Chrysler The Members Magazine | Winter 2015 ASKING QUESTIONS board of trustees 2014–2015 Lewis W. Webb III, Esq., Chair It is my true pleasure to write to you as the Thomas L. Stokes, Jr., Vice Chair new Director of the Chrysler Museum of Lelia Graham Webb, Secretary Art. I feel fortunate to have been selected Yvonne T. Allmond for this duty after an extended search, and I Dudley B. Anderson, M.D., F.A.C.P. Tony Atwater, Ph.D. recognize the responsibility that comes with leading an institution of this Shirley C. Baldwin stature. With the staff and Trustees and volunteers and friends, I intend Carolyn K. Barry to make this great Museum even better. We aspire to be a leader among Kathleen Broderick America’s art museums. To that end, I am holding an extended series Deborah H. Butler of discussions: first with our Board of Trustees and staff, and then with Robert W. Carter Susan R. Colpitts community leaders, Members, and visitors. The information I gather from Elizabeth P. Fraim these discussions will become part of our planning process as we set goals Edith G. Grandy for the Chrysler for the coming years. James A. Hixon Marc Jacobson Of course, we are starting from an enviable position with a world-class Linda H. Kaufman collection, a strong history of careful fiscal management, and an outstanding Pamela C. Kloeppel group of people. The building has never looked better (or functioned better) Harry T. Lester than it does today. We are free to all the people of our community. We have Oriana M. McKinnon Peter M. Meredith, Jr. a growing endowment in an improving economy. The leaders of our region Richard D. Roberts recognize the value of the Chrysler as an economic generator and as a key C. Arthur Rutter III component of a full civic life. All of these factors suggest that the future will Bob Sasser be bright for the Museum. We know, however, that there will be challenges Lisa B. Smith Richard Waitzer and uncertainties that will affect all museums, so we will chart a course Joseph T. Waldo with clear goals that are true to our ideals—and with confidence that we are Wayne F. Wilbanks prepared to meet those challenges. chrysler magazine The questions that I have been asking are open-ended. There are no wrong Brian Wells, Director of Development and answers. I want to learn what people really think about the Chrysler Communications Cheryl Little, Editor/Publications Manager Museum of Art. Where have we been successful and where have we Ed Pollard, Museum Photographer encountered obstacles? What could be changed and where should our Jane Cleary, Graphics Manager priorities be? What are our strengths and weaknesses as an institution? Megan Frost, Development Officer How will we engage with key issues of our time, such as education, Chrysler Magazine is a quarterly publication environmental change, and the rapid expansion of technology? I welcome produced for and mailed to Chrysler your ideas and your support as the Chrysler Museum of Art embarks on a Museum Members as a benefit of their generous support. new journey. I hope you will send your comments, critiques, or kudos to [email protected]. Update or verify your membership information at http://reservations.chrysler.org or contact Database Manager Fleater Allen at: Chrysler Museum of Art One Memorial Place | Norfolk, VA 23510 (757) 333-6287 | [email protected].

© 2014 by The Chrysler Museum of Art, Erik H. Neil all rights reserved Director on the cover Thomas Cole (American, 1801–1848) The Voyage of Life: Youth (detail), 1840 Learn more about Erik’s plans for the Chrysler Museum Oil on canvas, 52 1/2 x 78 1/2 in. in our story on pages 12–15. Museum Purchase, 55.106 Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, N.Y. Chrysler The Members Magazine | Winter 2014–2015

director’s note Inside Front Cover

featured exhibition 3 Thomas Cole’s Voyage of Life

in the galleries 6 Exhibitions 9 Charlotte’s Web: Who Are You Wearing?

10 Collection Connections: Face to Face—Marcelle and Pierre Monnin

chrysler news 12 A New Chrysler Tour with Our New Director 16 Listening to American Art 17 At the Studio: Visiting Artist Series 2015

Larry Clark (American, b. 1943) Untitled, from the series Tulsa, 1971 member exclusives Gelatin silver print, printed 1980 Gift of Robert W. Pleasant 18 Worn to Be Wild Members’ Preview Party 19 Major Donor Dinner The Honorable Society of Former Trustees 20 Upcoming Member Events A Legacy of Beauty: Connie and Marc Jacobson

last look 21 Celebrating Smokey Bear 2 | winter 2015 Thomas Cole’S VOYAGE OF LIFE

ecades before the publication of Huck Finn’s adventures on the mighty Mississippi, thousands of Americans Dundertook an epic river journey through Thomas Cole’s Voyage of Life. This series of four paintings, created between 1839 and 1840, remains one of the greatest achievements in the history of American art. Now these monumental canvases—Childhood, Youth, Manhood, and Old Age—are at the Chrysler Museum for a stunning celebration of nature, imagination, and spirit.

The Voyage of Life is on loan, along with related studies and early prints, from the Munson-Williams-Proctor Arts Institute, Museum of Art, in Utica, N.Y. Cole re-painted the popular series in 1842, and the second version now hangs in the National Gallery of Art in Washington, D.C. His original formulation, however, has left Utica only twice since its purchase by the Munson-Williams-Proctor in 1955. This historic third tour includes museums in Cincinnati, St. Louis, and Memphis, in addition to the Chrysler.

“We’ve placed these extraordinary paintings right in the heart of our American galleries so that they can be in conversation with our own remarkable collection,” says Alex Mann, Brock Curator of American Art. “Visitors follow the same art historical timeline, from John Singleton Copley to Winslow Homer, with a grand surprise in between. Our Meredith Gallery has never looked more stunning!” Thomas Cole (American, 1801–1848) The Voyage of Life: Childhood (detail), 1839–40 Oil on canvas, 52 x 78 in. Museum Purchase, 55.105 Munson-Williams-Proctor Arts Institute, featured exhibition | 3 Museum of Art, Utica, N.Y. Thomas Cole (American, 1801–1848) The Voyage of Life: Youth (detail), 1840 Oil on canvas, 52 1/2 x 78 1/2 in. Museum Purchase, 55.106 Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, N.Y. Attributed to Boston & Sandwich Glass Co. American, 1826–1888 Whale-oil Lamp, ca. 1830 and blown glass, 7 5/8 in. Gift of Walter P. Chrysler, Jr.

