The Walters Art Museum Members Magazine Sept–Dec 2012

WHAT WILL YOU DISCOVER?

MEMBERS MAGAZINE

AUTUMN 2012

REVEALING THE AFRICAN PRESCENCE

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AFRICAN PRESENCE: STUDENT RESPONSE DIADEM & DAGGER: JEWISH SILVERSMITHS OF YEMEN PUBLIC PROGRAMS FAMILY PROGRAMS COMMUNITY FUN INSIDE & OUT PRESERVING IRAQ’S CULTURAL HERITAGE GRANTS HELP SUPPORT PROJECTS AT THE WALTERS ART MUSEUM MUSEUM STORE A CONVERSATION BETWEEN FRED LAZARUS & GARY VIKAN WELCOME NEW TRUSTEES

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.

board of trustees 2012–2013 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 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 kris anne gitlin michael b. glick sanford m. gross neil a. meyerhoff bailey morris-eck mark mullin jennifer murphy charles j. nabit william h. perkins judy witt phares lynn homeier rauch george k. reynolds, iii john r. rockwell edward l. rosenberg bernard selz gail shawe judith van dyke — 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 margaret z. ferguson laura l. freedlander adele kass elizabeth koontz rebecca lawson 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 Art Museum is open Wednesday–Sunday, 10 a.m.–5 p.m.

Open Thurdays 10 a.m.–9p.m. beginning October 4th. above: Adoration of the Kings (detail) / ca. 1514, Workshop of Gerard David (Netherlandish, ca. 1460–1523) / oil on panel / Princeton University Art Museum, Princeton, New Jersey (1932–34) cover: Portrait of an African Slave Woman (detail) / ca. 1580s / Annibale Carracci, attrib.

(Italian, 1560–1609) / oil on canvas / (fragment of a larger portion) / Tomasso Brothers, Leeds, England

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The Walters Magazine, Vol. 65, No. 3 Published by the Trustees of the Walters Art Gallery, Baltimore Editor, charles dibble Designer, tony venne Art Photography, susan tobin Page 21 Photography, lindsey hite Please send membership questions to membership@thewalters.org Please send editorial comments to magazine@thewalters.org

LETTER TO THE MEMBERS

Dear Members, The vibrancy and relevance of the Walters Art Museum today has a lot to do with the leadership we have enjoyed from Gary Vikan for the last eighteen years. As we prepare for his retirement, the Search Committee, composed of selected members of the Board of Trustees, takes its role very seriously. To assist in this process, we have chosen the leading search firm of Russell Reynolds Associates for their ability to attract a broad candidate pool, as well as for their impressive track record placing leaders in major museums in the United States and abroad.

In constant partnership with the Committee, they are working now to assess the needs of the museum and to develop a position statement for the search.

Your input into this process is welcome and important. Please share your thoughts about the opportunities and challenges you see facing the Walters by taking part in the on-line member survey at thewalters.org/survey. This will inform our applicant pool and help us shape the criteria we will use to evaluate our final candidates.

Once we begin actively searching, confidentiality is critical if we are to attract the best candidates. We must ensure that all of our candidates can participate without jeopardizing their current positions. This will be the quiet phase of our work, and we appreciate your patience and willingness to honor the process.

Most searches take six to eight months to complete, and our goal is to have a candidate selected by winter. However, each search is unique, and our committee will take whatever time is needed to find the leader best suited to the Walters.

Thank you for your participation in the search process and for your commitment to this wonderful museum.

Ellen Bernard, Search Committee Chair Committee Members James DeGraffenreidt Guy Flynn Doug Hamilton Andie Laporte Bill Paternotte Nancy Sasser Mary Wieler

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REVEALING THE AFRICAN PRESENCE

SECTION HEADER

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IN RENAISSANCE EUROPE

OCTOBER 14–JANUARY 21 THEWALTERS.ORG × 5

REVEALING THE AFRICAN PRESENCE IN RENAISSANCE EUROPE

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he presence and contributions of men and women of African ancestry in Renaissance Europe are not only a fascinating aspect of this influential period in world history, but perhaps more important, offer us a new perspective on American history. The value placed on the individual is one of the great legacies of the European Renaissance to Western culture; how that perspective can be applied to illuminate the lives of individual Africans in Renaissance Europe—through the visual arts—offers exciting possibilities but is little known to the wider public.

The focus here is on Africans living in or visiting Europe in what has been called “the long sixteenth century,” from the 1480s to around 1610. The exhibition seeks to draw out not only their physical presence but their identity and participation in society, as well as the challenges, prejudices and the opportunities they encountered. We hope that addressing this rich material as a public exhibition will encourage broad public discussion of the larger issues of shared heritage—as well as those of race, color and identity—through the vehicle of great art. The Walters will host a public forum on this subject on October 28.

The visitor’s experience of the exhibition is built around two main sections.

The first section addresses conditions that frame the lives of Africans in Europe. From a perspective of American history, the first thing many will think of is slavery, but in the Renaissance the conditions of slavery were

rather different. First, slavery was in Florentine court circles around 1600, ubiquitous in the Mediterranean, with represents an African was not previits victims being as often white as ously recognized. black. Second, it was generally not for life. Perceptions of the continent of In the second section of the exhibiAfrica encompassed both the astound- tion the individuals themselves come ingly sophisticated pyramids and the to the fore—often through portrayals utterly savage, that is, people who from life—first as slaves and servants. chose to wear no clothes. Ambivalence This is followed by the surprisingly toward forces beyond human control is wide range of free and freed Africans a thread running through Europeans’ living ordinary lives, sometimes very perceptions of Africa, whether it is the successful lives, as the wealthy but incredible ferocity of the “monstrous” unidentified black man in a (previcrocodile, assumptions about exag- ously unknown) portrait from the gerated sexuality, or the vast sterility mid-1500s (fig. 3). Follow ing a of the Sahara: to Europeans it was all “Resource Center” embedded at this extraordinary. The representation of point within the exhibition, visitors Africans in Christian art encompassed encounter African diplomats in Europe the introduction of a black king (fig. and African rulers, present in Europe 1) adoring the Christ Child (when through their portraits commissioned none was specified in the Bible) and for princely collections, images that the surprising figure of the widely may assert cultural difference and an revered black St. Maurice. Blackness understanding of self-representation in and cultural difference involved a a way denied to others. The exhibition misunderstanding of skin pigment ends with the mesmerizing figure of and the pervasive symbolism of light St. Benedict the Moor, the Renaissance and dark, truth versus ignorance and African-European with the greatest sin, but also the development of what impact today. might be called a black aesthetic—the The time frame of the exhibition was exploration of the inherent beauty of chosen to reflect historical changes. In blackness. This comes out primarily the last decades of the 1400s Africa in sculpture based on dark materials, became a focus of European attention. for example in the subtle celebration On the one hand, markers of Africans’ of a court jester’s imposing physique intensified engagement with Europe in while respecting the melancholy of his the 1480s include the 1484 arrival in demeanor (fig. 2). It is characteristic Portugal of a Congolese delegation led of the challenges of this subject matter

