Denison Museum: "Portraying Identity" Exhibition Guide

Page 1


Portraying Identity Exhibition Guide

August 29th-November 29th, 2024

Feature image: Elizabeth Nourse (1859-1938), Head of a Girl, Circa 1882, oil on canvas mounted on academy board, Cincinnati Art Museum, Gift of Harley I. Procter, 1924.490

PortrayingIdentity

August29th-November29th

Exploretheintricateportrayalsofidentityinourfallexhibitions,whereartservesasamirror reflectingbothself-perceptionandthewayweviewothers.Featuringworksfromrenownedand unknownartistsalike,thesepaintings,prints,photographs,andsculpturescaptureadiverserange ofsubjects—richandpoor,youngandold—eachtellingauniquestory.Asyouengagewitheach piece,considernotonlytheidentityofthesitterbutalsohowtheseworksresonatewithyourown experiencesandthesharedhumanityweallpossess.Throughthesepowerfuldepictions,connect withboththeindividualstoriespresentedandthebroaderdialogueonhowwerelatetoourselves andothers.

FromtheevocativepiecessourcedfromtheCincinnatiMuseumofArt,totheintimateselections fromEdwardKhodorkovsky'sprivatecollectionandtheDenisonMuseum,immerseyourselfinthe diverseinterpretationsofhowweperceiveanddepictindividualsacrossculturesandcontinents, delvingintotheessenceofwhatitmeanstocaptureapersoninart.Experienceaglobaldialogueon identitythroughthelensofcreativityandexpression.

TheDenisonMuseumextendsaspecialthankstotheCincinnatiArtMuseumandEdward Khodorkovsky/AmericanFundforUkrainianReconstructionfortheirgenerousloans.

DenisonMuseumInterns:

NoraBlount’25

TrangBui’25

EvaColeman’24

EmilyHarris’24

MeredithKlinzing’26

EliLishack’26

AllieMohn’24

IsabelleMonyak’24

AnaPineda’26

ElizabethNourse,(American,1860–1938)

HeadofaGirl,ca.1882 Oiloncanvasmountedonacademyboard 1811/16×161/8in.

CourtesyoftheCincinnatiArtMuseum,GiftofHarleyI.Procter,1924.490

Bornin1860outsideCincinnati,ElizabethNoursewouldbecomeoneofthemostrenownedfemale artistsofherday.NourseworkedasapainterinCincinnati,whereshecreated“HeadofGirl,”before movingtoParisin1887toparticipateinthesurgingartmovementthere.Nourselivedprimarily withheroldersisterandmadeherlivingasanartist.Herpreferredsubjectsdepictedeveryday peopleamidstrurallandscapes,athemeexemplifiedin"HeadofGirl."

Asafemaleartist,Nourseconfrontednumerousobstaclesonherpathtorecognition.Inanera dominatedbymale-centricartcirclesandharshcritics,femalepainterslikeNoursewereoften marginalized,dismissedasmere"Sundaypainters"expectedtoprioritizemarriageorteaching careersovertheirartisticpursuits.ElizabethNoursecombatedthisbyrelyingonthefullsupportof herfamilyandforminganextendedaudienceoffemalefriendswhoboughtandshowedherwork, allowinghertogainthesupportofbecomingoneoftheonlyinternationallyrecognizedfemale artists.

NoraBlount‘26

EvaColeman‘24

ElizabethNourseandhertwinsister,Adelaide,weretheyoungestof10childrenbornin1859toCaleband ElizabethRogersNourse.ThetwinsattendedtheMcMickenSchoolofDesignattheUniversityofCincinnati, whichoeredfreetuitiontoallqualifiedresidents.Whileattheschool,Elizabethstudieddrawing,painting, woodcarving,chinapainting,andengraving.Aftergraduatingin1881,shecontinuedherstudiesfortwomore years,takinglifedrawingclasses.

In1881,NoursedeclinedateachingpositionattheSchoolofDesign,determinedtopursueacareerasa professionalartist.Shedevelopedherownstyle,characterizedbyarealismthatemphasizedthestrengthof hersubjectmatter.Herpreferredthemesincludedpeasantsubjects,whichwerepopularamongSalon painters,andreflectedherearlierfocusonthesimpledailyroutinesofruralfolkintheMidwest—particularly womenatwork,portraitsofAfricanAmericanwomen,womenandchildren,andcountrylandscapes.Her stylerepresentedthereactionofyoung,modernartistsagainsttheoldergeneration.

InAugust1887,aftersavingmoneywithhersistersAdelaideandLouise,thetriomovedtoParistofurther Elizabeth'sstudies.There,NourseenrolledattheAcadémieJulian,whereshewasadvisedafteronlythree monthsthatsheneedednofurtherinstruction.Shesoonbeganworkonherpainting LaMère forthespring Salon.Thepiecewasnotonlyacceptedbythejurybutalsohungateyelevel,anhonorforanunknown artist—apromisingstartfortheyoungCincinnatianinParis.

Earlyinhercareer,Elizabethwasconcernedaboutthemisogynyintheartworldandinitiallysignedher workas"E.Nourse."However,by1892,shebegansigningherfullnameonherSalonentries,andby1904,this becameherstandardsignature.TheNoursesistersusedParisastheirbaseforseveralyearsbuttraveledto Russiain1889,Italyin1890-91,Hollandin1892,andTunisiain1897.TheyreturnedtoCincinnationlyonce, whenAdelaidebecameill.AfterAdelaidepassedawayin1893,onlyLouiseandElizabethremainedfromtheir immediatefamily,andtheydecidedtomakeParistheirpermanenthome.

Noursecontinuedtopaintstraightforwardportraitsofordinarypeasants,focusingontheinterplayoflight andshadowinbothherwatercolorsandoilpaintings.Sheoftendepicteddistinctivefeaturesofhersubjects, suchastheweatheredhandsofmotherscontrastedwiththetenderskinoftheirchildren.Thoughdealers urgedhertopaint"somethingprettythatwouldsell"ratherthan"uglypeasants,"Nourserefused,believing therewasbeautyinthecommonplaceandthatshecouldnotpaintwhatdidnotappealtoher.

NoursewasatthepeakofhercareerwhentheGermansinvadedBelgiumin1914,markingtheendoftheart worldassheknewit.In1920,sheunderwentsurgeryforbreastcancer,temporarilyhaltingherpainting.By 1924,atagesixty-five,shestoppedexhibitingherwork,bringinganendtoherforty-four-yearcareer. ElizabethNoursediedonOctober8,1938,andwasburiedbesidehersisterLouise,whohaddiedin1927.

(InformationreceivedfromQueenCityHeritageVolume41Number1Spring1982edition.ThearticlebyMary AliceHeekinBurkewastitled eRediscoveryofElizabethNourse)

(Russian/French,1869-1939)

PortraitofKiraVerkhovetskaya, 1928 PastelonPaper

InscribedinRussiananddated26October1928 14x10.4in.

CourtesyofEdwardKhodorkovsky/AFUR

KonstantinAndreevichSomov(1869-1939)wasborninSaintPetersburg,Russia,intoanartisticand culturedfamily.Hisfather,anarthistorianandcuratorattheHermitageMuseum,andhismother,a noblewomanwithapassionformusic,theater,dancing,andpainting,nurturedhisloveforthearts fromayoungage.In1888,SomovenrolledattheImperialAcademyofArts,wherehestudiedunder therenownedartistIlyaRepinfornineyears.Beforegraduatingin1897,Somovspenttwowintersin Paris,whichhelaterdescribedasthehappiestdaysofhislife.

In1899,Somovco-founded Miriskusstva (WorldofArt),aRussianmagazineandartmovementthat gainedsignificantrecognition.By1910,hehadestablishedhimselfasasuccessfulpainter.Following theRussianRevolution,SomovmovedtoParisin1923,joiningagroupofacclaimedRussianartists. InParis,hisworkbecamemoreerotic,andheisbelievedtohaveembracedhishomosexuality throughhisart,oftenpaintingBorisSnezhkovsky,ayoungboxerrumoredtobehispartner.The subjectofthisparticularpainting,KiraVerkhovetskaya,wasafamilyfriendofSomov's.Inaletter datedOctober26,1928,Somovwrote,“DuringthedayandintheeveninglightIdrew.Itwassitting withmynewvictim,Kira,whoreadilyagreedtopose.”

IsabelleMonyak‘24

KätheKollwitz,(German,1867-1945)

Etching

DU2006.2.36

GiftofDeanHansell’74

KätheKollwitzwasaGermanexpressionistwhoseworksprofoundlycapturehumansuering,often reflectingthedramaticimpactofwaronherlife.DeeplyaectedbythelossofhersonduringWorld WarI,Kollwitzusedherarttoconveyhergriefandcontinuedtocreateevenduringtheriseofthe Nazis,wholabeledheradegenerateartist.Sheisrememberedforhermasterfulexpressionof emotionandherfocusonthestrugglesofwomenandtheworkingclass.

Throughoutherlife,Kollwitzproducednumerousself-portraits,knownfortheirrawandunfiltered depictions.Her Selbstbildnis,aself-portraitfrom1921,powerfullyportraysherintheaftermathof WorldWarI,aperiodmarkedbydeepdepressionoverthelossofhersontothewar.

NoraBlount‘26

EvaColeman‘24

Louis-Marie(Luc)Sicardi(French,1754-1793)

LouisXVI,1782

watercoloronivory

CourtesyofCincinnatiArtMuseum,GiftofMr.andMrs.CharlesFleischmanninmemoryofJulius Fleischmann,1990.1810

OriginallyfromToulouse,France,LouisSicardimadehiscareerasaminiaturepainteratthecourt ofLouisXVI.Hecreatednumerouspaintingsfortheroyalfamilyandcourtbefore fleeingtoLondon duringtheFrenchRevolution.SicardieventuallyreturnedtoFranceandcontinuedworkinginParis fortherestofhislife,wherehisworkremainedpopularamongtheFrenchelite,evencatchingthe eyeofJoséphineBonaparte.

DuringhistimeattheFrenchroyalcourt,Sicardiapparentlyneverpaintedthekingdirectly; instead,hebasedhisworksonocialportraitsbyotherartists.Manyofhisminiatureswere mountedingoldboxesandgivenastokensoffavortomembersofthecourtorvisitingguests.These giftssymbolicallyextendedtheking'spowerbeyondhisdomain.

NoraBlount‘26

EvaColeman‘24

ArtistInformationprovidedfromtheCincinnatiArtMuseum

LucSicardiwasborninAvignonin1743andreceivedhisearlytrainingunderhisfather, Jean-Pierre-AntoineSicard(ca.1718–ca.1796).In1771,SicardiwasadmittedtotheAcadémieof BordeauxandmovedtoParisaround1773.Althoughlittleisknownabouthisearlyactivitiesinthe city,by1779,hehadsecuredapositionatthecourtofLouisXVIastheleadingpurveyorofminiature portraitsoftheking.EmployedbyboththemonarchandtheMinistryofForeignAairs,hepainted numerouslikenessesofthekingandhisretinue,manyofwhichwereincorporatedintogold snuoxesandpresentedasdiplomaticgifts.