scenes. The Chrysler’s own Cole painting, The Angel Appearing to the Shepherds (1833–34), is a perfect example of his skill at storytelling within a beautiful, imaginary landscape. Cole, a lifelong Episcopalian, hoped that such religious subjects would inspire and educate his viewers. “I am not a mere leaf painter,” he wrote in his diary in 1838. “I have higher conceptions.” In The Voyage of Life, Cole tackled an even more complex subject, summarizing the ups and downs of human existence in four grand scenes. “Cole saw this series as a poem,” Mann explains. “He dabbled in poetry writing, but art was his real genius. Think of his light and shadows as adjectives, shapes as rhymes, color as punctuation. That’s how Cole understood these elements, and that’s why it took him almost two The Hudson River and Beyond years to make—no, to invent—this series.” Thomas Cole (1801–1848) is one of founding fathers An Assembly of Angels of American art, best remembered for inventing the Both The Angel Appearing to the Shepherds and The Hudson River School of landscape painting. Voyage of Life are milestones in Cole’s career, Mann After trekking amid the hills and lakes of says, and this exhibition marks the first time ever that upstate New York, Cole launched his career “his early ambitious masterpiece and his crowning by capturing on canvas the brilliant achievement have ever been presented in the same fall colors of the Catskill Mountains. building.” Visitors will spot dozens of similarities in Regular steamboat service between the composition and figures inThe Angel Appearing, New York City and Albany (in the largest canvas that Cole ever painted, and Old Age, operation since 1807) gave him easy his finalVoyage of Life painting. “Cole clearly copied access to this gorgeous scenery. Cole himself,” says Mann. “The celestial vision in Old Age, also benefitted from the opening of the with the heavens opening and angels descending, is an Erie Canal in 1825. His most generous encore for Cole, repeated from the Chrysler’s massive patrons were bankers and merchants who masterwork. Scholars have written about this, and now owed their wealth to the canal and the we can study it firsthand.” subsequent explosion of boat trade around New York. This reprisal of older ideas may result from Cole’s lack of confidence in painting the human figure. Cole later traveled beyond the “The Angel’s face has given me a great deal of trouble,” Hudson River region, painting views Cole wrote in 1840 to a friend. “Angels’ visits to me of Pennsylvania, the White Mountains are really so few and far between that I forget their of New Hampshire, and Italy. He features,” he joked. Sketchbooks from Cole’s travels in also dreamed up idealized landscape Italy were a reference point for his later paintings and compositions and used these as may be the link between these two projects. “These settings for biblical and literary are the great bookends of his career,”says Mann, “but

4 | winter 2015 Thomas Cole (American, 1801–1848) of course Cole never expected The Voyage of Life to be The Voyage of Life: Old Age, 1840 Oil on canvas, 51 3/4 x 78 1/4 in. his last major work. He was still basking in the critical Museum Purchase, 55.108 triumph from this series when he caught pneumonia Munson-Williams-Proctor Arts Institute, just a few years later and died at age 47.” Museum of Art, Utica, N.Y. Shining New Light on an Old Favorite “Did Thomas Cole own a lamp like this?” asks curator In Youth, the second picture in the series, a red-robed Alex Mann. “We don’t know, but it’s possible,” he boy reaches up toward a magnificent castle in the adds. “Even the most famous pictures have mysteries clouds. This painting was the most popular of the and unanswered questions. I’m excited that this four when Cole first unveiledThe Voyage of Life, and exhibition allows our community to weigh in on a the inspiration for its “aerial architecture,” as Cole new hypothesis.” described it, continues to intrigue many viewers. In This glass lamp, along with five of Thomas Cole’s the exhibition’s catalogue, Dr. Paul Schweizer, who greatest paintings and other related works, will be on coordinated the traveling show, explores its sources in view at the Chrysler Museum through January 18, 2015. depth. He suggests that Cole’s celestial castle blends Make these masterpieces in Gallery 211 a stop on your classical edifices like the Pantheon with famous next sail through the Chrysler collection! n buildings from South Asia, particularly the Taj Mahal. Thomas Cole’s Voyage of Life is on loan from the collection of the At the Chrysler, visitors will see another proposed Munson-Williams-Proctor Arts Institute, Museum of Art, in Utica, N.Y., and is supported by an indemnity from the Federal Council on the Arts source for Cole’s “air-built castle,” a potential link and Humanities. that has never been published. An 1830s glass whale oil lamp in the shape of a domed temple, discovered within the Chrysler’s glass collection, occupies a small case at the center of the exhibition. The juxtaposition with Youth makes the similarities obvious.

featured exhibition | 5 Exhibitions in the museum galleries

Larry Clark: Tulsa of 19 original paintings by Rudy quintessentially American. Snap On view through January 18 in the Wendelin. The artist for the U.S. a selfie on the Harley on your way Frank Photography Galleries (g. 228) Forest Service was the visionary home, and be sure to post your Raw. Real. Relevant. As a witness behind the friendly firefighter photos to #worntobewild. with a camera (and sometimes with the ranger hat and shovel. Worn to Be Wild: The Black Leather Jacket a willing participant), Larry This exhibition about the beloved is presented by EMP Museum, Seattle, in bear is organized by the Virginia partnership with the Harley-Davidson® Clark and his controversial Tulsa Museum, Milwaukee. series revolutionized the field of Department of Forestry, in honor of documentary photography in 1971. its 100th anniversary, and features These 50 images, comprising the a free keepsake booklet about The Art of Video Games Opening the evening of February 13 entire series, are full of grit and Smokey. (Members’ Preview Party) truth, and they capture the dark, in the Norfolk Southern Special violent, drug-addicted underside Worn to Be Wild: Exhibitions Gallery and the Waitzer of Clark’s generation and his The Black Leather Jacket Community Gallery (gs. 101–103) Midwestern hometown. Decades On view through January 4 later, his photographs are no less in the Norfolk Southern Special Game on! The Chrysler celebrates powerful or troubling. Exhibitions Gallery and the Waitzer the creativity, technology, and Community Gallery (gs. 101–103) industry that put visual effects and virtual worlds at your fingertips Cool has come to the Chrysler Celebrating Smokey Bear: (and thumbs) over the last four with this blockbuster spotlighting Rudy Wendelin and the decades. This groundbreaking Creation of an Icon one of America’s loudest sartorial exhibition sets a high score, New on view through February 1 statements: the black leather drawing millions to museums to in the Focus Gallery (g. 229) jacket. Trace its biker-boy and ponder the impact of Pac-Man and fly-boy infancy to its adolescent “Only you can prevent forest fires!” to play the home-console games run as the unofficial uniform for The Chrysler honors seven decades that became a global sensation. film rebels and rockers to its adult of wildfire prevention by America’s From Atari to Wii or Xbox, every heyday as an haute-couture and best-known bear with a display generation of gamers and geeks will popular fashion accessory that is love this interactive experience. #TAOVG For information on The Art of Video Games Members’ Preview Party, see page 20. The Art of Video Games is organized by the Smithsonian American Art Museum, with generous support from Entertainment Software Association Foundation, Sheila Duignan and Mike Wilkins, Shelby and Frederick Gans, Mark Lamia, Ray Muzyka and Greg Zeschuk, Rose Family Foundation, Betty and Lloyd Schermer, and Neil Young. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, Treasures to Go.