by Prince Kasuta and the establishment that the seemingly obvious fact that of a residence in Rome for the numbers this fine statuette, probably executed of Ethiopian pilgrims and scholars. On

fig. 1 (previous pages) Adoration of the Three Kings / Gerard David and workshop / ca. 1515 / oil on panel / Princeton University Art Museum

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fig. 2 (right) Black Court Jester / Italian / 1600–10 / bronze / The Walters Art Museum

SECTION HEADER “The exhibition Revealing the African Presence in Renaissance Europe will be nothing short of transformational.

Our knowledge about the Black experience in Europe is very contained, and what this exhibit will accomplish is to transform our current understanding of how peoples of African descent have contributed to the evolution of culture and society on a global level. It reveals that European history is not just ‘white’ history, but umbilically linked to the African continent in ways that transcend slavery. Once people realize that Blacks were soldiers, thinkers, politicians, and even members of the European royal court during the 15th and 16th centuries, their world view cannot help but change. The exhibition will raise more questions than it answers, inviting all participants to think deeply about their history, their place in society, and the legacy of the Western heritage.”

—Ben Vinson III, Herbert Baxter Adams Professor of Latin American History and former director of the Center for Africana Studies at the Johns Hopkins University

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SECTION HEADER the other hand, the European thirst for new markets and sources of commodities drove an extension of trading routes established by Portuguese explorers in the mid-1400s down the west coast of Africa, and in 1497 Vasco da Gama edged up the continent’s east coast, en route to India. The revelations this brought as to the shape of Africa marked one of the pivotal moments in the growth of European knowledge of the continent, to be vastly augmented in the following century. This also opened alternative sources for slaves, to supplement that in white slaves, many from the Caucasus in what is now Russia.

fig. 3 Portrait of a Wealthy African / Flemish or German(?) / ca 1530–40 / oil on panel / Private collection, Belgium

The exhibition is supported by funding from the Richard C. von Hess Foundation, the National Endowment for the Arts, the National Endowment for the Humanities, the Maryland Humanities Council, the Bernard Family, Andie and Jack Laporte, Christie’s, Kathryn Coke Rienhoff, Lynn and Philip Rauch, Cynthia Alderdice, Joel M. Goldfrank, CANUSA Corporation Charitable Fund, Constance R. Caplan, Stanley Mazaroff and Nancy Dorman, the V.A. Reid Charitable Fund, Harbor Bank of Maryland, the Flamer Family Fund and other generous donors. The publication is generously supported by the Robert H. and Clarice Smith Publication Fund. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

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Conditions remained largely stable until the early 1600s, allowing (within the constraints of ingrained prejudice) for a gradually more nuanced view of blackness and of persons of African ancestry as well as for more varied roles for them and especially for their children within society. Around 1608–10 there occurred a series of political and cultural “events” that seemed to signal a new level of acceptance and status for Africans in Europe—the elaborate arrangements made by Pope Paul V to receive the Congolese ambassador known in Europe as Antonio Manuel, Marquis of Na Vunda (who, however, died upon arrival) and the play by the Spanish playwright Enciso celebrating the life of the black Spanish humanist Juan Latino. While these and other events may appear to presage a new era of normalization, with the perspective of time they look more like markers of the end of an era. In the 1600s, the focus of European attention shifted toward the Americas and Asia, while growing demands for cheap labor, especially in the American colonies, meant that slavery became specifically associated with black Africans as it had not been in the past. With familiarity, the African as “exotic other” becomes simply “the other.”

—joaneath spicer, the james a. murnaghan curator of renaissance and baroque art

EXHIBITION-RELATED EVENTS MEMBERS’ OPENING PARTY

OTHELLO, STARRING LAURENCE OLIVIER*

A PUBLIC CONVERSATION: OTHELLO TODAY*

Saturday, October 6 6–8 p.m.

Join us for the opening of Revealing the African Presence in Renaissance Europe and be among the first to view this special exhibition, enjoy a drink with friends and learn about the exhibition from curator Joaneath Spicer, who will discuss its origins, highlights and themes.

Thursday, November 1 7–8:30 p.m.

Enjoy an evening film screening of the 1965 interpretation of Shakespeare’s play Othello, starring Laurence Olivier as Othello. Join us for the next two Thursdays as we continue to explore Othello, the story and the character.

Thursday, November 15 5:30–8 p.m.

CenterStage’s artistic director Kwame Kwei-Armah and Leslie King-Hammond, founding director of the Center for Race and Culture at MICA, will come together for a lively discussion on the representation of the black Moor, Othello. Audience members will be invited to join in this open-ended dialogue about issues of color, race, identity raised by Shakespeare’s tragic hero.

Free for members—Cash Bar—Reservations required. Two people per Individual membership; four people per Dual levels and above. rsvp by October 1 to m e m b e r s h i p @ t h e w a l t e r s . o rg o r c a l l 410-547-9000, ext. 283.

REVEALING THE AFRICAN PRESENCE: AN INTRODUCTION Sunday, October 14 2–3 p.m.

Curator of Renaissance and Baroque Art Joaneath Spicer will explore the major themes of the groundbreaking exhibition Revealing the African Presence in Renaissance Europe. Join us as we explore the world of Renaissance Europe through the eyes of both white Europeans and Europeans of African ancestry, reflect on what we know about this time from the art that is left behind, and consider what these representations can teach us today.

OTHELLO, STARRING LAURENCE FISHBURNE* Thursday, November 8 7–8:30 p.m.

