The Waters Art Museum Members Magazne January–April 2012

WHAT WILL YOU DISCOVER?

MEMBERS MAGAZINE

WINTER 2012

EXPLORING ART OF THE ANCIENT AMERICAS: THE JOHN BOURNE COLLECTION GIFT page 4

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ONE GIFT LEADS TO ANOTHER MUSEUMS AND THE COMMUNITY NEAR PARIS WELCOME JO BRIGGS PROGRAMS & EVENTS FAMILY FUN MUSEUM STORE INTEGRATING THE ARTS BEHIND THE SCENES TOUCH & THE ENJOYMENT OF SCULPTURE MUSEUM NEWS

our mission The Walters Art Museum brings art and people together for enjoyment, discovery and learning. We strive to create a place where people of every background can be touched by art. We are committed to exhibitions and programs that will strengthen and sustain our community.

The Walters Art Museum is open Wednesday–Sunday, 10 a.m.–5 p.m.

above: Stucco Portrait Head / Maya, Mexico, Belize or Guatemala / Late Classic Period / AD 550–850 / Stucco, paint cover: Warrior Face (Incense Burner Fragment) / Teotihuacan, Mexico / Middle Classic Period, AD 400–650 / Earthenware, post-fire pigment

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board of trustees 2011–2012 Chair andrea b. laporte President douglas w. hamilton, jr.

Vice-President ellen n. bernard Vice-President thomas s. bozzuto Vice-President nancy r. sasser Vice-President dr. hervey (peter) s. stockman, jr.

Vice-President mary baily wieler Treasurer frank k. turner, jr.

Secretary dr. gary k. vikan — julianne e. alderman peter l. bain calvin h. baker neal d. borden h. ward classen rosalee c. davison michael de havenon cynthia l. egan christine m. espenshade jonathan m. fishman bruce w. fleming guy e. flynn michael b. glick sanford m. gross the honorable c. yvonne holt-stone stanley mazaroff neil a. meyerhoff bailey morris-eck jennifer murphy charles j. nabit marilyn a. pedersen william h. perkins lynn homeier rauch george k. reynolds, iii john r. rockwell edward l. rosenberg bernard selz gail l. shawe — ex-officio members the honorable stephanie rawlings-blake the honorable bernard c. young the honorable martin j. o’malley the honorable kevin kamenetz the honorable ken ulman anne n. apgar rosemary eck margaret z. ferguson laura l. freedlander barbara guarnieri adele kass elizabeth koontz marco k. merrick tom noonan diana ulman — trustees emeriti dr. robert s. feinberg samuel k. himmelrich, sr. cynthia r. mead william l. paternotte adena w. testa jay m. wilson — international advisory board dr. james michael bradburne wendyce h. brody eddie c. brown dr. myrna bustani constance r. caplan philip d. english sam fogg laura l. freedlander leah gansler joel goldfrank bruce livie dr. james marrow angela moore dwight platt george roche paul ruddock the honorable paul sarbanes donald j. shepard george m. sherman john waters, jr. dr. daniel h. weiss benjamin b. zucker

The Walters Magazine, Vol. 65, No. 1 Published by the Trustees of the Walters Art Gallery, Baltimore Editor, charles dibble Designer, tony venne Art Photography, susan tobin Please send membership questions to membership@thewalters.org Please send editorial comments to magazine@thewalters.org

LETTER FROM THE DIRECTOR Dear Members, Exploring Art of the Ancient Americas: The John Bourne Collection Gift will mark a milestone in the history of the Walters Art Museum. Not since the opening of Hackerman House in 1991 as the center for our collections of Asian art have we taken such a bold step forward in expanding our offerings for our visitors.

With generous gifts of endowment funds and works of art from John Bourne of Santa Fe and the Ziff family of New York City, we will establish a Center for the Study, Display and Teaching of the Arts of the Ancient Americas. The Center’s endowed staff will include a curator, a conservator, and an educator. Endowed funds will be designated as well for exhibitions, publications, colloquia and symposia, exchange fellowships and occasional art purchases. We will pursue opportunities for long-term loans from U.S. museums and collectors and from institutions in Latin America, and we will also seek to enhance our art holdings through gifts from existing collections. Plans are underway to create a permanent gallery space dedicated to these new collections. Through this Center, the Walters will establish partnerships for research projects with U.S. and Latin American museums and universities; we will also explore training opportunities for our staff and fellows through a program of residential exchanges in Latin America.

In the decades to come, the Walters Art Museum will be at the forefront internationally in exploring and sharing with the public the rich cultural heritage of the great civilizations of the Western Hemisphere.

Gifts, acquisitions and long-term loans will be sought in conformity with the Walters’ acquisitions and accessions policy as published on our website. The policy is based on the museum’s commitment to three overarching principles. First, Due Diligence: the acquisition of works of art will be conducted with full and rigorous investigation and documentation of the works’ provenance and authenticity. Second, Transparency: these works, whether gifted, purchased or received as long-term loans or planned gifts, will be promptly published on our website and on the object registry of the Association of Art Museum Directors. And third, Good-Faith Engagement: any plausible claims for repatriation of any among these works from possible source countries will be promptly and openly engaged.

We are confident that this bold move into the arts of the Western Hemisphere will not only enrich our visitors’ appreciation and understanding of our wonderful Mediterranean and European collections of comparable date; it will also offer a point of entry to the Walters for our growing regional populations who trace their ancestry to those lands where the cultures represented by these works of art once flourished.

Many Walters staff, friends and supporters contributed to the realization of this vision for the creation of the new Center for the Arts of the Ancient Americas, but none have had a more profound impact than Julianne and George Alderman, long-time friends of the museum, inspired collectors and true visionaries.

Gary Vikan, Director

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fig. 1 Mother and Child / El Arenal, Jalisco, Mexico /100 BC–AD 200 / Earthenware, white slip with black and red paint

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he cold, dark days of February 2012 will be illuminated by the opening of Exploring Art of the Ancient Americas: The John Bourne Collection Gift.