Sicardi'sworkincourtcirclesbroughthimconsiderablewealthandfame,butby1787,these prestigiousocialcommissionscametoanabruptend.DuringthedicultyearsoftheRevolution andDirectory,Sicardiwasforcedtoexpandhisclientelebyplacingadvertisementsinthe Journalde Paris and PetitesAches,andhehadtolowerhisfees.Bytheearly1810s,hehadregainedmuchof hisformersuccess,andin1814,hewasmadeaChevalieroftheLegiond’Honneur.Sicardiexhibited regularlyattheParisSalonfrom1791to1819anddiedinParisonJune18,1825.

Ref:JulesBelleudy,“LouisSicardiMiniaturiste,” BulletindelaSocietedel’Histoiredel’ArtFrancais, 1931,pp.239-309;Schidlof1964,vol.2,pp.752-54,vol.4, figs.1086-88;NathalieLemonie-Bouchard, Lesminiatures(MuseeCognacq-Jay,lescollections) (Paris,2002),pp.140-41,267.

(Summarydeprivedfrom"PerfectLikeness:EuropeanandAmericanPortraitMiniaturesfromthe CincinnatiArtMuseum")

AnnaClaypoolePeale (American,1791-1878)

AnOcer,1829

WatercoloronIvory

CourtesyofCincinnatiArtMuseum,GiftofMr.andMrs.CharlesFleischmannII,2004.267

AnnaClaypoolePealewasanAmericanpainterwhospecializedinportraitminiaturesonivory.Born inPhiladelphia,Pennsylvania,Pealewasthedaughterofaminiatureportraitartistandthenieceof CharlesWillsonPeale,whofoundedthePealeMuseuminBaltimore,oneoftheoldestmuseumsin thecountry.Notably,AnnaClaypoolePealeearnedthedistinctionofbeingthe firstwomanto becomeamemberofthePennsylvaniaAcademyoftheFineArts,securingherplaceinarthistory. Throughoutthe1820s,sheemergedasthemostsuccessfulminiaturepainterinthemid-Atlantic region.

Theman,amilitaryocerinthisparticularminiatureportraitremainsunknown,butthecaseis inscribedwiththeinitials"H.D.Bowes,"possiblyhintingataconnectiontotheocerdepictedin thepainting.Peale’sclienteleprimarilyconsistedofwealthyAmericaneliteswho,inspiredby Europeanromanticism,commissionedminiaturesastokensofaectiontoexchangewithone another.

IsabelleMonyak‘24

NoraBlount‘26

Thegentlemaninthisminiaturewearsaregimentalocer’suniformofthe1820sas prescribedbytheUnitedStatesArmy.Thename H.D.Bowes engravedonthecaseisprobably notthesitter’s,asthereisnorecordofanocerbythatname.Nordoesanyonenamed BowesappearindirectoriesforPhiladelphiaandBaltimore,thecitieswhereAnnaClaypoole Pealeobtainedthemajorityofherpatrons.Likecountlessminiaturesofyoungocerslong absentfromlovedones,thispaintingwasatokenofaection;locksof flaxenandbrunette hairplaitedtogetherarevisiblethroughawindowinthebackofthecase.PerhapsH.D. Boweswasthewomanwhopossessedthisminiature,orasubsequentownerwhoengraved thenameatalaterdate.Itisalsopossiblethatthecaseoriginallycontainedadierent miniature.

Ingreatdemandinthe1820s,AnnaClaypoolePealefoundmuchofherpatronage amonganewgenerationofwealthyAmericans,forwhomtheBritishtasteforRomanticism andtransparencyofwatercolornolongerheldassociationswithcultureandlineage.Shemet thedemandforverisimilitudebyrecordingwithspecificitythedistinctivefeaturesofher sittersandtheiraccouterments.In1822asatisfiedcriticpraisedherimprovements“inforce andprecision;herlikenessesarebetter,her finish firmerandmoreresolute,andherlaceand muslintruer.”Onecanbevirtuallycertainthisyoungmansportedtheblondringlets, sparklingblueeyes,andaquilinenosethatPealerenderedwithnotabledelicacy.However, thecupid’s-bowmouthisastandardfeatureofherportraitsthatmakesthemallseem delightfullyagreeable.Theocer’sindividuallydelineatedeyelashesenhancedthe impression,howevertrue,thathewasanamiablefellow.

Thisportraitshowcasesthegemlikebrilliancyofcolorandglossysurfacethatmakes Peale’sminiaturesresemble,especiallypreciousoilpaintings.Thesaturatedredoftheyoung man’ssashprovidesasplashofvividcoloragainsttheblueofhisuniform.Thecomposition oftheopaque,brownbackgroundwith finehorizontalbandswasadistinctivetreatment, possiblyofherinvention.

ArtistInformation:

Oneofthe firstwomenelectedtomembershipinthePennsylvaniaAcademyofthe FineArts(withhersisterSarahMiriamPealein1824),AnnaClaypoolePealewasarguablythe mostsuccessfulminiaturepainterinthemid-Atlanticregioninthe1820s.Duringalong, productivecareer,sheproudlyincisedhersignatureonmorethantwohundredidentified worksandfoundeagerpatronsamongthehigheststrataofsociety.

BorninPhiladelphia,AnnaClaypoolePealewasencouragedinherprofessional developmentbyheruncleCharlesWilsonPeale(q.v.)andfather,JamesPeale(q.v.).Atage fourteen,afterexhibitingattheacademytwopaintingsafterJosephVernet(1714-1789),she begananapprenticeshipinminiaturepaintingwithherfather.Herearliestdatedminiature knownisfrom1810(HelenaLawrenceHolmesPennington;HistoricalSocietyof Pennsylvania),whichalreadyrevealsherdistinctivewirybrushstrokeandattenuated figure type.Anna’scareerreceivedaboostin1818,whensheaccompaniedheruncletoWashington, whereshecreatedstriking,RomanticminiaturesofAndrewJacksonandothernotables. Afterward,shedividedhertimeprimarilybetweenPhiladelphiaandBaltimorebutalso paintedinBostonandNewYork.Hersuccesswassuchthatshewascountedamongthevery fewofhercountrywomentobeabletosupportherselfasanartist.Sheexhibitedherworks atthePennsylvaniaAcademyannualsregularlyfrom1811through1842andshowedatother publicvenuesaswell.

Pealetookabriefhiatusfromhercareerinlate1829,whenshemarriedtheBaptist ministerReverendWilliamsStaughton,whodiedthreemonthsaftertheirwedding.She resumedminiaturepaintinguntilhersecondmarriage,in1841,toretiredbrigadiergeneral andphilanthropistWilliamDuncan.Pronetodicultieswithhereyesandperhaps respondingtodiminishingcommissionsforportraitminiatures,sheworkedafterthattime primarilyinoils.

(RelatedInformationdeprivedfrom"PerfectLikeness:EuropeanandAmericanPortraitMiniatures fromtheCincinnatiArtMuseum")

Miniatureportrait

Austria

18thCentury-19thCentury

DU1970.108

GiftofDr.RobertandJuanitaFischelis

Miniatureportrait

18thCentury-19thCentury

Oilonporcelain

DU1970.111

GiftofDr.RobertandJuanitaFischelis

PaintingonPorcelain

Oilonporcelain

DU1970.112

GiftofDr.RobertandJuanitaFischelis

PaintingonPorcelain

Oilonporcelain

DU1970.110

GiftofDr.RobertandJuanitaFischelis

Miniatureportrait

Austria

18thCentury-19thCentury

Oilonporcelain

DU1970.107

GiftofDr.RobertandJuanitaFischelis

CharlesHenrySykes,(American,1882-1942)

“TheGayCaballero”

eEveningPhiladelphiaPublicLedger, 1930’s Blacklithographpencil,ontexturedboard

DU1947.286

GiftofEmmaMartin

ThecartoondepictsPresidentFranklinDelanoRooseveltandSen.HiramJohnson,former governorofCaliforniawhoopposedmanyofRoosevelt’spolicies.Thetitlereferstoapopularsong andmoviecalled eGayCaballero.

LouisM.Glacken(American,1866-1933)

“Election”

PuckMagazine, May12th,1912

Pencildrawingonpaper--handillustrationscreatedpriortoprintversion

DU1946.144

GiftofEmmaMartin

Thiscartoondepictscaricaturesof(fromlefttoright)England,France,andGermanywatchingthe presidentialelectionbetweenWilliamHowardTaftandTheodoreRoosevelt.

PeterSaul,(American1934-)

Politics, 1985

Lithograph

DU1985.30

GiftofDr.andMrs.LaurenceG.Crocker,DenisonUniversityClassof1951

PeterSaulisadistinctiveandprovocativeartistwhoseworkdefieseasycategorization,oftenbeing associatedwithmovementslikePopArtandFunkArtwhiletranscendingtheselabels.Bornin1934 inSanFrancisco,Saul'scareerspansoversixdecades,duringwhichhehasconsistentlychallenged audienceswithhisbold,satiricalpaintings.Afterstudyingatvariousinstitutions,including WashingtonUniversityinSt.Louis,hespenttimeinEurope,wheretheisolationallowedhimto drawinspirationfromAmericanpopularculture,particularlycomicsandmagazines.Hisearly works,createdinParis,blendabstractexpressionismwithcartoonishimagery,settingthestagefor hislifelongexplorationofsocialandpoliticalthemesthroughaunique,surrealstyle.

OneofSaul'snotableworksisaportraitofRonaldWilsonReagan,the40thpresidentoftheUnited States,whoservedfrom1981to1989.ThispieceisavividexampleofSaul'sapproach,incorporating saws,phones,bullets,andsymbolsofpower,Cuba,thehotline,money,andarttocritiquetheissues andeventsofReagan'spresidency.Saul'spaintingsarecharacterizedbytheirvibrantcolorsand irreverentsubjectmatter,oftenusingfamiliarcharacterslikeDonaldDuckandSupermanto critiquecontemporaryissuessuchaswar,politics,andAmericanhistory.Hisworkduringthe 1960s,particularlyhisbrutaldepictionsoftheVietnamWar,showcaseshiseagernesstoshockand provokethought.Throughouthiscareer,Saulhastakenaimatawiderangeoftargets,frompolitical figurestohistoricalevents,withacausticsenseofhumorthatreflectshisdisdainforcorruption andmoraldecay.Hisinfluenceonyoungerartistsandhisabilitytoaddressthecomplexitiesof modernlifehaveearnedhimnumerousawardsandretrospectives,aswellasinclusioninthe collectionsofmajorinternationalmuseumsandexhibitionsatprominentinstitutionsliketheNew MuseuminNewYork.

