Sheldon News, Spring 2021

Mission Through our collections, exhibitions, and programs, Sheldon Museum of Art inspires inquiry and discovery, serving the University of Nebraska, the state, and beyond.

Sheldon Art Association Board of Trustees Jason Bombeck Kara Brostrom Jennifer Cintani David Clark Geoff Cline Bart Dillashaw Daniel Grasso Jon Gross, President Julie Jacobson

Jean Jeffrey Brennen Miller Cindy Morris Tracy Scott Clay Smith Terry Wittler Matthew Wood Donna Woods

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Honorary Members

David Asche Jack Campbell Dale Gibbs Jo Ann Kimball Pat Lundak Martha Richardson Carol Rustad Art Thompson Rich Vierk

Annie Crimmins Richard DeBuse Candy Henning Kathryn LeBaron Robert Nefsky Victoria Northrup Bob Ripley Rhonda Seacrest Lisa Smith

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Edward Hopper (Nyack, NY 1882 – New York, NY 1967), Room in New York, 1932; oil on canvas, 29 × 36 5/8 inches Sheldon Museum of Art, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-166.1936

Director’s Welcome

Edward Hopper’s Room in New York was first shown at the University of Nebraska in March 1936 as part of the forty-sixth annual painting exhibition of the Nebraska Art Association, now the Sheldon Art Association.

That year Dwight Kirsch was chair of the art department, director of the university’s galleries, and secretary of the Nebraska Art Association, so it is fitting that this message from the director comes from him.

On March 20, 1936, Kirsch wrote to Chancellor E. A. Burnett to recommend adding a work from the exhibition to the collection—and Room in New York was at the top of his wish list.

Wally Mason Director and Chief Curator

Edward Hopper’s Room in New York From Painting from the Collection of the Sheldon Museum of Art

Eschewing the picturesque or the literal, Hopper’s pictures remain unexplained, without narrative, instead invoking a hermetically sealed world of emotion . . .

Edward Hopper, a modern American flâneur, painted important observations of the everyday lives of city dwellers throughout his career. Many of his most important compositions, Sunday (Phillips Collection, Washington, DC), Automat (Des Moines Art Center), Night Windows (Museum of Modern Art, New York), and Room in New York were painted between 1926 and 1932. In these compositions, the artist made use of single figures or couples to create a sense of thoughtful, introverted reticence and solitude.

Windows figure prominently in Hopper’s work, providing the vertical and horizontal structure for his pictures and illuminating layers of viewing. We watch these figures through windows or within lit interiors framed by windows, which give a sense of distance to the subjects. We see them as a voyeur might, but the protagonists are oblivious to being watched.

We see glimpses of life, as though we pass on the street and happen to look in or catch a fleeting snapshot view from the window of a moving elevated train. In August 1935 Hopper said that the idea for Room in New York “had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along the city streets at night . . . although it is no Particular Street or house, but is rather a synthesis of many impressions.”¹ In Room in New York, two figures seated in a lighted interior are seen through the window. Returning home at day’s end, the man has removed his jacket and is reading the newspaper.

The woman, in a posture of casual boredom, plucks at the piano keys with a single finger and is turned away from her companion. The figures sit at opposite ends of the room and are separated by a table, which accentuates their psychological solitude; the door—which has no knob for entry or exit—acts as a further barrier between them, and the artist initially painted a decorative bowl on the table to emphasize their separation, an element he later removed. The room is simple, plain, but tasteful, with art upon the walls. Seemingly a simple subject, like all of Hopper’s paintings, its geometry and construction are carefully composed: window frames echo door panels and pictures; the round chair back repeats

the circular table; and the reds of chair, dress, and lampshade balance and unite the structure. An inventive and sensitive colorist, Hopper painted acid green walls that are further offset by the intense deep-maroon accents.