Rest assured: the year 2012 is not the end of the world or an apocalyptic realignment of the cosmos and transformation of human consciousness as supposedly predicted by the ancient Maya (they didn’t, really, but that’s another article). Instead 2012 will be an auspicious year for the Walters Art Museum. Mr. Bourne’s generous gift establishes the foundation for the museum’s new focus on the display and study of ancient American art and culture. Joining donations from the Ziff family of New York, the collection provides a comprehensive overview of art from more than 25 cultures—from Mexico to Bolivia—and spanning nearly 3,000 years.

EXPLORING ART OF THE ANCIENT AMERICAS: THE JOHN BOURNE COLLECTION GIFT FEBRUARY 12 � MAY 20

Art and architecture are primary sources for reconstructing the cultural history of the ancient Americas. Writing systems were present in Mesoamerica (that is, Mexico, Belize, Guatemala, and northern Honduras and El Salvador), and thousands of screen-fold books contained a wide variety of subjects. But the 16th-century Spanish burned every book they could find, thereby destroying millennia of accumulated medical and other scientific knowledge, including astronomy and mathematics, as well as social and political history, economic matters and religious treatises. Fewer than 35 books survive, and bad luck has it that most are divinatory or genealogical texts or astrological-astronomical tables. Hieroglyphic texts also survive on carved stone monuments and painted pottery and wall murals. Most, however, are relatively short and chronicle a narrow range of politico-religious matters. On the other hand, 16th-century commentaries by native and Spanish authors offer insights into the indigenous cultures, and their modern descendants continue traditions with ancient roots that help us understand the historical record.

By and large, however, artworks and archaeological artifacts are the essential sources for exploring the cultures of the ancient Americas.

Traditionally, museums organize ancient cultures by geography and period, which necessarily orients the visitor in space and time. And so, too, the Bourne exhibition follows this template. Yet the collection’s breadth expands the exhibition's narrative scope, providing the opportunity to explore important themes of ancient American civilization, which are universal elements of human culture.

One theme is daily life and the common domestic activities and customary responsibilities of men and women to maintain the home and the community.

Many sculptures from Mexico portray women in their role as creators of life and nurturers of the family; one such work is the ceramic sculpture of a Jalisco mother proudly balancing her toddler son on her lap ( figure 1).

Mesoamerican and Central American sculptures also portray women in ritual poses or adorned with symbols implying their status as shamans—that is, as practitioners of spiritual transformation for the purpose of acquiring sacred powers to heal the sick or address other societal needs. A striking female figure from the Tlatilco-Tlapacoya area in the Valley of Mexico may portray such a person, her overly large head, open mouth, blank countenance, and ritualized pose being typical features representing shamanic trance ( figure 2). Artworks, hieroglyphic records and Colonial Period commentaries indicate that both men and women could hold religious and political office, although the majority of surviving portrayals depict men.

Daily life also included the routine responsibilities of the ruling nobility, with many works in the Bourne Collection illustrating this facet of human culture. In Central America and Mesoamerica jadeite jewelry adorned the elite, this stunning mineral symbolizing social status and sacred power. Maya rulers were believed

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EXPLORING THE ART OF THE ANCIENT AMERICAS to be earthly embodiments of the maize god, one of the main gods of Creation.

Both were festooned in jadeite adornments, some of which depict rulers in conventional poses pertaining to the deity, such as an Early Classic Maya pectoral featured in the exhibition (figure 3).

The arrival of the Bourne Collection prompted a year-long, close collaboration between consulting curator Dorie Reents-Budet, Walters conservators Julie Lauffenburger and Jessica Arista, and conservation scientist Glenn Gates, with assistance from curators, conservators, and materials scientists from other institutions. Together the team examined the Bourne Collection to determine condition, especially extent of restoration, and authenticity. Many collections of ancient American art contain heavily restored pieces and ones made in modern times, the falsification of ancient artworks having early origins in the Americas. The exhibition and catalog will document the team’s investigative approach and research results, following the Walters' tradition of openness concerning its collections and bringing the public into the inner workings of the institution.

The Bourne Collection constitutes a vast repository of information concerning thousands of years of art and cultural history in the ancient Americas. These objects will continue to offer numerous opportunities for research, discovery and artistic appreciation for years to come. The combined Bourne and Ziff Collections, and the promise of additional donations, are building the foundation of the museum’s initiative to develop a Center for the Study and Display of the Art of the Ancient

An essential duty of rulers was to maintain universal balance for a variety of reasons, but especially to ensure good weather, abundant crops, successful childbirth and success in war. A commonly held belief for preserving cosmic balance was a sacred pact of mutual nourishment between the gods and humanity. In Mesoamerica, humans offered their blood in sacrifice to sustain the gods, who, in turn, provided rain and other potent liquids to sustain human life on earth.

Artworks portraying individuals destined for sacrifice illuminate this hallowed contract. Often those destined for sacrifice are depicted as venerable persons who face the magnitude of their sacrifice with dignity and purpose. A ceramic sculpture from Veracruz is an outstanding example, representing a nobleman who likely was captured in battle, implied by the large rope encircling his neck; such noble captives were deemed especially efficacious sacrifices. (figure 4).

Performance is another theme in many of the objects in the Bourne Collection. Throughout the ancient Americas performance was a vital mechanism for defining communal bonds, communicating affairs of state and observing religious rites. Performances could be small-scale events among a few people or complex, public spectacles featuring thousands of participants, including trained musicians and dancers. Religious rites also included performers who danced and played instruments, such as the musician-performer depicted on a cast gold pendant from southern Costa Rica. It depicts a shaman whose ritualistic motions and music assisted his transformation into supernatural form (figure 5), signified by the two serpent-spirits emanating from his head and the reptile heads emerging from his shoulders and knees.

One of the most extraordinary traditions in the ancient Americas is the textile arts, most of which have not survived due to environmental conditions, although representations of ornately woven cloth are preserved in other media such as pottery. For example, the Veracruz nobleman destined for sacrifice illustrated in figure 4 wears a wide, stiff cloth wrapped around his head. Its exuberant motifs, modeled in clay, replicate the cloth’s intricate woven (likely brocade) designs.

