barnes only in complete artistic Hours Press, 1930); idem, The Cantos of Ezra Pound (New Robert Barnes, Canto VI, autonomy symbolized by the iconoclast Malatesta embark upon the shore of Mt. Purgatory was York: New Directions, 1948). 1961, pastel on laid paper, whose rebellious spirit prevails in Barnes's ten quashed when God capsized his ship, or Malat- 6. Barnes met Pound at the New York bookstore at a cel­ 12x16 in., Gift of Allan esta, whose antagonism to Pope Pius II brought pastels for Pound's The Cantos. ebration in honor of Pound organized by the James Joyce Frumkin, 1996.58f. Society (of which Barnes was and still is a member). The on his final defeat by the overwhelming forces of poet had just been released from St. Elizabeth's Hospital MICHAEL ROOKS is an independetit writer the papacy.44 In fact, the forest in Barnes's Canto in Washington, D.C., where he was committed for thir­ (IX) recalls Dante's selva oscura in the beginning and curator in Chicago. He is currently working on teen years. He was judged legally insane during hearings a catalogue raisonne of Robert Barnes's paintings at his trial for treason. See Carpenter, 7°3—-*3' and is the H. C. Westermann Research Assistant at 7. Ezra Pound, The Cantos 1:3, lines 1-2; in his first line of Canto I, Pound may be referring to the first line of the Museum of Contemporary Art, Chicago. Psalms 107:23, which begins: "Some went down to the sea in ships.. .." NOTES 8. From its inception until April 1919, Pound was the "overseas editor" for Poetry, founded in Chicago by Har­ I would like to express my appreciation to George riet Monroe in 1912. Adams, Dennis Adrian, Robert Barnes, Fred Hillbruner, 9. Barnes's School of The Art Institute of Chicago tran­ and Bates Lowry for sharing their time and resources. script, which includes University of Chicago grades, 1. Robert Barnes, letter to his mother, Marjorie Dorothy shows that he received a grade of "A" in both of Carroll's Barnes, 12 July 1961, collection of Robert Barnes. classes. 2. The two remaining pastels, Canto III and Canto VIII, to. For the general organization of the drawing, Barnes are currently in American private collections. I have referred to the fourth state of Rembrandt's drypoint arranged and studied the ten pastels in a sequence that Christ Presented to the People (1655), which he may have corresponds to the Cantos based primarily on the seen at The Art Institute of Chicago or certainly in Figure 12. imagery, but also on their dates and roman numeral des­ reproduction. The pope gives his blessing from a balcony Robert Barnes, Canto (IX), ignations; the last three pastels are unnumbered. while other ecclesiastics and fanatics pile wood onto a 1961, pastel on laid paper, 3. "Three Cantos" were serialized in Poetry in 1917. flaming pyre. Barnes borrowed the firemen from 1 12 /2 x 17 in., Gift of Allan Eventually (in the 1923 revision) the third canto became Courbet's Firemen Going to a Fire (1850-51); ironically, Frumkin, 1996.58g. Canto /; Canto II was replaced by the eighth canto, and Barnes's "firemen" are fanning rather than dousing the part of the original Canto II was used for Canto III. flames. Humphrey Carpenter, A Serious Character: the Life of 11. See Franz Schulze, Fantastic Images (Chicago: Follett Ezra Pound (Boston: Houghton Mifflin Co., 1988), 422. Publishing, 1972), 146; for an investigation into Barnes's The principal index that Barnes used, The Annotated working methods and thought processes see Michael Index to the Cantos of Ezra Pound (Berkeley: Univ. of Cal­ Rooks, "Allusion and Metaphor in Robert Barnes's ifornia Press, 1957) by John Hamilton Edwards and Arthur Cravan Still Lives" (M.A. thesis, School of The Art William Vasse, is used here for most of the translations, Institute of Chicago, 1995). explications of myth, and other literary sources. Some 12. Robert Barnes, telephone interview with the author, translations are Barnes's own. 16 February 1995. These pastels are the only successful 4. These dates are intriguing, for only a few of them illustration project that Barnes has ever completed. could possibly reflect actual dates of completion. The

17 16 from El Cid's home in eleventh-century Spain to the fif­ the viola da gamba often terminates in a carved female 18. Pound coined this term in reference to his repetition 13. In Canto I, Pound set his poem in the epic tradition of teenth-century frescoed walls of the Camera degli Sposi in head and its rounded shape imitates that of the female Homer through reference to Book X of the Odyssey (the of subjects, such as Thomas Jefferson "building" a nation the Castello di San Giorgio, Mantua: "Here stripped, form, the back-and-forth stroking of the bow across the and Malatesta "building" the Tempio Malatestiano. See Nekyia). In Book X, Odysseus has anchored his ship near here made to stand. / Drear waste, the pigment flakes body has been regarded as a mimicry of fornication. the island Aiaia and encounters the sorceress Circe, who Walter Baumann, "The Structure of Canto IV," in Ezra from the stone, / Or plaster flakes, Mantegna painted the 40. Philomela is pictured in the pastel illustrating instructs him on the next leg of his voyage, which will Pound: the London Years, 1908— 1920 (New York: AMS wall. / Silk tatters, 'Nec Spe Nec Metu'" ("neither hope, Pound's Canto IV, which opens with the destruction of take him to the underworld. Satirizing the epic hero, Press, 1978), 133. nor fear"). El Cid is the first of three outcasts that Barnes Troy and then changes abruptly to images of resurrection Barnes added a layer of art-historical reference by bor­ 19. Chapter 1 of Ezra begins in the first year of Cyrus the will take up from the Cantos: El Cid (political outcast), and the dawn. Barnes juxtaposes the devastation of war rowing the figure of Napoleon Irom David's Napoleon in Great's rule of Persia and his release of the Jews from Pound (political and intellectual outcast), and Sigismundo with renewal in the form of t he allegorical figure of Lib­ His Study (1812) as his visual model for Odysseus. their Babylonian captivity. Chapter 10 ends with the cast­ Malatesta (political, intellectual, and religious outcast). erty from Delacroix's Liberty Leading the People (1830). (Napoleon was hardly the "master mariner"—his major ing out from Jerusalem of the gentile wives and their 31. In twentieth-century literature about the Hypnero­ Next, Pound's setting is Provence, where the twelfth- naval expeditions were disastrous, and Napoleon's exile children of Jews who had married outside of their faith. tomachia Poliphili, the accepted interpretation of the century tragedy of Marguerite and Guillem da Castaban to Elba and death on St. Helena were the antitheses to 20. Ezra 4:7. name Poliphilo is "lover of Polia. It could also refer is interwoven with the myth of Procne and Tereus. In the the conclusion of Odysseus's Homeric journey). For 21. Pound, The Cantos, 10:46. to Pollio Vitruvius (my italics), whose On Architectura pastel, Procne crouches in the new green field rising Barnes, Napoleon's fate portended Pound's imprison­ from the ruins of Troy. She covers her mute organ (her 22. See Carpenter, 583-97. seems to have inspired the architectural descriptions and ment and self-exile, but his ambition and talent as a mili­ tongue having been cut out by Tereus, her husband) illustrations. tary commander mirrored those of the central figure in 23. Barnes nicknamed his brother "Ishmael" after the while Philomela, her sister, seems in mid-flight, her 32. For the purposes of this paper, references to Leon the last three cantos, the Italian Renaissance condottiere, protagonist of Melville's Moby Dick,. (Melville was transformation into a bird suggested by two black wings Battista Alberti's De Architectura will be taken from the Sigismondo Pandolfo Malatesta. Barnes's favorite author at that time, and Barnes was well behind her head. She carries the tri-color flag of France, English translation by Joseph Rykwert, Neil Leach, and 14. The Hypnerotomachia is important in the history of aware of the biblical allusions in Moby Dick) He was par­ connecting the pastel with Delacroix's painting and set­ Robert Tavernor, On the Art of Building in Ten Books illustrated incunabula, mainly for the great (and contin­ ticularly interested in the connection of Peleg, Abraham ting up a duality between individual freedom and (Cambridge: MIT Press, 1988); Alberti, "The Seventh uing) influence of its illustrations. The title, invented and Ishmael with their biblical antecedents and counter­ nationalistic fervor—fateful factors in Pound's life. Book of Leon Battista Alberti on the Art of Building. with Greek words, is translated "The strife of love in the parts. Thus the connection of Ezra Pound with the bibli­ Ornament to Sacred Buildings, 197, 219. A possible 41. Malatesta's devotion to Isotta can he seen both in the dream of Poliphilo." For English descriptions and criti­ cal Ezra was for Barnes a matter of habit. association with the number "ten" for Barnes in the ten building of the Tempio and in the countless emblazoned cal analyses of the text, see Linda Fiertz-David, The 24. Robert Barnes, letter to Marjorie Dorothy Barnes, 13 pastels is the fact that Alberti's treatise is written in ten monograms—S |igismundo| 1 |sotta]—on its facades and Dream of Poliphilo, Bolingen Series XXV (New York: April 1958, collection of Robert Barnes. books, as is its model, Vitruvius's earlier treatise, On in its interior. In Canto VIII, Pound focuses first on the Pantheon Books, 1950); an Aldine copy of the book was 25. In the history of Israel, the Babylonian captivity is the Architecture. See Pollio Vitruvius, The Ten Books of Archi­ decorative scheme with Malatesta s letter emphasizing available in the Newberry Library for Barnes to see, period spanning the fall of Jerusalem in 586 B.C. to the tecture/Vitruvius, trans. Morris Hicky Morgan (New the importance of hiring Piero della Francesca to paint along with several later editions. The Gotham Book completion of the new Temple at Jerusalem in 516 B.c. At the Tempio. As the letter opens, Malatesta laments that York: Dover, i960). Mart may have also provided him access to the 1883 the outset of his reign in 538 B.C.., Cyrus the Great the mortar on the walls is too wet for painting but French translation by C. Popelin, Lesongede Poliphile, or decreed the restoration of worship at Jerusalem, initiat­ 33. 1 Cor. 6:19. arranges other work and reaffirms his commitment to the Fiertz-David book cited above. ing the end of the captivity. It is likely that his motive for 34. The Mantegna paintings are housed at Hampton Piero "so that he can work as he likes, or waste his time 15. Liane Lefaivre has recently asserted that the author setting the Jews in power in Palestine was to establish a Court Palace; Barnes studied them there while he was as he likes." This foray into the decoration of the Tempio was not Francesco Golonna but Alberti, who had worked buffer state between Persia and Egypt. living in London. is presented against the violence of the Italian Wars, in for the Roman Colonna family. See Liane Lefaivre, Leon 26. Ezra 5:2. 35. Saint Augustine, The City of God, intro. Thomas Mer- which numerous rival states fought with foreign Battista Alberti's Hypnerotomachia Poliphili (Cambridge: ton, trans. Marcus Dods (New York: Random House, alliances, particularly with France and Spain, to 27. Ezra 6:2. Ecbatana was the ancient capital of Media MIT Press, 1997). The Venetian printer Aldus Manutius strengthen their military and financial powers. The Magna, supposedly founded in the sixth century by Deio- >95o). 736- (1450—1515) was educated as a humanist. He established drawn-out French and Spanish struggles to gain ces, who was the first king of the Medes according to 36. Alberti, "The Seventh Book of Leon Battista Alberti the Aldine press in Venice principally to print Greek and supremacy in Italy prevented Italian liberties for more Herodotus in his History. Modern scholars suspect that on the Art of Building. Ornament to Sacred Buildings," Roman classics in small format and at prices low enough than three centuries. Herodotus confused the petty Median chieftain, Deioces, 189. Ships at harbor mirror city skylines and are often to be affordable to scholars of the day. He commissioned 42. St. Sigismund was king of Hungary (from 1385), Ger­ with King Khshathrita, who ruled from 673 to 652 B.C. named for cities, such as the early twentieth-century the design of italic type (after Italian cursive script) and Atlantic liners The City of New York and The City of Paris. many (from 1411), Bohemia (from 1419), and Lombardy was the first to print with it. He is sometimes referred to 28. Giovanni Borgia (147?—1497), t he duke of Gandia, 37. "Some went down to the sea in ships. . . ." Psalm (from 1431), and Holy Roman Emperor by coronation in as Aldus Magnus to distinguish him from his grandson was the elder brother of Caesare Borgia, who probably •433- Aldus Manutius (1547-1597). murdered him in the interest of political ascendency. 107:23. Alessandro de Medici (1511-1537) was appointed the 38. Pound, The Cantos 7:26 (Barnes's translation). Dante 43. Robert Barnes, interview with the author, 16 Febru­ 16. Malatesta was a commissioned military strategist and head of the Florentine Republic in 1531 and hereditary was not the only source for Canto VII. In it, time is swal­ ary 1995. general in Renaissance Italy; he was also the ruling lord Duke in 1532 by the emperor Charles V. He was mur­ lowed whole as Pound moves between episodes and 44. Pound's Canto IX refers to battles conducted by of Rimini, Fano, and Cesena. In The Cantos, Pound deals dered in an unsuccessful bid for power by his cousin characters in Homer and those of nineteenth- and twen­ Malatesta and his men over the course of several years with two extraordinary aspects of Malatesta's life—his Lorenzino de Medici. tieth-century authors, sometimes from line to line. For and describes a lengthy retreat through marsh lands. defiance of and contempt tor Pope Pius II and the build­ example, the fourth paragraph in Flaubert's novel Un Malatesta "floundered about in the marsh for three ing of his Tempio Malatestiano in Rimini. 29. "... eine edle Einfalt und eine stille GroBe," from Johann Joachim Winckelmann, Gedanken iiber die Coeur Simple (1877) provided Pound with a modern real­ days, hunted by men and dogs, and he survived to fight 17. An interesting connection between the Hypnero­ Nachahmung des griechischen Wake in der Malerei und ist description of "an old room of a tawdry class. later in the streets at Fano. The rest of the canto chroni­ tomachia Poliphili and Pound's Cantos, particularly the Bildhauerkunst, trans. Elfriede Heyer and Roger C. Nor­ 39. Pound opens Canto VI with lyrics from a song by the cles the building of the Tempio as recounted in letters Malatesta Cantos (VIII-XI), is the name "Colonna." Lit­ ton (LaSalle: Open Court, 1987). eleventh-century troubadour Guillaume Poitier, the found in Malatesta's postbag, which was seized by order tle is known about Fra Francesco Colonna, the purport­ grandfather of Eleanor of Aquitaine, telling of Poitiers of the bishop of Siena after Malatesta's aborted siege of ed author of the Hypnerotomachia Poliphili; he never 30. Architectural images, especially towers, fill Pound's conquest of two noblewomen who, believing he was Sorano against Count Pitigliano Orsini, an attack revealed his true name. Sigismundo Malatesta's enmity Canto III as well as Barnes's pastel. In this canto, Pound mute, made love to him in pity. Pound then shifts to ordered by the bishop. In Canto X, Malatesta angers the for the papacy began after Pope Martin V attempted to introduces the mercenary Rodrigo Diaz de Bivar, the Eleanor's marriage to Louis VII of France. The voyage Sienese by making a truce with Count Orsini. The bish­ claim Rimini for the papacy after the death of Malatesta's eleventh-century hero of the anonymous Spanish epic made by the couple to Acre, Palestine during the Second op of Siena becomes Pope Pius II, Malatesta's most pow­ older brother, Carlo. The pope's given name was Oddone poem Poema del Cid. The Cid returns to his home in the Crusade mirrors the voyage of Odysseus in Book 1 of t he erful enemy. Malatesta narrowly escapes as more enemies Colonna, of the powerful and ancient Roman Colonna Burgos to find himself shut out by orders of the king. Odyssey, and in Barnes's pastel they are shown aboard gather. Meanwhile, his case is presented to the College of family. Ironically, after the death of Martin V, the Colon­ Summoned, a young girl appears on a gallery between ship. The troubadour behind them is an apparition of Cardinals as he burns in effigy outside the Vatican. On na family, their lands, and fortunes were plagued by con­ two watchtowers and reads the king's writ. In Barnes's Poitier playing the viola de gamba: because the scroll of Barnes's imagery, see note 10 above. flict with the papacy, as were those of Malatesta. The pastel. El Cid and his horse stand in the foreground. name "Colonna" means "column" and so is of further Between them, a nude child stands in a raised enclosure. interest in unraveling hermetic meaning in the architec­ Deteriorating parapet walls complement the powerful tural fantasies in the Hypnerotomachia Poliphili. last four lines of Canto III, which shifts in time and place 19 18 Studies in the Permanent Collection