Hopper was a famous moviegoer, sometimes sitting through two or three shows a day. In some of his compositions, including this one, movie stills might have suggested his topics. Popular gangster films such as Little Caesar (1930), Public Enemy (1931), and Scarface (1932) made use of angles, shadows, patterns of light, and scenes shot through windows and framed by architectural elements—all essentials of Hopper’s visual vocabulary.

Eschewing the picturesque or the literal, Hopper’s pictures remain unexplained, without narrative, instead invoking a hermetically sealed world of emotion not unlike the paintings of some of the artist’s European surrealist contemporaries, particularly the architectural compositions of Giorgio de Chirico. In fact, in 1941 Andre Breton identified Hopper as one of the few American painters working “outside of Surrealism” that approached the mood, introspection, and “dreamlike qualities” of the European movement.² Hopper delivered Room in New York to his dealer, Frank Rehn, in February 1932. It was shown in the Whitney biennial that year and was purchased by the University of Nebraska in 1936.

Judith A. Barter

¹ The Editors, “Such is Life,” Life 102, vol. 2605 (August, 1935): 48. ² Charles Henri Ford [sic: Nicolas Calas], “Interview with Andre Breton,” View 1, nos. 7–8 (October–November 1941): 1.

This essay was written for Painting from the Collection of the Sheldon Museum of Art, a survey of 125 of the museum’s most beloved and widely known canvases, published by the University of Nebraska Press in 2014. The catalog is available for purchase in the museum’s visitor services center or by contacting Janelle Stevenson at 402.472.3258 or jstevenson2@unl.edu.

The Canvas as Author’s Muse In April 2020, author Stephen King chose a chair under a reproduction of Edward Hopper’s Room in New York for a YouTube reading of the first chapter of If It Bleeds, a collection of four new novellas. Apropos of life during the pandemic, King’s introductory remarks expressed his regard for Hopper as “the patron saint of social distancing.”

In the past Room in New York has served as a muse for King, who played off the artwork in writing “The Music Room” for In Sunlight or In Shadow, an anthology of stories inspired by Hopper paintings. In a review for the New York Journal of Books, Michael J. McCann said, “Master of the thousand-page bestseller, King proved he can also produce short fiction with a story that moves from an innocuous interior scene featuring a man and woman passing time in a room to a chilling, horrifying revelation of cold-blooded cruelty that only King could pull off.”

(You can’t say you haven’t been warned.)

Art-Historical Tableaux for the Digital Age In 2020, homebound people around the globe posted recreations of works from museum collections to social media with the hashtag #betweenartandquarantine.

It will come as no surprise to Sheldon visitors and followers that Edward Hopper’s Room in New York is the museum’s most frequently recreated work.

Visit @SheldonMuseum on Instagram and Facebook to find additional recreations of works from our collection. And, look for catalysts for your own masterpieces among the 13,000 works in our online database at sheldonartmuseum.org/collection.

An Abstract Masterpiece Edward Hopper’s life spanned one of the richest periods in the history of visual art. He was born in Nyack New York on July 22, 1882, when French impressionism was in full swing and lived until May 15, 1967, during the pop art movement. Artist Cary Smith gave insight to Hopper’s career and iconic painting Room in New York in an essay featured on Sheldon’s website in June 2020. About the canvas, Smith observed: “It is essentially an abstract masterpiece. Tightly knit, but ever so relaxed at the same time. The numerous shades of mixed greens and mixed reds, set off by the color of the back of the newspaper the man is reading and the intensity of the subtle blue of his tie. And the quiet gentleness of the reflection of the woman’s arm resting on the table and the blue light on the edge of the doily created by the shadow from the newspaper.

The range of clarity of the various parts of the painting, from the loosely painted column and window and front of the building with it’s cool and warm temperatures and dark-to-light-to-dark rhythms. The relative carefulness and opacity of the figures themselves. Then back to the washy brushy gestural quality of the alizarin and bluegray landscape above the man. The variety of ways the door is painted in different areas. The dark rectangle at the top of the door to keep the tonal rhythms alive throughout the composition. The varied slightly darker green walls to the left and right, giving a central glow behind and on the figures. The intense compact organization of shapes and colors in and around the woman at the piano, separating it from how the man is articulated. All the perfect, but hard won variety of parts, every one meaningful, everywhere you look.”