Mass Effect 2, Microsoft XBox 360, 2010 Casey Hudson, director; Mac Walters, Drew Karpyshyn, writers; Casey Hudson, producer © and ™ 2010 Electronic Arts, Inc. 6 | winter 2015 Collection Conversations: The Chrysler Museum of Art and the National Gallery of Art Our yearlong series with the National Gallery of Art features exhibitions that highlight key modernists represented in both collections.

Fractured Lens: Picasso, Braque, and Cubism’s Influence On view through February 15 in the Roberts Wing | 20th-Century / Modern Art Gallery (G. 219) Our first collaborative show started the cross-institutional conversation with a focus on the inventors of the Cubist movement and the contemporaries who followed their lead.

Henri Matisse: Harmonious Color Opening February 24 in the Roberts Wing | 20th-Century / Modern Art Gallery (g. 219) At once following and breaking from the classical French tradition Clockwise from top: in painting, this revolutionary Pablo Picasso (Spanish, 1881–1973) Nude Woman, 1910 figure in modern art wrote a new Oil on canvas, 73 3/4 x 24 in. language of form and color. Ailsa Mellon Bruce Fund 1972.46.1, National Gallery of Art, Washington Jacques Lipchitz (French, 1891–1973) Thomas Cole’s Voyage of Life Seated Figure, 1916 On view through January 18 in the Bronze Brock Wing | Meredith Gallery | Gift of Walter P. Chrysler, Jr. © Estate of Jacques Lipchitz, 19th-Century American Art (g. 211) courtesy Marlborough Gallery, New York It’s the story of Everyman, beautifully told by one of the founding fathers of American art. Thomas Cole’s four monumental canvases trace the human journey through childhood, youth, manhood, and old age. These masterpieces, the original versions of the iconic series, mark the pinnacle of Cole’s illustrious

in the galleries | 7 career and a landmark in Romantic battlefield scenes, and photos from landscape painting. The Chrysler’s the historic funeral procession that own The Angel Appearing to helped our nation grieve and heal. the Shepherds, Cole’s largest single painting, enriches this Greta Pratt: Nineteen Lincolns extraordinary exhibition. Opening February 10 in the Frank Thomas Cole’s Voyage of Life is on loan from the Photography Galleries (g. 228) collection of the Munson-Williams-Proctor Arts Institute, Museum of Art, in Utica, N.Y., and is An homage to honesty? supported by an indemnity from the federal Photographer and Old Dominion council on the Arts and Humanities. University professor Greta Pratt explores the role of historical Shooting Lincoln: Photography images and myths in contemporary and the Sixteenth President American identity. This series Opening February 10 in the Frank introduces us to re-enactors from Photography Galleries (g. 228) The Association of Abraham Come face to face with one of Lincoln Presenters, capturing the America’s greatest leaders, 150 years unique persona beneath each black after his tragic death. Long before suit and stovepipe hat. Study the an assassin’s bullet struck Abraham many faces of Abe and learn why Lincoln on April 14, 1865, dozens Lincoln remains so recognizable of photographers had aimed their and inspiring to these performers cameras at the President. This and their audiences. exhibition features rarely exhibited vintage images from the Chrysler’s In The Box: Saya Woolfalk David L. Hack Civil War Collection, Ongoing in The Box including studio portraits, The Box, our new-media gallery, becomes its own hybridization laboratory of visual, performing, and tactile arts with the Brooklyn- based artist’s immersive installation ChimaTEK (feat. DJ Spooky). Join the Empathics as a virtual DJ remixes their bodies and minds into new beings that are

American (1789–1823) Covered Urn Commemorating Caesar Augustus Rodney, 1821 Silver Gift of the Independence National Historical Park Project, conserved through the generosity of Allan L. Segal, in memory of Joan Sue Segal, and with funds provided by the National Endowment for the Arts