JulesBreton,(French,1827–1906)

BrittanyGirl, 1872

Oiloncanvas

DU1946.442

GiftofEdmundG.Burke

Untilthenineteenthcentury,imagesoftheworkingpeasantandrurallifewererarein highart.WiththeRevolutionof1848inFrance,aheightenedsocialconsciousnessarousedartists andwriterstoturnsympatheticattentiontothecommonman.JulesAdolpheAiméLouis Breton,whorepresentedpeasantwomenasproudandnoble,emergedasthemostadmired painterofcountrylifeduringhisage.BorninthesmallvillageofCourrieresintheagriculturally richArtoisregionofnorthernFrance,Bretonhadaprofoundknowledgeoflifeinthe fields.His closecontactwithnatureandthepeasantrywastranslatedintoaharmoniousvisionofjoyful labor,bountifulharvests,andprovincialreligiouscustoms.A figureofcentralimportanceinlate nineteenth-centuryFrenchpainting,heblendedbeaux-artsacademicidealism,realistic observation,andpoeticsentimentintoastylethatwonhimacclaimfromartcriticsandpatrons inFrance,England,andAmerica.

ThepaintingBrittanyGirlisaclassicexampleofBreton’speasantpaintings.Theyoung girlisspinning flaxalongthecoastofBrittany.Sheisdressedinregionalclothingthatadds colorfultouchestothecomposition,withalltheattentioncenteredonthe figureandactivity ratherthanthesetting.BretontraveledthroughoutFrance,capturingthepeopleandactivities surroundingrurallife.Breton’spaintingsareheavilyinfluencedbytheFrenchcountrysideand hisidyllicvisionoftherurallifeofthepeasant.Bretonwasawriterandpainterwhobecame well-knowninAmericaafterhisdeathatthe1934ChicagoWorld’sFair.Theworkwasacquired byWilliamHenryVanderbiltin1879andlaterbyMr.Burkein1945throughtheCornelius Vanderbiltestatesalein1945.Thepaintinghastouredworldwide,throughouttheUSA,France, andIreland.

GinnySharkey’83

SirGodfreyKneller,(GermanB./British,1646-1723)

PortraitofLordBacon, late17thCentury-early18thCentury Oiloncanvas

UnitedKingdom

DU1943.4

GiftofEdmundG.Burke

German-bornbutDutch-trained,KnellerreportedlytraveledtoEnglandin1676duetohis"longing toseeSirAnthonyVanDyck'sworks,"drivenbyanambitiontoimitatethegreatmaster.Hewenton todominateEnglishartformorethanthirtyyears.LikeVanDyckandLelybeforehim,Kneller becamePrincipalPaintertothekingandwasknighted.WilliamIIIalsoawardedhimagoldmedal andchain,similartothosegiventoVanDyckbyCharlesI.Inrecognitionofhistalents,GeorgeI createdKnellerabaronetin1715—aranknotsurpassedbyanyartistuntil1896,whenSirFrederic Leightonreceivedapeerage.

PerfromtheNationalPortraitGallery

BernardoStrozzi,(Italian,1581-1644)

PortraitofaGentleman, 17thCentury

Oiloncanvas

Italy

DU1967.220

GiftofNormaIngram

BernardoStrozzi,knownasilCappuccinoandilPreteGenovese(c.1581–2August1644),wasa prominentItalianBaroquepainterandengraver.Activeasbothacanvasandfrescoartist,Strozzi's workencompassedawiderangeofsubjects,includinghistory,allegory,genrescenes,portraits,and stilllifes.InitiallybasedinGenoaandlaterinVenice,hisworkhadasignificantinfluenceonthe artisticdevelopmentsinbothcities.StrozziisregardedasaprincipalfounderoftheVenetian Baroquestyle,distinguishedbyhisrich,glowingcolorsandbroad,energeticbrushstrokes.

StrozziwasoneofthemostinfluentialItalianpaintersoftheearly1600s,particularlyinGenoaand Venice.Afterbrieflystudyingwithapainterandantiquarian,hewassentbyhismotherto apprenticewithaSienesepainterinGenoa.AlthoughhebecameaCapuchinmonkin1598,entering themonasteryatSanBarnabàinGenoa,hecontinuedtopaint,focusingprimarilyondevotional works.In1610,Strozziwasgrantedpermissiontoleavethemonasterytosupporthissick,widowed motherandunmarriedsisterthroughhispainting.Whileheworkedinoilsandfrescoes,fewofhis frescoeshavesurvived.InfluencedbythediversestylesinGenoa,Strozziwasparticularlyimpacted byCaravaggioandhisfollowers.Afterhismother'sdeathandhissister'smarriagein1630,Strozzi refusedtoreturntothemonasteryand fledtoVenice,wherehewasknownasilPreteGenovese(the Genoesepriest).Hisnumerousstudentsandthelargevolumeofhisworksuggesthelikely maintainedasubstantialworkshopwithseveralassistants.

PertheGetty.edu

SalvadorSánchezBarbudo,(Spanish,1857-1917)

Dandolo,DogeofVenice,1906

Oiloncanvas

DU1907.1

GiftoftheEwartChildren

ASpanishpainter,SalvadorSanchezBarbudo(1857-1917)wasborninJerezdelaFrontera,Cadiz, Spain,butspentmostofhiscareerinRome,Italy.Barbudoexhibitedapassionfordrawingandpainting earlyinhisyouthandworkedinarestorationworkshop.In1875,heenrolledinTheSchoolofFineArtsin Seville,Spain,whereheworkedinthestudioofSpanishpainterJoseVillegas(1844-1921).Barbudo completedhistrainingatthePradoMuseuminMadrid,Spain,beforemovingtoRome,Italy,in1882with agroupofSpanishartists.BarbudoquicklyfellinlovewithItalyandfoundthecountryamajor inspirationashecreatedaseriesofbeautifularchitectureandlandscapes.However,Barbudowould becomeknownprimarilyforhisportraits.BarbudotraveledEuropeandexhibitedworksinRome,Venice, Munich,andParis.Hereceivedmanyawards,includingaprizeattheArtExhibitioninMadridin1886and amedalattheParisSaloninParisin1895,averyprestigiousdistinctionatthetime.

ThisisapaintingofoneoftheleadersinVenice,referredtoasthe“DogeofVenice,”meaningthe highestocialoftheRepublicofVenicefromthe8thcenturytothe18thcentury.Previouslydisplayedin thestairwellofDenisonUniversity’slibrary,itnowresidesinthepermanentcollectionattheDenison Museum.Itwasdonatedin1907bythechildrenofDenisonTrusteeThomasW.Ewart.

IsabelleMonyak’24

EvaColeman‘24

Bibliography

“HeathLandscape.” Schiller&Bodo|Artists|SalvadorSanchezBarbudo(Spanish,1857-1917)|Artworks|HeathLandscape, www.schillerandbodo.com/artists/barbudo/artworks/heath-landscape.Accessed13Feb.2024.

“Sánchez-BarbudoMorales,Salvador.” MuseoNacionalDelPrado, www.museodelprado.es/aprende/enciclopedia/voz/sanchez-barbudo-morales-salvador/419cc7eb-69ba-4fdd-a28f-8034af4 cb507.Accessed13Feb.2024.

PeterLely,(Dutch,1618-1680)

PortraitofaDuchess,17thCentury

Oiloncanvas

Netherlands

DU1980.14

GiftofMrs.EdwardMacauley,III

SirPeterLely(14September1618–7December1680)wasaDutchpainteranddraughtsman whospentmostofhiscareerinEngland,wherehebecameoneofthemostprominentportrait paintersofhistime.BornPietervanderFaesinSoest,Westphalia,LelytrainedinHaarlembefore movingtoEnglandintheearly1640s,likelyin1643.Hequicklyestablishedhimselfinthelucrative fieldofportraiture, fillingthegapleftbythedeathsofleadingportraitistslikeAnthonyvanDyck andWilliamDobson.Lelygainedearlyrecognitionwithworkssuchas e reeYoungerChildrenof CharlesI,paintedwhiletheywereincustodyduringtheEnglishCivilWar.Aftertheexecutionof CharlesI,Lelycontinuedto findsuccess,paintingnotableParliamentarians,includingOliver Cromwell.

Lely’scareer flourishedaftertheRestorationoftheMonarchyin1660,whenhebecamePrincipal PaintertoCharlesII,apositionpreviouslyheldbyvanDyck.Hisportraitsoftheking,hisfamily, mistresses,andkeycourtiersnotonlyreflectedbutalsoenhancedthepowerandnotorietyofhis subjects,celebratingtheRestorationcourt.LelywasnaturalizedasanEnglishcitizenin1662and grantedanannualpensionbyCharlesII.Hispopularityandsuccessledtotheestablishmentofa well-organizedworkshoptomeetthehighdemandforhisportraits,withLelyhimselfoften paintingthemostsignificantelements,suchastheheadandhands,whilestudioassistants completedthedraperyandotherdetails.Hisabilitytocapturethegrandeurandeleganceofthe RestorationerasolidifiedhisreputationastheleadingportraitpainterofhistimeinEngland.

PertheOxfordDictionaryofArtandArtists(OxfordUniversityPress)

After,AnthonyvanDyck(Flemish,1599–1641)

PortraitofGenevieved'urfe,DuchessofCroy, 17thCentury Oiloncanvas

Belgium

DU1967.222

GiftofNormaIngram

VanDyckisbestknownforhisgrandandelegantportraitsoftheBritisharistocracywhileserving ascourtpaintertoKingCharlesI.HetrainedinAntwerpandworkedasanassistantinRubens’s studio,wherehisexceptionaltalentswererecognizedandencouragedbyRubens,whodescribed himashis"bestpupil."VanDyckdevelopedhissumptuousportraitstyleduringhistimeinItalyand createdimpressivereligious,allegorical,andmythicalworks.AfterreturningtoAntwerpforseveral years,VanDyckmovedtoLondonin1632,acceptingtheKing'sinvitationtoworkforhim,and remainedtherefortherestofhisshortbutinfluentialcareer.

ThispaintingisaportraitofGenevieved'Urfé,DuchessofCroy,whowasthesecondwifeofCharles AlexandredeCroy,theMarquessofHavreandCountofFontenoy.

PertheNationalGaleriesofScotland

JulesJosephLefebvre,(French1836-1911)

GirlBySea, 1870-1880

Oiloncanvas

DU1947.318

GiftofEdmundG.Burke

JulesLefebvre(1836–1911)wasaFrenchpainterwhomasterfullycombinedamodern,scientific approachtocapturingphysicalrealitywithadeepknowledgeoftraditionalEuropeantechniques. Heexcelledinpaintingportraitsandfemalenudes,makingasignificantimpactontheartworldof histime.