Visit go.unl.edu/hopper-poetry-and-abstraction to read Smith’s essay in its entirety.

In 2017, Cary Smith’s Shape #1 was featured in the Sheldon exibition nonObjectives.

Cary Smith born Ponce, Puerto Rico 1955 Shape #1 2016 Oil on linen, 55 × 55 inches Sheldon Museum of Art, University of Nebraska–Lincoln Robert E. Schweser and Fern Beardsley Schweser Acquisition Fund through the University of Nebraska Foundation, Mercedes A. Augustine Acquisition Trust, and Grace A. Ames Memorial Fund through the University of Nebraska Foundation, U-6558.2.2016

Room in New York Exhibition History

Sheldon Museum of Art, 2004

Notably Room in New York was included in the First Biennial Exhibition of Contemporary American Art at the Whitney Museum of American Art in New York, NY, in 1933. From the time of its purchase in 1936, with funds from the Anna R. and Frank M. Hall Charitable Trust, the painting has been on view continuously in University of Nebraska galleries; at Sheldon Museum of Art, which opened in 1963; or in major international exhibitions of Edward Hopper’s work.

Selected Exhibitions First Biennial Exhibition of Contemporary American Art, Whitney Museum of American Art, New York, NY: November 22, 1932–January 5, 1933 Nebraska Art Association 46th Annual Paintings Exhibition, Morrill Hall, University of Nebraska–Lincoln, Lincoln, NE: March 1–30, 1936 Edward Hopper, An Exhibition of Paintings, Watercolors and Etchings, Carnegie Institute, Pittsburgh, PA: March 11 – April 25, 1937 Edward Hopper: Retrospective Exhibition, Whitney Museum of American Art, New York, NY: February 11 – March 26, 1950; Boston Museum of Fine Arts, Boston, MA: April 13 – May 14, 1950; Detroit Institute of Arts, Detroit, MI: June 1950 Four Centuries of American Masterpieces, The Gallery at The Better Living Center, New York World’s Fair, New York, NY: May 22–October 18, 1964 São Paulo 9 Edward Hopper and Environment U.S.A. 1957–1967, Museum of Modern Art, Sao Paulo, Brazil: September 22 – January 8, 1968

Edward Hopper: The Art and the Artist, Whitney Museum of American Art, New York, NY: September 16, 1980–January 25, 1981; Hayward Gallery, London: February 11–March 29, 1981; Stedelijk Museum, Amsterdam, Netherlands: April 22–June 17, 1981; Stadtische Kunstalle, Dusseldorf: July 10–September 6, 1981; The Art Institute of Chicago, Chicago, IL: October 3–November 29, 1981; San Francisco Museum of Modern Art, San Francisco, CA: December 16, 1981– February 14, 1982 Edward Hopper - Die Wahrheit des Sichtbaren/Edward Hopper und die Fotografie im 20. Jahrhundertz (The Truth of the Real/Edward Hopper and Photography in the Twentieth Century), Museum Folkwang, Essen, Germany (organizer). Venue: Museum Folkwang, Essen, Germany: June 28–September 27, 1992 American Art in the 20th Century: Painting and Sculpture 1913–1993, Martin-Gropius-Bau, Berlin, Germany: May 8 – July 25, 1993; Royal Academy of Arts Saatchi Gallery, London, England: September 16 – December 12, 1993 Innenleben - Die Kunst des Interieurs The History of the Interior, Städelsches Kunstinstitut und Stadtische Galerie, Frankfurt, Germany: September 19, 1998–January 14, 1999