From the relatively wet environs of Peru’s northern highlands comes a vessel made by the Recuay people. Its three modeled figures wear highly decorated tunics, the principal figure being clothed in a particularly lavish garment whose woven designs are replicated in slip paint (figure 6).

Textiles dominated Andean life. Weavers produced all manner of useful items, including clothing, containers, boats (of woven reeds), and even bridges spanning the deep gorges of the Andes. Clothing was a key element of social identity, one’s mode of dress and its quality and decoration communicating place of origin, social status, and political affiliation. Cloth was the prime commodity of wealth and state, the quality of yarn (either cotton or wool from llamas, alpacas, vicuñas, or guanacos), the expertise of weaving and the complexity of design determining its value. The finest cloth, made by the most accomplished weavers, was more precious than gold and silver, a value system that was lost on the invading Spanish who rejected the royal tunics gifted to them by Inka royalty.

Americas.

—dorie reents-budet, consulting curator, art of the ancient americas

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fig. 2 Female Figure / Morelos or Puebla, Mexico / Early Formative Period, 1200–900 BC / Earthenware, burnished slip paint

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EXPLORING ART OF THE ANCIENT AMERICAS: THE JOHN BOURNE COLLECTION GIFT ADMISSION Adults: $10 Seniors: $8 Students / Young Adults (18–25): $6 17 and under: Free Members: Free Tickets are available online or at the Box Office.

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MEMBER TICKETING Walters members are entitled to free tickets based upon membership level.

figure 3 Figural Pendant / Maya, Guatemala, Belize, Mexico or Honduras / Early Classic Period, AD 250–450 CE / Jadeite

student: 1 per day individual: 2 per day dual: 4 per day supporter & above: 4 per day

figure 4 Seated Male Figure with Incense Burner / Remojades or Nopiloa, south-central Veracruz, Mexico / Late Classic Period, 600–900 CE / Earthenware

Members may upgrade their level to receive additional tickets. Members who exceed their number of free tickets on a given day can purchase additional guest tickets for $5.

figure 5 Human Effigy Pendant / Diquís, Costa Rica / Late Period IV–Period VI, 400–1500 CE / Cast gold alloy

QUESTIONS? Call: 410-547-9000, ext. 283 Email: membership@thewalters.org

figure 6 Effigy Bottle / Recuay, Northern Highlands, Peru / Early Intermediate Period, 200 BCE–500 CE / Earthenware, slip paint

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ANNUAL PATRON EVENT

MemberS’ Opening Party

Saturday, February 11 6–8 p.m.

The Walters celebrates the opening of Exploring Art of the Ancient Americas: The John Bourne Collection Gift.

Members at the Patron level ($1000+) and above are invited for cocktails on the Sculpture Court and a first look at this significant new collection of ancient American art.

Saturday, February 11 7:30–9:30 p.m.

The opening of Exploring Art of the Ancient Americas continues. Join us and be among the first to view this exciting collection, enjoy a drink with friends and listen to a talk by consulting curator Dorie Reents-Budet.

Join at the Patron level or upgrade your membership to receive an invitation. For more information, contact Julia Keller, Manager of Individual and Corporate Giving Circles, at jkeller@thewalters.org. Invitations will be mailed.

Free for members—Cash Bar—Reservations required.

Two people per Individual levels; four people per Dual levels and above. RSVP by February 6 to membership@ thewalters.org, or call 410-547-9000, ext. 283.

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One Gift Leads to Another “We were inspired by the wonderful gifts to the Walters from John Bourne and the Ziff family that have permitted the Museum to create a new curatorial department: Art of the Ancient Americas,” said Georgia and Michael de Havenon regarding their recent promised gift of seventeen examples of ancient and Colonial textiles from southern Peru and Bolivia. For them, the gift reflects their “hope that it will further encourage others to support the new department.”

These exquisite works, which have survived due to the region’s dry desert conditions, exemplify Andean weavers’ technical expertise and artistic creativity. The de Havenon promised gift features Wari textiles (Middle Horizon, 600–900 ce), renowned for their visual complexity and challenging techniques such as interlocking tapestry and discontinuous warp and weft weaving. These artists mastered the perquisites of dyeing, being famous for a stable blue colorant that was not surpassed until the discovery of aniline dyes in the mid-1800s. Wari woven imagery can be difficult to read; this was likely an intended effect, to highlight the weavers’ expertise and impress the viewer.

The group includes fourteen textiles from Peru, Bolivia and Chile.

Among them are entire tunics, fragments of tunics, and a four-cornered hat. Also included are a woman’s mantle and two coca bags, indicating that textile traditions persisted into the Colonial Period.

Today, textiles remain a valued commodity among Peru’s and Bolivia’s native peoples, playing similar roles of social, political, economic and spiritual identity as in ancient times. In their decision to make a gift of these objects, the de Havenons felt that it was beneficial for the Walters to have examples of textile art from South America to increase the scope of the American collections.

“The de Havenon’s gift provides a solid foundation with outstanding examples from which the Walters can give visitors an overview of this important art form,” explained Dorie Reents-Budet, consulting curator for the art of the ancient Americas. “It is notable for the time depth of the pieces, from 100 to 1850 ce and their cultural, geographic and aesthetic diversity, representing six distinct cultures and textile styles. I am thrilled that visitors to the Bourne exhibition this spring will be able to see several of the gifts from Georgia and Michael de Havenon.”

Tunic panel / Peru or Chile / 600–900 / camelid fibers

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MUSEUMS AND THE COMMUNITY I

n October 2011, the Walters hosted its 31st annual Ted Low lecture, named in honor of the man who served as Director of Education for 34 years (1946–1980). His words, visionary in 1942, are fundamental to the survival of museums and cultural institutions today. Now, nearly 70 years later, the David Hirschhorn Community Outreach Coordinator, the first endowed position in the Education Division, is bringing full circle the Walters’ focus on community and its adherence to its mission of “bringing art and people together for enjoyment, discovery and learning.”