Charlotte Potter (American, b. 1981) Charlotte’s Web (detail), 2012 Blown, cased glass, cameo-carved; metal chains Museum purchase 8 | winter 2015 part-human, part-plant. Discover This display highlights the how Woolfalk’s trade show extraordinary life of this “first Who Are You Wearing? combines biology, genetics, and citizen of Norfolk.” anthropology with needlework, Charlotte’s Web is about facilitating sculpture, glass-blowing, and video Adeline’s Portal by Beth Lipman connections between people and articulating to create a vibrant new world that This spectral installation for an the unknown spaces that define these defies race, cultural labels, and easy upstairs bedroom nook is the relationships. This “friend”-filled network definition. on-site creation of Beth Lipman, raises questions about how we create our Glass Studio’s first Resident meaningful engagements in a world Artist. Discover how the memories saturated with virtual experiences. Charlotte’s Web and objects that have filled the To further this exploration, we hope that Opening December 13 in the Glass house over generations speak afresh Project Space (g. 118) visitors to the exhibition will participate through evocative colorless glass. Modern social media meets the in Chrysler Connections, an experimental These Historic Houses exhibitions are crafts of the past. Charlotte Potter, supported by a generous gift from the web that will grow while the show is on our Glass Studio Programming late T. Parker Host, Jr. view. Unlike Facebook and other Internet- Director, explores the spaces based prostheses for face-to-face human between friends, real and virtual, Ongoing at the connections, our project is designed to Willoughby-Baylor House in this favorite from the Chrysler connect and engage those who actually visit 601 E. Freemason St. | Norfolk Collection. Hand-carved cameos of Charlotte’s Web in real life. the profile pictures of each of her Democratic Designs: The premise is simple. Have your photo taken 864 Facebook friends are “posted” American Folk Paintings from in the exhibition gallery and post it as your to a gallery-turned-map displaying the Chrysler Museum new social media profile picture. The Museum where they first met. Fine jewelry The Federal-era house provides a chains connect the pendants to perfect historical setting for this will, in turn, put your visage on an inexpensive each other and to the artist to form exhibition of highlights from the cameo portrait button. Since this button will this web of personal cartography. Chrysler’s fine collection of early not be created before you leave the show, pick American paintings. Explore the up an existing button that you’d like to wear There’s more to “like” with the work of artists like Ammi Phillips, out in public. You might select the semblance Chrysler Connections project. Read Edward Hicks, and Erastus Salisbury of someone you already know or choose the more about it below. Field who had considerable talent, portrait of an interesting stranger to wear. but limited access to professional Either way, your button will picture someone At the Historic Houses training, in this inspiring display of else who has seen the show. native genius. As you circulate in the community, wear the Ongoing at the Moses Myers House The Norfolk Rooms button you’ve selected and watch for others 323 E. Freemason St. | Norfolk Celebrate our port city’s rich doing the same. On their pins, you may heritage of creativity and cultural find faces you recognize—acquaintances, Moses Myers: Maritime Merchant achievements through a selection Museum staff, Walter Chrysler, or even your This permanent exhibition explores of paintings, sculpture, furniture, own. And as you locate others participating the business of nautical commerce silver, and more. This permanent in Chrysler Connections, start a conversation. through the life of Moses Myers, installation christens the recently Discuss your thoughts about Charlotte’s who constructed this 1792 dwelling, reopened Norfolk History Museum. Web or compare your experiences wearing one of Norfolk’s oldest buildings. the cameo adornments. Who knows? In the Barton Myers: Norfolk Visionary process maybe you’ll make a new friend. Mayor Barton Myers transformed Let us know about your encounters as they his city from a prosperous Coastal occur. Post your discoveries to your social town into a thriving metropolis. media pages with #ChryslerConnections.

winter 2015 | 9 Face to Face Marcelle and Pierre Monnin

he Swiss couple has never “dead-end” modernism to embrace says. “I was just finishing my been to the Chrysler, yet a more hard-edged realism. Leslie dissertation and I had deadlines. Tthey’ve long been a part of returned to the studies and styles We had already two daughters it. In 1975, Walter Chrysler, Jr. of the old masters—David, Rubens, and actually our third child was purchased one of Alfred Leslie’s Carravaggio—in hopes of forging stillborn just a month or two before newest paintings for his museum a new excellence in contemporary we started. It took a toll.” collection. By the time it went on painting. With larger-than-life He feels his doppelganger’s pain. view in Norfolk, the monumental scale, dramatic lighting, and careful “You can tell there is some sadness double portrait of Marcelle and detail, Leslie painted “no-nonsense” there. In the midst of this very Pierre Monnin had been featured portraits meant to inspire viewers personal crisis, it was very difficult in two one-man-shows, reviewed in to care not only for his subjects, but for me to have that conversation. several arts columns, and seen by for the people in their own lives. Look at the way she is standing thousands. They were introduced by mutual there with me—she’s the one with Marcelle and Pierre have seen it friends. Leslie, 47, was painter-in- the strength. That’s how I felt.” only once since its completion. residence at Amherst College. The Marcelle smiles knowingly. The Their second viewing has been Monnins, then in their 30s, had project was cathartic for both of almost 40 years in the making. left their native Switzerland just them. “It took us out of it,” she months earlier. Pierre was teaching As they turn the corner to Gallery says. The couple often took Rachel and working on his Ph.D. in Old 226 and see their younger selves and Lorraine, 5 and 2, with them, English poetry at the University of on the facing wall, staring into the and Leslie’s wife, Constance, would Massachusetts. Marcelle was caring distance, they can’t help but smile. watch the girls along with their two for their two preschool daughters at They pause for a moment more. children. As he painted, “sometimes home. The Monnins were flattered Alfie would just want to be quiet, “Do you think it still looks like me?” when the artist asked if he could but usually we would talk about Marcelle asks from the doorway. include them in a new portrait everyday things,” Marcelle recalls. series of couples. “I was much taller then,” Pierre “We came to know them,” she says. jokes as he approaches the soaring Lights, Ladder, and Life “Those were great experiences.” canvas. At the artist’s barn studio, Leslie “Fortune and Fame” placed two lights on the floor, one Within minutes, they talk about Though the couples became friends, on either side, to convey a heroic 1975 as if it were yesterday. Pierre says, they were paid for seriousness. “It gave the feeling of posing. “We were supposed to get A Wonderful Triangle fire on the ground,” Marcelle says. one dollar per hour.” A gallerist who saw the portrait in “He painted directly in front of us. process described it as a “wonderful We were all in the same light.” “Each,” Marcelle quickly adds. “It triangle,” Marcelle says. “That’s was twice as expensive for him Leslie worked on the monumental a surprising way to define it, but when we sat together,” which canvas from a ladder so that he it’s true. Even though we don’t they usually did. The sittings took could keep his focus level on each look at him, we look right in front several months. “He worked very portion of the portrait. Each of of us, we made a triangle with fast,” Pierre says, “but I can tell you, three sections—the faces, the torsos, Alfie,” Marcelle says. “We felt his that portrait was a lot of hours.” influence.” and the legs—was painted straight on, slightly shifting the overall “And,” Pierre adds with a smirk, Alfred Leslie already was famous perspective. “Our heads look a little “Alfred said right away that he would by 1974, when the Monnins met larger than they should,” Pierre says. double the amount he paid us if— him. The Bronx-born artist had first if!—the painting sold.” made his mark in the 1950s as an Their then-serious demeanor suited It did sell and very quickly. Walter abstract expressionist, but by the Leslie. “This was an age when we Chrysler and two other collectors early 1960s had abandoned that were really under pressure,” Pierre