Come to the Walters this Thursday evening and watch Laurence Fishburne star as Othello in the 1995 film interpretation of Shakespeare’s play. This more modern presentation of the classic story provides the audience with another interpretation of this tragic but thrilling tale. This movie is a great way to prepare for the engaging discussion of Othello next Thursday evening!

REVEALING THE AFRICAN PRESENCE PANEL DISCUSSION* Sunday, October 28 12–4 p.m.

The ongoing impact of the European heritage on American society is profound, but many today feel alienated from that history. Scholars will explore ideas tied to the special exhibition Revealing the African Presence in Renaissance Europe. Panelists include Walters’ exhibition curator Joaneath Spicer, Princeton University professor Anthony Appiah, University of London professor Kate Lowe and Johns Hopkins University professor Ben Vinson.

Author and journalist Farai Chideya will moderate.

Saint Benedict of Palermo / José Montes de Oca, attrib. (Spanish, ca. 1668– 1754) / ca. 1734, polychrome and gilt wood with glass / The Minneapolis Institute of Arts / The John R. Van Derlip Fund / 2010.27.2

*These projects were made possible by a grant from the Maryland Humanities Council, through the support from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities or the Maryland Humanities Council.

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SECTION HEADER EXHIBITIONS

African Presence: Student Response September 15–February 3

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frican Presence: Student Response is a small exhibition of artwork created by Maryland middle school students in response to the Walters Art Museum’s special exhibition Revealing the African Presence in Renaissance Europe. Participating schools include General John Stricker Middle School and Old Court Middle School in Baltimore County; Harlem Park Elementary/Middle School and New Era Academy in Baltimore City; and Wiley H. Bates Middle School in Anne Arundel County.

During the spring of 2012, students received a visit from a museum educator who introduced the exhibition’s themes of cultural identity, race and stereotype. Students then spent time discussing the themes and creating works of art in response. Looking at selected artworks, students were asked to consider the following questions: Who are the individuals that are represented and why were these portraits made? What role do these individuals play in Renaissance society? What might they be thinking? What is in their future? How will they influence future generations?

Students were asked to bring the portraits to life and give them a voice. Completed works include an oil painting on canvas, an eight-foot-long mural, book art, and mixed-media collages. All works are accompanied by artists’ statements,

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which explain why the students created the works and how each relates to the exhibition.

We were introduced to the concept that Africans were present in Europe during the Renaissance. We looked at images of Renaissance paintings that showed Africans of differing social classes in Europe at that time. We discussed the artworks and researched how Renaissance dress symbolized both the person’s social status and their sense of style.

We used this information to choose how we would clothe our figures in the mural. We sketched individuals from the Renaissance and the used carbon paper to transfer those figures to the panel. The background was inspired by the Walters’ painting The Ideal City by Fra Carnevale. This mural took six weeks to create.

Artwork will be on view and all students will be honored at the Renaissance Family Festival on October 20, 2012.

—amanda kodeck, manager of school programs This project was made possible by a grant from the Maryland Humanities Council, through support from the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities or the Maryland Humanities Council.

EXHIBITIONS

Diadem & Dagger: Jewish Silversmiths of Yemen October 27– January 21

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his focus show of approximately 25 objects dating between the 18th and the 19th century celebrates Yemeni-Jewish silverwork from the Zucker Family Trust and the Rosalee C. Davison collections. It is the first of two small-scale exhibitions at the Walters that explore Jewish communities of the Islamic world. The overarching aim is to highlight the ways in which Jews shared and contributed to Islamic art and culture while maintaining their Jewish identity.

According to oral traditions, a Jewish presence in Yemen dates back to the reign of King Solomon, who is believed to have sent artisans with the Queen of Sheba when she returned to her Arabian kingdom. The earliest historic evidence for Jews in the Arabian Peninsula, however, dates to the first centuries of the Common Era. From the inception of Islam in the 7th century, Jewish and Muslim communities co-existed in Yemen, although few Jews live there today.

Bridal Outfit / San‘a, Yemen / 1930s / Yihye Haybi, Collection of the Israel Museum, Jerusalem / The Isidore and Anne Falk Information Center for the Jewish Art and Life in the Israel Museum / Gift of Mr. Benjamin Zucker and Mr. Derek Content in honor of Mrs. Barbara Zucker and Mrs. Amanda Content / 2010 Supported by The Irving Kohn Foundation and Nancy Kohn Rabin in memory of Josephine Kohn, The Richard S. and Rosalee C. Davison Foundation, The Himmelrich Family Fund, The ASSOCIATED: Jewish Community Federation of Baltimore, Sara and Nelson Fishman, Clara and Michael J. Klein, Phyllis and Harvey Meyerhoff, Rona and Arthur Rosenbaum, Laura and Barrett Freedlander, Jane and Michael Glick, Paula and Roy Hoffberger, Elaine and Philip Zieve and other generous donors.

Yemeni-Jewish craftsmen created beautiful silver pieces with elaborate granulation and delicate filigree decoration for Muslims and Jews. The Zucker collection, assembled between 1960 and 1980, and recently generously bequeathed to the Walters and the Israel Museum in Jerusalem, consists of female headpieces, bracelets, necklaces and belt buckles. The collection also includes daggers made exclusively for the Muslim male elite.

Many of these works carry the name of the Jewish silversmith in Hebrew and an Arabic stamp of Yemenite Muslim rulers. While giving attention to the superb craftsmanship of these works of art, the exhibition’s main focus is the rich social and religious customs associated with the jewelry, which are often linked to significant moments in the lives of Yemeni Jews and Muslims, including birth and marriage.

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PUBLIC PROGRAMS ESPECIALLY FOR MEMBERS Members are invited to join intimate tours led by a Walters curator or conservator. No registration necessary; meet in the Centre Street lobby. Bring a nonmember friend for free.

AUTHENTICITY

Day of the Dead Festival

32nd annual theodore l. lowe lecture

ARTIST FRED WILSON: SPEAK OF ME AS I AM Sunday, November 18 2–3 p.m.

Fred Wilson, contemporary artist and U.S. artist representative for the 2003 Venice Biennale, will speak about Speak of Me as I Am: The Transformative Effect the Art of the Past Has on the Imagination of the Present, an exhibition that explored representations of Africans in Venetian culture. Wilson will discuss the “hiddenin-plain-sight” history of Africans in Venice and its effect on the contemporary Venetian unconscious.