BornonMarch14,1836,inTournan,France,LefebvrestudiedattheprestigiousÉcoledes Beaux-ArtsinParisduringthe1850s.In1861,hewonthePrixdeRome,themaincompetitionfor youngpainters,whichawardedhim fiveyearsofstudyinRomeandestablishedareputationthat nearlyguaranteedhissuccess.WhileinRome,Lefebvrewasstronglyinfluencedbytheworkof ItalianRenaissancepainterAndreadelSarto.Hecreatedanearlymasterpiece, Cornelia,Motherof theGracchi,basedonasubjectfromancientRomanhistorybutlatershiftedhisfocustoportraits andnudes.Amonghismostfamousnudesare RecliningWoman (1868)and Truth (1870).Hisworkwas highlyregardedbyAmericancollectorswhovalueditssimplicityandelegance.

Inthe1870s,LefebvretaughtattheAcadémieJulianinParis,wherehebecamethemostadmired andsought-afterteacherforAmericanexpatriatesstudyinginParis.HismostfamousAmerican studentswereChildeHassam,FrankWestonBenson,andEdmundTarbell.

Lefebvrereceivednumeroushonorsthroughouthiscareer,includingadmissiontotheFrench LegionofHonorin1898.HepassedawayinParisonFebruary24,1911.

Arevieweratthe1881ParisSalonwroteofLefebvre:"Itissucienttojustmentionhisnameto immediatelyevokethememoryandimageofthethousandadorablecreaturesofwhichheisthe father....JulesLefebvre,betterthananyoneelse,caresses,withabrushbothdelicateandsure,the undulatingcontourofthefeminineform."

AntwoineWashington,(American,1980-)

BlackFamily: eLove,2021

Acryliconcanvas

CourtesyofCincinnatiArtMuseum,MuseumPurchase;AliceF.andHarrisKWestonEndowment forContemporaryArt,2021.96

AntwoineWashingtonwasborninPontiac,Michigan,asmallcitynearDetroit.Asachild,hefellin lovewithdrawingSaturdaymorningcartoonslike TinyToons, TeenageMutantNinjaTurtles,and Animaniacs,amongothers.WashingtonlaterpursuedaBachelorofArtsinStudioArtatSouthern UniversityandA&MCollegeinBatonRouge,LA.WhileatSouthern,hedeepenedhisunderstanding ofBlackhistoryandartinAmerica,furtherinspiringhimtocontinuethelegacyofHarlem RenaissanceartistslikeRomareBearden,ElizabethCatlett,andJacobLawrence.Determinedto sharestoriesoftheBlackexperiencethroughhisart,WashingtonrelocatedtoCleveland,OH,with hiswifeaftercollege,eventuallyleavinghisjobtopursueafull-timeartcareer.Despitesueringa strokeinNovember2018,Washingtonusedhisarttonavigatethechallengesofpanicattacksand physicalrecovery.Sincethen,hehasremainedresilient,embracingeveryopportunitythatcomes hisway.

Throughhisdrawingsandpaintings,Washingtonfocusesoncreatingrealistic,storytellingportraits thatcapturetheessenceoftheBlackAmericanexperience.Hisboldandcolorfulworksvividly conveytheemotionsandrealitiesBlackAmericansfacedaily.Oneexemplarypiece,titled Black Family: eLove,eloquentlyportraysthewarmthandunitywithinaBlackfamily.Throughhisart, Washingtonstrivestospeaktoviewers'hearts,invitingthemintohiscreativeworldandtherich tapestryoftheBlackexperience.

https://www.antwoinewashington.com/about

ArtistInformation: (FromtheCincinnatiArtMuseum)

AntwoineWashingtonwasborninPontiac,Michiganin1980.Hispassionfordrawing andpaintingbeganatanearlyage.HeearnedhisBFAinstudioartfromSouthernUniversity A&MCollegeinBatonRougein2007.HisintroductiontoBlackhistoryandartistsinAmerica camemainlyfromcourseshetookatSouthernUniversity.GreatlyinspiredbyHarlem RenaissanceartistssuchasRomanBearden,ElizabethCatlett,andJacobLawrence,hehas continuedtheirlegacyoftellingtheBlackexperienceinAmericathroughhisart.

Asayoungperson,therewasnoinformationpresentthatpointedtoartasaviable career.Playingbasketball,football,rapping,orsingingwereactivitiespositionedasmore accessiblewaystoreachbeyondthecommunityhegrewupin.Whenrecountingpast experiences,Washingtonsays,"Iknewthatartistscouldmakemoney,ofcourse,butIdidn't knowhow."Hedidn'thavethatpersonaroundhimtohelpguidehiminthatcareer fieldor evensay,'Hey,youhaveatalent…inart.Don'tyouknowthatyoucanmakemoneyfromthis andmakealivingdoingthis?'Theideaofbecominganartistorapersonworkinginthearts nevercrossedhismindnorwasitwidelyencouragedintheneighborhoodwherehewas from.

"Whenyoudidart,youwerekindoflookedatastheweirdo."Washingtontalksaboutthefact thatyoungBlackpersonsarenotexposedtotheopportunitiesthatthevisualartspresent. Withthatthoughtinmindheco-founded,withlife-longbestfriendMichaelRussell,a non-profitorganizationcalledtheMuseumofCreativeHumanArtandusesthisvehicleto teachart.Itsorganization'smissionstatementsaysthegoalistotransformtheartworldby ensuringequity,diversity,andtheinclusionofunderservedartists.

Washingtonsayshisownworkisabout“creatingboldcolorful[paintings]showcasing theemotionsofwhatblackAmericansgothroughonaday-to-daybasis.Thepastoften seemstoremindusofhowfarwehavecomeasasociety,duetoournation’soriginalsin concerningracialinequalities.WhileImakenoattempttochangeanyone’smindonhowthey feelaboutissuesthatwefaceinthiscountry,Iwantmycreationstospeaktotheheartsof humanbeingswithanopenmind.GoingthroughlifeasanAfricanAmericanmanhasits challenges.Mypracticefocusesonjusticeandsocialimprovement,examininghowpast issuesaectthepresentthroughportraitureandprotestpaintingsthatrepresenttheAfrican Americanexperience.”

DavidBurliuk,(Ukrainian/American,1882-1967)

Mexicanwomanwithbirds,1947

Watercolorpencilinkonpaper

20.7×16.7in.

Consideredthe"fatherofFuturism,"DavidBurliuk(1882-1967)developedprogressiveandmodernartforms throughouthislifetime.BornintheRussianvillageofRiabushky,nowinUkraine,Burliukbeganformal paintingstudiesattheageof10.Shortlyafter,theUkrainianpainterenrolledintheRoyalAcademyofArtin Munich,the firstoffourartinstitutionsheattended.In1910,BurliukstudiedattheMoscowAcademyofFine Art,whereheexhibitedhisunconventionalwork.Asindustrializationprogressedintheearly20thcentury, Burliukbecameaprominent figureinRussianFuturism,anartmovementthatchallengedthestatusquoand deconstructedtraditionalartprinciples.Heexperimentedwithpainting,poetry,drawing,andengraving, oftenusingvibrantcolors,dynamicbrushstrokes,andboldtypefaces.BurliukandhisFuturistcounterparts aimedtoinspiremoreopen-mindedperspectivesthroughtheirprogressiveart.

In1912,BurliukassociatedwiththeDerBlaueReitergroup,establishinganetworkofartistsandpoetsthat ledtotheformationoftheartgroup"Gileia,"whichevolvedintotheCubo-Futurists.Thismovement attractedacommunityofartistswhocollectivelypushedtheboundariesofartbyexploringmodern possibilities.However,WorldWarIdisruptedtheCubo-Futuristgroup,andthe1917RussianRevolution forcedBurliuktorelocatetotheUnitedStates.Withanewfoundperspectiveshapedbythewar,Burliukand otherdisplacedartists,suchasAlexanderBogomazovandVadymMeller,foundedtheNewYork-based AssociationofRevolutionaryMastersofUkrainein1925.Burliukcontinuedtoinspireandconnectthroughart andattemptedtoreturntoUkraineseveraltimes, finallybeinggrantedpermissionbytheSovietgovernment in1956.

Burliuk’swordsina1912manifestoreflecthisartisticvision,capturing"thenewimpendingbeautyofthe self-valuable(self-creating)world."His1947work MexicanWomanwithBirds exemplifiesthisbeautywitha colorfuldepictionofawomanatpeace,surroundedbybirds,setagainstabackdropofamountainwitha whitecap,creatingaprotectiveatmosphere.

AllieMohn,‘24

EvaColeman‘24

YuriKrasny,(Ukrainian/American,1925-2005)

Family,1990s

PencilonPaper

28×27in.

CourtesyofEdwardKhodorkovsky/AFUR

RussianartistYuriKrasnygrewupinRussiaduringthe1930s.Atthetime,political ideologieslikeMarxistSocialism,CapitalistDemocraciesandTotalitarianviewsofboth CommunismandFascismallclashedwithintheRussianpoliticalandsocialsphere.Asachild, Krasnybecameheavilyinfluencedbythispoliticalinstabilityduringhisadolescence,which eventuallyinfluencedhisworkashegrewintoanartist.Theconstructionofhisartworksarevery staticandthe figuresaredoll-likeasasymbolicreminderofwhathasbeenleftbehind.Thereis somethingslightlyuncannyintheposture,appearances,andactionsofthosecharactersthat animateKrasny’simages.Krasny’simagerycollapsesconventionalreadingsoftime.Theartist blendsmultiplestylestodevelopavisuallanguagethatbecomeshisown. Family captivateswithits piercing,deepeyes,drawingtheviewerintoascenewhereafamilyappearsto floatamidstcloudsin thesky.

YuriMihailovichKrasny-Bio,Artworks,Exhibitionsandmore-Artland EmilyHarris‘24

EvaColeman‘24

AnaPineda‘26

MargoHumphrey,(American,1942-)

eLastBar-B-Que, 1988 Colorlithographandfoilcollage 26x381/4in.

CourtesyofCincinnatiArtMuseum,TheAlbertP.StrietmannCollection,1992.25

Bornin1942inOakland,California,MargoHumphreyisaprintmaker,illustrator,andeducator knownforher"bold,expressiveuseofcolorandfreedomofform."Humphreystudiedprintmaking attheCaliforniaCollegeofArtsandStanfordUniversity,earningaMasterofFineArtsdegreein 1974.Asaneducator,shehastaughtatprestigiousartprogramsthroughouttheU.S.,SouthPacific, andAfrica.

Oneofhermostwell-knownworks, eLastBar-B-Que,reimaginesLeonardodaVinci’siconic e LastSupper withasatiricaltwist.Humphrey’suseofsymbolsinthispiececreatesavisuallanguage uniquetoAfricanAmericanculture,whileremainingaccessibleandengagingforallviewers.