10 | winter 2015 purchased the new Leslie double portrait at the artist’s Allan Frumkin Gallery show in New York from June to November 1975. Did the Monnins ever think about buying the 9' by 6' painting? “No, do you know how much he sold it for?” Pierre laughs. “$80,000!” they answer in the unison of a couple married 47 years. Their painting illustrated a New York Times review in newspapers nationwide, and garnered more attention in the acclaimed 1976 Alfred Leslie retrospective at the Museum of Fine Arts in Boston. But the Monnins tracked its success from a continent away, through letters full of clippings from the Leslies and other friends. “We left the United States in ’75 when I had completed my dissertation, so we didn’t really know what happened so soon after it was completed,” Pierre says. But before they returned to Switzerland, they saw the finished painting in Leslie’s studio. “We were just standing there, looking at us standing there.” They’re doing that again now, Alfred Leslie (American, b. 1927) finally. It’s been a good first visit Marcelle and Pierre Monnin, 1975 to the Museum—“so moving and Oil on canvas, 108 x 72 in. memorable for us”—probably not Gift of David Hatch, Edna and Hugh Gordon Miller, and Walter P. Chrysler, Jr. their last. “Indeed,” the Monnins © Alfred Leslie later write from home in Geneva, “we strongly feel like coming back sometime.” It’s an encore reunion the Chrysler will welcome. n Cheryl Little, Museum Editor with special thanks to Melanie Neil, Assistant Registrar There’s more about the Monnins and Alfred Leslie’s portrait of them in our Chrysler Web Exclusive. Learn more about their visit at www. chrysler.org/facetoface Photos by Ed Pollard, Museum Photographer

collection connections | 11 A New Chrysler Tour With Our New Director

Erik H. Neil, the Chrysler’s lgw: Welcome. That’s the most lgw: What is the first thing you important place to begin. I hope noticed about the Chrysler? new Director, walked through your first month has been exciting. ehn: Well, there’s no question I the Museum with community ehn: Thank you. It’s certainly been knew about the collection. But volunteer and Museum busy, but busy in the best possible when I first visited the Museum, way. I’ve been meeting with people what struck me immediately were Trustee Lelia Graham Webb who really care about the Chrysler the Gallery Hosts. in October. Their informal and it’s clear that I have inherited lgw: They really are different. a healthy institution with every conversation serves as an They aren’t your standard security hope of success. Walking into a guards. They know so much about introduction to Erik as the brand-new museum with gorgeous the art, and they’re so friendly, so galleries and a building that has Museum and the community warm. There’s nothing that says just been upgraded, it really allows stay away; it’s all come in and welcome him aboard. me to think about the future. engage. Where do we want to go? What do we want to do? What are the ehn: I saw that when they didn’t possibilities? We are really poised know who I was yet. I just watched to do some strategic thinking and them making the experience better planning and then implement it. I for people—asking “How can I feel very fortunate. help you?” or “Would you like 12 | winter 2015 to know more about this?” That an artist, or a family activity. But Erik and Lelia Graham begin with doesn’t happen in every museum. I the fact that we are free means we ancient glass in the Waitzer Galleries don’t think everyone realizes how are available for everybody in our of Glass. unusual what we do here is. That community. ehn: What I think is wonderful is kind of welcome is rare. lgw: That’s one of the things I that with these new glass galleries lgw: So, here we are in Huber remember from the first time we we can really tell the stories behind Court…and it’s beautiful, a great met. You said it is not enough for these pieces of art. We have to place to host a party or a wedding. the Chrysler just to be free. stop here. This is a killer bowl! What’s amazing, first of all, is that ehn: It’s also the front door to ehn: It is not enough. We have to do this 2,000-year-old piece of glass the Museum. Here is where we more. We have to extend our hand survived. Beyond that, the artist— welcome people from all across our out, to open our arms even more. his name is Ennion—felt he was community, all demographics and We certainly can’t hide our lamp important enough and this was fine all interests. They converge here. under a bushel, so one of the things enough work of art for him to want This type of space is something that we will be trying to do is really to put his name on it. I’ve seen in larger communities— get that message out—the Chrysler the public spaces of the museum has something for you. lgw: And now it’s going out on loan become destinations in themselves. How we are going to do that, I’m not for nearly a year? The Museum should be a place sure I know today, but some of that ehn: And that’s a good thing. It’s where you can stay awhile and will be serving as a venue for groups going to be in a major exhibition, have multiple experiences. I hope in the community. Or reaching first at the Metropolitan Museum of it means looking at great art and out to military service members, Art, then at the Corning Museum of seeing an exhibition, but maybe maybe through the USO, to say Glass. And that points to something you also do some shopping, hear that we have some great activities else about the Chrysler as a whole. some music, have something to eat. scheduled for you and your family. Even if the public sometimes lgw: I love that al fresco dining at For example, we’re hosting a free doesn’t know, museums know that Wisteria! And because the Chrysler Veterans’ Day. We the Chrysler has a world-class is free, you can come to see one need to do more events like that. collection. The objective proof thing during your lunch hour, and I am looking for a good corporate of this is the fact that we receive then leave and come back the next sponsor for these programs so we loan requests every week from all day to see something else. There’s can really spread the word. over the world for works in our not that pressure to cover the entire We need to find other ways to meet collection. Right now, we have our Museum at once. We’ve all had and engage the African American art on view at museums across the experience where we buy the community, the LGBT community, the United States, and in England, tickets, then we exhaust ourselves lots of different communities. We France, and Australia. And we will seeing everything. Here you don’t can go to groups and let them continue to promote our collection have to do that. know what can we offer, how and, I hope, find other ways that we can we partner, and what will be can highlight its quality. ehn: Free admission is the meaningful. I don’t expect that we cornerstone of the Chrysler, lgw: I’ve heard that you were will invent all these ideas, but we the foundation on which this something of a collector yourself. will make sure people know that community resource will rely. We the Chrysler is a welcoming place ehn: Like many people in the are free—and now we have to go for them. museum world, I started collecting beyond that. We have to give them as a child: baseball cards, beer more reasons to come visit us, to lgw: And that we are a gathering cans, bottle caps…. And they become Members and frequent place for civic engagement. We can were all systemized at the time. I visitors. They can come take in a be that by being free. still collect 19th-century cartes lecture, a performance, a talk by Now, let’s go look at some art. de visite in a casual way. I think