LEE SANDSTEAD RETURNS: A PILGRIMAGE TO THE WALTERS Sunday, December 2 2–3 p.m.

Lee Sandstead returns to the Walters!

Join the world’s most fired-up art historian as he recounts his amazing pilgrimage to reignite his passion for art. After a severe illness robbed him of his zest for life and art, Sandstead hiked more than 600 miles through southern France, Spain and Portugal along the medieval pilgrimage route known as the “Camino de Santiago.” Sandstead’s account of his journey is an inspiring story of love and triumph.

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INTERCAMBIO: TOURS IN SPANISH & ENGLISH Sundays September 23, October 21, November 18, December 16 3–4:30 p.m.

Learning another language is more comfortable in an informal environment, especially when the textbook is the Walters collection. The Walters offers a series of bilingual gallery tours where visitors can listen to and speak Spanish and English and engage in discussion about works of art. Participants remark how fun, easy and enjoyable it is to learn and practice a new language while helping others master theirs.

DAY OF THE DEAD FESTIVAL Saturday, October 27 12–3 p.m.

Since 2009 the Walters Art Museum has celebrated the Día de los Muertos, or Day of the Dead. The event attracts a diverse group of visitors curious about the holiday, and those who continue to honor the tradition. Families have enjoyed the art activities, music, dance and food of the holiday for years. In addition, the museum opens the week before the event for visitors to come and place an ofrenda, or offering (begins Oct. 24), on the altar to honor their deceased relatives and friends. The result is a beautiful work of art.

Wednesday, September 26 1 p.m.

Meg Craft, Senior Objects Conservator, will explore how we distinguish authentic sculpture from forgeries, concentrating on Greek antiquities, which have enthralled collectors for centuries because of their astounding beauty and exquisite craftsmanship.

SHARED HISTORIES: PAUL DELAROCHE & WILLIAM WALTERS Thursday, October 11 5:30 p.m.

Jo Briggs, Assistant Curator, 18th and 19th-Century Art will discuss Shared Histories: Paul Delaroche and William Walters. Delaroche’s mural representing great artists from history was considered

by Charles Dickens to be “the greatest work of art in the world.” When Williams Walters purchased his copy it was hailed as one of the most significant French paintings in his collection.

NIMRUD IVORIES Thursday, November 15 5:30 p.m.

Jessica Arista, Samuel H. Kress Fellow in Objects Conservation, will use the museum’s nearly 3,000-year-old Nimrud ivories as a reference to discuss her recent work in Iraq treating ancient ivories in collections there and the Walters’ involvement in training Iraqi conservators in Erbil, Iraq.

REVEALING THE AFRICAN PRESENCE IN RENAISSANCE EUROPE Thursday, December 13 5:30 p.m.

Share an insider’s tour with the curator of this fall’s special exhibition, Joaneath Spicer, James A. Murnaghan Curator of Renaissance and Baroque Art.

FAMILY PROGRAMS RENAISSANCE FAMILY FESTIVAL

MONUMENT LIGHTING FAMILY FESTIVAL

Saturday, October 20 10 a.m.–4 p.m.

Free Join the ranks of Michelangelo, Leonardo da Vinci and the Medici family by traveling back in time to explore art, culture and daily life during the Renaissance. Enter our palace to experience a world of new inventions, discoveries, sounds and ideas! Dress up and step into a gilded frame to become a painting, work collaboratively to perfect perspective and design a map that may lead to our special exhibition Revealing the African Presence in Renaissance Europe.

Special guests will use dance, puppetry, video and storytelling to immerse you in the world of the past! Visit the special exhibition for free today, and celebrate the work of middle school students from Baltimore City, Baltimore County and Anne Arundel County Public Schools, whose artwork is part of African Presence: Student Response.

Thursday, December 6 5–8:30 p.m.

Free Celebrate the holiday season and the annual lighting of the Washington Monument at the Walters during this free, family-friendly event! Enjoy seasonal performances, music, refreshments, holiday films and special winter-inspired kids’ art activities! At 7 p.m., the Washington Monument will be set aglow, followed by fireworks.

For more information, visit thewalters.org or call 410-547-9000, ext. 300.

MINI CAMP: MY DAY IN THE RENAISSANCE Tuesday, November 6 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! Join us as we explore life during the Renaissance and create artistic masterpieces.

We’ll discover great artists, inventors and explorers as we have an adventure of our own in the art studios and special exhibition Revealing the African Presence in Renaissance Europe.

For more information, visit thewalters.org or call 410-547-9000, ext. 300.

WINTER BREAK ACTIVITIES: December 21–23, 26–January 1 10 a.m.–3 p.m.

Shed some light on your wintery break, and bring the whole family to the Walters for a special week of art activities!

For more information, visit thewalters.org or call 410-547-9000, ext. 300

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

Free Drop-in and make and take a fantastic piece of art home with you! Create innovative and artistic projects as a family.

Check out our monthly themes!

September October November December

The Artist’s Toolkit Reimagining the Renaissance Heavy Metal Family Traditions

SCOUT MUSEUM DAYS: RENAISSANCE MASTERS $10 / scout, Online pre-registration required Brownie Girl Scouts Day Saturday, November 10 1–3 p.m.

Cub Scouts Day Sunday, November 11 1–3 p.m.

Jr. & Brownie Girl Scouts Day Saturday, November 17 1–3 p.m.

Daisy Girl Scouts Day Sunday, November 18 1–2:30 p.m.

Suit up and set sail for Renaissance Europe! Explore master works like never before as you spend your afternoon with inventors, entertainers, and royalty of the fourteenth, fifteenth, and sixteenth centuries. Guided by a museum educator, your scouts expedition across the Atlantic will showcase masters of art, science, and culture as featured in our special exhibition, Revealing the African Presence in Renaissance Europe. Celebrate the Age of Discovery as you navigate your way into our art studio to create a masterpiece of your own. Brownie Girl Scouts will work toward their Painting badge, Junior Girl Scouts will work toward their Drawing badge, Daisy Girl Scouts will work toward their Courageous and Strong petal, and Cub Scouts will work towards their Art Academics Pin or Belt Loop during this interactive, two-hour exploration!

All camps are taught by professional artists and museum educators. Healthy snacks will be provided; campers should bring a lunch with them.