Edward Hopper, Museum of Fine Arts, Boston, MA: May 6 – August 19, 2007; National Gallery of Art, Washington, D.C.: September 16, 2007 – January 21, 2008; Art Institute of Chicago, Chicago, IL: February 16 – May 11, 2008 Edward Hopper: Museo ThyseenBornemisza, Madrid Spain: June 12–September 16, 2012; Réunion des musées nationaux - Grand Palais, Paris, France: October 10, 2012–January 28, 2013 Edward Hopper and the American Hotel, Virginia Museum of Fine Arts, Richmond, VA: October 26, 2019– February 23, 2020; Indianapolis Museum of Art at Newfields, Indianapolis, IN: July 18–October 25, 2020 Sheldon Treasures, Sheldon Museum of Art, University of Nebraska–Lincoln, Lincoln, NE: January 22–July 3, 2021

Town Square (Washington Square and Judson Tower)

Sheldon Museum of Art is well known for Room in New York, a revered painting by Edward Hopper it purchased just four years after the work’s completion in 1932. What is lesser known is that the museum also holds a drawing Hopper executed in the same year.

Edward Hopper Town Square (Washington Square and Judson Tower) 1932 Charcoal on paper, 12 × 19 inches Sheldon Museum of Art, University of Nebraska–Lincoln Anna R. and Frank M. Hall Charitable Trust, H-604.1960

Made with charcoal on warm cream paper and titled Town Square (Washington Square and Judson Tower), the drawing is a view across New York City’s Washington Square Park from the roof of a building located at 3 Washington Square North, where from 1913 onward, Hopper had his studio. He later shared the space with his wife, artist Josephine (Jo) Nivison, after they married in 1924.

In this sheet, we see Hopper handling the charcoal with great facility. He used lush and velvety marks to capture the lively scene outside the building, and the spontaneous and bold strokes reveal Hopper’s immense abilities as a draftsman. Beginning in his teens, Hopper trained off and on as an illustrator in New York and continued to hone his drawing skills by working en plein air, in emulation of the French impressionists, with whom he came into contact during a trip to Paris in 1906. Early in his career, Hopper relied on this initial education and worked as an illustrator for trade magazines, contributing drawings and cover illustrations to a range of publications, such as Tavern Topics, Adventure, and Scribener’s. He continued to draw throughout his career and made carefully studied sketches of everyday scenes that included numerous building exteriors and interiors. He was such an avid draftsman that his dealer, Frank M. Rehn, once told art historian Lloyd Goodrich that people who lived in the buildings that Hopper sketched often wondered what the artist was doing as he sat in the front seat of his Buick furiously working.

In Sheldon’s drawing, Hopper’s keen observational skills are seen in details that evoke the neighborhood’s character and landmarks. He captured the hustle and bustle of people gathered around the iconic circular Washington Square Fountain, which is partially obscured by the large, shadowed architectural element in the middle ground at right. Immediately to the left of the fountain, the open and sparsely populated Garibaldi Plaza contrasts greatly with the pedestrian activity surrounding the park’s water feature. Across the street, sunlight reflects off the gable roof of Judson Memorial Church and conceals details of its distinctive arched windows and ten-story, Italianate bell tower. Designed by Stanford White of the noted architectural firm McKim, Mead, and White, the church was a mainstay of the neighborhood, providing healthcare and housing to residents, in addition to religious ministry. Hopper would have known this view well—he saw Washington Square Park and Judson Memorial Church daily from the window of his sixth-floor apartment.

In addition to its familiarity, the view probably was important to Hopper, because he also made a painting of this cityscape, which is now held by the Santa Barbara Museum of Art in California. He began the painting in 1932, the same year he made Sheldon’s drawing, and kept the painting in his studio for decades, before revisiting the canvas again in 1959. Subtle differences between the two works suggest that Hopper made each work from a different vantage point at 3 Washington Square North. The pitch of the sunlit roof of Judson Memorial Church in Sheldon’s drawing indicates

The pitch of the sunlit roof of Judson Memorial Church in Sheldon’s drawing indicates that the work was likely made from the roof of Hopper’s studio. that the work was likely made from the roof of Hopper’s studio. This unusual location likely helps explain the bold diagonal lines—likely the edge of the building—that cut across the sheet’s middle ground. The square opening at the lower right corner, where Hopper signed his name, appears to be a skylight. Positioning himself a distance from the building’s edge to imbue the drawing with an interesting perspectival interplay, Hopper captured an expansive view of his neighborhood.