Humphreywasamongthe firstBlackwomenartistsrecognizedforherlithographs,becomingthe firsttobepublishedbytheTamarindInstitutein1974.Shehasalsocollaboratedwithrenowned workshopssuchastheRutgersCenterforInnovativePrintandPaper,theRobertBlackburn PrintmakingWorkshop,andtheBrandywineWorkshopandArchives.Additionally,shepublished eRiver atGaveGifts,aspiritualchildren’sbook,in1987.Humphrey’sworkisshowcased internationallyandispartofmajormuseumcollections,includingtheMuseumofModernArtin NewYork,theSmithsonianAmericanArtMuseum,thePhiladelphiaMuseumofArt,andtheVictoria andAlbertMuseuminLondon.

https://leeparattner.org/exhibition/margo-humphrey-the-lady-and-the-tiger-1985/ https://online.hamptonu.edu/product/the-last-bar-b-que-by-margo-humphrey/

ArtistInformation: (CourtesyoftheCincinnatiArtMuseum)

MargoHumphreyisanAmericanillustrator,printmaker,andarteducator,celebratedforher multilayerlithographs,vibrantuseofcolor,andmeticulousattentiontodetail.Herstyle,whichshe describesas"sophisticatednaïve,"presentsnarrativesthatexplorelife,love,family,fears,andjoys fromacontemporaryandoftenhumorousAfricanAmericanperspective.Humphrey’sworkreflects thepoliticaldynamicsofthefeministartmovementthatemergedinthe1970s,aperiodduring whichshedevelopedherdistinctartisticvoice.

Bornin1942inOakland,California,HumphreyearnedaBachelorofFineArtsfromtheCalifornia CollegeofArtsandCrafts.Shepursuedpost-graduatestudiesattheStanfordUniversitySummer ProgramandgraduatedwithanMFAwithHonorsinprintmaking.

ChuckClose,(American,July5,1940–August19,2021)

KeithIV, 1981

22shadesofpaperpulponhandmadepaper

345/8 × 2611/16in.

CourtesyofCincinnatiArtMuseum,TheAlbertP.StrietmannCollection,1982.219

ChuckClosewasborninMonroe,Washington,andmadeartthroughouthiseducationculminating inamaster'sfromYaleUniversity.ClosetaughtattheUniversityofMassachusettsbeforemovingto NewYorkin1969toestablishhimselfasanartist.InDecemberof1988,Closesueredaseizurethat lefthimparalyzedfromtheneckdown.Fromthenon,Closereliedonawheelchairformobilityand continuedmakingartusingapaintbrushstrappedtohiswrist.In2017,multiplewomencame forwarddetailingeventsofsexualmisconductfromClose.

Close’sworkmostlyfocusedonportraitsofhisfriendsandfellowartists."KeithIV"depictsClose’s friendandartinstructor,KeithHollingworth,whowasaceramicsinstructorattheUniversityof MassachusettswhereCloseandHollingworthworkedtogether.Theprintsarecreatedbyapplying 22shadesofpaperpulponhandmadepaperusingagridtocreateapixelatedportrait.

NoraBlount‘26

EvaColeman‘24

ChuckCloseisrenownedforhislarge-scalepaintingsofhisartistcolleagues,celebrities, politicians,andothersinhiscircle.HisworkisakeyexampleofPhotorealism,astylethatemerged inthelate1960sandearly1970s,characterizedbyusingphotographytocreatehighlydetailedand preciseimages.Closeinitiallyusedphotographytominimizepersonalsubjectivityinhiswork.Ashe statedin Artforum in1970,“Thecameraisnotawareofwhatitislookingat.Itjustgetsitalldown.I wanttodealwiththeimageithasrecorded,whichisblackandwhite,two-dimensional,andloaded withsurfacedetail.”Despitethis,heemphasizedthathewas“nottryingtomakefacsimilesof photographs.”

Throughouthisadolescence,Closeusedartasameansofovercomingalearningdisabilitythat limitedhisengagementinstrenuousactivities.Herefinedhisskillsthroughprivatelessonsand drawingfromlivemodels.CloseearnedhisBAfromtheUniversityofWashingtonin1962,followed byaBFAin1963andanMFAin1964fromYale.Aftergraduation,hereceivedaFulbrightgrantto studyattheAkademiederBildendenKünsteinViennafrom1964to1965beforereturningtotheU.S.

ClosebeganteachingpaintingattheUniversityofMassachusetts,Amherst,whereheheldhis first soloexhibitionin1967.Thisexhibition,featuringpaintingsofmalenudes,stirredcontroversyand contributedtoalandmarkcourtcaseaimedatexpandingfreedomofspeechinthevisualarts. Seekingtomoveawayfromthegesturalstyleofhisearlierwork,Closetransitionedtowards Pop-inflected figurationandembracedcommercialartandillustration.Hispaintings,basedon photographicimagery,begantouseareducedblack-and-whitepalette.

In1967,CloserelocatedtoNewYorkCity,continuinghisrealisticartworkwithlarge black-and-whitephotographicportraitsoffamilyandfriends.His firstNewYorkexhibitiontook placein1970atBykertGallery.Between1968and1970,hepaintedseveralblack-and-whiteportraits offriends,andin1970,heexpandedhispalettetoincludecolorandexperimentedwithvarious systemsandtechniques.Closemaintainedafocusonphotographicportraitswhileexploring dierentmedia,includingcoloredpencils,watercolors,pastels,oilpaint,photography, film,and print-relatedmaterials.

Inthelate1970s,Closebeganusingagridsystemtocreatepixelated,mosaic-likeworks.His first retrospective,"ClosePortraits,"wasorganizedbytheWalkerArtCenterin1980andtouredseveral othermuseums.In1988,Closewasparalyzedbyararespinalarterycollapse.Through rehabilitation,headaptedtopaintingusingabrush-holdingdevice.Since1991,hehasexplored portraiturethroughsilktapestriesand,since2003,large-scaleJacquardtapestryportraits.

Closepassedawayin2021attheageof81duetocongestiveheartfailurerelatedtoalongillness.

SandyUnderwood,(American,1937-2023) omasSchippersConductingBeethoven'sNinthSymphony, 1976 Gelatinsilverprint 915/16×715/16in.

CourtesyofCincinnatiArtMuseum,CentennialGiftofStephenVance,1981.165.4,1981.165.5

SandyUnderwoodhadadistinguishedcareerasaperformingartsphotographer.Shebroughther keeneyeandsensitivetalentstocapturingsignificantmomentsonstagefortheaterssuchas PlayhouseinthePark,CincinnatiOpera,CincinnatiBallet,andContemporaryDanceTheater,as wellasnumerousuniversity,community,andalternativetheatergroups.FewCincinnatiperformers havenotseentheirstageappearancesimmortalizedinUnderwood’sphotographs.Fornearlytwo decades,shewasCincinnati’spremierperformingartsphotographer,documentingthecity’s theatricalproductions.

ThisphotographfeaturesThomasSchippers.RaisedinKalamazoo,Michigan,Schippersquickly emergedasapianoandorganprodigyandbecameaconductorofinternationalacclaim.Attheage of15,heearnedascholarshiptotheCurtisInstituteofMusicandlaterstudiedcompositionwith PaulHindemithatYale,afterattendingJuilliard.In1970,hejoinedtheCincinnatiSymphony Orchestrainafull-timeorchestralposition.Despitehispromisingcareerandcontributionstothe orchestra'sinternationalreputation,Schippers'lifewascutshortbylungcancerin1977.Hepassed awayattheageof47inNewYorkCity.

https://www.cincinnatiarts.org/weston-art-gallery/exhibitions/detail/selected-dance-photographsby-sandy-underwood AnaPineda‘26

RelatedInformationonThomasSchippers:

(CourtesyoftheCincinnatiArtMuseum)

BorninMichiganin1930tonon-musicalparents,ThomasSchippersdevelopedaprofoundpassion formusicearlyinlife.Hebeganstudyingpianoatage4,joinedachurchchoirat8,andplayedpiano regularlyonalocalradiostation.By15,SchipperswasstudyingtheorganattheCurtisInstituteof MusicinPhiladelphia.HebrieflyattendedYaleUniversityandtookcompositionlessonswithPaul Hindemith,which,combinedwithhisimpressiveeducation,propelledhimtofameasaleading Americanconductor.Schippershimselfmarveledathissuccess,attributingitto"unbelievableluck andanincredibleseriesofaccidents."

Schippers'scareerwasmarkedbysignificantachievements,includingbeingthe firstAmericanto conductanopeningnightattheMetropolitanOperaandleadingperformanceswiththeNewYork PhilharmonicandtheNewYorkCityOpera.HeplayedakeyroleinthepremieresofGianCarlo Menotti'soperasandwasinstrumentalinestablishingtheFestivalofTwoWorldsinSpoleto,Italy.At theheightofhiscareer,hewasatopcontenderforLeonardBernstein'spositionattheNewYork Philharmonicbutwasultimatelypassedover.Instead,Schippersbecamethemusicdirectorofthe CincinnatiSymphonyin1970,wherehemadenotablecontributions,includingconductingVerdi’s RequiemfrommemoryandleadingtheU.S.premiereofClementi’sFourthSymphony.Despitehis self-taughtbackgroundinconducting,hisinfluencewasprofound.Schippers'suntimelydeathfrom lungcancerin1977,justfouryearsafterhiswife’spassing,leftasignificantimpactinCincinnati, whereheisrememberedasoneoftheorchestra’smostthrillingconductors.TheCincinnati SymphonyOrchestrahonoredhislegacybybestowinguponhimthetitleofConductorLaureate.

ArtistInformation:

SandyUnderwood hasmadeasuccessfulcareerasaperformingartsphotographer.Shelends herspecialeyeandsensitivetalentstocapturingimportantmomentsonstagefortheaterssuchas PlayhouseinthePark,CincinnatiOpera,CincinnatiBallet,andContemporaryDanceTheater,along withnumerousuniversity,community,andalternativetheatergroups.Thereishardlyacurrent areaperformerwhohasnotre-experiencedhisorherstageappearanceinoneofUnderwood’s photographs.

BernardG.Silberstein,(American,1905-1999)

DiegoRiveraWatchingFridaKahloPaintaSelf-Portrait,1940

Gelatinsilverprint

91/16×79/16in.

CourtesyofCincinnatiArtMuseum,GiftoftheArtist,1986.570

PhotographerBernardG.SilbersteinwasborninIllinoisonJanuary23,1905.Initiallypursuinga careerasanelectricalengineer,Silbersteinlatertransitionedtoteachingphotography,darkroom techniques,andcolorphotographyattheUniversityofCincinnatifor15years.Asaself-taught "hobby"photographer,hisworkattractedlocalandnationalcommissions,eventuallybuildingan internationalreputation.Hecompletedassignmentsforprestigiouspublicationssuchas National Geographic, Life, Holiday, eNewYorkTimes, Time, Colliers, Esquire, PopularPhotography, e Camera,andthe PhotographicSocietyofAmerica(PSA)Journal.Hisdiversesubjectsincludedthe kingofMorocco,Mexicanmuralistartists,andtheTallerdeGraficaPopular.