Call 410-547-9000, ext. 300, or email familyprograms@thewalters.org for more information. Pre-registration is required.

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MUSEUM NEWS

COMMUNITY FUN INSIDE & OUT

The Walters is excited to bring you two new social experiences, one inside the museum and one out in the community.

CONSTELLATION THURSDAY NIGHTS This fall, beginning October 4, we open our doors every Thursday evening from 5 to 9 p.m. for Constellation Thursdays Nights. We know that daytime hours don’t work for everyone, so night owls: this is for you. Visitors will have access to the entire museum, and we’re offering free admission to special exhibitions during this time.

Members, Mount Vernon residents, downtown workers and friends from surrounding counties are all invited. Get a group together, wander the galleries, experience Revealing the African Presence in Renaissance Europe and enjoy a signature cocktail and some finger foods. Visit thewalters. org for updates. These evenings are made possible by a generous grant from Constellation, an Exelon Company.

Sponsored by

OFF THE WALL The Walters is excited to launch Off the Wall, an open-air exhibition that brings reproductions of classic paintings to Baltimore’s main streets and outdoor spaces. Beginning in November, we will reproduce some of our most beautiful paintings and “plant” them in select, thematically matched locations, forming a pleasant surprise for passers-by: You’ll spot A Collectors Cabinet on the brick wall of Hampden’s Avenue Antiques; Allegory of Element Earth in the picnic area of Whole Foods in Mount Washington; Hope on the hill overlooking the Pagoda at Patterson Park; and a Bunch of Grapes on Aldo’s in Little Italy. Twenty framed reproductions will be on view from November 2012 through April 2013 at area businesses, parks and community spaces.

After six months, we’ll mix it up and move the art to other great community locations! Visit thewalters.org in October for a downloadable map of locations and a listing of related events.

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SECTION MUSEUM HEADER NEWS

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WALTERS CONSERVATORS HELP TO PRESERVE IRAQ’S CULTURAL HERITAGE

n Spring 2012, objects conservator Jessica Arista traveled to the Iraqi Institute for the Conser vation of Antiquities and Heritage (IICAH) in Erbil, Iraq, on a Bank of America Art Conservation Grant. She was part of a team working to conserve a selection of the Nimrud ivories, which are among Iraq’s greatest cultural treasures. The team of specialists spent six weeks examining, documenting, cleaning, stabilizing and restoring the ivory plaques, which date to 700–800 B.C. This is the first time artworks of this importance have been treated at the IICAH. The project was also designed to teach the conservation students at the Institute about ivory conservation.

Government, the U.S. Department of State, the Walters Art Museum, the Winterthur Museum, and the University of Delaware, and later joined by the University of Arizona, the Getty Conservation Institute, and the University of Pennsylvania. The Institute, the first of its kind in Iraq, provides training for Iraq’s museum and heritage professionals in the preservation and conservation of Iraq’s national treasures.

Since 2009, Terry Drayman-Weisser, Director of Conservation and Technical Studies at the Walters, has traveled regularly to the Institute, teaching students about the identification and conservation of ivory; she is also on the Institute’s Advisory Council.

The IICAH was founded in 2008 through a collaboration between the State Board of Antiquities and Heritage (Iraq), the Kurdish Regional

On November 15 at 5:30 pm, Jessica Arista will give a Member’s Tour, which will include a discussion of the conservation of the Nimrud ivories in Iraq.

Terry Drayman-Weisser (left) and Jessica Arista (right) working to assess the condition of one of the Nimrud ivory objects treated during the Bank of America Art Nimrud Ivory Conservation Project in March 2012.

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MUSEUM NEWS

GRANTS HELP SUPPORT SPECIAL PROJECTS AT THE WALTERS

CHALLENGE GRANT MATCHED FOR CONSERVATION SCIENCE FROM THE ANDREW W. MELLON FOUNDATION In 2009 the Walters received a $1.5 million challenge grant from the Mellon Foundation, to be met dollar for dollar, to establish a permanent endowment to support a department of Conservation Science. With a $1,000,000 gift in memory of Mr. and Mrs. Hervey S. Stockman; a $250,000 donation from Mr. and Mrs. John R. Rockwell; and an anonymous grant of $250,000, the challenge was met in June 2012, providing $3,000,000 to endow the department. The Conservation Scientist advises on and carries out analysis for conservators and curators, collaborates on in-depth technical and analytical investigations, and carries out independent research projects.

Glenn Gates joined the Walters as Conservation Scientist in early 2010.

He was previously Head Research Scientist at the Detroit Institute of Arts, and his post-doctoral training was at the Harvard University Art Museums.

NATIONAL ENDOWMENT FOR THE HUMANITIES AWARDS TO DIGITIZE MANUSCRIPTS The Walters received a grant of $265,000 to digitize and distribute 112 illuminated medieval manuscripts.

This third grant from NEH for this purpose enables the museum to continue its ambitious initiative to

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make accessible fully cataloged digital surrogates of its manuscripts. Beginning in 2008 with a $307,500 NEH Preservation and Access Grant to digitize its Islamic manuscripts, and continuing with another NEH grant of $315,000 in 2010 for Parchment to Pixel: Creating a Resource of Medieval Manuscripts, to digitize the museum’s Armenian, Byzantine, Dutch, English, Ethiopian and German manuscripts, the Walters shares digital surrogates of manuscripts that are “page-turnable” through the Walters’ Works of Art site at art.thewalters.org. The 2012 grant funds a three-year project, Imaging the Hours: Creating a Digital Resource of Flemish Manuscripts, to digitize 45,000 pages of hand-written text with over 3,000 pages of illumination from the 13th through 16th centuries.

A highlight will be the digitization of 80 Books of Hours—prayer books for personal devotion—which were the “bestsellers” of the Middle Ages, often sumptuously illuminated in gold and painted by master illustrators. According to Project Director and Curator of Manuscripts and Rare Books William Noel, the Walters plans to digitize its entire collection of 850 medieval manuscripts in order to share these little-seen, fragile resources with scholars and the public. Images are available for download at thedigitalwalters.org.

IMLS CONSERVATION SUPPORTRETROFITTING CASEWORK PHASE II This spring the Walters was awarded a second Conservation Project Support grant from the Institute of Museum and Library Services (imls) to improve environmental conditions for objects on display showing effects of indoor pollutants. Installed in 2001 in cases constructed of materials considered appropriate at that time, some objects began showing signs of deterioration from both acidic and sulfurous vapors.