The Spurious Life and Possible Vicissitudes of an Etrusco-Runic Inscribed Bronze

Shortly before 1920, the distinguished University script to find in Italy, even in cosmopolitan of Chicago philologist Carl Darling Buck received Rome. The fragment appears to form part of the a striking present from his friend Professor Clif- lip of a hammered bronze vessel, a scrap that has ford H. Moore: a piece of ancient bronze, appar- been snipped and torn away—and very neatly, ently the rim of a cauldron, inscribed with twen- too—from the great circumference of the caul- ty-two letters in an unusual script (fig. .).' Buck dron to which it once belonged. To judge from eventually identified the script as a set of Old the fragment's gentle curvature, this cauldron English runes and the inscription itself as a must have been immense, on the scale of the rough-and-ready alphabet. Runic alphabets had great vessels that passed between Etruna, been found in medieval manuscripts with some Greece, and the Near East in the burst of inter- frequency, and Buck surmised that his bronze national trade that enlivened the Mediterranean fragment must have been inscribed for similar, in the seventh century B.C.E. Y et neither the frag- and now wholly inscrutable, reasons. The only menfs simple folded-over lip nor the shape of the glaring problem with this enigmatic piece was body beneath have any close parallels among the fact that Professor Moore had purchased it other Etruscan cauldrons, or any other vessels for

from a dealer in Rome, far from the Anglo-Sax- that matter, whether Etruscan, Greek, or ons, Germans, and Scandinavians who used the Roman. Rims are usually better articulated, with script throughout the Middle Ages and some- a rolled margin on their edges, and most caul- t.mes well into the modern era. Buck surmised, dron bodies bow strongly inward from the hp. therefore, that an English pilgrim passing The inscription, unlike its comparatively through the Eternal City must have taken it into crude medium, has been incised by a skilled and

his (or her) head to cut a runic alphabet, with a careful hand (fig. 2). As Buck noted in .919, the sure hand and considerable strength, into the rim letters conform to the shapes of standard Anglo- of this Etruscan or Roman vessel. No other see- Saxon runes, which in turn resemble the 24-char- nario seemed plausible. acter Scandinavian set of runes known as the Old In 1967, Mrs. Carl Buck bequeathed her hus- Futhark, the runic equivalent of the alphabet. As band's strange bronze fragment to what would the word "futhark" ("futhork in Old English) become the David and Alfred Smart Museum of suggests, the standard order for runic letters (f, u, Art. Interest in the piece had always been limited th, a, r, k, etc.) was quite different than that of by the utter lack of information surrounding its such languages as Greek, Latin, Hebrew, Etr- origin and the fact that runes were an anomalous uscan, and modern English, which all draw from

BY INGRID D. ROWLAND

21 the order of the Phoenician alphabet. The order Figure 2. Ft ffro £ w-f & £ y RZ t h y a b [c] d te ae=f g w d=h j k l m n o p k=q r s t u x of the letters on Buck's bronze fragment, on the Transcription of the Old Eng­ other hand, follows the Roman alphabet from A lish runes inscribed on a bronze fragment in the to Z, suggesting that the writer of this inscription David and Alfred Smart must have been primarily literate in alphabetic Museum of Art (see Carl Dar­ There is one strongly attested tradition for ing a tale as any real history of Etruria. In 1460, language. Furthermore, the inscription seems to ling Buck, "An ABC Inscribed inscribed alphabets in Italy, however, and that is for example, a newly discovered ancient manu­ be preserved in its entirety; generous spaces sep­ in Old English Runes," Mod­ the sudden appearance of Etruscan writing in the script "revealed" that the Etruscan warlord Lars arate its first and last letters from the margins of ern Philology 17 [1919-20]: seventh century B.C.E. The Etruscans, dazzled hy Porsenna had presided, King Arthur-like, over a 44-45). The inscription has the piece itself. cohort of knights whose stronghold, Mons Politi- several anomalies: the form this new invention, seem to have gone alphabet- Both Etruscan and runic script used dots of t he c-rune is reversed; the mad for a brief period, inscribing dishes, statues, cus (Mount Politic), had been an earthly paradise called interpuncts, positioned rather like our form of the ae-rune has been and innumerable perishable surfaces of wood, of paved streets, careful zoning regulations, and own colon, to mark breaks between words. The confused with the Roman let­ cloth, or wax with alphabets. These early elegant public architecture (as well as a statue of Smart inscription lacks any kind of punctuation. ter "f" and therefore the same "abecedaria" record letters (like b, d, and g) that Porsenna's Mamma on a pedestal in Mount Runes, moreover, were usually written between rune has been used to write the Etruscans eventually abandoned because they Politic's main piazza). If Porsenna conducted two continuous lines, so that runic texts look like both "e" and "f"; the w-rune had no use for them. One abecedarium, cut himself like a Renaissance prince, the resem­ inscribed ribbons. The letters of the Smart frag­ has been inserted in its usual position after "g" in the across the surface of a narrow little pot, goes so blance was only natural; the History of Lars Pors­ ment stand free. Anglo-Saxon futhork; the far as to include lists of syllables as well as indi­ enna had just been composed by a Florentine The peculiarities of the inscription, when d-rune has been used to vidual letters. The sheer excitement of reading scholar, Leonardo Dati, in order to curry favor taken together with the fragment's generous cur­ denote the letter "h," and writing has seldom made itself so evident. with the reigning Pope, a princely Tuscan named vature, its crude lip, and its too-neatly trimmed presumably because of In effect, Carl Buck's bronze fragment looks Pius II.5 edges, suggested to many of Buck s contempo­ its physical similarity to the like an Etruscan abecedarium, except that it is A generation later, beginning in the 1490s, a raries that the whole piece was a fake, and it was Roman "h"; and the k-rune has been used to denote "q." inscribed in expensive material and in Anglo- Dominican monk named Giovanni Nanni began considered as such by runic scholars for sixty Saxon runes. But it is difficult to imagine that unearthing extraordinary Etruscan and Egyptian years. Then, in the 1980s, the Italian archaeolo­ many customers of that early twentieth-century artifacts in his native city of Viterbo. Combining gist Carlo Carletti discovered a set of Anglo- Roman dealer would have known the difference. these finds with information culled from two Saxon graffiti on a medieval fresco in Rome and In fact, Etruscan letters and Nordic runes medieval manuscripts in his possession, Nanni proposed that it had been scrawled there by ill- bear notable resemblances to one another, per­ was able to prove that Etruscan civilization had bred English pilgrims between the years 689 and haps for good reason: many scholars trace the actually been instituted by Noah himself in a 801, when Anglo-Saxon visits to Rome were well invention of runes to Germanic contact with the spurt of activity to replenish the earth after the attested in historical sources." One of these intru­ Etruscans, perhaps in the Alps or along the devastations of the Flood. Therefore, the Etr­ sive Britannic tourists, a certain Eadbald, cut his Danube, during the latter days of the Roman uscan language, Nanni insisted, was really a name into the fresco using runes rather than empire.4 Forgers, too, have noticed the resem­ primeval version of Hebrew, complete with Roman letters. At about the same time, runic Figure 1. blance—not only the forgers of runes who con­ right-to-left script. Amazingly, Nanni's pro­ inscriptions came to light on the Gargano penin­ Vessel fragment (wall and rim of a bowl), hammered tinue to operate in Scandinavia, but also the forg­ nouncements had a profound effect on contem­ sula in Southern Italy. For the first time, runic bronze with incised ers of Etruscan antiquities who have operated for porary European belief and on the conduct of scholars suggested that the "Rome fragment," 7 inscription, 3 /,6 x 8y,6 in., scholarship. Such disparate creations as centuries in Rome. which is now a Chicago fragment, might be University Transfer, Gift of Indeed, from its very beginnings in the mid- Michelangelo's Sistine Chapel ceiling, Martin worth a second look.3 Still, there is a vast differ­ Mrs. Carl E. Buck, fifteenth century, the history of Etruscan studies Luther's theology, and the original design of St. ence between Eadbald's crudely hacked auto­ 1967.115.538. Peter's Basilica reverberate with the sly monk's graph and the careful incisions by which a runic has been, to a disproportionate extent, the history persuasive fantasies.6 alphabet was cut into the Smart Museum's of forgery. The combined temptations of the gor­ Nor has the advent of modern archaeology brazen vessel. Eadbald's stab at immortality has geous Tuscan countryside, tantalizing references altered fiction's inventive challenge to archaeo­ an evident motive; the alphabet, as yet, does not. from ancient Greek and Roman historians, enig­ logical fact about Etruria. From 1933 to 1961, a Furthermore, the presence of runes in the Italian matically charming artifacts, imposing architec­ set of three Etruscan terracotta warriors graced peninsula does not alter the physical problems tural ruins, and an inaccessible language have the Metropolitan Museum of Art in New York, posed by Buck's bronze fragment. Its shape is continually induced both patriotic Italians and their raw artistic power hymned in enraptured still anomalous, its trimming excessively neat, whimsical foreigners to embellish the Etruscans prose by none other than the Met's hardheaded and the reasons for its creation no less elusive fragmentary record with fresh, ll fictitious, infor­ curator of Classical Antiquities, Miss Gisela than before. mation. Often the forgers' stories tell as captivat­