new director | 13 that understanding the value of our visual world, and celebrate it a personal perspective so you can objects—that objects and works of and appreciate it. really begin to learn more. Maybe a art have meaning beyond just the Exhibitions like these also appeal QR code lets you know that if you thing—is essential. to wider audiences. Obviously, we are interested in this piece, you may also enjoy these other works of art. lgw: So here you’re a kid in a candy hope that regular friends of the There are so many possibilities. shop. Chrysler will come and will come back, but we also hope that we will lgw: That ability to go deeper is ehn: Yeah, look what I get to play make new friends. People who come important. It makes the experience with now! to see an exhibition like this might much more personal. also go see our painting by Veronese lgw: One thing I appreciate about Lelia Graham and Erik walk or ancient Roman sculpture or the the expansion of the glass galleries around the upstairs galleries and Egyptian sarcophagus. Maybe they is the ability to show live video come to a tableau of objects in the wouldn’t come just to see those, but from the Studio. I love that teaching Waldo Gallery of the Brock Wing of will take a look after they see the and learning aspect. American Art. show that brought them in the door. ehn: The development of the Exhibitions broaden what we can lgw: I can tell you exactly why I Glass Studio tells you something offer. came to the Chrysler Museum about the future of the Chrysler. for the first time. I have a huge lgw: You told me earlier that the Museums started as wunderkammer, affection for Gustave LeGray’s new Chrysler is developing some places of wonder, and there is photography, and I came to see exciting new technology. How will something really spectacular about one of his images in the Chrysler that change the usual visit to the glass. You put sand in the fire and Collection. That’s how I found out Museum? then it’s a glowing orb and then it that you have a serious Civil War becomes a piece of art. The Studio ehn: Going forward, technology is collection. helps explain that art and offers going to be ever more important in ehn: The quality of our Civil War experiences—I think that’s why people’s experience in the Chrysler. collection is hard to compare it has really taken off. Whether it Whether it will be through your because it is almost unique. We helps you understand chemistry smart phone or your tablet, through have many photographs that or your own creativity, something social media, through the website— are extremely rare and we have dynamic is happening there. and it will probably be through all a concentration of images that of those things—technology gives lgw: And it’s certainly brought us is unrivaled, so that is really us ways of providing much more an entirely new audience. So has exceptional. And it’s not all extended content. Worn to Be Wild. Everyone I know photographs. I really like this who has seen it has adored it. Some Today at the Chrysler, you can grouping—we have the white friends have asked me, “Why did read an informative label to get an marble sculpture of the soldier and you get it at the Chrysler?” but introduction to a work of art, or you his daughter, we have this poignant almost everyone said, “I’m so glad might watch a short video or tap a battle scene painting by Leutze, and you have it at the Chrysler!” touchscreen in the galleries to learn we have these almost documentary ehn: Exhibitions like Worn to Be more. But in the future, maybe you photographs of Civil War soldiers. Wild open up people’s ideas of what click your handheld device and All these different works, in a museum is—and that includes say, “I want to know more about different media, come together in everybody here who makes up this artist” and an app gives you a one corner of one gallery to tell the the Chrysler. We live in a visual bio or a reading list. Or you have story of the Civil War. It’s a great, culture. I think that an exhibition your headphones on and when you dynamic display of how you can on fashion, or our upcoming show stop at certain works, an artist’s really use a good collection—and on video games, are ways that voice suddenly starts telling you this goes back to what I said about museums can help us understand about the piece or a curator gives how fantastic the collections are

14 | winter 2015 here. They really encourage our curators to be creative. Erik and Lelia Graham walk over to our first Collection Conversations series show in the Roberts Wing. lgw: It seems these days that many of those huge, world-traveling blockbuster shows are being replaced by museums working together and combining resources to tell stories. I’m a huge fan of how we did that in this room. What can you tell me about this loan partnership with the National Gallery of Art? ehn: Our relationship with the National Gallery is longstanding ehn: The Chrysler has been really new technology and new media to and it includes curators, Trustees, very well known for historic the Museum. As we talked about and visitors who appreciate both painting, American and European, with things like new apps for our museums. Collaborations like this but thankfully Walter Chrysler also visitors, many artists are using give us the chance to have different had a serious collection of 20th computers in diverse ways to create paintings from our collections century art. This one is a standout works of art. Now that everyone is talk to each other. It’s a chance to to me: Roy Lichtenstein’s Live conversant and experienced with see our wonderful Picasso next to Ammo. I hope that in the coming screens of all different sizes, not this earlier analytical Cubist work years we will continue to acquire surprisingly artists are engaging on the wall to my right, and to works by rising artists and bring there, too. compare them to later works by in contemporary exhibitions that lgw: The video games exhibition other artists in this gallery. will open up new avenues for will be interactive? lgw: It makes the community our visitors. appreciate their own local The public shows a growing ehn: It will—and a little nostalgic, collection so much more when they interest in contemporary art, so too. It goes from Space Invaders see it on view with masterpieces we will have to lead the way and and Ms. Pac-Man to much more from other important museums. It continue to investigate and present complex, contemporary games. It’s lifts them up side by side. works that can be challenging, a mix of the familiar and the future. ehn: What you said is absolutely no question, difficult, even It’s really an exciting time to be at correct. These focused exhibitions obscure. Audiences are flocking to the Chrysler—and I am excited lower costs and pack an artistic contemporary exhibitions in other to be here. The opportunities are punch. We will most certainly cities. There is every reason to myriad. In the coming years, I continue these kinds of believe we can see that here. know that we will be exciting and different and new and bold here at relationships. lgw: Talking about contemporary, the Chrysler Museum of Art. Erik and Lelia Graham move into you mentioned that The Art of the the McKinnon Wing of Modern and Video Games is coming this winter. lgw: The community is with you. Contemporary Art. We are ready! n ehn: What I love about this exhibition is that it won’t be the Photos by Ed Pollard, Museum Photographer first, or the last, in which we bring