In 2010 the imls awarded the Walters a two-year Conservation Project Support grant to retrofit 40 cases containing objects displaying the most need. The 2012 award continues this project into a second phase, to retrofit all affected cases and to treat 246 objects. These objects vary in material and culture and include ancient Greek ceramics, Roman silver and bronzes, Near Eastern silver, Egyptian bronze and faience, medieval lead badges and enamels, Byzantine and Persian silver, and early Renaissance metalwork and enamels. Thanks to this grant support, conservation staff, led

by Project Director and Senior Objects Conservator Julie Lauffenbuerger, is protecting our permanent collection by putting research into best practice.

The Walters will share important findings with conservation colleagues regarding sources of pollutants in case fabrics and the absorption of pollutants by the objects.

MUSEUM STORE Revealing the African Presence in Renaissance Europe $25 / Members $22.50 Five essays and an illustrated checklist explore the varied social roles and contributions of Africans and their descendents in Renaissance Europe as revealed in compelling paintings, drawings, sculpture and printed books of the period. This beautifully illustrated publication, edited by the exhibition’s curator, Joaneath Spicer, accompanies the exhibition at the Walters.

Ethiopian Notecards from the Walters $18.95 / Members $17.05 The art of the Christian kingdom of Ethiopia is represented by beautiful metalwork crosses, illuminated manuscripts, and painted icons that were used in the rituals of the church. These cards illustrate examples of some of that art from the collection of the Walters Art Museum, which has the largest collection outside Ethiopia itself.

New Eyes on America: The Genius of Richard Caton Woodville $25 / Members $22.50 Richard Caton Woodville, who died tragically in 1855 at the age of thirty, left behind a small body of work, of which the largest holding is in the American collection of the Walters Art Museum. Woodville has retained a privileged place in the American canon for his insightful, exquisitely composed and often humorous works. Accompanying the first monographic exhibition of Woodville’s paintings since 1967, this book brings together the artist’s known paintings and many works on paper, including several recently discovered works.

Susan Kinzig Bracelet $349.95 / Members $314.95 Much like the Renaissance thirst for new markets and the exploration of diverse cultures and ideas, Susan Kinzig is inspired by the discovery of new techniques and materials. Adorned with pearls and semiprecious gemstones, warm, rich colors and surface textures, this exquisite sterling silver jewelry is now available in our Museum Store.

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MUSEUM NEWS

BALTIMORE COUNTY NIGHT AT THE WALTERS Members of the Board of Trustees and museum supporters from Baltimore County celebrated County Executive Kevin Kamenetz, the Baltimore County Council and the Baltimore County Commission on Arts and Sciences at an event on April 17. Director Gary Vikan recognized Baltimore County’s ongoing and strong partnership, which has provided critical operating and special projects grants to the Walters for many years. right: County Executive Kevin Kamenetz

HOWARD COUNTY NIGHT AT THE WALTERS On May 16, the Walters honored County Executive Ken Ulman, the Howard County Council, the Howard County Arts Council, and the residents of Howard County for the County’s support of the Walters throughout the years with a special gallery tour and reception. left: from left, Director Gary Vikan; Host Committee Chair and Walters Trustee Diana Ulman; Walters Board President Doug Hamilton; and Howard County Executive Ken Ulman right: Gary Vikan addressed the crowd at the reception

ART BLOOMS

The Walters thanks the Women’s Committee for presenting Art Blooms at the Walters: A Floral Fiesta! on April 12–15. More than 25 garden clubs provided floral interpretations of works of art presented in the Exploring Art of the Ancient Americas: The John Bourne Collection Gift exhibition. Through the efforts of this dedicated group of volunteers, the annual event raises funds that sponsor special exhibitions and support school programs. Art Blooms filled the museum with beautiful flowers and presented a fun and entertaining weekend of activities enjoyed by all! Plan to see Art Blooms 2013, April 5–7. left: Yvonne Lenz and Amy Chay, Co-Chairs of Art Blooms 2012. Photo Rachel Lea Johnson for Ambience Photogroup.

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A CONVERSATION BETWEEN FRED LAZARUS AND GARY VIKAN

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Long-time friend and colleague Fred Lazarus, President of the Maryland Institute College of Art, talked with Walters’ Director, Gary Vikan, about their three decades working together in Baltimore’s arts and cultural community. fred lazarus: Gary, what are some of the most meaningful changes in Baltimore during your tenure, and how have they impacted the Walters? gary vikan: Baltimore is a compelling place in part because the evaporation of the old authority structure has left behind a wonderful liberality. Things can happen here. For the future it is necessary to continue to break down boundaries that are characteristic of this community—boundaries of race, ethnicity, wealth, location. These are beginning to dissolve and I’m wildly optimistic about this! The implications for an institution like the Walters are for opening our doors and saying, “this is yours; you tell us how we can provide value.” fl: As an arts community what can we do in the years to come to strengthen Baltimore, and what can Baltimore do to make the arts stronger? gv: The future of the Walters and of Baltimore is about young people. The Walters and other cultural institution need to do more to draw this audience in. On the other hand, political clout and persuasion and money are necessary to boost cultural institutions that add value to the community. We need to advocate together for support. fl: You have been a strong advocate for the museum as an educational institution and for redefining the nature of education in museums.

What do you feel are some of your greatest legacies in this area? How has the Walters changed, and how have these changes influenced Baltimore?

gv: The Walters now has a culture of focusing on audience. We have been very successful in recruiting excellent educators and hiring scholars as curators who are inspired with a populist enthusiasm to connect with the new audience. If we can “privilege” the audience through education, the audience can experience a spiritual transformation. The driving message of value is “this belongs to you”: it’s our job to encourage openness and access to all. Today there’s a second Walters, a virtual museum online that has six times as many visitors as those who actually enter the museum. fl: To what extent is the museum’s future dependent on the City and to what extent can the Walters control its own destiny?

gv: We are in and of the City and part of an increasingly broad community.

We also have penetration of a global constituency. Our job now is to identify those regionally and in faraway places who care about the museum and through those relationships sustain our public service. fl: What advice would you give your successor? gv: There is a lot to be optimistic about, and the Walters and Baltimore are getting healthier by the day. I would say to the next director, when in doubt go back to the founders who formed this museum “for the benefit of the public” and who believed, as I do, in art as a transformative experience.