23 22 Richter.7 Yet once these mighty heroes had been uities, which included woodcut and engraved lyze both as sacred languages suitable only for the Liber Secundum. 9? exposed as the handiwork of an enterprising reproductions of several of the Etruscan texts in transmission of deep religious truths. Even the twentieth-century ceramicist and forger named their entirety (fig. 3).12 The young forger bor­ eighteenth-century Enlightenment could go only Alfredo Adolfo Fioravanti, they were relegated rowed most of his Etruscan characters from two so far toward clarifying the relationship between to quick oblivion in the museum's storerooms.8 well-known local inscriptions in Volterra, both primeval Hebrew and other languages; both Italian scholars and forgers had good access - indisputably genuine, but his scarith texts also runic and Etruscan script retained their reputa­ flFWyiOtf-vwiyKn-A !••?»* to information about runes as early as the mid- contained some anomalous letter forms, which, tion as sacred, probably Hebraic, scripts. jrvJ'vWCeLfliO'KKU VJPfOWli <0 JsOII* 1530s, when two Swedish Catholic brothers, the like the anomalous letter forms on the Smart Although Giovanni Nanni of Viterbo and bishops Ole (1490-1557) and Johan (1488—1544) fragment, can be traced—perhaps even direct­ Curzio Inghirami of Volterra had been exposed iX'iri; Magnus, published histories of their native land ly—to Scandinavian runes." as forgers long before 1700 (though never entire­ in order to further their unsuccessful attempts to M5W0 ^ Indeed, the seventeenth century was an age ly so), first-rate eighteenth-century Italian schol­ lure Swedish Christians away from Lutheranism PZ/k VCW0>fl3: iXVKlAfl in which the systematic comparison of languages ars like Filippo Buonarroti and Anton Francesco and into the bosom of Catholic Europe.'' Howev­ VwOJWIF Of and alphabets occupied European scholars intent Gori still remained uncertain about where exact­ er, the Magnus brothers' crude, woodcut runic 43?K t&O /ksoVVc on probing both the mysteries of a world broad­ ly to place the Etruscans and their language. alphabets do not correspond with particular ened by exploration and the immanent enigmas Only with Ahbot Luigi Lanzi's Essay on the Etr­ closeness to the letters incised on the Smart of their past. For optimists like the German uscan Language of 1789 did the mystery of written VSK4>03IM HSmn- * Museum's bronze fragment. It is a more sophis­ Jesuit Athanasius Kircher, Chinese characters, Etruscan receive what began to resemble system­ 3gjfliL w/kV \no3?m v. ticated piece of work than that. Egyptian hieroglyphs, and the mysterious lan­ atic linguistic presentation in a modern sense.17 As it happened, the Magnus brothers' histo­ guages of the Americas promised to reveal a sin­ Placing the Smart's hronze fragment within ries, written in Latin, deliberately aimed to 30\>c WlMP rr-VW*?:' gle origin for humankind and a single primeval this continuum of forgeries and sincere miscon­ attract an international European audience, and C language.14 (Kircher would eventually claim to ceptions can only he a matter of guesswork, and jnvHin AvKi't A y they succeeded. By the close of the sixteenth cen­ ILITKW MVS be able to read hieroglyphs, more than a century guesswork of a peculiarly specialized sort. With tury, Ole Magnus's History of the Nordic Peoples before the discovery of the Rosetta Stone.) For its carefully recorded Anglo-Saxon runes, the had gone into several Italian vernacular editions. Kircher, as for many of his contemporaries, the bronze fragment shows hoth a sure hand and The Belgian scholar Bonaventura Vulcanius fol­ world's first language was Hebrew, the language scholarly accuracy. At the earliest, it might be a a lowed in 1597 with discussion of runes in his of God. But whereas Kircher was content to seventeenth-century piece, and the controversies 0 Latin excursus On Lombard Letters.' Italians' imagine the garden of Eden securely set in the surrounding the discovery of the Volterran N continuing interest in runes and other alphabets Holy Land, other European patriots, like the scarith in the 1630s and 1640s would make one received new impetus after 1636 from a Danish Swedish doctor, architect, fire chief, and runic attractive venue wherein to plant proof that the scholar, Ole Worm (1588-1654), whose Runes: or, scholar Olof Rudbeck of Uppsala (1630-1702), ancient Norsemen and the Etruscans shared a Figure 3. the Ancient Literature commonly called Gothic of began to set mythic realms like Atlantis in their common history. But the distinctively Old Eng­ Forged Etruscan text, 1636 used a far more polished and extensive own climes and populate their own regions of the lish alphabet inscribed on the Smart bronze does circa 1636, from Corzio typeface to print its runes than had the Magnus not contain the same letters as the Scandinavian Inghirami's Ethruscarum earth with lost tribes of Israel." A generation brothers a century before." Worm's work Antiquitatum Fragmenta, later, Olof Rudbeck Junior (1660-1740) would futharks recorded by the Magnus brothers, Vul­ reached Italian readers, as it happened, at the Collection of the Vatican continue his father's systematic comparisons of canius or Ole Worm. In the early twentieth cen­ precise moment when they were once again pro­ Library, Rome, Italy. Swedish and Hebrew (as well as Chinese, tury, however, Rome was a crucible of linguistic foundly engaged in Etruscan studies: in Novem­ Phoenician, and Hungarian) in order to reveal scholarship: the forged Praeneste Fibula (executed ber 1634, a Tuscan teenager named Curzio the fundamental identity of these languages in the 1890s) seemed to be unveiling the origins Inghirami claimed to have discovered a cache of and peoples.16 of early Latin, and runic scholars like Carl Etruscan documents buried just outside his In all these wonderfully motley antiquarian Marstrander and Magnus Hammarstrom were native city of Volterra. Encased in lead-lined studies, Etruscan and runic script continued to be beginning to use modern linguistic methods to capsules known as "scarith," these tantalizing associated with one another because of the simi­ trace the origins of runic script to contacts with new texts were written in Etruscan and Latin on 18 larity between their letter forms; the fact that in Etruria. Buck himself cites the work of a con­ scrolls of paper, whose watermarks from the both cases the texts were most frequently temporary, Georg Hempel, to illustrate connec­ local paper factory were only noticed in 1700, inscribed in stone suggested to European scholars tions between "North Etruscan" alphabets and nearly half a century after Curzio's death in 1655. that their content must be profound enough to the runic futharks. On the whole, it seems most Late in 1636, he published the scarith in a lavish record for the ages. Hopeful seventeenth- and likely that the Smart's fragmentary cauldron is a folio volume called Fragments of Etruscan Antiq- eighteenth-century linguists continued to ana­ cunningly bent strip of scrap metal that has been

24 25 15. Gunnar Eriksson, The Atlantic Vision: Olaus Rudbecf 18. For the Praeneste Fibula, see Arvid Andren, Deeds and incised within the past three-quarters of a centu­ Tigerstedt, "Ioannes Annius and graecia mendax," in C. Henderson, )r., ed., Classical, Medieval, and Renaissance and Baroque Science (Canton, Mass.: Science History Misdeeds in Classical Art and Antiquities, 88-95. For the ry, whose potential to generate scholarly excite­ runic studies of Marstrander and Hammarstrom, see Studies in Honor of Berthold Louis Ullmann (Rome: Edi- Publications, 1994). Richard L. Morris, Runic and Mediterranean Epigraphy, ment among Old English patriots, Etruscolo­ zioni di Storia e Letteratura, 1964), Vol. 2, 293-310; 16. Olof Rudbeck Junior, Specimen Usus Linguae Goth- 33~4°- gists, and antiquarians has as yet gone largely Roberto Weiss, "Traccia per una biografia di Annio da icae in Eruendis atque illustrandis obscurissimis quibusvis Viterbo," Italia medioevale e umanistica 5 (1962): 425-441; Sacrae Scripturae Locis (Uppsala: J. H. Werner, 1717). 19. Buck, 47-48. unrealized. idem, "An Unknown Epigraphic Tract by Annius of 17. Luigi Lanzi, Saggio di lingua etrusca e di altre antiche Viterbo," in Italian Studies Presented to E. R. Vincent d' Italia (Rome: Pagliarini, 1789). 1NGRID 1). ROWLAND is an associate (Cambridge: Heffer, 1962), 101-120; O. A. Danielsson, professor in the Art History Department of the Uni­ "Annius von Viterbo iiber die Grundungsgeschichte Roms," in Corolla Archaeologica principi hereditaria Regni versity of Chicago. Her publications include several Sueciae Gustavo Adolpho dedicata (Lund: C. W. K. articles on the history of Etruscan studies in the Glerup, 1932), 1—16; Edoardo Fumagalli, "Un falso Renaissance and Baroque periods and The Culture tardo-quattrocentesco: lo pseudo-Catone di Annio da of the High Renaissance: Ancients and Moderns Viterbo," in Rino Avesani, ed., Vestigia, Studi in onore di Giuseppe Billanovich (Rome: Edizioni di Storia e Letter­ in Early Sixteenth-Century Rome (Cambridge atura, 1984), 337-383; Gigliola Bonucci Caporali, ed., University Press, March Annio da Viterbo, Documenti e ricerche. Contributi alia Sto­ ria degli Studi Etruschi ed Italici, 1 (Rome: Consiglio Nazionale delle Ricerche, 1981); C. Ligota, "Annius of Viterbo and Historical Method," Journal of the Warburg and Courtauld Institutes 50 (1987): 44-56. NOTES 7. Gisela M. A. Richter, Etruscan Terracotta Warriors in Thanks to Kimerly Rorschach, Richard Born, and the Metropolitan Museum of Art, with a Report on Structure Courtenay Smith for their help in attempting to decipher and Technique by C. F. Binns. Papers of the Metropolitan this enigmatic artifact. Museum of Art, 6 (1937). 8. The expose was published by Dietrich von Bothmer 1. Carl Darling Buck, "An ABC Inscribed in Old Eng­ and J. V. Noble, An Inquiry into the Forgery of the Etr­ lish Runes," Modem Philology 17 (1919-1920): 43-48. uscan Terracotta Warriors in the Metropolitan Museum of Art. Papers of the Metropolitan Museum of Art, 11 2. Rene Derolez, "Anglo-Saxons in Rome," Old English (1961). For the whole story of the warriors, A. A. Fiora- Newsletter 21:1 (1987): 36-37. vanti, and his early apprenticeship with the Riccardi 3. Rene Derolez, "Runica Manuscripta Revisited," in family of forgers, see Arvid Andren, Deeds and Misdeeds Alfred Bammesberger, ed., Old English Runes and their in Classical Art and Antiquities, Studies in Mediterranean Continental Background (Heidelberg: Carl Winter Uni- Archaeology, Pocket book 36 (Partille, Sweden: Paul versitatsverlag, 1991), 99m 56; R. I. Page, "Anglo-Saxon Astrom, 1986), 66—72. Runic Studies: The Way Ahead?" ibidem, 17m 2. 9. See Kurt Johannesson, The Renaissance of the Goths in 4. Piergiuseppe Scandigli, "Sulla derivazione della scrit- Sixteenth-Century Sweden: Johannes and Olaus Magnu as tura runica dalla scrittura etrusca settentrionale," in Mas­ Politicians and Historians (Berkeley: University of Cali­ simo Pallottino, ed., 67/ Etruschi e I'Europa (Milan: Fab- fornia Press, 1991). bri Editori, 1992), 218-221; Richard L. Morris, Runic and to. Bonaventura Vulcanius, De Notis Lombardicis (Louvain: Mediterranean Epigraphy (Denmark: Odense University Press, 1988), 33-40; theory refuted, 151—52. Plantin, 1597), 43-47. 11. Ole |Olaus( Worm, [Riinir]: seu Danica Literatura 5. Ingrid D. Rowland, "Due 'traduzioni' rinascimentali antiquissima vulgo Gothica dicta (Copenhagen: Melchior delle Gesta Porsennae dello Ps.-Vibenna," in Sesto Prete, Martzen, 1636). See also idem, Fasti Danici. Universam ed., Protrepticon: Studi in onore di Giovannangiola Secchi tempora computandi rationem antiquitus in Dania et vicinis Tarugi (Milan: Istituto Francesco Petrarca, 1989), Regionibus observatam (Copenhagen: Joachim Moltkenius, •25-133- 1643). 6. For the life and achievements of Giovanni Nanni, who 12. Curzio Inghirami, Ethruscarum Antiquitatum Fragmenta wrote as Annius of Viterbo, see Walter E. Stephens, (Florence: Amadore Massi 1636, with a false imprint of Giants in Those Days: Folklore, Ancient History, and Nationalism (Lincoln and London: University of Nebras­ Frankfurt, 1637). ka Press, 1989); idem, Berosus Chaldaeus: Counterfeit and 13. The inscriptions used by Curzio are discussed in Fictive Editors of the Early Sixteenth Century (Ph.D. dis­ Fran^oise-Helene Massa Pairault, "La stele di 'Avile Tite' sertation, Cornell University, 1979); idem, "The Etr­ da Raffaele il Volterrano ai giorni nostri," MEFRA 103 uscans and the Ancient Theology in Annius of Viterbo," (1991): 499—528. The connections between Inghirami's in Paolo Brezzi and Maristella de Panizza Lorch, eds., texts and runes will be drawn in the author's forthcom­ Umanesimo a Roma nel Quattrocento (Rome: Istituto di ing book on the scarith. Studi Romani; New York: Barnard College, Columbia 14. Joscelyn Godwin, Athanasius Kircher: A Renaissance University, 19841,309-322; Anthony Grafton, Forgers and Man and the Quest for Lost Knowledge (London: Thames Critics: Creativity and Duplicity in Western Scholarship and Hudson, 1979); Valerio Rivosecchi, Esotismo in Roma (Princeton, N.J.: Princeton University Press, 1990); E. N. Barocca: studi su Padre Kircher (Rome: Bulzoni, 1982).