Silberstein'sphotographsofMexicanpainterFridaKahloareparticularlynotableandhavebeen featuredinseveralbooksabouttheartist.Hisworkhasalsoappearedgloballyonalbumcovers,in textbooks,andinadvertisements.Inthe1950s,PSArecognizedhimasoneofthetop fivesalon exhibitorsintheU.S.,andhewasawardedfellowshipsbytheRoyalPhotographicSocietyofGreat BritainandPSAin1951.

https://www.annexgalleries.com/artists/biography/2183/Silberstein/Bernard

AnaPineda‘26

EvaColeman‘24

AdditionalinformationfromCincinnati:

(RelatedinfoaboutFridaandDiegofrom“DiegoyFrida”exhibitionbyThrockmortonFine Art,whichfeaturesBernardSilberstein’swork)

DiegoRivera(1886-1957)isnotonlythemostoutstandingofcontemporaryMexicanpainters, anartistofunequaledvastnessofconception;heisalsothemostprolific.Hestandsasthe exampleofapainterwho,havingassimilatedandutilizedagreatwealthofpictorial experience,fromtheforerunnersofRaphaeluptoPicasso,createsastyle,personaland strong,bywhichherefreshesancientwisdomwithnewideasandnewmethods.

FridaKahlo(1907-1954)Ithasbeenrepeatedlysaid,andrightlyso,thatFrida’spaintingsarea courageousandvaluabletestimonyofherownlife.Whatexistenceisthisthathasproduceda realityofartsostirring,wounding,besetwithdiculties,austere,tragic,loving, heartbreaking,andhappyinallitsvariedexpressions.

FridayDiegounderstoodandadmiredeachother.Theywereliketwonutritiveforces,and theymadealovepactinclausesthatnobody,buttheycouldconceiveoforpractice.Their spiritualcompenetrationwasprofoundandmostcertainlycomplex.WhenFridadied,she hadbeenmarriedtoDiegofor25years.Twenty-fiveyearsofpassionthatknewabalance betweenpityandcruelty,honestyandmystification.Diego’slovehadenoughgeniusto nourishFrida’seagernesstoliveandtobeabsorbedinthatsupport,Fridagrewproductive andembracedDiegotenderly.

ArtistInformation:

(Condensedsummaryfrom“ThePhotographicimageofBernardG.SilbersteinFPSAFRPS”)

BernardSilbersteinwasborninDuluth,Minnesotain1905.Heinitiallypursueda careerasanelectricalengineerduetohisearlyinterestintransmittingpicturesby electricity.Graduallyhispassionforart,music,history,andthenaturalworldwouldleadhim tobecomeagreatphotographerandartist.Silbersteinviewedphotographyasanartform, allowinghimtoexpresshiscreativity.Hisworkfocusedoncapturingpeople'slives, monumentalstructures,andbeautifullandscapes,oftentellingastorythroughhis photographs.

AfterbuildingaportfolioofprintsfromatriptoMexicoandGuatemala,hesentthem toapictureagentinNewYork,kickstartinghisprofessionalcareer.Hisworkdrewinterest

frompictureagentsinvariouscities,andhebegantravelingonassignmentstoover twenty-eightcountriesworldwide.In1949,Silbersteinstartedteachingphotographyatthe UniversityofCincinnati,whereheemphasizedtheroleofthephotographer'smindin creatinganddevelopingimages.

Seekingtotesthimselfagainstotherphotographers,Silbersteinenterednumerous nationalandinternationalphotographicsalons,eventuallybeinghonoredasaFellowofboth thePhotographicSocietyofAmericaandthePhotographicSocietyofGreatBritain.His photographswerewidelypublishedinmagazines,artandtravelbooks,textbooks,and variouscommercialplatformsinthirty-onecountries.

Silbersteinwasknownforhisdedicationtocapturingartisticexcellence,often demonstratingpatienceandingenuityinhispursuitoftheperfectangleandemphasisinhis photographs.

1. VladimirBeloborovandOlegPopov

MozartandSalieri,1991

Oiloncanvas

25×18in|63.5×45.7cm

CourtesyofEdwardKhodorkovsky/AFUR

VladimirBeloborovandOlegPopovareRussianartistsrenownedfortheircollaborativeworks.This pieceportraysMozartandSalieriasmenwithblueandredfaces,respectively,withthetitle“Mozart andSalieri”writteninRussianatthetop.Theinitialsofthetwoartistsarelocatedinthebottom rightcornerofthepainting.MozartandSalieri,classicalcomposersfrom18th-centuryVienna,were knownfortheirintricaterivalryandfriendship.Theportraitdepictsthetwocomposersengagedin conversationanddrinkingtogether,invitingviewerstospeculateonthenatureandtoneoftheir discussion.ThechoiceofMozartandSalieriassubjectsmaysubtlyreflecttheartists'own relationship.

EmilyHarris‘24

2. NikolayBelous,(Ukrainian,1956)

Babushka, 2008

Acryliconcanvas

38×54in

CourtesyofEdwardKhodorkovsky/AFUR

BorninLisovichi,nearKiev,Ukraine,NikolayBelousisamultidisciplinaryartist.Hegraduatedfrom theCrimeanArtSchoolin1982andreceivedhisgraduatedegreefromtheArtandIndustryInstitute inKharkivin1987.Sincethen,hisworkhasbeenexhibitedinseveralinternationalgalleries.Belous continuestoliveandworkinKiev.

Theartwork,titled“Babushka,”isanacrylicpaintingofanelderlywoman.Thevibrantimage contrastsclothandskin,whileothercharactersinthebackgroundgoabouttheirlives.InEastern Europe,"babushka"traditionallyreferstoanelderlywoman,butinNorthAmerica,thetermisalso usedtodescribeaheadscarfwornunderthechin.

EvaColeman‘24

3. FábioNunoViana,(Portuguese,1984-)

Ascension, 2022

Acryliconpolyurethane

28×14

CourtesyofEdwardKhodorkovsky/AFUR

Fromayoungage,NunoVianahasbeendeeplyimmersedintheartworld,showcasinghis talentalongsidesomeofPortugal'smostesteemedartists,includingPritzkerPrizewinners.His artisticjourneybeganattherenownedSoaresdosReisArtisticSchool,followedbyadegreein PhilosophyandaPhDprogramatthePortoArchitectureSchool.Inadditiontohisacademic pursuits,Vianaisaprolificwriter,craftingessays, fiction,andpoetry,andisnotablytheauthorof "Kandinsky:TheRediscoveredBauhausSketchbook."Hisartisticexpressionalsoextendsto photography,music,andsculpting,asexemplifiedbyhissculpture"Ascension,"whichportraysa figuredelicatelybalancedonaball,evokingthegracefulpresenceofawomanonagoldensphere.

AnaPineda‘26

EvaColeman‘24

4. ValeryKoshlyakov(ValerijKoŝlâkov),(Russian/French,1962-)

YoungGod,2000

Mixedmediaoncardboard 20x28in.

CourtesyofEdwardKhodorkovsky/AFUR

Bornin1962inSalsk,Russia,ValeryKoshlyakovhasbuiltadistinctivecareerusingmulti-layered corrugatedcardboardashismedium.AftergraduatingfromGrekovArtCollegeinRostov-on-Don, KoshlyakovworkedasasetdesignerfortheRegionalTheaterofMusicalComedy,whichsparkedhis fascinationwithmulti-mediaartwork.AccordingtoJARTGallery,“Partsaretornanddangling, exposingthematerial'sstructureandoftenconcealingfragmentsoftheimage;paintisappliedto theprotrudingribsofthecardboard,creatinga3-Deectthatextendsbeyondthepicturesurface.”

Koshlyakovlikenshisworkto"frescoesthathavefadedovertime"or"artworksoflaborerswho paintedoveranimage,onlyforittobewashedo later."Hissubjectsoftenfeaturemythical imagery,blendingelementsofGreekandRomanarchitectureandsculpturewithGothic,Baroque, andStalinistmotifs.Theworksaimtoevokememoriesorpresentvisionsofthefuture.JARTGallery

AnaPineda‘26

IsabelleMonyak‘24

5. IrynaFedorenko,(Semira)(Ukrainian/German)

ChildofWar,2022

Acryliconcanvas 24×24in.

CourtesyofEdwardKhodorkovsky/AFUR

IrynaFedorenko,borninMariupol,Ukraine,hasbeenimmersedintheworldofartforovertwo decades.Underhercreativealias,Semira,shehascuratedover60exhibitionsinmuseumsand galleriesacrossEurope,theUSA,andChina.FedorenkoresidedandworkedinUkraineuntilthe onsetofthewar,whenshesoughtrefugeinGermanywithhermotherandson.

"ChildofWar"standsasatestamenttoFedorenko'scommitmenttoexpressingtheprofoundimpact oftheconflictinUkraine.Throughthiscollection,sheseekstoconveytheastonishment surroundingthewarwhileadvocatingforpeaceandemphasizingthevalueofhumanlife. Fedorenko'sdedicationextendsbeyondherartisticendeavors;shehasdonatedaportionofher worktocharityprojectsandassistsindividualswhohaveenduredsueringinUkraine.

Throughherart,shechannelsheremotions,particularlythosestemmingfromthelossexperienced byherfamilyandthetragedywitnessedinUkraine.Herartworkoftencentersonchildren'sfaces, portrayingaspectrumofemotionsreflectiveofthecollectivehumanexperienceduringtimesof war.Fedorenko findsinspirationintheprofoundgazeofindividuals,describingitasanendless sourceofcreativeinspiration.

NoraBlount‘26

EvaColeman‘24

6. ViatcheslavKalinin,(Russian,1939-2022)

TriptoJapan,1978

Pastelandpencilsonpaper

30.5x23.5

CourtesyofEdwardKhodorkovsky/AFUR

ViatcheslavKalininwasaRussianPostwarandContemporarypainter,bornin1939inMoscowto VasilyKalinin.HegraduatedfromtheAbramtsevoSchoolofArtinKhotkovoin1962andtheVictor VasnetsovSchoolofArtandIndustryinAbramtsevoin1963.Kalinincarriedforwardthetraditions ofRussianPrimitivepainting,employinggrotesqueimageryandlocaltonesinhisearlyworksfrom the1960s.ArtcriticshaveassociatedhimwithFantasticIrrealismandExpressionism,though KalininidentifiedhimselfasafolloweroftheMoscowRealistschool.