Edward Hopper lived at 3 Washington Square North for thirty-three years and, along with Jo, witnessed great changes in the neighborhood due to New York University’s rapid expansion during the first half of the twentieth century.

In 1936, Hopper’s friend and fellow artist John Sloan was evicted from the Hotel Judson, which was located next to Judson Memorial Church, after the university annexed the building. This event had a great impact on the Hoppers. In her diary entry on February 5, 1949, Jo Hopper recounted Sloan’s eviction thirteen years after its occurrence. Her lamentation that Sloan had been “thrown out” because of the banks and NYU, was likely colored by a similar experience the Hoppers had three short years prior. On October 11, 1946, Edward Hopper wrote to his dealer Frank Rhem: “Our place on Washington Square has been leased to N.Y. University, and having lived there for 33 years, I am to be turned out with no place to go.”

collectiontalk “Edward Hopper’s Hotel Consciousness” themes of loneliness and fragmentation usually attributed to his work. They inform our understanding of a shifting American landscape and America’s fascination with the new possibilities of automobile travel and the attendant flourishing of hotels, motels, and tourist homes.”

In addition to his public talk at the museum, Mazow met with students in professor Wendy Katz’s American art history class, where they discussed Hopper and other artists Mazow has written about whose works are in Sheldon’s collection, including Thomas Hart Benton, George Inness, and others. Katz said, “Leo’s visit was especially valuable for students, who had the opportunity to learn how a scholar approaches famous artists from a novel historical—not just biographical—angle.”

Leo Mazow

In 2019, Sheldon’s CollectionTalk series featured art historian Leo Mazow, who spoke about Edward Hopper’s Room in New York, as well as a drawing the artist completed in the same year, Town Square (Washington Square and Judson Tower).

Mazow’s talk “Edward Hopper’s Hotel Consciousness” drew on his research for the book Edward Hopper and the American Hotel (2019, Yale University Press) and a traveling exhibition he organized at the Virginia Museum of Fine Arts (VMFA) in Richmond. Mazow emphasized that although Hopper’s hotels represent a modest-sized body of work— four hotel paintings, one motel painting, one boarding house painting, and several magazine covers—the artist’s work incorporating hotels “captures powerfully the themes of transience, waiting, and social alienation for which the artist is best known.”

According to the VMFA’s website, “These images of hospitality settings both challenge and expand the

Mazow analyzed Edward Hopper’s hotel themes in a spring 2019 CollectionTalk.

Summarizing Mazow’s talk for a classroom assignment that was shared with the museum, student Victoria Fultz wrote: In many paintings such as Room in New York, Hopper studied the “hotel consciousness” of the American public during the early to mid-twentieth century. The public was fascinated with the universal, fabricated, and replicable experience of staying in a hotel or motel.

Paintings and hotels are both temporary experiences for the person witnessing them, they are rigidly compartmentalized and can offer both a cathartic and disorienting sensation.

Between his engagements with students and the public talk, Mazow managed to closely study Sheldon’s hotel works by Hopper and share his findings with Sheldon director Wally Mason. The outcome of Mazow’s conversation with Mason was the loan of the museum’s two Hopper hotel works to the exhibition Edward Hopper and the American Hotel, organized by the Virginia Museum of Fine Arts in partnership with the Indianapolis Museum of Art at Newfields.