In 2008, the David and Barbara B. Hirschhorn Foundation provided an endowment gift in memory of David Hirschhorn, a longtime trustee who had a deep understanding of the educational value of museums. Over the past three years, the “Museums must realize they are public David Hirschhorn Community Outreach Coorinstitutions and must serve more people dinator has been instrumental to life within the museum. Our Community Outreach Coordinator, than they are serving today and must Andrea Vespoint, works to build partnerships and extend the scope of their activities . . . develop new programs, ensuring that the resources museums must reach beyond its walls of the Walters are meeting needs in the Baltimore into the community.” community, and that we are doing our best to serve all the citizens of Baltimore.

—Theodore Low, Museums as a Social Instrument, 1942

The initiative to attract new audiences has served 7,500 Latinos and resulted in new programs, including the Day of the Dead event and Three Kings Day celebration. The Refugee Youth Program has served 4,138 students since its inception, and our popular Lion Dance performance, which celebrates the Chinese New Year, typically garners 1,500–2,000 visitors annually. Our very first Artist-in-Residence Program, Portraits Re/Examined: A Dawoud Bey Project (December 2008–February 2009), brought together Dawoud Bey, one of America’s leading photographers, and a diverse group of local teens, who searched our storage collections for historical portraits that would resonate with photographic portraits taken by the artist over the last thirty years.

The David Hirschhorn Community Outreach Coordinator is changing the way we function as a museum. But it is only one person. Building community and attracting new audiences is the work of many. The Community Outreach Coordinator is a catalyst—a facilitator—who makes engaging underserved audiences a focus of every member of the staff who develops programs, activities and exhibitions at the Walters.

And just as the coordinator is a catalyst for the way we work inside the museum and outside in the community, we hope that the position will be a catalyst for future collaborations and funding opportunities. That will truly be the legacy of David Hirschhorn.

—jacqueline copeland, director of education and public programs THEWALTERS.ORG × 11

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Near Paris: The Watercolors of Léon Bonvin FEBRUARY 25–MAY 20

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arely shown because of the delicacy of the medium, Léon Bonvin’s watercolors are generally known by reputation alone. During the late nineteenth century an appreciation of Bonvin’s work was similarly confined to a small circle of connoisseurs and collectors. In the years leading up to his suicide at the age of 32 in 1866, Bonvin created a series of luminous watercolors depicting flowers, fruits and the countryside around his café-bar on the outskirts of Paris.

Within days of his death, the prices of his works doubled as collectors, including most prominently William T. Walters, sought to acquire the remaining works available on the market. Walters’ collection eventually numbered over 50 items, today the largest holdings of the artist’s work in a public collection, almost certainly representing the vast majority of Bonvin’s total output.

What little writing circulated about Bonvin in the decades following his suicide imagined a tragic and misunderstood artist, self-taught and laboring against the odds to pursue the art he loved. This myth was largely shaped by Walters himself as the sponsor of an essay by the French critic Philippe Burty, which appeared in Harper’s New Monthly Magazine in 1885. Burty’s article remains the authoritative source on Bonvin’s life and work, and as a consequence his highly romanticized description of the artist has survived largely unchallenged.

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Although the truth about Bonvin’s life cannot be recovered from surviving documents, new research suggests that, far from being isolated, Bonvin, through his half-brother, the better-known Realist painter François Bonvin, communicated with the Parisian art world so that his work was responsive to recent artistic trends, in particular, the new-found appreciation for the eighteenth-century master of still-life painting, Jean-Siméon Chardin. Bonvin’s connection to his peers is also evident in the list of contributors to the charity auction held to benefit the late artist’s family, which include Camille Corot, Gustave Courbet and Claude Monet.

Near Paris: The Watercolors of Léon Bonvin showcases 19 exquisite works selected from the leather-bound album in which Walters lovingly enshrined them. The title of the exhibition is taken from the frontispiece of the album that Walters commissioned from Jean-Marie Reignier. Reading “Near Paris by Léon Bonvin,” it neatly encapsulates the dilemma Bonvin faced: he was close enough to Paris to be inspired and influenced by its artistic life, but at the same time cut off from the social and economic support networks the city afforded artists. More research remains to be done, but this small focus show invites us to take a closer, more questioning look at Bonvin’s work.

—jo briggs, assistant curator of 18th- & 19th-century art

Jo Briggs, Assistant Curator of 18th-& 19th Century Art

WELCOME!

As the newly appointed Assistant Curator of 18th- and 19th-Century Art, what projects are you working on?

Right now I am working on a focus show titled Near Paris: The Watercolors of Léon Bonvin, which will open on February 25. This is proving to be a good introduction to staging exhibitions at the Walters and has been a great opportunity to get to know the many people across the museum who work as a team to bring art and people together.

In the near future I hope to unite my own research interests with the holdings at the Walters by curating an exhibition on the French graphic artist Paul Gavarni to coincide with the 150th anniversary of his death in 2016. Curators always have to plan a long way in advance!

Aside from exhibitions and collections, what aspects of the Walters Art Museum most excite you?

When applying for the position of assistant curator I was attracted by the Walters’ reputation for outreach and public service, reflected in the fact that the museum is free for all and welcoming to all. Often academics can end up writing for a small circle of their peers, but I enjoy collaborating with educators to make what I discover in the library or the archives a part of exhibitions and programming that has the potential to reach a wider audience.

What were your recent positions before coming to the Walters?

From autumn 2010 to this past summer I was a research fellow at Wolfson College, Oxford in the United Kingdom, where I also taught and curated part-time at Royal Holloway College. Prior to that I was a postdoctoral research associate at the Yale Center for British Art in New Haven, Connecticut.

My experience at Yale was instrumental in pointing me toward a career in museums and is proving a great grounding for my new job.

What do you do on your days off? Any hobbies?

At the moment I am enjoying exploring my new home-city with my partner, Dan. Baltimore is an exciting place for someone interested in all things nineteenth century! As Edgar Allan Poe fans, we are looking forward to visiting the Baltimore Poe House and Museum, as well as other historic houses in the area.

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PROGRAMS & EVENTS DR. MARTIN LUTHER KING, JR: THE MAN & HIS MONUMENT Sunday, January 15 2–3 p.m.