27 26 Activities and Support/ Collections

cquisitions to the Permanent Collection

Objects listed below entered the permanent collection from 1 July 1996 thro ugh 30 June 1997. Dimensions are in inches followed by centimeters in parentheses; unless otherwise indicated, height precedes width precedes depth. Known catalogue- references with page numbers follow dimensions.

ANCIENT Turkey (Anatolia), Kilia culture RICHARD HULL Group of 42 Figural Fragments, American, born 1955 Yugoslavia, Vinca culture 2000-1500 B.C.E. All Balance, 1983 Group of 125 Figural Fragments and Carved marble, dimensions vary Oil and wax on canvas, x 2I Artifacts, 4500-3500 B.C.E. Gift of Dr. Harold L. Klawans, 72 x 84 (182.9 3-4) Unglazed terracotta, stone, and 1996.62.1-1996.62.42 Anonymous Gift in honor of the bone, dimensions vary artist, 1996.67 Gift of Harlan and Pamela Berk, EUROPEAN AND MARCOS RAYA 1996.63.1-1996.63.125 NORTH AND SOUTH AMERICAN Mexican, lives in U.S.A., born 1948 The Anguish of Being, 1993 PAINTINGS Oil on canvas, in artist's original

frame, 72 '/2 x 73 (184.2 x 185.4) SARAH CANRIGHT Purchase, Gift of Maria Bechily and American, born 1941 Scott Hodes, 1997.24 Untitled, circa 1968 Oil on canvas, in artist's original SUELLEN ROCCA painted frame, 33 x 33 American, born 1943 (83.8 x 83.8) Game, 1966-1967 Gift of Don Baum, 1997.20 Oil on canvas, 72 x 68 (182.9 x 172.7) Gift of Ruth Horwich, 1997.19 JAMES GILBERT

American, 1899-1969 SCULPTURE Prairie Nudes, 1939-1945 Oil on pressboard, 24 x 27 (60 x 68.5) ROBERT ARNESON Gift of Charles G. Bell, 1996.59 American, 1930-1993 Ida wl{, 1985 ART GREEN Glazed hand-built stoneware, American, lives in Canada, 2 units, h. 86 (218.4) born 1941 Gift of The Joel and Carole Bern­ Consider the Options, Examine the stein Family Collection in Facts, Apply the Logic, 1966 honor of Jay Roshal, 1996.563—6

Oil on canvas, 89 '/4 x 68 (226.7 x !72-7) Purchase, Anonymous Gift, 1996.60 TAA, up-h-tit- — ?-• -j t

Ivan Albright, Fleeting Time, Thou Hast Left Me Old, 1945, 1996.64 29 EDWARD KIENHOLZ PRINTS American, 1927-1994 Dome, 1972 IVAN ALBRIGHT Metal suitcase with screen printing American, 1897-1983 and hand painting and plastic tarp Fleeting Time, Thou Hast with metal grommets and chain, Left Me Old, r 945 Lithograph, 13 Vg x 9 Vg suitcase 10 '/4 x 15V4 x 4 % (26 x 40 x 12.4), overall h. 44 '/4 (112.4), (34.5 x 2 4.4) (composition) Multiple, ed. of 300 (each work Ciift of the Estate of John Forwalter, unique due to hand painting) 1996.64 Gift of Walter C. Goodman in honor of Patrick C. Duffy, 1996.66 BRIAN ENO and PETER SCHMIDT in collaboration with PAE WHITE PETER SAUL British American, born 1934 Oblique Strategies: One Hundred CCCP, circa 1966 Worthwhile Dilemmas, 1996 Painted wood, 46 x 37 x 37 Mixed media, consisting of 100 (116.8 x 94 x 94) commercially printed cards Gift of the artist, 1997.32 stored in a corian container, Marcos Raya, 6 '/g x 5 (15.6 x 12.9) (each card) DRAWINGS Ciift of the Peter Norton Family, The Anguish of Being, ROBERT BARNES 1997.11 1993, 1997.24 American, horn 1934 Cantos, 1961—1962 ROBERTO MATTA ECHAURREN called MATTA Pastel on laid paper, sheet sizes vary Seven sheets from a suite of nine Ghilean, active in U.S.A., born 1911 pastel drawings based on Ezra He Loves Best Who Loves Last Pound's Cantos (Aimera bien qui aimera le Ciift of Allan Frumkin, derniere), 1968 Color etching and aquatint, FRANK LLOYD WRIGHT 1996.583-0, e-h PHOTOGRAPHS ARCHIBALD KNOX ed. 56/85, 16 Vg x 13 V4 designer, English, 1864-1933 designer, American, 1867-1959 ROBERT BARNES (41.6 x 32.4) (plate) LAURA LETINSKY London, Liberty & Co., Side Chair, 1904 (design, possibly Canto IV, 1961 Sabatier 194 Canadian, lives in U.S.A., born 1962 manufacturer manufactured later), for the Larkin Gift of Gerald and Roslyn Flegel, Pastel on laid paper, 18 'Vlb x 24 ~/g Untitled (Laura and Eric, jesus), 1995 Biscuit Barrel, circa 1903 Building, Buffalo, New York (46.2 x 63 .2) (sheet) 1997.30 Chromogenic print, 30 x 40 Cast pewter with enamel inlay, Oak with (replacement) upholstered

From a suite of nine pastel drawings (76.2 x 101.6) (sheet) h. 5 '/2 (14) back and slip seat, h. 43 '/16 (109) LASAR SEGALL based on Ezra Pound's Cantos Purchase, Lulu M. Quantrell Purchase, Gift of the Friends of the University Transfer from the Fred­ Gift of Dennis Adrian in honor of Brazilian, born in Lithuania, Bequest, by exchange, 1997.45 Smart Museum, 1997.233-6 erick C. Robie Residence, Bates Lowry, 1996.586 1891-1957 1997.10 Biibii, 1921 DAVID J. TEPLICA A. W. N. [AUGUSTUS GLADYS NILSSON Portfolio of eight lithographs with American, born 1959 WELBY NORTHMORE] FRANK LLOYD WRIGHT PUGIN American, born 1940 text page and original Untitled (The Dworkin Twins), designer 2 x 1 designer, English, 1812—1852 Dancer, 1993 folio cover, ed. 29/57, 3 8 V, from the Twin Series, 1990 Side Chair, circa 1909, for the Freder­ Stoke-on-Trent, Minton and Com­ Diptych; collage, watercolor, and (58.4 x 46.4) (each sheet) Gelatin-silver print, artist's master ick C. Robie Residence, Chicago, Marcia and Granvil Specks Collec­ 3 pany, manufacturer gouache on sketch paper, 8 V2 x 5 V2 proof, 4 /4 x 5 Vg Illinois Gothic Revival Octagonal Dessert (21.6 x 14) (each sheet) tion, 1997.293^ (12.1 x 14.3) (sheet) Oak with (replacement) upholstered Plate, circa 1849 3 Gift of the artist in honor of Ruth Gift of the artist in honor of Barbara back and slip seat, h. 50 /4 (128.9) HANS THOMA Glazed stoneware with molded Fforwich, 1997.223—6 Stafford, 1997.18 University Transfer from the Fred­ German, 1839-1924 relief and underglaze painted erick C. Robie Residence, 1997.9 GLADYS NILSSON Goatherders (Mother's Supporters III) DECORATIVE ARTS and overglaze gilded decoration, Ohh-CO-CO, 1993 (Ziegenhirten [Mutterslehn III]), 1916 max. diam. 9 V4 (23.5) Etching, state 11I/I 11, 7 7/« x 9 Vg AMERICAN Gift of Patricia John in memory of Diptych; collage, watercolor, and Art Green, Consider the (20 x 23.2) (plate) Zanesville, Ohio Richard Louis John, 1997.7 gouache on sketch paper, 8 '/2 x 5 V2 Options, Examine the Weller Pottery, manufacturer (21.6 x 14) (each sheet) Beringer 196-3 Facts, Apply the Logic, Vase, circa 1896 Gift of the artist in honor of Lindy Gift of Mrs. Wallace Landau, 1966, 1996.60 Glazed earthenware with under- Bergman, 1997.2 ia-b 1997.26 glaze slip-painted decoration

(Louwelsa ware), h. 10 '/2 (26.7) Gift of the Estate of John Forwalter,

30 31 XU BIN ZHOU BA CHIANG YEE Late Ming (1368-1644) to early Late Qing dynasty (1368-1912) Contemporary Qing dynasty (1644-1912) Bamboo and Rocks, probably early Calligraphy: Sheng, circa 1970 (?) Foreign Tributaries to the Chinese 20th century Hanging scroll, ink on paper, Emperor, 17th century Hanging scroll, ink on paper, 3 48 /4 x 25 (123.9 x 63.5) Handscroll, ink and opaque color on 70 9/,6 x 36 'V ,6 (179-2 x 9"-3) (calligraphy panel) silk, 12 x 72 (30.4 x 182.9) (painting) (painting) Gift of the Estate of Lorraine University Transfer from the Gift of the Estate of Lorraine J. Creel, 1996.83 Department of Mathematics, 1997.4 J. Creel, 1996.76