Traveling Home in 2020 Even the distanced couple in Edward Hopper’s Room in New York has had their travel plans affected by the coronavirus pandemic. Recently, when the work returned home from the exhibition Edward Hopper and the American Hotel at the Virginia Museum of Fine Arts and Indianapolis Museum of Art at Newfields, registrars at Sheldon performed its pretravel condition reports virtually, rather than in person.

Under normal circumstances, a registrar from Sheldon would have been present to watch the work be deinstalled, checked by conservators, and packed for its return home. The pandemic made such travel risky, or impossible in the case of international trips, so museums have been using FaceTime or Zoom to virtually host staff from lending institutions.

Cocktails with Curators Cocktails with Curators is a museum-from-home series that pairs mixology and art.

Each event includes a brief mix-along demonstration of a cocktail related to the artwork featured in the evening’s discussion. Edward Hopper’s Room in New York, an object of influence for generations of artists, was the focus of a recent conversation for which Toby Jurovics, founding director of the Barry Lopez Foundation for Art & Environment in Santa Fe, New Mexico, joined Sheldon director and chief curator Wally Mason.

Toby Jurovics and Wally Mason

Painted in 1932, Room in New York embodies Hopper’s noirish, cinematic style, employing voyeuristic perspectives, dramatic interaction of light and shadow, and emotionally isolated figures who inhabit anonymous spaces. His love of the painting process and astute observations of roadside diners, gas stations, and hotels resulted in pictures that illustrate a gothic side of these settings and the American spirit: empty, lonely, and vast.

British novelist Geoff Dyer stated in his 2005 meditation on photography that Edward Hopper “could claim to be the most influential American photographer of the twentieth century—even though he didn’t take any photographs.”

Cocktails Negroni 40 ml gin 40 ml Campari 40 ml sweet vermouth Stir with 5 ice cubes Strain into a chilled coupe glass Garnish with a twist of orange peel Boulevardier 40 ml Campari 40 ml sweet vermouth 80 ml bourbon or rye whiskey Dash of orange bitters Stir with 5 ice cubes Strain into a chilled old-fashioned glass with one ice cube Garnish with a twist of orange peel

Through July 3, 2021, Room in New York is paired with photographs by Robert Adams, Lee Friedlander, and Robert Frank in the exhibition Sheldon Treasures. The sensibilities of the photographers reveal or mirror aspects of Hopper’s spirit. Like Hopper, Frank, Friedlander, and Adams acted upon interest in new types of American subject matter. Their unvarnished documentary style, which started in the 1950s, elevated photographs well beyond the service of the snapshot.

Working with a respect for humble subjects, practice of cogent observation, and interest in the psychological, each photographer shares the traits that distinguish Hopper, one of America’s best observers and commentators.

top to bottom Robert Adams born Orange, NJ 1937 Colorado Springs, Colorado 1970 Gelatin silver print, printed 1974 Sheldon Museum of Art, Nebraska Art Association Purchased with the aid of funds from the National Endowment for the Arts, N-388.1977 Robert Frank Zurich, Switzerland 1924–Inverness, Nova Scotia, Canada 2019 Mary 1952 Gelatin silver print Sheldon Museum of Art, University of Nebraska–Lincoln Anna R. and Frank M. Hall Charitable Trust, H-2434.1981 Lee Friedlander born Aberdeen, WA 1934 Hotel Room, Portland, Maine 1962 Gelatin silver print Sheldon Museum of Art, Nebraska Art Association Purchased with the aid of funds from the National Endowment for the Arts, N-372.1976