Congressman Elijah Cummings (D-MD), who represents Maryland’s 7th District in the U.S. House of Representatives, will talk about the importance of the life and work of Dr. Martin Luther King, Jr. and the significance of his newly installed memorial on the National Mall in Washington, DC. opening day talk

EXPLORING ART OF THE ANCIENT AMERICAS Sunday, February 12 2–3 p.m.

In this opening-day talk, curator Dorie Reents-Budet will provide an overview of the exhibition. She will examine key objects with origins ranging from ancient Mexico to Bolivia and discuss John Bourne’s early years exploring the jungles of southern Mexico in search of ancient Maya archaeological sites.

PLEASURE Sunday, March 4 2–3 p.m.

Pleasure has made us who we are today!

We wouldn’t have survived as a species if the circuitry in our brains didn’t make activities like eating food and having sex pleasurable. But what about other activities? How does the brain react to “tactile” stimuli when enjoying art?

Join David Linden, Ph.D., as he talks about how we activate pleasure circuits through a range of activities like exercising, caring for others, and enjoying art.

What do they have in common?

ANCIENT AMERICAS FORUM Saturday, March 17 12 noon–4:30 p.m.

This forum discussion will explore topics tied to the special exhibition Exploring Art of the Ancient Americas presented by a panel of experts from several disciplines. Panelists include Julie Lauffenburger, Senior Objects Conservator; anthropologist Allen Christenson; and archaeastronomer Anthony Aveni, best known for his theories on the prophesized end of the world in December of 2012. Curator Dorie Reents-Budet will moderate. the john & berthe ford annual lectureship

ANCIENT INDIAN TALES OF MAGIC RINGS & EXTRAORDINARY NECKLACES Sunday, April 1 3–4 p.m.

Exploring some of the lore that surrounds Indian jewelry, Wendy Doniger from the University of Chicago will examine ancient Indian stories of magic rings in which men accuse women of unchaste behavior only to have the ring prove that it was in fact the man who was unchaste.

A GOOD FRIDAY LECTURE Friday, April 6 1–2 p.m.

Bring your light lunch to this richly illustrated talk in which Gary Vikan explores the emergence of the “canonical” face of Christ in the early medieval period. For nearly 1,500 years, illustrators of the story of Jesus of all backgrounds—from Byzantine mosaicists to Hollywood filmmakers—have remained true to this image.

AFTERHOURS AT THE WALTERS

top: Congressman Elijah Cummings center: Standing Female Figure / Lagunillas “C” type, Nayarit, Mexico / 300 BC–AD 200 / Burnished, slip-painted earthenware bottom: Icon of Christ / Early Byzantine / around AD 600 / Saint Catherine’s Monastery, Sinai

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Thursday, April 26 6–9 p.m.

Celebrate the opening of our new special exhibition Exploring Art of the Ancient Americas: The John Bourne Collection Gift with a special AfterHours event. Enjoy music, food, a cash bar, a discussion about “authentic” Mexican food and free entry to the exhibition.

MEMBERS’ EVENTS MEMBERS’ MONTHLY CURATOURS & CONSERVATOURS Join a Walters expert for an intimate tour on a Wednesday afternoon. Please meet in the first floor lobby at 2 p.m.

Exploring the Appeal of Renaissance Statuettes Wednesday, February 8 Joaneath Spicer, James A. Murnaghan Curator of Renaissance and Baroque Art Bonvin’s Watercolors Wednesday, March 7 Jo Briggs, Assistant Curator of 18th- and 19th-Century Art Exploring Art of the Ancient Americas: The John Bourne Collection Gift Wednesday, April 25 Dorie Reents-Budet, Consulting Curator for the Art of Ancient Americas Hashiguchi Goyo, Beautiful Women Wednesday, May 30 Rob Mintz, Mr. and Mrs. Thomas Quincy Scott Curator of Asian Art

MEMBERS’ ART OF READING BOOK CLUB Members free / Non-members $5 Join us for intimate discussions of new and exciting books. Members receive a 10% discount on books purchased in the museum store. For more information or to register, call (410) 547-9000, ext. 335.

Claude & Camille: A Novel of Monet

by Stephanie Cowell Sunday, February 5, 3 p.m.

Cowell’s novel gives a detailed portrait of a complex couple and an insight as to how masterpieces are created, all against the backdrop of the lush demimonde of 19th-century Paris.

The Devil’s Queen: A Novel of Catherine de Medici

by Jeanne Kalogridis Sunday, April 29, 3 p.m.

Was Catherine de Medici really one of the most maligned monarchs in history?

Or did her great love for her husband and sons just cloud her judgment?

FAMILY FUN DROP-IN ART ACTIVITIES Saturdays & Sundays 10 a.m.–3 p.m.

Free Drop-in, make and take a fantastic piece of art home with you! Create innovative and artistic projects as a family. Check out our monthly themes!

January: Dragon Scales & Tails February: Patterns & Prints March: ¡Animales!

April: From the Jungle to the Mountains

SPRING BREAK ACTIVITIES April 4–6 10 a.m.–3 p.m.

Give yourself a break and make some art with us! Come in for special ArtCart appearances and spring-inspired art activities all week long.

MARTIN LUTHER KING JR. FAMILY FESTIVAL Monday, January 16 10 a.m.–4 p.m.

Don’t miss one of the most popular festivals of the season! All ages come together to celebrate the life and triumphs of one of the nation’s greatest heroes, Dr. Martin Luther King Jr. Special guests will pay tribute through theatrical performances and stories, and all ages will share their dreams, personal heroes, and peaceful testimonies through art projects and collaborative community activities!

AFRICAN AMERICAN FAMILY FESTIVAL: CARNIVALE OF CULTURES Saturday, February 25 10 a.m.–4 p.m.

Celebrate the African influence on cultures from Cuba to Brazil and beyond! Join us as we explore the rich diversity of art, music and culture of African Latin Americans. Learn about poets, artists and heroes of Latin American and African American history.

Discover local Afro-Latin communities.