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WELCOME NEW TRUSTEES 2005 she has been involved in familyowned businesses and in the Baltimore arts community. Judy serves on the Walters’ Women’s Committee and co-chaired its 2009 Art Blooms, and on the Board of Trustees of CenterStage, and the Friends School.

Kris Anne Gitlin has lived in New York, Singapore and Hong Kong, is a former assistant district attorney in New York State, and holds a BA in history and art history from the University of Rhode Island and a JD from the Jacob D. Fuchsberg Law Center of Touro College. She is a Walters Docent and community volunteer. When she moved to Baltimore five years ago, Kris was drawn to the Walters because, for her, the Walters is the perfect way to volunteer in the community, work with local children and learn more about art and history.

Judy Witt Phares holds a BA in international relations and French from Tufts University and an MBA in marketing from Columbia University.

She has worked in advertising in New York and at Citibank in New York and Baltimore. In 1994 she joined the Baltimore Symphony Orchestra as associate director of marketing. Since

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Mark Mullin is president and CEO of Transamerica Corporation and member of management board of AEGON, NV. He holds a BA in English and international business from LaSalle University and the University of Fribourg (Switzerland) and a MS in finance from Loyola University, Baltimore. Mark and his family enjoy all sorts of cultural experiences (art, music, travel), which make life more interesting and rich.

Rebecca Lawson has been a Walters Docent since 2005 and is beginning a two-year term as president of the Docents. She graduated from Wellesley College with a BA in biolog-

ical sciences, and earned an MS in information systems and technology from Johns Hopkins University.

Rebecca worked as a software project manager with a pharmaceutical company in North Carolina, where she lived for 20 years before moving to Baltimore. She has been a volunteer computer tutor for school children and adults, and has served as communications or financial officer for a variety of community organizations.

An avid sailor, she enjoys exploring the quiet and beautiful places of the Chesapeake Bay.

Judith Van Dyke is a Phi Beta Kappa graduate of Wellesley College with a degree in art history. She served as director of education at the Maryland Historical Society and as a board member of the Baltimore Choral Arts Society and the Baltimore Commission for Historical & Architectural Preservation. Judy is a past member of the Walters Board of Trustees, having served as chair of the Women’s Committee, and is an enthusiastic gardener, traveler and grandmother of four.

THANK YOU! The Walters Art Museum extends its sincerest thanks to the individuals, corporations and foundations who joined the Annual Giving Circles in fiscal year 2012 (July 1, 2011–June 30, 2012) with membership gifts of $250 or more. Through the generosity of our donors, we are able to maintain the highest standards and enable all to be touched by art. Thank you very much!

Upgrade your membership to the Sustainer level ($250–499) or above to receive enhanced benefits including an invitation to a behind-the-scenes tour and reception with museum staff. Call Julia Keller at 410-547-9000, ext. 314, or email jkeller@thewalters.org Dr. Cynthia Amitin & Dr. Steven Ludwig Dr. & Mrs. Charles J. E. Arnold Ms. Brenda K. Ashworth & Mr. Donald F. Welch Dr. & Mrs. Shahid Aziz Dr. & Mrs. Frank H. Baker Mr. & Mrs. Gregory F. Ball Drs. William & Hilda Bank Ms. Melissa Beattie Dr. & Mrs. Bruce W. Berger Mr. & Mrs. Alan Bernstein, Jr. Drs. Thomas G. & May H. Blanchard Dr. & Mrs. Mordecai P. Blaustein Mr. & Mrs. William R. Bonner Mr. Claude A. Bowen & Ms. Suzanne Pfiftis Mr. & Mrs. Charles P. Boyce III Mr. & Mrs. Livio Broccolino Mr. & Mrs. Lawrence Brown Mr. Brian Caffo Mr. & Mrs. Anthony M. Carey Mr. & Mrs. Donald W. Carroll, Jr. Ms. Margaret M. Carthy Mr. Edward Thomas Collins, Jr. Mr. Keith M. Counsell Dr. & Mrs. Walter E. Dandy Dr. & Mrs. Thomas J. DeKornfeld Mr. & Mrs. J. Van Lear Dorsey Mr. & Mrs. Earl J. Dotterweich Mr. Henry E. Dugan, Jr. & Ms. Caroline A. Griffin Dr. Paul A. Eder Ms. Mary P. Edgar Mr. & Mrs. Ron Erdman Mr. & Mrs. William A. Feustle, Jr. Ms. Katherine L. Flynn Mr. & Mrs. Newton B. Fowler III

Mr. & Mrs. Robert I. Haber Ms. Mona Hajj Mr. & Mrs. David Hamburger Mr. & Mrs. Frank O. Heintz Mr. & Mrs. Scott Helm Mr. Philip Hodge Mr. Alan J. Hoff Mr. Yerby R. Holman Mr. & Mrs. Philip C. Iglehart Dr. Mark Jaffee Dr. & Mrs. Walter E. James Ms. Donna J. Janssen & Mr. John J. Knox Ms. Aline Johnson, Ms. Lonnie Sue Johnson & Ms. Margaret Johnson Dr. & Mrs. Peter W. Kaplan Mr. & Mrs. Howard Kass His Eminence, William Cardinal Keeler Mr. & Mrs. Michael J. Klein Mr. & Mrs. Louis J. LaBorwit The Marilyn R. & Robert C. Levin Fund Mr. & Mrs. Keith W. Lewis Mr. & Mrs. Richard W. Lombardi Mr. & Mrs. Jason C. Martin Dr. Wendy Matt & Dr. Sukumar Balachandran Mr. & Mrs. Jordon L. Max Mr. & Mrs. John S. McCleary Ms. Michael R. McMullan Mr. & Mrs. Christopher R. Mellott Mr. David G. Mock Ms. Michelle C. Moga The George & Angela Moore Foundation Ms. Virginia W. Naylor & Mr. James L. Potter, Jr. Mr. & Mrs. Andrew Gage Nichols Mrs. Harriett W. Nusbaum