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Anne Whitney

Alice Henneman and Dave Palm

Suanne and Jim Stange

Susie and Rick Windle

Chip Lienemann

Kathy Herbers

Sara Stephenson

Leslie Wright and Donald Doe

Marjorie and Jim Hewitt

Dan Lienemann

Jo Stewart

Suzanne and Charles Wright

Sarah and Aaron Holz

Paula and Peter Stone

Brian Yaw and Eric McDonald

Martha Horvay

Mary Ann Sullivan

Ron Hull

Thomas Thalken

Members

Michael F. James

Julie and Jon Thomas

Nancy Aden

Gloria Jensen

Cheryl Wall Trimarch

Teresa Alexander

Catherine Johnson

Morrie Tuttle

Dorothy C. Anderson

Suzanne and David Johnson

Michelle Waite

Genie and Daryl Bahm

Barbara and Con Keating

Janice Walker and Don Alvord

Mary Barton

Ruth Keene

Lisa and Mark Warren

JoAnne and Neil Bateman

Barbara and Dan Kohler

Deb Weber

Grace Bauer

Carrie Lamphere

Susan and Michael Wilkins

Margaret Berry

Sandra Langemeier

George Wolf

Patty Beutler

Betty Levitov

Judy and Norman Zlotsky

Patricia Birch and Roger Bruhn

Peggy Link

Christine and Art Zygielbaum

Jo Brown

Patricia Lontor

Mary and Roger Bruning

Diane Lydick

Life Members

Lynn and Robert Callahan

Christin Mamiya

Phyllis Acklie

Jennifer Cantrell and Jason Meyer

Jane Marie and Dick Hansen

Sue and Dan Anderson

Lois and Ron Roskens

Ann Martin

Karen and David Asche

Karen Cantrell and Kat Cantrell

Joe Badami

Thomas Carr

Jessica Kennedy Matthews and Scott Matthews

Barbara and Gerald Rounsborg

Patricia and David Crews

Rebecca and Chad Mawson

Betty Lou and Tom Ball

Judith DeGraff

Arlen Meyer

Marilyn Balliet

June and Paul Schorr III

Sara and Steve DeLair

Samuel and Patricia Boon

Rhonda Seacrest

Jean Detlefsen and Don Roth

Marjorie Mikasen and Mark Griep

Marita and Chuck Burmeister

Jean Shaw

Kit and Gerry Dimon

Rosemary and Michael Molvar

Judith and Robert Burton

Ann and Bud Sidles

Pam and Dan Doty

Carrie Morgan

Sally and Jack Campbell

Katherine Starace

Dorene Eisentrager

Whittney Morris

Rosalind and James Carr

Margaret and Gregory Sutton

Lynn and Stuart Embury

Mary Ellen Mulcahy

Jan Christensen

Sue and Tom Tallman

Bill Etmund

Roberta Munske

Janet Coleman

Carol and Art Thompson

Cynthia and Tom Fitchett

Lee and Patrick Nespor

Nancy Dawson

Karen and Rich Vierk

Bruce Forbes

Sandy Nitz

Marg and Ken Donlan

Patricia Polite Wade

Laura Burton Franz

Peg and Larry Pelter

Rose Ann and Dawson Dowty

Lisa and Don Walla

Mike Gloor

Karen and Jon Peppmuller

Connie and Todd Duncan

JoAnn and Arthur Weaver

Nancy Goff and Edson Rumbaugh

Carna and Larry Pfeil

Sharon and Bill Griffin

Donna Posvar

Diane and David de Harter

Donna Woods and Jon Hinrichs

Suzanne R. Graham

Joan Reist

Barb Heckman

Avery Woods

Nicole Gray and Matt Cohen

Sally and Lou Roper

Candy and Tom Henning

Mary and Dale Young

Pat and Bill Lundak Karen R. Lusk Kay and Jeffrey MacDonald Ruth and Martin Massengale Tice Miller Mary and Robert Nefsky Victoria and Robert Northrup Anne and Bud Pagel Phyllis Pauley Brick Paulson Allison and Gary Petersen Dorothy Pflug Julie and Gale Pokorny Vineta Rehm Martha Richardson

Rich Bailey

Stacey James and Bob Ripley Jane Rohman

Carol Rustad Denise and Dan Scholz

12th and R Streets, University of Nebraska–Lincoln sheldonartmuseum.org • @SheldonMuseum The University of Nebraska does not discriminate based upon any protected status. Please see go.unl.edu/nondiscrimination