Create your own colorful artwork, learn a few new dance steps and be amazed by exciting performances all day!

Spring 2012 Registration Members can register early for our popular family programs. All registration takes place online.

Member registration: January 3 Public registration: January 9

ANCIENT AMERICA FAMILY FESTIVAL Saturday, April 21 10 a.m.–4 p.m.

Travel back in time to explore the magnificence of ancient American civilizations. Experience the flavors, sounds and colors of Meso, Central and South America. Unlock the secrets of ancient writings and ingenious calendars. Join us as we build a monumental Mayan temple in the Sculpture Court, make your own Inka-inspired artwork, and be thrilled by vibrant performances of traditional music and dance. Enjoy free admission to the special exhibition, Exploring Art of the Ancient Americas: The John Bourne Collection Gift.

NEW! MINI CAMP: ARCHAEOLOGIST FOR A DAY Tuesday, April 3 9 a.m.–4:30 p.m.

Member’s child $80 / Non-member’s child $100 Ages 5–10 No school today? Mini Camps at the Walters offers creative kids a unique and fun-filled way to spend the day!

Put on a pith helmet and join us as we explore the ancient Americas and unearth clues about glorious civilizations of the past! All camps are taught by professional artists and museum educators. Healthy snacks will be provided; campers should bring a lunch with them.

Waltee illustration by Brian Ralph

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SUPPORT THE WALTERS

— THE BANNISTER LEWIS TANNER CIRCLE —

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••• FRIENDS OF THE ASIAN COLLECTION •••

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Support the Walters by joining one of our special-interest groups.

f you are interested in taking your love of art to the next level, we recommend joining one of our three special-interest groups: the Bannister Lewis Tanner Circle, the Friends of the Asian Collection or the Friends of the Ancient Collection. Your support helps the Walters preserve and showcase its stunning and diverse art; in return, you gain special access to curators and other experts, artwork from the Walters and other museums, social gatherings with people who share your passion and much more.

the bannister lewis tanner circle The Bannister Lewis Tanner Circle is an advisory committee of the Walters’ Board of Trustees named to honor recent additions to the Walters permanent collection of works by the African American artists Edward Mitchell Bannister, Mary Edmonia Lewis and Henry Ossawa Tanner. Established more than 20 years ago, the committee seeks to strengthen communication and involvement between the Walters and all facets of the community. One of its primary goals is to enhance the enjoyment, discovery and knowledge of art created by African American artists and artists of the African diaspora. Over the years, the committee has been actively involved in efforts to engage the community in Walters’ exhibitions, most

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recently Gee’s Bend: The Architecture of the Quilt (2007), and The Saint John’s Bible: A Modern Vision through Medieval Methods (2009).

In 2005, the committee successfully raised over $25,000 for the Brown Challenge, a fund established by Baltimore philanthropists Eddie and Sylvia Brown for the purchase of historical works by African American artists.

Membership in the Bannister Lewis Tanner Circle is open to all members of the Walters Art Museum. For more information, contact Jacqueline Copeland, Director of Education and Public Programs, at (410) 547-9000, ext. 231, or jcopeland@thewalters.org. friends of the asian collection The Friends of the Asian Collection was founded by John Gilmore Ford in 1983.

Membership is open to all members of the Walters Art Museum. The Friends’ annual program has consisted of lectures, viewings and discussions in the parlor or the Graham Auditorium (about seven events a year), visits to the homes of collectors, and trips to other collections or exhibitions. The purpose of the Friends is to spread knowledge of Asian art, especially the holdings of the Walters, to support the activities of the Walters in the area of Asian art and to encourage informed collecting.

The curator of Asian Art and an executive board of group members cooperatively manage this organization, plan yearly events, and maintain communications among the membership. For more information, contact Rob Mintz, Curator of Asian Art, at 410-547-9000, ext. 612, or rmintz@thewalters.org. friends of the ancient collection In 2004, the Department of Ancient Art at the Walters Museum founded a special-interest group for museum members called Friends of the Ancient Collection. Modeled after the successful Friends of the Asian Collection, this interest group supports the Walters’ efforts to preserve and showcase the collection of ancient art, as well as raise money for acquisitions and exhibitions in this area. It also provides an opportunity for members who share a mutual interest in the ancient world to meet on a regular basis.

Benefits include special lectures on ancient cultures, exclusive curator-led tours of the Walters’ holdings (on view and in storage), and trips to view other ancient collections or special exhibitions. For more information, contact Marden Nichols, Assistant Curator of Ancient Art at 410-547-9000, ext. 255, or email fotac@thewalters.org.

SECTION HEADER IN THE MUSEUM STORE Mayas, Aztecs and Incas 3D book ↘ $16.95 / Members $15.25 Our new shape books for kids are the coolest! Open the box to reveal a book with pages in the shape of an Aztec pyramid. As the child turns the pages, bright color illustrations and concise text bring an ancient world to life. The three most important civilizations in Ancient America are described with interesting facts on language, personal decoration, diet, architecture, city life, weaponry and more. Ages 7+

Exploring Art of the Ancient Americas: The John Bourne Collection ↑ Hardcover $60.00 / Softcover $30.00 Members $54.00 / $27.00 This illustrated catalogue provides detailed information on nearly 300 works from the collection of John G. Bourne and includes an essay on the authentication of art from the ancient Americas. An introduction by the collector provides a fascinating account of his expedition to Chiapas and the site of Bonampak in 1945–46.

Twoolies → $20–$80 (Members receive 10% off) Designed by architect Sindy Posso and Mayan artist Julio Mendez, Twoolies are handmade, wool animals combining modern and stylish concepts with ancestral native designs.

Each Twoolie is carefully crafted by skillful Tzotzil weavers using 100% wool on manual looms. The Tzotzil is an ethnic subgroup of the Maya that live in the highlands of South Mexico. The word tzotz means “wool” in their language. Visit our Museum Store to choose your very own twoolie—a unique combination of colors and patterns—no two are alike!