new director | 15 Robert Colescott (American, 1925–2009) Listening to Amos ’n’ Andy, 1982 Acrylic on canvas In memory of Mary and Dudley Cooper from the family of Joel B. Cooper © Robert Colescott, courtesy Phyllis Kind Gallery, New York

certain sounds are linked to those works,” says Director of Education Anne Corso. “This program provides us with another great opportunity to fulfill our mission—to connect people and art in ways that delight and inspire.” A dozen artworks are currently part of Listening to American Art. Most are upstairs in our American and contemporary art galleries; the one work downstairs is the glass Grand Harmonicon. Some of the choices are illustrate a musical instrument or performance, such as Robert Henri’s Gypsy with Guitar or Franz Kline’s Hot Jazz. Other titles reference a sound that is not explicitly Listening to American Art depicted, as Winslow Homer’s Song of the Lark. Yet others share a very Have you ever visited the Glass rather than on information about specific aural history that may not Gallery and wondered what the it.” With this in mind, Listening to be familiar to Museum visitors, Grand Harmonicon sounds like? American Art was born. such as the brief from the popular Or have you thought about what Gallery Hosts access the program radio show that plays to Robert kind of music inspired Gene Davis’ on the Museum’s iPads. “It’s based Colescott’s Listening to Amos ’n’ Andy. Shabazz? The Chrysler’s new on Aurasma, an augmented reality Praise for the project has been interactive program, Listening to app that uses the art itself as a effusive and the Chrysler is using American Art, lets Museum visitors visual trigger to play an audio the same technology to develop clip that helps you understand an opportunity to experience the other interactive programs akin that work,” says Interactive Media sounds of several works from our to traditional audio tours. Guests Specialist Stacy Hasselbacher. “And will download an easy-to-use app American collection. the artwork is the only visual to access more in-depth content It’s a recent trend in American art component. You continue to look at on their own mobile devices. Our to focus on the multisensory nature the painting or glass while the app collection highlights, children’s, of many works, so the Chrysler plays sound or music related to it.” and conservation tours now in decided to encourage visitors The app is very simple to use— development will use different not just to look at the art, but to Gallery Hosts just turn it on and kinds of augmented reality, such listen to the sounds that might point their iPads at a selected as video or still images that overlay have inspired the artists to create work. The related audio plays the art to show a painting before it. The program fits the Museum’s automatically and a brief narration and after conservation treatment. educational philosophy. “We want explains what the sound is. But the The possibilities are endless and everything we do to draw our guests interpretation doesn’t end there. exciting, and an example of what to deeper into the work, not away from expect from the new Chrysler. n “We hope visitors will enjoy the it,” Interpretation Manager Seth Listening to American Art is generously funded Feman says. “It’s important that they fullest experience: interacting with by The Henry Luce Foundation. stay visually focused on the art itself our staff and others, discussing why

16 | winter 2015 The Visiting Artist Series 2015 Emilio Santini february 26–march 1 The Chrysler Museum Glass connecting with the Peninsula Studio is proud to launch this Glass Guild, and, critically, year’s Visiting Artist Series with landing a solo exhibition of his an internationally acclaimed guest work. Emilio’s story, not unlike who hails from both an hour away that of master glassblower Lino and worlds away. Emilio Santini Tagliapietra, evolved into one about lives in nearby Williamsburg, but his transformation into an artist. was born on the island of Murano, Incredible skill and technique Italy—a place well-known and defines Venetian glassmakers, but it greatly admired for its history of is often venturing out on their own glassmaking. Like many families that pushes the craftsman to work from this tiny part of Venice, the more creatively with the material. lineage of glassmakers in his family goes back hundreds of years, so his career path was nearly inevitable. “Glass is basically the art of As a young boy of 11, he worked with a master chandelier maker and constant adjustment.” later focused on goblet making— the form all glassmakers seek to —Emilio Santini master first. He took a break from glass to pursue studies in Italian literature and writing, but after Emilio now infuses his work in glass college turned to flameworking with his own sensibilities. His ready (sometimes called ). sense of humor is apparent in Urna, It was his father who helped a glass sculpture in the Chrysler’s him refine his skills at the lamp, collection. This perfectly balanced teaching him to balance and adjust and elegantly symmetrically urn the molten glass until it was shaped is elongated to the point that is exactly the way he desired. no longer a useful object. Look Emilio’s story might have easily closer and you’ll see a series of continued in Italy, comfortably black and white monkeys with situated in a glassmaking world interlocking arms and falling every with the support of tradition which way. Perhaps this is Emilio’s and an established community way of showing off his incredible and marketplace had he not met skill while letting us know he is Theresa Johansson. After the thinking about playfulness and couple married they relocated to connectivity—and how mixing her hometown, Winston-Salem, humor with serious talent can N.C., where he found challenges ultimately lead to success. n rather than success. His career in Diane Wright, production glassmaking was not Barry Curator of Glass easily translated to North Carolina and twice he returned to Italy. It was during his third stay in the Emilio Santini United States that he finally made (Italian, b. 1955, working in the United States) inroads into the American glass Urna, 1997 Blown lampworked glass, scene—meeting Glass Studio sandblast frosted with oil pastel Movement pioneer Harvey Littleton, Gift of Scott Waitzer chrysler news | 17 Member Events worn to be wild members’ preview party

More than 620 Members got their motors running over to the Museum on the night of October 2 as we debuted our big fall exhibition. Guests enjoyed a first look at the exhibition, a special lecture by organizing curator Jim Fricke, dancing to the revved-up music of The Bartones, and photo ops with loaner jackets and the Harley-Davidson Softtail Deluxe on display. Photos by Charlie Gunter for the Chrysler Museum of Art

18 | winter 2015 Thank You Events the major donor dinner | honorable society of former trustees dinner