DAI MINGSHUO ZHANG GUANJIA CHINESE: SCULPTURE Late Ming (Tianqi reign, 1621— Republican period (1912-1949) 1628) to early Qing dynasty Northern Wei dynasty (386-534) Calligraphy: Confucian Text, (Kangxi reign, 1662-1723) Mingqi: Pair of Caparisoned Horses, 1935 (winter) Bamboo, 17th century Hanging scroll, ink on gold-flecked circa 530 Hanging scroll, ink on silk, Modeled and molded earthenware 3 paper, 15 % x 45 "/16 66 x 16 /4 (167.6 x 42.5) (pa inting) with cold-painted decoration, (40.4 x 116.1) (calligraphy panel) Gift of the Estate of Lorraine h. 9 (22.9) and 8 '/ (21.6) Gift of the Estate of Lorraine 2 J. Creel, 1996.70 Anonymous Gift, 1997.27 and ). Creel, 1996.79 1997.28 DONG ZUOBIN ZHANG GUANJIA 1895-1963 CHINESE: CERAMICS Calligraphy: Confucian Text, 1935 Calligraphy in Oracle Bone Script, Hanging scroll, ink on gold-flecked December 1935 Late Song (1127-1279) to Yuan 7 3 paper, 51 /s x 16 /4 (131.7 x 42.5) Hanging scroll, ink on paper, dynasty (1271-1368) (calligraphy panel) 49 V16 x 9 3/ (124.6 x 24.7) Mingqi: Pair of Funerary Vessels A. W. N. [Augustus Welby Northmore] Pugin, designer, Gothic Revival 4 Gift of the Estate of Lorraine (calligraphy panel) with Lids, 13th century Octagonal Dessert Plate, circa 1849, 1997.7 J. Creel, 1996.84 Gift ot the Estate of Lorraine Yingqing ware, glazed stoneware J. Creel, 1996.81 with qingbai glaze and ZHANG JUN eisai Hokuba, Pair of MA LU applied molded and modeled PAINTER UNKNOWN ASIAN Republican period (1912—1949) 3 DONG ZUOBIN decoration, h. with lid 28 /4 Sino-Tibetan aintings: A Courtesan Repubiican period (.9.2-,949) Calligraphy: Couplet Commemorating Couplet of Calligraphy in Oracle Bone (73) and 29 3/s (75.6) CHINESE: PAINTING Thanka: Tantric Buddhists Saints, ind A Suitor, probably Landscape, 1932 (fall) Professor Herrlee 0. Creel's Studies in Gift of Isaac S. and Jennifer A. Script, probably 1930s 830-44, 1996.86 and Hanging scroll, ink and light colors probably 19th century China, 1934 (summer) PAINTER UNKNOWN Pair of hanging scrolls, ink on paper, Goldman, 1997.53-6 and Hanging scroll, ink and opaque 996-87 on paper, 26 x 13 (66 x 33) (painting) Pair of hanging scrolls, ink on Zhe School, spurious signature 53 3/8 x 9 V$ (135.5 x 23-2) 1997.6a—b colors on cloth, 32 x 22 V4 Gift of the Estate of Lorraine gold-flecked paper, 63 '/4 x 15 '/s and seal of Southern Song (each calligraphy panel) (81.3 56.5) (painting) J. Creel, 1996.77 (160.6 x 38.4) and 63 '/4 x 15 '/ 4 INDIAN: PAINTING painter Ma Lin Gift of t he Estate of Lorraine Gift of the Estate of Lorraine (160.6 x 38.6) Ming dynasty (1368—1644) J. Creel, 1996.82 a-b J. Creel, 1996.75 QIAN TANG (calligraphy panels) Kangra School Scholar in a Boat, 16th century (in the style of Chen Lin) Gift of the Estate of Lorraine Temple Hanging (Pichhavi): The Hanging scroll, ink on silk, DONG ZUOBIN CHA SHIBIAO Qing dynasty (1644-1912) J. Creel, 1996.80 a—b Autumn Full Moon (Sarat Purnama), 47 7/« x 17 Va (121.6 x 44.5) ( painting) Calligraphy in Oracle Bone Script, 1615-1698 Bird and Flowers, i8th-i9th century 19th century Gift of the Estate of Lorraine probably 1930s Landscape, 1662—1698 Album leaf in the shape of a fan, ink ZHANG JUN Opaque watercolor on cotton, J. Creel, 1996.68 Hanging scroll, ink on paper, Hanging scroll, ink on paper, and light colors on silk, 10 Vs x 10 Calligraphy: Commemorative Poem approx. 68 x 132 (172.7 x 335.3) , X ,i I X 3 7 20 /2 7 /i6(52. 19.5) 29 /4 x 18 /,6 (75.6 x 46.9) (painting) (25.7 x 25.4) (painting) and Text Dedicated to Professor Her­ Gift of Mary M. McDonald, 1996.57 PAINTER UNKNOWN (calligraphy panel) Gift of the Estate of L orraine Gift of the Estate of Lorraine rlee G. Creel, 1935 (winter) Qing dynasty (Qianlong reign, Gift of the Estate of Lorraine J. Creel, 1996.71 J. Creel, 1996.73 Hanging scroll, ink on paint-flecked JAPANESE: PAINTING 1 J. Creel, 1996.85 1736- 795) paper, 18 '5/,6 x 52V8 (48.1 x 132.4) Calligraphy (in Manchu and Chinese): PAINTER UNKNOWN CHA SHIBIAO WANG YAO (calligraphy panel) New Year Memorial (Shilang qing "KWO" DA WEI Landscapes, 1662—1698 Ming dynasty (1368—1644) Gift of the Estate of Lorraine Kano School, spurious signature Li bao), 1791 Republican period (1912—1949) Four leaves from a dispersed Insects, Flowers, and Bamboo, 1429 J. Creel, 1996.88 and seal of Kano Tanyu Handscroll, ink and opaque colors Radishes, probably first third of album, ink on paper, Handscroll, ink and opaque color Edo period (1610—1868) 20th century on cloth, 148 V2 x 12 (377.2 x 30.5) 5 Hotei, probably 19th century 12 72x 10 /s (31.8 x 27), on silk, 14 V2 x 90 (36.7 x 223.5) ZHANG RUOCHENG (calligraphy panel) Hanging scroll, ink on paper, Hanging scroll, ink on paper, 12 V 2 x 10 "/16 (31.8 x 27.2), (painting) Qing dynasty (Qianlong reign, Gift of the Estate of Lorraine 3 32 '/4 x 13 v2 (81.9 x 34.4) 40 '/ x 11 (103 x 28) (pa inting) 12 V2 x 10 /4 (31.8 x 27.3), Purchase, Brooks McCormick, Jr. 1736-1795) 2 J. Creel, 1996.74 (painting) Transfer from The Hood Museum, 12 V 2 X 10 "/16 (31.8 x 27.2) Fund, 1997.35 Landscape, 1749 Gift of the Estate of Lorraine (paintings) Hanging scroll, ink on silk, Dartmouth College in honor of J. Creel, 1996.78 Robert W. Christy, Gift of t he Estate of Lorraine 61 3/I6 x 18 5/8 (155-4 x 47-3) 1997.16 J. Creel, 1996.72 a—d (painting) Gift of the Estate of Lorraine J. Creel, 1996.69

33 32 Activities and Support/ Attributed to KOREAN: CERAMICS Collections SHOKAI REIKEN Choson dynasty (1392—191 o) l3'5-'396 Colophon inscribed by HEIKO, Wine Cup Stand, 15th century abbot of Seiunji Temple Punch'ong ware, glazed stoneware Edo period (1610—1868) with white slip inlaid Daruma ("One-strode" Bodhidharma), decoration (sanggam), h. 2 !/« (5.4), late-14th century diam. of plate 5 V2 (14) (inscription circa 1700) Gift of Brooks McCormick, Jr., Hanging scroll, ink on paper, 1996.61 26 x 11 7/« (66 x 30) (painting) AFRICAN Transfer from The Hood Museum, Dartmouth College in honor of SCULPTURE Robert W. Christy, 1997.15 Northern Ghana, Komaland, RYUKO TAKAHISA unidentified pre-modern peoples 1801-1859 Enthroned Royal Pair, Four Classes of Society (Shino^osho): 9th—18th century I oans from the Permanent Collection Warrior, Farmer, Artisan and Mer­ Unglazed modeled terracotta, Exhibitions to which works of art from the permanent collection have been lent from 1 Ju ly 1996 through chant, n.d. h. 10 (25.4) (male) and 30 June 1997. Hanging scroll, ink and opaque h. 10 V4 (26) (female) colors on silk, 48 x 16 (122 x 42) V 2 Gift of Richard J. Faletti, 1997.2 The Hyde Park Art Center, Chicago Spertus Institute of Jewish Studies, Chicago (painting) Maryan's Truth: Paintings 1957-1975 and 1997.3 Don Baum Says: Chicago Has Famous Artists Transfer from The Hood Museum, 17 November 1996-4 January 1997 9 May-28 August 1996 Dartmouth College in honor of Zaire, Kongo-Myumbe peoples Maryan S. Maryan (Pinchas Burstein), called Maryan Gertrude Abercrombie Robert W. Christy, 1997.17 Masf(, probably 19th century American, born in Poland, lived in Israel and France, American, 1909-1977 Carved and painted wood, 1927-1977 JAPANESE: CERAMICS Doors (3 Demolition), 1957 h. 13 V2 (34.3) Oil on canvas, 18 x 24 (45.7 x 61) Personage, 1962 Gift of Dr. Richard and Jan Baum, Oil on canvas, 7/s x (1 x 114 Meiji period (1868-1912) Gift of the Gertrude Abercrombie Trust, 1979-14 44 45 14 .3) 1 Gift of Robert A. Lewis in memory of Martha A. Covered Urn, late-19th century '997- Phyllis Bramson Schwarzbach, Satsuma ware, porcelain with over- 1983.37 American, born 1941 glaze and gilt decoration, Existentialist Witness (for P. Adams) Stage 2, 1982 Mary and Leigh Block Gallery, Northwestern Univer­ h. with lid 12 (30.5) :, Oil and collage on canvas and wood, 61 /4 x 73 x 3 '/2 sity, Evanston, Illinois Ciift of Mrs. Miriam H. Eirkley in (115.5 x 185.4 x 8.9) Second Sight: Modern Printmaking in Chicago memory of Paul A. Kirkley, Gift of Maria Bechily and Scott Hodes, 199544 Naritembo Toju, Daruma, 1908, 27 September-12 December 1996 1997.25 1997.12 Pauline Simon George Cohen Attributed to American, 1894-1976 American, born 1919 TEISAI HOKUBA SHOJI HAMADA Mother and Child, 1972 Study for Auger, 1955 i8 3 •77'" 44 1894-1978 Acrylic on canvas, 34 x 26 (86.4 x 66) Lithograph, 7 '/2 x 1 I /4 (19 x 30) (composition) Pair of Paintings: A Courtesan and A Winter Tea Bowl, n.d. The George Veronda Collection, 1996.35 The Joseph R. Shapiro Art to Live With Collection,

Suitor, probably 1830—1844 Glazed stoneware, h. 3 V2 (8.9) TR 1180/251 Hanging scrolls, ink, color, and gold Gift of the Estate of Kelvyn G. Lil- Museum of Contemporary Art, Chicago on silk, 38 x 12 (96.5 x 30.5) ley, 1997.8 Art in Chicago 1945—1995 Patrick and Beatrice Haggerty Museum of Art, Mar­ (each painting) 16 November 1996-23 March 1997 quette University, Milwaukee, Wisconsin Anonymous Gilt, 1996.86 YASUHISA KOHYAMA Joan of Arc in Nineteenth-Century European Art Ruth Duckworth and 1996.87 Born 1936 American, born 1919 in Germany, lived in England 26 September-8 December 1996 Table Slab Vessel, circa 1990 Untitled, 1972 Princess Marie-Christine d'Orleans NANTEMBO TOJU Cut and modeled Shigaraki Glazed stoneware, 17 '/) x 19 x 3 (44 x 48.2 x 7.6) French 1813—1839 1839-1925 stoneware with natural ash glaze Gift of Margaret Fisher, 1967.24 Joan of Arc, after 1835 Daruma, 1908 deposits, 4 V$ x 11 '/s x 8 V2 Cast silvered bronze, h. 11 Vs (29.5) Hanging scroll, ink on paper, Paul LaMantia (11.1 x 2 7.9 x 21.6) Purchase, Gift of the Friends of the Smart Gallery, 54J/4x >3 ('39' x34-4> Gilt of the artist, courtesy of American, born 1933 1983.4 (painting) Zetterquist Galleries, New Sorry Wrong Number, 1972 3 Gilt ol Brooks McCormick, Jr., York, 1997.31 Oil on canvas, 73 /s x 84 '/2 (186.3 x 213.4) Henri-Michel-Antoine Chapu 1997.12 Gift of Richard and Naomi Vine, 1991.355 French,1833—1891 Joan of Arc at Domremy, after 1870-1872

Cast bronze, h. 17 V2 (44.5) Northern Ghana, Komaland, unidentified pre-modern peoples, Purchase, Gift of the Friends of the Smart Gallery, Enthroned Royal Pair, 9th-18th century, 1997.2 and 1997.3 1986.12

34 35 Activities and Support/ Exhibitions and Programs

Exhibitions

Permanent collection, loan, and traveling exhibitions from i July 1996 through 30 June 1997.