Throughouthiscareer,KalininexhibitedhisworkbothinRussia(from1962)andinternationally (from1967),includinginthe"TimesofChange:ArtintheSovietUnion(1960–85)"exhibitionatthe RussianMuseuminSt.Petersburgin2006.Hisartoftendepictsboththeeverydayandthe supernaturalaspectsofMuscovitebohemianlife,featuringthemessuchasruralscenesand drinking,whileincorporatingportraits,nudity,andsketchesofMoscow'sarchitecturalmonuments, withatendencytowardsymboliccompositions.

https://www.askart.com/artist/Viacheslav_Vasilevich_Kalinin/11110081/Viacheslav_Vasilevich_Kalinin.aspx https://www.artbrokerage.com/Vyacheslav-Kalinin

AnaPineda‘26

7. NattaKonysheva,(Russian,1935–2022)

BirthdayParty, 1994

OilonCanvas

29.5x35.5

CourtesyofEdwardKhodorkovsky/AFUR

NattaKonysheva,bornin1935,graduatedfromtheMoscowPolygraphicInstituteattheageof24.By 1974,shehadbecomeaprominentmemberoftheMoscowUnionofArtists,recognizedasoneofthe leading figuresintheunocialartscene,withextensiveexhibitionsbothinRussiaand internationally.ShewontheGrandPrixattheSpringSaloo-98,acreativecompetitionforwomenin Russia,andin2000,washonoredwithamedalfromtheRussianMinistryofCulture.

KonyshevaisassociatedwiththeMoscow"strange"movement,knownforitsdistinctiveandcreative stylesthatblendbeautyanduglinesstoportraythechaoticandabsurdlifeofBohemians, pseudo-intelligentsia,andtheromanticismofthehomelesslifestyle.Herworksfeaturevibrant colorsandincompleteimagesandthemes.Konysheva’spaintingsareincludedinthecollectionsof theStateTretyakovGalleryinMoscow,theStateRussianMuseuminSt.Petersburg,theMuseumof NaiveArtsinFrance,aswellasnumerousprivatecollectionsinRussia,France,Italy,Germany,and theUSA.

https://www.russianamericanculture.com/artracc-shop/art-collection/natta-konysheva-home/

AnaPineda‘26

AllieMohn,‘24

8. PyotrBelenok,(Ukrainian,1938-1991)

Exodus,1986

MixedMediaonCardboard

CourtesyofEdwardKhodorkovsky/AFUR

PyotrBelenok(1938–1991)wasaUkrainianpainterknownforhisexplorationofindividualalienation andpowerlessness.BorninKorogod,Ukraine,avillageabandonedinthe1980sduetoitsproximity toChernobyl,Belenokdrewinspirationfromhispersonalexperiencesandsurroundings.He graduatedfromtheKievArtInstitutewithafocusonsculpturein1963andsubsequentlymovedto MoscowtojointheocialUSSRUnionofArtists.His firstsoloexhibitiontookplacein1972,andhe continuedtoexhibithisworkacrossRussia,Europe,andtheUnitedStates.His1975Moscow exhibitionswerenotedfortheirnonconformityandinnovation.Belenok'sworkisheldincollections attheJaneVoorheesZimmerliArtMuseum,theStateRussianMuseum,andtheStateTretyakov Gallery.Hepassedawayattheageof53.

Belenokdescribedhispaintingstyleas"panicrealism"and"catastrophism,"characterizedby recurringthemesofcharactersgrapplingwithinexplicable,uncontrollable,andparalyzingforces. Heoftenincorporatedcut-out figuresfromnewspapersandmagazines,blendingthemwith abstractpaintedelements.Inthisparticularpainting,amansitsinisolationwhileanotherman plummetshelplessly.

AllieMohn,‘24

EvaColeman‘24

9. PavelTchelitchew,(Russian/American/Ukrainian,1898-1957)

LeafChild,1900’s

Pencilonpaper

20x28

CourtesyofEdwardKhodorkovsky/AFUR

PaulTchelitchewwasaRussian-bornpainter,printmaker,draughtsman,andstagedesigner.Born inKaluga,Russia,toanoblefamilyoflandownersin1898,hereceivedprivateinstructionbeforehis family fledtheRussianRevolutiontoKievin1918.HestudiedattheKievAcademyandmovedto Parisin1923.TchelitchewbecameanAmericancitizenin1952butcontinuedtoliveaninternational lifestyle.HisworkwasfeaturedinoneoftheMuseumofModernArt'searliestexhibitionsin1930, alongsidePicasso,Matisse,Miró,andKlee.Hisworksareheldinmajorcollections,includingthe MuseumofModernArtinNewYork,theArtInstituteofChicago,thePhiladelphiaMuseumofArt, theCourtauldGalleryinLondon,andmanyothersworldwide.

TchelitchewwasrenownedforhisimaginativeSurrealistcreations,blendinggeometricabstractions andstretchesoflandscapewithbiomorphicforms.Hisworkexploredmystical,erotic,andhighly symbolicimagery,experimentingwiththenatureofobjecthood,painting,andmodernlifeinthe 20thcentury.HisstyleincorporatedCubistandSurrealistelements,andhewasaleading figurein theNeoHumanists,amovementthatincludedAndréLanskoy,ChristianBérard,andEugene Berman.

https://www.sothebys.com/en/artists/pavel-tchelitchew

AnaPineda‘26

10. KeithHaring,(American,May4th1958-February16th1990)

PregnantWomanDancing,1988

Blackinkonpaper

10 × 8in.

CourtesyofEdwardKhodorkovsky/AFUR

KeithHaring,borninReading,Pennsylvania,emergedasanartistduringthegratisceneof1980s NewYork.HisspontaneouschalkdrawingsonthewallsofNewYorksubwaysgainedpopularityand evolvedintoaplatformforsocialactivism.HaringusedhisarttoadvocateforsafesexandAIDS awareness,addressingissuessuchasanti-crack,anti-apartheid,andLGBTQ+rights.

DiagnosedwithHIVin1987,Haringdedicatedthe finalyearsofhislifetoraisingawarenessabout HIV/AIDS.Theportrait"PregnantWoman"recallshis1983"FertilitySuite,"whichhighlightedthe plightofpregnantwomenwithHIVinSub-SaharanAfrica.Althoughdepictedinsimpleblackand white,theuseofmotionlinesin"PregnantWoman"createsasenseofdancing.Emphasismarks aroundthewoman'spregnantbellydrawattentiontotheunbornchild,remindingviewersthat therearetwolivesdepictedintheportrait.Thesedynamiclinesinfusetheportraitwithvitality, challengingthenotionthatHIVissolelyafataldiseaseandencouragingamorehopefulperspective.

EmilyHarris‘24
EvaColeman‘24

11. VladimirNemuchin,(Russian/German,1925-2016)

Einstein, 1995

Mixedmediaoncanvas 16×11in|40.6×27.9cm

CourtesyofEdwardKhodorkovsky/AFUR

BorninasmallvillageintheUSSR,Nemukhinbeganhiscareerworkinginafactoryproducingtools forWorldWarII.ItwasinthisindustrialsettingthatheencounteredrenownedRussianartists KazimirMalevichandPavelKuznetsov,whointroducedhimtoavant-gardeandexperimentalart. AftergraduatingfromtheStudioSchooloftheHouseofUnionsin1946,heworkedasaninterior designerbeforejoiningtheLianozovoGroup,acollectiveofRussianartistscreatingSoviet nonconformistartoutsidethestate'scontrol.

InspiredbyabstractartistslikeJacksonPollockandWillemdeKooning,Nemukhinrejectedthe sanctionedartoftheSovietUnion,usinghisabstractworksasaformofprotestagainstcensorship. Throughouthiscareer,heparticipatedinnumerousexhibitionsworldwide,withhisworksnowheld inmajorcollectionssuchastheMuseumofModernArtinNewYorkandtheMoscowMuseumof ModernArt.Amonghisnotablepiecesis"Einstein,"aportraitoftherenownedphysicistAlbert Einstein,exemplifyinghisapproachtodepictingwell-known figuresinanon-traditionallight.

IsabelleMonyak‘24

EvaColeman‘24

12. KazimirMalevich,(Ukrainian,1879-1935)

Untitled(CubisticHumanFigures), 1920’s Pencilonpaper 25x21in.

CourtesyofEdwardKhodorkovsky/AFUR

KazimirMalevich(1879-1935)wasapioneeringpainterwhofoundedtheSuprematistartmovement.

BorninKyiv,Ukraine,MalevichstudiedattheMoscowSchoolofPainting,Sculpture,and Architecture,whereheinitiallydevelopedhisskillsinimpressionism.Duringthisperiod,hejoined theavant-gardegroupSoyuzMolodyozhiundertheleadershipofVladimirTatlin.By1915,Malevich hadarticulatedhisinfluentialmanifestoonSuprematism,amovementcenteredontheuseof geometricshapestoevokeemotion.OnJanuary1,1916,heshowcasedhisSuprematistworksatthe 0.10exhibition,markingasignificantdeparturefromearlierCubistandFuturistmovements.

DuringtheRussianRevolutionyears(1917-1918),Malevichshiftedawayfromcolorpaintingand eventuallyabandonedthebrushinfavorofthepen,declaringthat"paintinghadbecomeobsolete longago,andtheartisthimselfisaprejudiceofthepast."Hisworks,suchas BlackSquare (1915)and SuprematistComposition:WhiteonWhite (1918),areamongthe firstexamplesofabstractart. Malevichbelievedthat"theblacksquareonthewhite fieldwasthe firstforminwhichnonobjective feelingcametobeexpressed."DespitefacingcriticismfromStalinists,wholabeledhimabourgeois painterandpushedhimbacktowardstraditionalImpressioniststyles,Malevich’sworkremains highlyregardedandisfeaturedincollectionsworldwide.Thisparticulardrawingexemplifiesthe profoundimpactandpowerofgeometricabstraction.

AllieMohn,‘24

IsabelleMonyak‘24

13. MarieVorobie (Marevna),(Russian/British,1892-1984)

TwinsandSpirit,1970’s Oiloncanvas 32x48in.

BornMarieVorobie-StebelskainCheboksary,Russia,Marevna(1892-1984)wasoneofthe firstwomeninvolvedintheCubismmovement,maintainingamixofpointillismandstructurein herart.ThenameMarevnawasgiventoherbyMaximGorky,Russianauthorandactivist,aftera Russianprincessandbecameherartisticname.

MarevnagrewupinGeorgia’scapital,Tiflis,underRussiancontrolandherchildhoodwasa lonelyone.WithanactressmotherandPolishnoblemanfather,Marevnabecameextremelywell traveled,especiallyaroundEurope.Startingasaportraitist,MarevnamovedtowardsCubistart aftermeetingtheinfamousDiegoRivera.Throughouthertravelsandcareer,Marevnabefriended FernandLégerandOssipZadkine.Picasso,Modigliani,andRiveraallmadeportraitsofMarevna duringtheirlifetimes.In1910,MarevnaenrolledintheMoscowStroganovArtAcademy,travelingto Italythenextyear.In1912,MarevnatraveledtoFrance,andfoundherfootholdwithinLaRuche’s artistcommunityandexperiencedthecollectiveanti-cubistfeelingsofWWI.Thesameyear, Marevnahadher firstmajorexhibitionattheTuileriesinFrance.Additionally,sheauthoredthe book LifewiththePaintersofLaRuche,showingjusthowsmallyetsignificantthiscommunityof artiststrulywas.DiegoRiveraandMarevnametin1915,anddespitehismarriagewithAngelina Belo,heandMarevnahadadaughtertogether.After1918,Marevnamovedtowards Neo-Impressionisminoilportraitsandlandscapes,aswellaswatercolorandengravedcarvings.