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SECTION HEADER

INTEGRATING THE ARTS: ISLAM L

ast fall the Walters launched Integrating the Arts: Islam, the newest addition to its online k–12 educational resource, which integrates the arts with non-arts disciplines. Ten objects from the Walters’ collection of Islamic art join works from our ancient, medieval, Renaissance and Chinese collections in this interdisciplinary resource. The objects on the site include manuscripts, jewelry, an early Islamic glass weight and painted-glass beakers.

Developed as a teaching and learning tool, the site is instrumental in positioning the museum as an educational partner in arts integration efforts throughout Maryland’s k–12 school community. All activities invite students to use the 21st-century skills of critical thinking, communication, creativity and collaboration. With the completion of this site, teachers have more than fifty arts integration activities available to them through teachers.thewalters.org.

This module is the first online educational tool focused on our Islamic collection. Its development was made possible by an exciting partnership with the Qatar Foundation International (QFI), which funded all aspects of the module’s development, including its design, interactive elements, beta testing, promotional advertising, as well as teacher training workshops. QFI’s mission to connect cultures and advance global citizenship through education aligns with the Walters’ focus on using our collections as a teaching tool for students and teachers.

Like prior modules, Integrating the Arts: Islam uses objects in the Walters’ collection to teach concepts of language arts, science, math and social studies. In language arts students learn how to write their name in Arabic; in science they measure the refraction of light in order to select the best material for repairing glass beakers; in the math activity Pattern Play, students learn about the different patterns found in Islamic art. Integrating the Arts: Islam is a unique and fun way for students to use an online arts integration resource to teach key concepts in the middle school curriculum.

So once it’s launched, then what? We train teachers how to use the site. Each year we offer workshops that guide interdisciplinary pairs of teachers through the site and teach them how to write artsintegration lesson plans based on the website. Additionally, we will present the site to teachers at both local and national levels.

Check out teachers.thewalters.org to see Integrating the Arts: Islam.

Integrating the Arts: Islam is made possible by a generous grant from the Qatar Foundation International (QFI), LLC. —amanda kodeck, manager of school programs

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SECTION HEADER

THE WILLIAM T. WALTERS ASSOCIATION

An enthusiastic and tireless group of volunteers, the William T. Walters Association is dedicated to helping the Walters raise funds for the Annual Giving Campaign. Their work is essential to the success of the museum. In fiscal year 2011 (July 1, 2010–June 30, 2011), the association helped raise nearly $500,000. In addition to assisting with the Annual Giving Campaign, members of the association serve as museum ambassadors, carrying the message of our mission outside the Walters and helping to raise funds for planned exhibitions and ongoing programs. A contribution and membership in the Walters are required from members.

If you are interested in joining the William T. Walters Association, please contact Julia Keller, Manager of Individual and Corporate Giving Circles, at (410) 547-9000, ext. 314, or jkeller@ thewalters.org.

We thank the individuals listed below for their work on behalf of the Walters over the last year.

Be an Arts Advocate

Maryland officials want to hear from their constituents and to know what is important for their communities. Your advocacy with elected officials can have a real impact on the Walters when you let them know why supporting the arts is so important.

How can you help? Learn about art-related issues by becoming an e-advocate at Maryland Citizens for the Arts (mdarts.org) and participate in Arts Day in Annapolis on February 8, 2012. Send an email, make a telephone call or write a letter to your representatives and share with them any or all of the following: Why is the museum important to you? Why is it important to Maryland? What educational benefits have you received from the Walters? Have your children participated in a pre-K program or school tour? How have you benefited from an informative lecture or a docent-led tour? Do you attend the museum more frequently now that admission is free? How does the museum contribute to the well-being of your community?

The Walters is a statewide institution. We serve citizens from every Maryland county; 23 out of Maryland’s 24 counties participate in our school programs.

To find your elected official, please visit mdelect.net or contact Sarah Walton, Manager of Foundation and Government Relations, at (410) 547-9000, ext. 614, or swalton@thewalters.org. Thank you for your advocacy and your support!

Rosemary Eck, Chair Colleen Pleasant Kline, Co-Chair Dorothy Alevizatos Joanne Belgrad Ellen Bernard Adam Borden Meredith Borden Rosalee C. Davison Lynne Durbin Christine Espenshade Elaine K. Freeman Michael B. Glick Christine W. Hanley Stephen J. Homza Claire Smith Inayatullah Andrea B. Laporte William H. Martin Stanley Mazaroff Anna Z. Pappas William H. Perkins George K. Reynolds III Jeffrey A. Schoenherr Steven B. Schwartzman Kevin Sheth, M. D. James A. Snead Clare H. Stewart Ronald W. Taylor Jan Thorman Thérèse E. Ulmer Judy Van Dyke

Photo by Edward Winter

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BEHIND THE SCENES

Will Murray, Lead Maintenance Technician what do you do at the walters? I handle set-ups for events and programs, museum rentals and meetings. I am the point person in our department for our Annual Gala and events like the Jewelry Fair and Art Blooms. I’m fortunate because my interaction with staff members across divisions is pretty much unlimited, giving me the opportunity to experience the diversity that exemplifies the Walters. what type of training do you need for this position?

When I took the position in 1998, a high school diploma was required. My skills have been fleshed out over time; I wasn’t computer literate when I started. I know that’s hard to believe in this day and age! What we do now in terms of special events and rentals is a far cry from years ago, when this was nearly nonexistent. The intensity level has definitely risen. what is the biggest challenge in your job? We have a lot of things going on simultaneously, and it’s challenging to make sure everything runs smoothly. I work with some strong personalities and try to make folks feel at ease. I want them to know I’m going to give them 110%, and I’m pretty good at what I do, just as they are. what is the most interesting project you’ve worked on at the walters? The Gee’s Bend quilt exhibition. I researched this exhibition a little before it arrived and was pleasantly surprised to learn it was going to be shown here. The diversity, and fact that it was running during our summer months, was a bit of a risk. I’m not sure we knew what to expect, but I thought it would do well. The exhibition was off the charts: well attended and greatly appreciated! what is your favorite art in the walters’ collection?

My favorites are the companion pieces King Said Abdullah and the African Venus, in the nineteenth-century galleries.