Alyce Franl{: Recent Landscapes Peter Saul: Art World Portraits 2 July-18 August 1996 20 August-15 September 1996

An exhibition of recent paintings by Alyce Frank This exhibition of fourteen pencil and gouache (B.A. 1950) was mounted as part of an alumni works revisited a little-known body of work by artists series. A resident of New Mexico, Frank is Austin-based artist Peter Saul, an innovator of known for her large canvases of the regional land­ American pop art whose work pushes the limits of scape, including a series on the Grand Canyon, acceptability and taste. Created in the early 1970s, painted in brilliant colors reminiscent of German Saul's satirical portraits critique the "superheroes" Expressionism and Fauvism. of the art world including Andy Warhol, Frank Stella, Clement Greenberg, Allan Frumkin, and M.F.A. 1996 Leo Castelli. Rendered in a comical manner, with 11 July-6 August 1996 Day-Glo colors and enlarged female and male genitalia, each "sitter" becomes a parody of him­ Ranging from video to painting to photography, self, a tactic Saul used to assail modernism and the work of Brett Bloom, Shawn Calvert, Mark its practitioners. Huddle, David Krause, Piper, Rebecca Ravis, Stephanie Serpick, and L. Mikelle Standbridge, in Faces of Ancient Egypt: Ancient Egyptian Art from the this thirteenth annual Midway Studios graduate Oriental Institute Museum exhibition, explored broad cultural issues and per­ 10 September 1996-9 March 1997 sonal histories. Exhibited as an ensemble rather than a showcase of individual artists, the exhibi­ The first in a series of collaborative exhibitions tion explored how objects and images can comple­ with the University of Chicago's Oriental Institute ment, neutralize, or repel one another. during its renovation and expansion, this show highlighted the Institute's important Egyptian The accompanying exhibition brochure includes holdings by examining the role of the human fig­ an introduction by Tom Mapp, director of Mid­ ure within the cultural and religious life of Egypt­ way Studios, an essay by Laura Letinsky, assistant ian civilization. The idealized, abstract quality of professor in the Committee on the Visual Arts, the forty-five objects displayed, including sculp­ artists' statements, and black-and-white illustra­ ture, paintings, and several funerary masks, tions. demonstrated the Egyptian belief that figurative representation was not only the physical record of

Installation view of Excavat­ an individual, but his/her link to immortality. ing the Smart Museum: (Re)viewing the Classical Greek and Roman Collection

37 African Affinities/Expressionist Essences: Vincent > ± > * j fe A Smith's Eight Etchings, 1965-1966 A A A^ 7-28 February 1997 Roger Brown's Winter fefc A Mounted in honor of African-American Heritage Walk (1976) was one of Ml J Month, this exhibition featured eight etchings [he works on view in ^ \ made by African-American artist Vincent Smith

Artist Peter Saul discusser trends in Post-War A in 1965-1966 at the height of the civil-rights move­ his Art World Portraits. Chicago Art. ment. Mounted alongside African masks and r A A i prints by Otto Dix and Max Beckmann, German ^A^ printmakers who were great influences, Smith's A^ prints exhibited the stylistic treatment and overtly political content characteristic of German Expres­ A^ A sionism, as well as the motifs and forms of the i * A A A tribal masks that continue to influence his work today. Then and Now 6 February-16 March 1997 Excavating the Smart Museum: (Re)viewing the Clas­ sical Greek, and Roman Collection This exhibition offered the University community 1 A pril-8 June 1997 a comprehensive look at the work of Midway Stu­ The Fragrance of hip; Korean Literati Paintings Trends in Post-War Chicago Art dios faculty members Judith Brotman, Lynne The outgrowth of a graduate seminar funded by a of the Choson Dynasty (1192-1910) from the Korea 26 December-16 January 1997 Brown, Herbert George, Robert Hooper, Vera grant from the Andrew W. Mellon Foundation University Museum Klement, Laura Letinsky, and Tom Mapp. Recent and taught by Gloria Pinney, professor of Art His­ Curated from the Smart Museum's significant col­ 10 October 1996—8 December 1997 works by each artist were contrasted with earlier tory and Classical Languages and Literatures at lection, this exhibition explored artistic production Made possible by a grant from the Hyundai pieces—some from the artists' graduate school the University of Chicago, this show focused on in Chicago from 1945 to the present. Represented days—to provide a context for current production. Group, The Fragrance of In{ marked the first part­ eighty artifacts from the Smart Museum's classical were artists such as Robert Barnes, Cosmo Cam- nership between the Smart Museum and a Korean The diversity of the work, not only in media but Greek and Roman holdings. Students in Professor poli, Ruth Duckworth, Leon Golub, Art Green, institution. Comprised of sixty-two ink paintings, in subject matter, underlined the continued inno­ Pinney's seminar researched objects ranging from Richard Hunt, Vera Klement, June Leaf, Jim including hanging scrolls, album leaves, fans, and vation and development of Midway Studios as a sculpture to coins and then catalogued them Nutt, Ed Paschke, Frank Piatek, Hollis Sigler, and force in studio art education. according to the themes of death, gender, public screens, the exhibition presented works by some of Ray Yoshida, among others. Organized from the space, entertainment, and religion. By examining the most significant literati painters of Korea's last Smart's permanent col­ A brochure published in conjunction with the these objects in light of current scholarship, the royal dynasty. Organized jointly hy the Korean lection, From Blast to show contains an exhibition checklist, color pho­ students were able to reinterpret their meanings Studies Institute and the Korea University Pop: Aspects of Modern tographs, and commentaries on selected works by and better situate them within a social context. Museum, the exhibition was circulated by the British Art 1915-1965 Assistant Curator Courtenay Smith. Smart Museum to Columbia University's Wallach explored British avant- From Blast to Pop: Aspects of Modern British Art Art Gallery; the University of Oregon Museum garde art movements. of Art; the Fowler Museum of Cultural History, 1915-1965 University of California, Los Angeles; the Univer­ 17 April—15 June 1997

sity Art Museum, University of California, Berke­ Organized from the Smart Museum's little-known ley, the Arthur Ross Gallery at the University of collection of British paintings, sculptures, and Pennsylvania; and the University works on paper, Blast to Pop explored the complex of Pennsylvania Museum of Archaeology and chronology and diverse artistic traditions of British Anthropology. Modernism. Featuring over one hundred works The catalogue published in conjunction with the by important British avant-garde artists such as exhibition by Korea University's Korean Studies Henry Moore, Barbara Hepworth and William Institute contains essays and detailed catalogue Turnbull, the show explored the period between entries by scholars from Korea University and the two defining movements in English Modernism: Academy of Korean Studies, as well as color illu­ Vorticism, England's first abstract art movement, strations and a selected bibliography. and British Pop art of the late 1950s. This exhibi­ tion and related programming were supported in Mounted concurrently in the Smart Museum's part by grants from The John Nuveen Company Gallery II was Korean Ceramics, an exhibition of Visitors peruse The Fragrance of Ink: Korean Literati and the Pritzker Foundation. thirteen pieces of pottery from the Smart's perma­ Paintings of the Choson Dynasty (1392-1910) from the nent collection that demonstrated the evolution of The catalogue From Blast to Pop: Aspects of Modern Korea University Museum, which marked the first British Art 1915-1965, published by the Smart Korean ceramics and glazes from the eighth to the collaboration between the Smart Museum and a nineteenth century. Korean Institution. Museum, includes an introduction by Keith Hart­ ley, deputy keeper of the Scottish National Gallery of Modern Art and catalogue entries by Smart 38 Curator Richard Born. 39 Activities and Support/ From Blast to Pop: Aspects of Modern British Art Exhibitions and Programs 1915-1965 Opening reception with gallery talk by B ritish artist Sylvia Sleigh: 16 April 1997 Related exhibition at Regenstein Library: A Medium for Modernism: British Poetry and American Audiences, organized by the University of Chicago Department of Special Collections, 20 April- 16 June 1997 Docent-guided tours: 20 April—15 June 1997 British film series: Farmer's Wife (Alfred Hitch­ cock, 1928) and Pett & Pott (Alberto Cavalcanti, 1934) with an introduction by Katie Trumpener, Department of Germanic Studies, University of Chicago, 1 May 1997; The Horse's Mouth (Ronald Neame, 1958) with an introduction by R ichard Events Born, Smart Museum curator, 8 May 1997; A Hard Day's Night (Richard Lester, 1964) with an intro­ Members Collectors' Series: Collecting and Con- Young visitors participate in duction by L awrence Rothfield, Departments of Lectures, gallery talks, opening receptions, concerts, special events, colloquia, and symposia from i July 1996 the Smart's Annual Family noisseurship of East Asian Art through 30 June 1997. English and Comparative Literature, University of Day, an open house at the Behind-the-scenes tour of the Smart Museum's Chicago, 15 May 1997; Peeping Tom (Michael Pow­ Museum co-sponsored by the East Asian art collection with Curator Richard ell, i960) with an introduction by Thomas Gun­ Faces of Ancient Egypt: Ancient Egyptian Art from the Oriental Institute and Hyde Born, 9 November 1996 ning, Department of Art History and the Program Oriental Institute Museum Park Arts Center. in Cinema and Media Studies, University of Chicago, 22 May 1997. Opening reception: 9 September 1996 University of Chicago Humanities Day: Co-sponsored by the University of Chicago Film Docent-guided tours of the Smart Museum's Family Program: Awesome African Arts! Studies Center. collection, 26 October 1996 Hands-on crafts, music, and entertainment cele­ Staged reading: Look Back Anger (John brating the arts of ancient and contemporary Osborne, 1956) at the Court Theatre, directed by Lecture by artists Christo and Jeanne-Claude: Africa. Co-sponsored by the Oriental Institute Charles Newell. Followed by a tour of the Blast to Museum, 20 October 1996. Works in Progress: Over the River, Project for Western Pop exhibition and a reception. Co-sponsored by U.S.A. and The Gates, Project for Central Park, Seminar: Portraits: Ancient to Modern Court Theatre, 12 May 1997 NYC, 16 November 1996 Workshop comparing portraiture from Faces of Poetry reading: Thorn Gunn at The Arts Club of Ancient Egypt to classic examples of portraits from Chicago. Co-sponsored by The Arts Club of Special events during the holiday season: the Smart's permanent collection. Led by Smart Chicago, 4 June 1997 Museum Education Director Kathleen Gibbons Newberry's Very Merry Bazaar: Participation and Oriental Institute Associate Curator Emily in a holiday bazaar featuring Chicago's museums, Mostly Music Concert: cultural centers, and other non-profit organiza­ Teeter, 23 February 1997 Midwest Young Artist String Quartet, 1996 tions at the Newberry Library, Chicago, 22-24 Fischoff First Prize Winners, Junior Division, November 1996 The Fragrance of Inky. Korean Literati Paintings of the 8 June 1997 University of Chicago Presi­ Alyce Frank: Recent Landscapes Choson Dynasty (1392—1910) from the Korea Univer­ Mostly Music Concert: Chicago Baroque Ensem­ dent Hugo Sonnenschein wel­ sity Museum ble featuring David Schrader on harpsichord and Opening reception: 10 July 1996 Annual Friends' Meeting: 19 May 1997 comes Vice President of Korea John Rozendaal on viola da gamba with continuo, Opening reception: n October 1996 University Dr. Lee, 24 November 1996 M.F.A. 1996 Docent-guided tours: 13 October- Annual Family Day: Ki-Seo and Secretary General New Year's Open House Party: 10 January 1997 8 December 1996 of the Korea Foundation for Opening reception with panel discussion moder­ An open house at the Smart Museum co-spon­ Poet Thorn Gunn at The Arts Advanced Studies Dr. Kim, ated by Smart Assistant Curator, Courtenay Symposium: Korean Painting During the Choson sored by the Oriental Institute and Hyde Park Smith, and featuring artists Brett Bloom, Shawn Club of Chicago Then and Now Jae-Youl at the opening Dynasty (1392-1910) Arts Center, 1 June 1997 Calvert, Mark Huddle, Piper, Stephanie Serpick, Opening reception with panel discussion by partic­ reception for The Fragrance of Participants included Mary C. Brinton, associate and Mikelle Standbridge: 10 July 1996 ipating artists Judith Brotman, Lynne Brown, Ink: Korean Literati Paintings Performance Art Day: professor, Department of Sociology, University of Robert Hopper, Herbert George, Vera Klement, of the Choson Dynasty Chicago; Hwi-joon Ahn, professor of Art History, Individual pieces were performed at the Smart Peter Saul: Art World Portraits Laura Letinsky, and Tom Mapp: 5 February 1997 (1392-1910) from the Korea Seoul National University; Dr. Kumja Paik Kim, Museum by University of Chicago students from University Museum. Opening reception with gallery talk by artist Peter curator of Korean Art, Asian Art Museum of San Members Collectors' Series: Guided visit of the lecturer Steven Totland's performance art class. Saul: 22 August 1996 Francisco; Yi Song-mi, professor of Art History, studios of University of Chicago Midway faculty Co-sponsored by the Committee on General Stud­ members Tom Mapp and Herbert George with Gallery talk by art historian Franz Schulze the Academy of Korean Studies, Seoul; and Kwon ies in the Humanities and the University Theater, Smart Museum curators Richard Born and (depicted in show): 5 September 1996 Young-pil, professor in the Department of and supported by an Andrew W. Mellon Founda­ Archaeology and Art History at Korea University, Courtenay Smith, 1 March 1997 tion grant to the Smart Museum, 11 June 1997 Closing talk and tour led by art historian and critic Seoul, 27 October 1996 Dennis Adrian: 15 September 1996