Marevna’spaintingsarecolorfulandalive,withsimplelinesandshapesandanoverall softness.Inthisoilpainting,twowomen,apparenttwins,holdhandsinabeautifulsymmetry, perhapsreminiscingor findingcomforttogether. AllieMohn,‘24 EvaColeman‘24

14. ZelimkhanSaidjanov,(Uzbek,1948-2000)

WomanwithUmbrella,1990’s

Watercoloronpaper

22.5x17.5

CourtesyofEdwardKhodorkovsky/AFUR

Saidjanov'sartplaysacrucialroleinthepaintingtraditionofUzbekistan,significantly contributingtoourunderstandingofits20th-centurydevelopmentandcontemporaryartscene. Eachworkreflectsnotonlythetragicimperfectionsandfragileharmonyoflifebutalsothe personaldramaoftheartist,whoiscastoutofthisharmony.Unlikeothermasterswhosework mightquiettheirfervor,Saidjanov’sartisstrikingforitsdeformationandoriginality.Therichness andexpressivenessofcolorinhispaintingsemergefromconflictanditsresolution,releasinga remarkablespiritualenergyandshowcasingtheartist’sabsolutefreedomofself-expression.

https://sanat.orexca.com/2003/2003-4/reality/

15. VladimirLemport,(Russian,1922-2001)

HenryMoore,1991 Ceramic,salts 12x10in.

CourtesyofEdwardKhodorkovsky/AFUR

VladimirLemport,apainterandsculptor,graduatedfromStroganovArtisticandIndustrial College,specializinginmonumentalanddecorativesculpture.Lemportwasanactivememberofan artisticalliance"Lemport—Sidur—Silis"(LeSS).Inco-authorshipwithNikolaySilis,Lemport createddozensofmonumentalworks,decoratingthebuildingsofcitiesandtownsoftheformer SovietUnionandabroad.VladimirLemport’sworksarestoredincollectionsofthegreatestRussian museums,andinprivatecollectionsworldwide.

HenryMoore(1898–1986)wasanEnglishartist,bestknownforhissemi-abstract monumentalbronzesculptureslocatedaroundtheworldaspublicworksofart.Mooreproduced manydrawings,includingaseriesdepictingLondonersshelteringfromtheBlitzduringtheSecond WorldWar,alongwithothergraphicworksonpaper.Hisformsareusuallyabstractionsofthe human figure,typicallydepictingmother-and-childorreclining figures.WhileMoore'sworks typicallysuggestthefemalebody,aphaseinthe1950ssawhimsculptingfamilygroups.Hisforms aregenerallypiercedorcontainhollowspaces.

https://kgalleryarts.com/Artwork-for-Sale/Vladimir-Lemport

AnaPineda‘26

EvaColeman‘24

16. YehudaPen,(Belorussian,1854–1937)

PortraitofaBoy, 1914

Oiloncanvas

22.5x15.5in

CourtesyofEdwardKhodorkovsky/AFUR

YehudaPenwasborninRussiain1854toanimpoverishedfamily.Althoughheinitiallyshowedlittle interestinhisstudies,hededicatedhimselftodrawing,demonstratingconsiderabletalent.Pen believedthathistalentwasbestexpressedthroughtraditionalJewishart.Attheendof1867,hewas apprenticedasahousepainterandstudiedunderPavelChistiakov(1832–1919),whosestudents includedmanynotableRussianpainters.

Aftercompletinghisstudies,PenreturnedtoRussiaandmovedtoVitebskinBelarus,wherehe establishedtheSchoolofDrawingandPainting,aprivateacademy.Theschool'satmosphereandits JewishnationalistorientationwerelargelyinfluencedbyPen'sownartisticcharacter,whichwas imbuedwithnationalpathos.Hiswork,includingpieceslike"HeadofaJewishBoy,"depictedthe everydaylifeandpsychologicalportraitsofcommonJewishpeopleinRussianJewishsociety.Pen earnedareputationasa“portrayeroftheJewishwayoflife”and,inhis finestworks,transcended thesentimentalityandliterarinesstypicalofJewishgenrepainting.Hecreatedanotablegalleryof portraitsofJewishartisansatwork,challengingcontemporaryprejudicesthatlabeledJewsas “unproductive”and“parasitical.”

https://yivoencyclopedia.org/article.aspx/Pen_Yehudah

AnaPineda‘26

EvaColeman‘24

JacobEpstein,English,1880-1959

PortraitofIrisBeerbohmTree, 1915 Bronze DU1947.315

GiftofEdmundBurke

AccordingtoRichardBuckle,theportraitofIrisTreeis"...oneofthemoststrikingheadsofthe Vorticistperiod...",whenEpstein,disillusionedwithParis,movedtoEngland.Theworkwas acquiredbyJohnQuinnin1927andwaslatersoldatauctioninNewYorkin1947toEdmund Burke.IrisTree,thedaughterofSirHerbertBeerbohm-Tree,gazesatthespectator,inspiring respectforthepoetessthatshewas.Epsteinhasgivenheracoieurofpolishedbrassthat crownsherimageandsuggeststheenergiesofthemind.Forallherstatuequesness,nothingis passiveorquiet.

SirJacobEpstein(1880-1959)wasanAmerican-Britishportraitandmonumentsculptorwho helpedpioneermodernsculpture.Hedevelopedanexperimentalstylecharacterizedbythe simplificationofformsandsurfaces,workinginmediumssuchasbronzeandstone.Hisworks werecelebratedfortheirmodelingtechniquesanddepictionofthesubject'scharacter.

IrisBeerbohmTree(1897-1968)

“Love,Humour,andRebellion,gowithme,/Three musketeersoffaithfulfollowing./Wewillfearnothing.” --IrisTree,1916

ThispoemembodiesIrisBeerbohmTree--poet,artist model,actress,andsocialiteoftheearly20thcentury. Raisedbyhermother,actressHelenMaudHolt,and father,actorandfounderoftheRoyalAcademyofthe ArtsSirHerbertBeerbohmTree,Irisspentherlife aroundtheeliteoftheartworld.Herbeautyand personalitymadeherafavoriteofartists,including AugustusJohn,ManRay,VanessaBell,andAmedeo Modigliani.Irishadaveryadventurouslife,beginning, perhapswhenshemether firsthusband,EdwinCurtis Moat,whiletouringtheUnitedStateswithherfatherin1915.Withoutherfather’spermission, theyweremarriedayearlater.Neverbelievinginhavingonlyoneloveratatime,theirmarriage wasopen.In1925,however,whiletouringasanactressthroughoutthecountry,shemet FriedrichLedebur,animpoverishedAustriancountalsopursuinganactingcareer.

ShefellinlovewithLedeburand,upondiscoveringshewaspregnantin1928,movedbackto Europetosecretlycarryhersecondpregnancytoterm.In1932,shedivorcedMoatandayear latermarriedLedebur.Theyweremarriedfor23years,buthedivorcedherin1955.Shewas heartbroken.ShespenthertimetravelingaroundEurope,spendingmostofhermoneyfeeding herBelgiansheepdogAguri,whowasalwaysseenatherside.By1959,Iriswasbrokeand,to makeendsmeet,tookonaquitehumiliatingroleasa‘drunkpoetessataparty’inthe film La DolceVita--essentiallyplayingthewomanshehadbecome.

ThebustofIrisTreegazesbackatthespectator,stimulatingrespectforthepoetshewasandthe compellinglifesheled.Epsteincrownedherwithpolishedbronzehair(hersignaturehairstyle) torepresenttheenergiesofhermind.TwocastsofTree’sbustweremade;onewasgivento DenisonUniversityin1947byEdmundG.Burke,whiletheotheriscurrentlyownedbytheTate Gallery.

Top,IrisTreebyManRay,c.1920s

Italian

ApolloandDaphne(afterBernini),(Original1622-1625)

Marble DUXX.103

GiftofEdnaBalzLacyinhonorofherhusband,HowardJ.LacyII

OriginallycreatedbyGianLorenzoBernini(1598-1680)between1622and1625,thisstructureisa reproductionofBernini’soriginalandwasdonatedtotheUniversitybyMrs.HowardJ.LacyIIin 1968inhonorofherhusband.“DaphneandApollo”isbasedonthestoryofDaphneandApolloin Ovid’s Metamorphoses (1.438-567).

Metamorphoses tellsofthegodApollomockingthegodEros(akaLove).Enragedbyhisinsults,Eros strikesApollowithanarrowofgoldandDaphnewithoneoflead,thegoldenarrowcausingApollo toloveDaphneandtheleadcausingDaphnetohateApollo.Despiteherconstantrejection,Apollo pursuesDaphnerelentlessly.Exasperatedandseeingnootheroption,sheturnstoherfather,the rivergodPeneus,andbegshimtoridherofherbodytoescapeApollo’sadvances.Thus,Daphne transformsintoalaureltree.ThesculpturecapturesDaphne’s finalmomentsbeforeher transformation.AsApolloembracesher,sherecoils,thinbarkrisingupherbody,herfeetrootedto theground,andlaurelsproutsfromher fingertips.

Jean-AntoineHoudon,(French,1741-1828)

Voltaire

Castbronze

France

18thCentury1779

DU1947.316

GiftofEdmundG.Burke

JeanAntoineHoudon(1741-1828)wasapermanentFrenchneoclassicalsculptorknownfor portraitbustsandstatuesofprominentEnlightenment figuressuchasphilosophers,political figures,andinventors.Houdon’sabilitytotranslateEnlightenmentvaluesoftruth,nature, simplicity,andgracefoundsublimeexpressioninhismarblesubjectsandthevibrantessenceof theirinnerandouterself.

Voltaire wasaFrenchEnlightenmentwriter,philosopher,satirist,andhistorian.Famous forhiswitandcriticismofChristianityandslavery,Voltaire fiercelyadvocatedfreespeech, freedomofreligion,andseparationofchurchandstate.Towardstheendofhislife,Houdon receivedmanycommissionsforsculpturesofthisphilosopher.Voltaire’ssculptedformvariedin type,butthisversionofHoudon’sworkisbronze-cast.Houdon’siconicbustledtomanyprized commissionsforfull-scaleversionsofVoltaire.Houdonadheredtothetenetsof late-18th-centuryFrenchacademicart,sculptingportraitssteepedintraditionalartisticmodes whilealsounrelentingintheirrealism.

AnaPineda‘26

AllieMohn‘24

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