The strength and nobility in their faces make me proud. what is your favorite story involving the walters? I semi-auditioned for the voice of God (for a museum video) during a staff meeting. I had a remote microphone, and I spoke directly to a staff member as the voice of God. We had thunder and lightning sound effects, no one knew where the voice was coming from, and most people didn’t know it was me. It worked, I got the part! when people ask you about your work, what do they most often want to know? How can they get a job here! what is the most unusual experience you have at the walters? We did a skit in the auditorium a few years back as part of our First Friday program. The voice of Henry Walters, one of the museum founders, spoke through me! I’d say that’s pretty unusual; I asked folks before we started if they’d cleared this with Henry first!

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SECTION HEADER EXHIBITIONS

Touch & the Enjoyment of Sculpture: Exploring the Appeal of Renaissance Statuettes JANUARY 21–APRIL 15 Please do not touch is the message that we are all used to seeing on little signs near works of art in the Walters’ galleries (and indeed in those of most museums). This is necessary to preserve the art, but we all want to touch! The focus show opening in January invites you to touch . . . and hold, and stroke and to think about why and how physical contact with works of art can be so satisfying. As a further step in the Walters’ cooperative ventures with the Brain Science Institute at the Johns Hopkins University, this installation melds the research interests of Steve Hsaio, a neuroscientist specializing in touch in its many facets, with my own research on the importance of touch in the Renaissance for the popularity of collecting statuettes and other objects, as well as the development of hand-held technology.

Visitors will learn about the new interest that developed around 1500 in art that was pleasurable to hold—such as a statuette of Venus, the ancient goddess of love, that nestles into your left hand—and objects apparently made to fit the hand—such as the earliest watches or the evolving shape of the personal firearm. However, the special appeal of this installation will surely be the opportunity to learn about the underlying neuroscience and then to participate in our research by joining in comparative experiments with statuettes or replicas and other thought-provoking handson touch comparisons.

What types of surfaces do you prefer? Does knowledge of the subject of a sculpture influence how you react to it? What happens to our satisfaction in a piece if something about it changes? What is the impact of sight on the sense of touch? Visitors will register their preferences through—what else?—touch pads. To extend an awareness of touch and how painters as well have taken advantage of our sensitivity to touch, photographic details of paintings and sculpture throughout the museum will provide visitors with incentives to explore the topic further on their own.

With the assistance of the Maryland State Library for the Blind and Physically Handicapped, we are pleased that all text material will be available in Braille and that visits by the visually challenged can be scheduled.

—joneath spicer, james a. murnaghan curator of renaissance & baroque art

Modest Venus (Venus Pudica) / Anonymous / Italian / ca.1500 / bronze with dark brown lacquer patina, silver THEWALTERS.ORG × 21

MUSEUM NEWS

A CELEBRATION OF SCIENCE & ART Members of the Annual Giving Circles at the Curators Circle level and above gathered on the Sculpture Court on September 20 to celebrate the Intersection of Art and Science at the annual Curators Choice Reception. The evening began in the Sculpture Court and guests embarked on tours throughout the museum. Guests learned about the exhibitions, technical research and outreach that bring science and the arts together at the Walters every day.

The Curators Choice Reception is a benefit of membership in the Annual Giving Circles at the Curators Circle level ($1,500–2,499). For more information about becoming a Curators Circle member, please contact Julia Keller by emailing jkeller@thewalters.org.

EUREKA! JEWELRY FAIR AT THE WALTERS

¡A FLORAL FIESTA!

April 12–15 The Women’s Committee of the Walters presents Art Blooms 2012: A Floral Fiesta! This annual event will include a not-to-be-missed festive Thursday night opening party, and a Friday morning speaker and luncheon. Floral interpretations will be on display throughout the weekend.

For more information, visit wamwc.org.

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Twenty of the country’s finest jewelers gathered for the 8th annual Jewelry Fair at the Walters from November 4 to 7, 2011. Special lectures and events were scheduled throughout the weekend. Thank you to the Women’s Committee for presenting a successful and fun event to benefit the museum’s programs.

MUSEUM NEWS

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A GALA WITH A PURPOSE A capacity crowd partied with a purpose on the Sculpture Court at the Walters Annual Gala, A Gala with a Purpose, on October 15, 2011. A portion of the proceeds from table and ticket sales was allocated to the museum's Education Endowment. More than $80,000 was raised for this crucial program and an additional $230,000 for the museum's operations.

As guests moved to the galleries for dinner, festivities were just beginning on the Court with the Party at

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the Walters. The evening culminated with dancing on the Court with local DJ Kempton Ingersol. A wonderful time was had by all!

❶ Chair Emeritus Bill Paternotte and Connie Fitzpatrick. ❷ Godfrey and Maria Jacobs. ❸ Gala Co-chair Francis Turner and guests in the galleries before dinner. ❹ Senator Paul Sarbanes with son Congressman John Sarbanes and daughter-in-law Dina. ❺ Gina and Dan Hirschhorn with Adam and Party Co-chair Meredith Borden.

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600 n. charles st. baltimore, md 21201-5185 thewalters.org / 410-547-9000

nonprofit org u.s. postage paid baltimore, md permit no. 1102

Peer One Video Tour OPENING SATURDAY, JANUARY 21

Peer One is a video tour curated by staff member and artist Kari Altmann using the museum’s new works of art database as a starting point. A group of peers, including artists and bloggers, will respond to objects in the museum’s permanent collection with videos, injecting contemporary perspectives. The videos will be available as a tour of clips correlating with specific museum objects or galleries. The results will range in form from experimental video art to critical audiovisual essays.

Visitors are encouraged take the Peer One tour on Saturday, January 21 and attend a 2 p.m. presentation in the Graham Auditorium. A reception with light refreshments will follow. The tour will be available at thewalters.org for download starting Friday, January 20. A limited quantity of handheld devices with preloaded video tours will be available at the museum.

This project was made possible by the Apgar Award, a fund established in 2001 by Anne and Sandy Apgar to support Walters’ junior staff who make a significant and innovative contribution to the use of technology to further the museum’s mission.