40 41 Activities and Support/ Exhibitions and Programs ONGOING PROGRAMS

Docent for a Day Program: Funded by the Sara Lee Foundation, this program completed its fifth success­ ful year. A record high of eighteen classes (approxi­ mately five hundred and seventy students from thirteen Chicago schools) participated in the five-week program that culminates in special weekend tours in which fifth graders serve as "docents for a day," and guide parents and family through the Museum. An annual Docent for a Day workshop was also held at the Smart during which participating teachers met for a day of gallery discussions and art projects.

MusArts (Art and Music Program): Funded by the Polk Bros. Foundation, this four-part program explores the expressive qualities between music and art and, this Education year, involved eleven schools and approximately six hundred and sixty middle-school students in a class­ room art project based on the theme of world music. Educational programming and outreach, both continuing and new, from i July 1996 through 30 June 1997. Participating students created works of art in response to designated music; these were then displayed at the COLLABORATIONS IN MUSEUM First Place winners from the , , Another successful collaborative effort took place on discuss new educational materials and programming Smart Museum and judged by a volunteer jury of EDUCATION eleven schools participating , , , campus between the Smart Museum and the Oriental and ways rtor university students to take more active professional artists and musicians. A concurrent con­ The past year was a time of growth in virtually all Institute. While closed for renovation and expansion, in the MusArts Program. roles at the Smart and within the larger community. cert featured the music of African Ensemble and areas of museum education, especially collaborative the O. I. continued its educational programming at Loose Roots, a University of Ghicago Korean percus­ Another new project was developed in October of programming. As part two of an International Part­ the Smart with a two-part tour combining Faces of sion group, as well as a lecture by university composer 1996 by Kathy Hornbrook, a University of Chicago nership of Art Museums exchange grant, Smart Edu­ Egypt, an exhibition of works from the Oriental Insti­ Ricardo Lorenze. graduate student and Smart Museum education assis­ cation Director Kathleen Gibbons trained docents and tute, with Faces in the Smart, a selection of portraits tant, who created teacher curriculum packets to The South-Side Arts Partnership: The Smart Museum helped incorporate new programming outreach pro­ from the Smart's permanent collection. In October, accompany twenty-five school tours of the Smart's fall continues to be an active member of this consortium jects at the Johannesburg Art Gallery (JAG) of South fifteen teachers from four Chicago schools were intro­ exhibition The Fragrance of Ink,: Korean Literati Paint­ of south-side arts organizations and neighborhood Africa. Working closely with junior college duced to this tour through a workshop at the Smart. ings of the Choson Dynasty (1392-1910) from the Korea schools founded in 1992 to bring the arts into the daily students from Funda College in the South African Subsequently, docents from both the Oriental Insti­ University Museum. The packets, which included a lives of local students. It is part of Marshall Field's township of Soweto, she ran an intensive four-week tute and the Smart led three hundred and seventy stu­ brief history of Korean culture and language and an Chicago Arts Partnerships in Education. This year the training workshop on how to implement art apprecia­ dents (eighteen tours) and approximately two introduction to the exhibition's major themes, were Smart worked with individual teachers from the tion programs, such as the Smart's Docentfor a Day, hundred and fifty adults (thirteen tours) through the later used as models at the University Art Museum, William Ray School and Murray Language Academy in six Johannesburg lower schools. She also intro­ Museum to examine works from both collections. University of California, Berkley, who also hosted the to create several custom-tailored tours such as Land­ duced the Docent for a Day program to the Cape This collaboration afforded the Smart's education exhibition. scapes in Art, Anatomy in Art, and What is Abstract Art? Town School system. department the opportunity to conduct training ses­ sions with Oriental Institute docents, and provided a Student Docent Program: Involving graduate and Closer to home, a two-year collaboration was initiated rich exchange of ideas and topics about the differences undergraduate students at the University of Chicago, with Urban Gateways, the premier Chicago arts-in- between archaeological and fine arts educational pro­ this ongoing program provides paid positions to stu­ education organization that provides training for gramming. dents who wish to broaden their knowledge of art his­ teachers and artists and integrates the arts into local tory and refine their teaching skills. By leading groups school curricula. As part of the Atelier Fellowship Pro­ NEW PROGRAMS of children and adults through the Museum, these gram, the Smart Museum, along with the Terra student docents— many of whom go on to jobs in This year saw the creation of a Smart Museum Edu­ Museum of American Art and Northwestern's Block museum education around the country— gain the cation Advisory Committee funded by the Polk Bros. Gallery, participated in a series of teacher/artist work­ opportunity to give something back to the Hyde Park Foundation. The committee met for the first time in shops and training sessions. Additionally, the Smart community through our outreach programs. This June to discuss outreach to various audiences. Com­ hosted an all-day training workshop in January, team- year several docents volunteered for extra work on mittee members Mark Johnson, director of Harper taught by Kathleen Gibbons and Urban Gateways special in-class art projects at the William Ray School. Master Artist Olivia Gude, for teachers from four Court Foundation; Jackie Terressa, former education Chicago schools: Ninos Heroes Community Acad­ director of the Hyde Park Art Center; Richard Pet- Student Tours: Designed to complement school curri­ emy, Our Lady of the Garden, the Edward Hartigan tengill, director of arts education at the Goodman cula and increase visual awareness, these thematic, School, and the Horace Greeley School. The teachers Theater; Mary Cobb, teacher at the William Ray docent-led tours of the permanent collection continue were introduced to the Smart's collections by focusing School; Zach Intrater, third-year student at the Uni­ to be offered, free of charge, to school groups. All on portraiture and issues of identity, which provided a versity of Chicago; Aracely Munoz Contreras, coordi­ tours emphasize dialogue about topics such as Art of nator of the University Community Service Center; framework for classroom art projects and served as Fifth graders give art tours to parents and friends as part of the Our Time, Nature in Art, and Decorative Arts. and Michelle Obama, associate dean of student ser­ preparation for scheduled class visits to the Smart Docent for a Day Program, funded by the Sara Lee Foundation, which vices and director of the University Community Ser­ Museum. This collaboration will continue throughout completed its fifth successful year. the 1997—1998 academic year. vice Center will meet quarterly to