October 16 marked the Museum’s The Museum welcomed back its annual evening to honor our most leadership—old and new—on beneficent contributors, as well as Bill October 21. In support of the group’s Hennessey’s 17 years of service to the official mission, Museum Conservator Chrysler. More than 289 guests joined Mark Lewis presented an overview us for the event, which included tributes of conservation and art restoration from friends and colleagues near and projects completed during the far for our retiring Director and the Chrysler’s expansion. The special event legacy he leaves to Hampton Roads. also included a behind-the-scenes tour Photos courtesy of Glenn Bashaw, of the new Chrysler. Images in Light Photography Photos by Ed Pollard, Museum Photographer Billye Roy, Jeff Chernitzer, Alva Holland, McGregor Joyner

Angelica Light, Joseph and Evelyn Green Jerrauld and Lyn Jones Dick Barry, Lemuel Lewis, Carolyn Barry

William and Betsy Burnette, Ted and Susan Sherman, Erik Neil, Oriana McKinnon, Harry Lester Mary Lyall and Harry Ramsey Patricia and Jefferson Brown

Tom Hubbard and Christine Hamlin Julia Curtis and Linda Kaufman Conrad and Anne Shumadine, Penny and Peter Meredith chrysler news | 19 Upcoming Member Events

Evening with the Director The evening of Tuesday, January 13 In thanks for your generosity, the Museum invites Members of our Masterpiece Society, Business Exhibition Council, and Director’s Circle to join us for this highlight of each new year. Enjoy an Marc and Connie Jacobson exclusive cocktail reception and an engaging exploration of art with our new Director, Erik Neil. A Legacy of Beauty Invitations for this exclusive upper-level membership Connie and Marc Jacobson have event will arrive by mail. recently added the Chrysler to their estate plans, making a generous gift New Members Welcome to the Museum. In gratitude for their Third Thursday, January 15 at 6:30 p.m. philanthropy, the Museum is pleased to recognize their contributions to the Meet fellow newcomers to the Chrysler over light refreshments in the Chrysler by renaming the rooms that Gifford Room, then enjoy a highlights tour of the Museum. Stay afterwards house our Tiffany masterworks as The for our eclectic mix of Third Thursday activities, which are always free for Marc and Connie Jacobson Gallery. Members. RSVP with Megan Frost at (757) 333-6294 or [email protected]. “We are fortunate to have a jewel such as the Chrysler Museum of Art in the The Members’ Preview Party: community,” the Jacobsons say. “Our The Art of Video Games connection to the Chrysler for many Friday, February 13 from 6–10 p.m. years has been meaningful to us. We It’s on like Donkey Kong! Our opening event for hope that perhaps our commitment this interactive exhibition sets a new high score for will in some small way serve to enhance multisensory experiences. Enjoy live music inspired the cultural and artistic experience of by your favorite games, light refreshments, and those who visit the Museum.” a chance to challenge your children or friends at The Chrysler’s collection of Tiffany some vintage arcade-style games. So limber up those glass is peerless in its comprehensive thumbs, master your joystick skills, and watch nature and quality of works by the the mailbox for your invitation to fun. It’s free for great American master. Adjoining Museum Members and children 17 and younger. galleries include masterworks in 19th- Bring a friend for only $10! century English and 20th- century European , making this space within the Museum one of Conversations with the Curators its most popular and beautiful. It is The evening of Thursday, February 26 fitting that the one of the Chrysler’s Come see the Chrysler up-close and behind the scenes. The Museum premier locations should be named for welcomes Members at our Patron level and above to participate as our guests in honor of such dedicated supporters. in this perennially popular program. After cocktails, our curators and The Jacobsons’ generosity of spirit and conservators will share their unique insights into the Chrysler Collection. support is invaluable to the Museum Kindly RSVP when your mailed invitation arrives. and constitutes a gift that will enrich our community in perpetuity. If you would like information on making a planned gift or to inform the Museum of a bequest, contact Homer Babbitt in the Development Office at (757) 333-6298. 20 | winter 2015 Photos by Ed Pollard, Museum Photographer Last Look

As the famous firefighter turned 70, the Chrysler asked visitors to Celebrating Smokey Bear: Rudy Wendelin and the Creation of an Icon to let us know what they thought of the exhibition. Here are a few of our favorite images and impressions: non profit org. u.s. postage One Memorial Place paid Norfolk, VA 23510 norfolk, va (757) 664-6200 | chrysler.org permit #138

dated material do not delay delivery address service requested.

Norfolk Society of Arts museum and glass studio hours events begin with a coffee Tuesday–Saturday from 10 a.m.–5 p.m. Sunday from noon–5 p.m. reception in Huber Court Third Thursday til 10 p.m. at 10:30 a.m., followed by the Wisteria is open during Museum hours. Free Parking | Wheelchair Accessible free lecture in the Museum’s historic houses hours Kaufman Theater at 11 a.m. Saturday and Sunday from noon–5 p.m. Limited Accessibility

Wednesday, January 21, 2015 general admission is free The Present and Future: and supported by Museum Members! Art Glass in the 21st Century Join the Chrysler on site, Glenn Adamson, Director on the phone at (757) 333-6298, The Museum of Arts and Design, New York or online at chrysler.org/membership. ’s long history of aesthetic information brilliance is now being matched by great ideas. Discover how today’s and tomorrow’s artists are finding both commercial (757) 664-6200 | Chrysler.org success and critical acclaim. follow the chrysler at

Wednesday, February 18, 2015 Techniques of Impressionists David Bomford Subscribe to the Chrysler Museum Weekly at Director of Conservation, chrysler.org/email-signup. Museum of Fine Arts, Houston Encourage new memberships. Rather than recycle, It seems effortless and spontaneous, but Impressionist share this issue of Chrysler with a friend. art was rarely what it first appeared. Gain a conservator’s perspective on the science, materials, and intricate skills The Chrysler Museum of Art is partially supported behind art in the making. by grants from the City of Norfolk, the Virginia Commission for the Arts and the National Endow- ment for the Arts, the Business Consortium for Arts The Norfolk Society of Arts promotes and enhances the Support, and the Edwin S. Webster Foundation. cultural life of the South Hampton Roads community through lectures, special events, and financial support to the Chrysler Museum of Art. For more information about membership in the society, please contact Edith Grandy at (757) 621-0861.