The Aubrey “Skip” Pearre IV Fund Mr. & Mrs. Gerard A. Perseghin Ms. Martha Custis Peter Mr. & Mrs. Arthur O. Pittenger Mr. John M. Prugh Mr. Eric S. Richter Dr. & Mrs. James L. Robotham Dr. Holger Roggelin & Dr. Alexandra Mattern-Roggelin Ms. Suzanne M. Royer Miss Carolyn Senor Rusk Mr. & Mrs. Sheldon Sandler Ms. C. B. Sayers Dr. Thomas M. Scalea Dr. Alan R. Schwartz & Dr. Carla Wolf Rosenthal Mr. Gregory Sesek Mr. & Mrs. Brian M. Sheahan Mr. & Mrs. John R. Sherwood III Mr. & Mrs. Donald L. Sickler Dr. & Mrs. Edward M. Sills Mrs. Kristine A. Smets & Dr. Michael J. Booth The Honorable James T. Smith & Mrs. Smith Mrs. Eleanor L. Solomon Dr. & Mrs. W. Reid Thompson Mr. & Mrs. Stephen Tillinghast Mr. & Mrs. Nicholas Tsakalos Ms. Sharon K. Tucker Mrs. Mildred L. Tyssowski Mr. & Mrs. Horace D. Usry, Jr. Ms. Katherine L. Vaughns Mr. & Mrs. Nicholas Visser Mr. & Mrs. J. W. Thompson Webb Dr. & Mrs. Robert J. Wicks Mr. & Mrs. Alan D. Wilson

Mr. & Mrs. Maurice H. Furchgott Mr. & Mrs. Francis X. Gallagher, Jr. Mr. & Mrs. Charles Richard Gamper, Jr. Mr. & Mrs. Adam A. Gross Dr. David Granite & Dr. Mary Lou Oster-Granite

Ms. Joan W. R. Orso Mr. Victor M. Pagan & Ms. Deirdre L. Plauson Mr. & Mrs. Stanley I. Panitz Mr. & Mrs. William D. Pantle Mr. & Mrs. Timothy E. Parker Mr. & Mrs. Braddock L. Parks

Ms. Ann Wolfe Mr. David G. Wright H&S Bakery / Mr. John Paterakis P.M.S. Parking

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MUSEUM NEWS

New Walters Members Membership Totebag & Card Our special thanks to you when you renew your annual membership at the Walters. With your new membership card we will send you a coupon to redeem for the new Walters totebag bearing the Walters logo. Be sure to bring the coupon to the Visitor Services desk in the Centre Street lobby on your next visit to the Walters, and pick up your totebag.

Beginning in July we switched to a new longer-lasting Walters Membership card. Be sure to carry yours when you visit to receive your Member’s 10% discount in the Museum Store.

Lend a Hand The Development Division seeks volunteers to help with “friend-raising” as well as fund-raising. We need “phoners” to contact our many faithful members to thank them for their support and update them on what’s happening at the Walters; phoning from our office or on your schedule from home. If you prefer to meet and mingle, we need “greeters” to welcome newcomers to evening events. More opportunities arise monthly. To get on our roster, please call Judith Dressel at 410-547-9000, ext. 311, or email jdressel@ thewalters.org.

Thank you for your generous support!

Each year, more than 38,000 students visit the Walters. Bus loads of children pour through our doors; they learn about history and culture through interactions with art; they create sculptures and paintings and form lasting memories.

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Overall, the Walters educational programs reach nearly 100,000 people a year.

But what is so important about arts education? How does art prepare you for the world? In short, it is a tool for developing intellectual and social skills. Students who participate in the arts demonstrate improved academic performance and lower drop-out rates. Arts education advances cognitive development, which includes problem solving and overall intelligence. Furthermore, it improves social behavior, communication skills, self-esteem and confidence. The arts make school a place where students want to learn, and teachers want to teach.

The Walters is dedicated to creating a place where people of every background can be touched by art. You may be familiar with the term Title 1. It is a federal designation for schools serving a significant percentage of children receiving free or reduced-cost lunches. The Walters reaches over 9,000 students from Title 1 schools through tours, outreach and hands-on activities. Each year the Walters allocates over $30,000 bus to Title 1 students to the museum for tours and educational programs with the generous support of the Women’s Commitee.

Our programs and exhibitions are made possible by the support of our members and donors. When we instituted free admission in 2006, we knew we were taking a risk. Your support reminds us that we made the right choice. Thank you for joining our mission to bring people and art together for enjoyment, discovery and learning.

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THE PARTY! OCTOBER 13, 8 P.M.–MIDNIGHT

JEWELRY FAIR AT THE WALTERS 2012 NOVEMBER 4–6 The Women’s Committee of the Walters presents the annual Jewelry Fair. Each Fall, Jewelry Fair showcases more than 20 of America’s finest jewelers in the spectacular Sculpture Court.

Activities include an opening-night party, a lecture and verbal appraisals by an Antiques Roadshow expert, a children’s jewelry-making workshop, a treasure hunt and a vintage jewelry boutique. For more information, visit wamwc.org.

Experience the glitz and glamour of the HEADLINE HERE museum after dark at this year’s pARTy

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Tickets are limited. Cocktail or Vegas Valet Parking.

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Purchase tickets at thewalters.org/gala

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THE WALTERS GALA 2012: A SALUTE TO GARY VIKAN OCTOBER 13, 6 P.M.–MIDNIGHT Don’t miss Baltimore’s most elegant evening to toast Director Gary Vikan’s nearly three decades of service to the Walters Art Museum. Enjoy this rare opportunity to dine among the splendors of the collection, followed by music and dancing on the Sculpture Court. This special evening will raise funds essential to the museum’s operation.

To reserve a table or purchase tickets, please contact Anne Berman, Special Events Manager, at aberman@thewalters.org, or 410-547-9000, ext. 212.

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

New Eyes on America: The Genius of Richard Caton Woodville March 10–June 2 Members’ Opening Saturday, March 9

Coming in March 2013! Don’t miss this exhibition on the enigmatic Baltimore-born artist. Richard Caton Woodville (1825–55) produced jewel-like American scenes with often humorous views of contemporary life, realistic depictions of interiors and narrative details that bring pre–Civil War America to life for us today. The exhibition includes his early work in Baltimore and in the expatriate artistic community of Düsseldorf, where he observed the political upheavals of the 1840s. Organized by the Walters and drawn from its own holdings and from other collections, the exhibition will include newly discovered works and the results of extensive technical research.

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