42 43 Activities and Support/ Sources of Support Friends and gifts of $50-$ 149 Mrs. Max J. Putzel Deborah Friedrich Lore Friedrich Mrs. Robert L. Scranton Ameritech Dr. Erika Fromm Mr. and Mrs. Melvyn Shochet Maurice Fulton Dr. Eugene Baiter and Judith Mr. and Mrs. D. F. Shortino Sandra Furey, Urban Gateways Phillips Martin D. Gapshis Frank L. Sibr, Jr. Richard and Patricia Barnes Mr. and Mrs. Herbert George Bernece and Marvin Simon Sylvia Glagov Mr. and Mrs. John Bauman J. A. Simpson Mr. and Mrs. Julian R. Goldsmith Murray and Dorothea Berg Mr. and Mrs. Marvin A. Gordon Rebecca Sive and Steve Tomashef- Mr. and Mrs. R. Stephen Berry Mr. and Mrs. Robert R. Gowland sky Marcus D. Grayck Sidney and Hanna Block Geoffrey Stone Georgina G. Gronner David R. Bryant Leo Guthman Dr. and Mrs. Francis H. Straus 11 Philip M. Burno Helen Ann Hagedorn Mrs. Alec Sutherland Vivian S. Hawes Lydia G. Cochrane Dr. and Mrs. Martin A. Swerdlow Albert and Alice Hayes Jane and John Coulson David H. Heitner Mrs. Manley Thompson Dorothy and David Crabb Dr. Henrietta Herbolsheimer Mr. and Mrs. Wilbur Tuggle David and Betty Hess Mrs. Edwin J. De Costa Fidelis and Bonnie Umeh Dr. Knox C. Hill Virginia and George Dick Sheila H. Hori Robert and Rose Wagner Sources of Support Mr. and Mrs. E. Bruce Dunn Aimee I. Horton Jim and Joan Webster Clyde and Jane Hutchison Mr. and Mrs. Jarl E. Dyrud Cash and in-kind contributions received from i July 1996 through 30 June 1997. Mr. and Mrs. R. A. Weiler Mr. and Mrs. Philip Jackson Deborah and David Epstein Evelyn Jaffe Dr. and Mrs. Jesse K. Wheeler Dr. and Mrs. Richard Evans Ruth Elizabeth Jenks Grants Mrs. Harold T. Martin Thomas Blackman Associates Inc. Professor Wu Hung and Judith Lillian Johnson Dr. and Mrs. Philip Falk Brooks McCormick, Jr. David Blumberg Zeitlin Jack M. Kamen Mr. and Mrs. Paul Freehling Adele E. Kamp Chicago Arts Partners in Educa­ The Pritzker Foundation Mr. and Mrs. Robert Boyd III Mr. and Mrs. Irving M. Friedman Mrs. C. Sonia Katz tion (CAPE) Mrs. Lilo Closs Gifts under $50 Mr. and Mrs. Dan Kletnick Nathan Cummings Foundation Mr. and Mrs. Jacob Getzels Claire and Arthur Kohrman Director's Council and gifts of Douglas and Carol Cohen Rolf Achilles and Pam Morris Natalie and Howard Goldberg Mrs. Ruth A. Kolb Hyundai Group $2500-$4999 Richard J. Faletti Deborah Aliber Muriel Kolinsky Helyn D. Goldenberg Mrs. Robert Anderson Illinois Arts Council Mr. and Mrs. Alan Fern Catherine Krause Anonymous Eugene Goldwasser and Deone Ted and Barbara Asner Institute of Museum Services Sharon Flanagan Richard G. Kron Sylvia Astro Mrs. Edwin A. Bergman Jackman James and Lillian Kulze The Andrew W. Mellon Founda­ Mrs. Willard Gidwitz Dr. and Mrs. Alfred Baker Jeff Laird Mr. and Mrs. Richard Elden Mr. and Mrs. Charles Gregersen Ramsey S. Barlow tion Philip and Suzanne Gossett Louise H. Landau John D. and Catherine T. Don Baum The John Nuveen Company Mr. and Mrs. Lester Guttman Mr. and Mrs. Seymour La Rock Mr. and Mrs. Robert Grant Elizabeth Baum MacArthur Foundation Mr. and Mrs. Chauncy D. Harris Robin Larson Polk Bros. Foundation Robert N. Beck and Ariadne P. Beck Professor Neil Harris Willard and Elizabeth Lassers Mr. and Mrs. R. H. Helmholz Mr. and Mrs. David Bevington Pritzker Foundation Ruth Horwich Mrs. Madeleine Levin Council of Fellows and gifts of Robert Biggs The Sara Lee Foundation Dr. and Mrs. Arthur Herbst Lois Lewellyn Michael Igoe, Jr. Vanice Billups $1000-$2499 Barbara Herst Gretel Lowinsky The Smart Family Foundation, Patricia John and Kenneth North- Barbara J. Birthwright Sylvia B. Mann Roger and Jane Hildebrand Catherine Blair Inc. Joyce Zeger Greenberg cott Mr. and Mrs. Thomas Mapp Sophie Bloom The University of ChicagoVisiting Mr. and Mrs. George D. Hirsh Dr. and Mrs. Martin Marty Jack and Helen Halpern Burton and Naomi Kanter Mrs. Gisela Mendel Booth Ann Hutchinson Jane and Arthur Mason Committee on the Visual Arts Elisabeth and William Landes Gretel Braidwood and Raymond Tindel Mr. and Mrs. Robert Kirschner Naomi and Evan Maurer Emile Karafiol Mrs. William Brien Women's Board, University of Inge Maser Dr. Eva F. Lichtenberg Georgianna M. Maynard Alan R. Brodie Chicago Mr. and Mrs. John C. Kern Brooks McCormick, Jr. Virginia P. Rorschach Mrs. Glen A. Lloyd Dr. Catharine S. Brosman Peter J. Kosiba Mary M. McDonald Asher and Vera Margolis Eleanor and Leonard Byman Eunice McGuire Dr. Susanne E. Larsh Cleve Carney Contributors and Friends Sustaining Fellows and gifts of Ira G. and Janina Marks R. M. Menegaz Richard and Marcia Chessick of the Smart Museum Robert B. Lifton Mrs. Willa H. Menzel $500-$999 McKim Marriott Tim Child Marguerite Lytle, Rita's Catering Mrs. John H. Meyer Jane Christon Robert McDermott Ruth Aizuss Midgal Robert G. Donnelly and Event Planning Robert Coale Gifts of $10,000 or more Mr. and Mrs. Richard B. Philbrick Helen Harvey Mills Mr. and Mrs. Gilbert Cornfield Mrs. Emily H. Fine George and Jane McElroy Mrs. Eugenie R. Mirelowitz John and Marilyn Richards Eugene and Sylvia Cotton Mr. and Mrs. Stanley M. Freehling Mr. and Mrs. Marshall M. Holleb Jean McKenzie Charles H. Mottier Howard J. Romanek David Curry Joan W. and Irving B. Harris Ruth S. Nath Michael Hyman Mr. and Mrs. David B. Midgley Charles and Irene Custer Kimerly Rorschach Ms. Susan Orden The John Nuveen Company Professor and Mrs. Sidney Davidson The Honorable and Mrs. Edward Shelby A. Miller Mr. and Mrs. Franklin Orwin Irmgard Rosenberger Laura S. de Frise The Smart Family Foundation, Hirsh Levi William and Kate Morrison Gary M. Ossewaarde Susan and Charles P. Schwartz, Jr. Dr. and Mrs. Leslie J. De Groot Inc. Dr. Jane H. Overton Mr. and Mrs. Hugo F. Sonnen- Charles D. and Margaret N. Mrs. Joseph R. DePencier Mr. and Mrs. Philip Shorr Mrs. Cora Passin schein Mr. and Mrs. Leon M. Despres O'Connell Mildred Othmer Peterson Mr. and Mrs. Granvil Specks Mr. and Mrs. Joel S. Dryer Benefactors and gifts of Mr. and Mrs. Arnold Zellner Henry Otto Robert and Rita Picken Jean-Paul Spire, M.D. Eileen Hastings Duncan $5000-$9999 Dr. William H. Plotkin Mr. and Mrs. Marshall Patner Mrs. Robert Donald Erickson Dr. and Mrs. Paul Sternberg Dr. Louise L. Polak Fellows and gifts of $150-$499 Mr. and Mrs. William E. Erickson Maria Bechily and Scott Hodes Charles and Melanie Payne Eugene Pomerance Patricia K. Swanson Sally H. Fairweather Ward and Dorothy Perrin Thaddeus Pyrce Joel E. and Carole F. Bernstein Amoco Corporation Marilyn and David Vitale Joe and Barbara Ferrari Ruth G. Ramsey, M.D. Alfred L. and Maryann G. Put­ Etha Beatrice Fox Feitler Family Fund E. M. Bakwin Graham J. Rarity nam Mrs. Zollie Frank Lorna C. Ferguson Robert and Marie Krane Bergman Mr. and Mrs. James M. Ratcliffe

44 Operating Statement Joy Reese Visiting Committee Gifts Ruth Horwich Marlene F. Richman Patricia John Fiona A. Robertson These gifts benefit the Smart Leona Z. Rosenberg Museum, the Department of Mrs. Miriam H. Kirkley Mr. and Mrs. Albert J. Rosenthal Dr. Harold L. Klawans Dr. Maurice J. Rosenthal Art History, and Midway Stu­ Mrs. Samuel R. Rosenthal dios. Yasuhisa Kohyama Morris and Rochelle Rossin Mrs. Wallace Landau James Rubens Robert and Marie Krane Bergman Estate of Kelvyn G. Lilley Susan B. Rubnitz Mr. and Mrs. David Blumberg Margaret Sagers Brooks McCormick, Jr. Dr. and Mrs. Nathan Schlessinger Phyllis and Barton J. Cohen Brooks McCormick, Jr. Fund Robert E. Schrade Robert G. Donnelley Mary M. McDonald David N. Schramm Sally H. Fairweather Carl Selby Gladys Nilsson Jan Serr Mr. and Mrs. Robert Feitler Peter Norton Family Mary Kelton Seyfarth Richard and Mary L. Gray Peter Saul Ilene Shaw Leo S. Guthman Fund Alan and Daila Shefner Marcia and Granvil Specks Ethel Shufro Mr. and Mrs. David C. Milliard Dr. David J. Teplica Joseph P. Shure Mrs. Frederick T. Lauerman University Transfers from the Max and Flelen Sonderby Julius Lewis Mathematics Department Janice Spofford Statement of operations (unaudited) from 1 J uly 1996 through 30 June 1997- Mrs. Helaine R. Staver Reva and David Logan Founda­ and the Frederick C. Robie Res­ Ernest Stern tion idence Marjorie Stinespring Mrs. Robert B. Mayer Revenues Mrs. Gustavus Swift Government grants and contracts ® 62,000 Mr. and Mrs. Steven A. Taylor Ruth S. Nath Lenders to the Collec­ Sue Taylor Mr. and Mrs. Marshall J. Padorr tion Private and state gifts, grants, and contracts 388,000 Mrs. Richard Thain Otto L. and Hazel T. Rhoades Dr. Paul W. Titman Investment income 161,000 Fund Anonymous (1) Cathleen Treacy University allocation for direct expenses 238,000 Rolf Achilles Harry and Marjorie Trosman Joseph P. Shure University allocation for physical plant expenses 125,000 Reagan Upshaw, Gerald Peters Gallery Paul Sternberg, M.D. The Arts Club of Chicago R. B. and Vi Uretz Mr. and Mrs. Robert Barnes University allocation for capital improvements 40,000 Dr. D. Vesselinovitch Allen M. Turner Lillian Wachtel Mrs. George B. Young Estate of Lloyd Bowers Bookstore sales, gallery rental, and other income 109,000 Mr. and Mrs. Roy I. Warshawsky Henry Cohen Nathalie Weil G. U. C. Collection Olga Weiss Gifts in Kind TOTAL REVENUES 1,123,000 James M. Wells Robert W. Christy Michael P. Worley The Arts Club of Chicago Mr. and Mrs. Lester Guttman Donald Youngs Hyde Park Co-op Julius and Harriet Hyman Expenses Sonia Zaks. Zaks Gallery McKinsey & Company, Inc. Ronald B. Inden Staff salaries 410,000 Joanne Zimmerman _ 67,000 Sara R. Zimmerman Patricia John Benefits ' Mr. and Mrs. Daniel Zimring Donors to the Collection Estate of Kelvyn G. Lilley Marvin Zonis and Lucy L. Salenger Mr. and Mrs. Allen A. Zuraw Anonymous (4) The Mary and Earle Ludgin Col­ TOTAL COMPENSATION 477'°°° lection Dennis Adrian Corporate and Founda­ Mary M. McDonald Don Baum Operations and maintenance of physical plant 125,000 Oriental Institute Museum tion Matching Gifts Dr. Richard and Jan Baum Amortized capital improvement expense 40,000 Maria Bechily and Scott Hodes Mr. and Mrs. French Peterson Ameritech . 1 • 417,000 Charles G. Bell Judith and James Rhinestein Supplies and services ^ " Amoco Corporation David Sharpe 1,000 Harlan and Pamela Berk Insurance John D. and Catherine T. The Joel and Carole Bernstein Marcia and Granvil Specks MacArthur Foundation John N. and Fay S. Stern Family Collection TOTAL EXPENSES 1,060,000 The John Nuveen Company Estate of Lorraine J. Creel John L. Strauss, Jr. Richard J. Faletti Gifts in Honor Operating surplus (deficit) 63,000 Gerald and Roslyn Flegel Certain donors have requested Mrs. Edwin A. Bergman, in honor Estate of John Forwalter anonymity; however, please of Mr. and Mrs. Stanley M. Friends of the Smart Museum accept our apologies if the Transferred to reserves for 1997-1998 programs (63,000) Freehling's wedding anniversary Allan Frumkin name of any other donor has been omitted. Isaac S. and Jennifer A. Goldman Net operating results Walter C. Goodman The Hood Museum, Dartmouth College

Prepared by the University Office of Financial Planning and Budget, edited by the Smart Museum of Art.

46 Smart Museum Staff 1996-1997

Kimerly Rorschach, Director

Burton Avery, Administrative Assistant (as of May 1997) Rudy Bernal, Preparator Richard Born, Curator Martha Coomes-Sharma, Registrar Julie Gard, Membership Coordinator (as of July 1996) Kathleen Gibbons, Education Director Megan Lombardi, Public Relations and Marketing Assistant (as of May 1997) Amy Neihengen, Educational Programs Coordinator (through March 1997) Courtenay Smith, Assistant Curator Priscilla Stratten, Operations Manager Stefanie White, Public Relations and Marketing Manager

Interns Rose Grayson (Guard Captain) Cafe Attendents Jessica de Jesus, Curatorial Nadia Guerrero Francisco Borras Crispin Goulet, Curatorial Mary Hackett Kearstin Dischinger Katharine Harris, Resistrarial David Haglund David Gates Todd Maternowski, Preparatorial Peter Hattan Matthew Irvin Elizabeth Siegel, Curatorial Mira Henry Lars Jarkko Jessica Stewart, Curatorial Brioni Huff Molly Kim Matthew Irvin Office Assistants Molly Kim Volunteers Lauren Crabtree, Operations Johanna Krynytzky Helen Halpern, Curatorial Assistant Steven Lugauer Joseph P. Shure, Curatorial Matthew Irvin, Education Quyen Luong Agnes Zellner, Curatorial Assistant Cory McClure David Gates, Operations Assistant Dustin Mitchell Docents Ann Goldman, Public Relations Jauna Moore Christopher Bishop and Marketing Assistant Ritu Nayak Joanna Dowd Nancy Lee, Public Relations and Gloria Padilla Clive de Freitas Marketing Assistant Elizabeth Price Meredith Fluke Xiao Zhang, Public Relations and Karla Ramos Kirsten Giese Marketing Assistant Eric Riggers Adrienne Hosek Russell Rumbaugh Matthew Irvin Student Guards Jovon Smith Cory Korkow Victor Bayona Sean Stevenson Johanna Krynytzky Catherine Bendowitz Fidel Toney Jennifer Milioto Christopher Bishop Robert Walton Madeline Ravich Sienna Brown Steven Wang Ana Maria Reyes Melissa Chambers Kevin Wanner Amy Silverman Marc D'Urbano Stephen Wellman (Guard Captain) Adrian Dedomenico Loren Wilson Rhaina Echols Emily Zelner Gina Fieramosca Amy Ziettlow