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access WOR C ESTER ART M U SEU M

fall/winter 2018


contents

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From the Director

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The Poetry of Nature: Hudson River School Landscapes from the

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Preserved Pages: Book as Art in Persia and India, 1300-1800

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Connecting communities and cultures through art

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New life for La Farge’s Peacock Window

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Art acquisitions diversify and enhance WAM’s collection

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2018-19 Master Series

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Tours and programs

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Membership and giving

New-York Historical Society

Cover: Asher Brown Durand (1796–1886), Catskill Clove, N.Y., detail, 1864. Oil on canvas. The New-York Historical Society, Gift of Nora Durand Woodman, 1932.14

Left: Persian, An Irate Camel, 17th century, opaque watercolor, ink, and gold metallic paint on paper, Bequest of Alexander H. Bullock, 1962.185

access magazine is a publication of the Worcester Art Museum. All rights reserved. Information subject to change. Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Designer: Kim Noonan Photographers: Stephen Briggs, Norm Eggert, Scott Erb, Julieane Frost, Kim Noonan, Dany Pelletier Contributing Writer: Rae Padilla Francoeur

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from the director It has been 120 years since the Worcester Art Museum opened in 1898! While our mission, “to connect people, communities, and cultures through the experience of art,” hasn’t really changed over those years, our collection has. We started with plaster casts of masterworks from Europe and have since added some 38,000 art works from all over the world.

Thanks to generous gifts and with the help of various endowment funds, our collection keeps growing. Every acquisition is made strategically, making sure that we keep connecting people with an ever-changing world. This year, we bought three major works, including a stunning self-portrait by German Impressionist Max Slevogt, which is already on view. The other two will be put on view shortly: Bhati Kher’s table with small scale figurines from popular Indian religious cultures and Stan Douglas’s monumental and haunting black-and-white photo montage of a crime scene in Canada.

While we acquire the works of a highly diverse range of artists to broaden the scope of our collections, we also work with artists from all over the globe. Thanks to our collaboration with the Southeast Asian Coalition and the Indochina Arts Partnership, we were able to provide two people from Vietnam with a month of unrestricted art making and idea sharing with Worcester artists and local Southeast Asian refugees and immigrants. This new artistin-residency program is an extraordinary chance for the artists to create and share freely their art with our community. In October, we open Preserved Pages: Book as Art in Persia and India, 1300-1800, an exhibition that highlights not only this important art tradition, but also the rich cultural heritage of the Islamic world—and builds meaningful connections with our Muslim friends and neighbors.

Looking at the world goes hand-in-hand with supporting our local art community. One example is our Central Massachusetts Artist Initiative, which expands our ongoing commitment to the artists living and working throughout the region. Beginning with painter John Pagano in December 2017 and continuing now with photographs by the late Tony King (on view through November 11), these six-month wall rotations in the Rose Gallery help us connect visitors with the extraordinary talents of artists in our midst. Additionally, works by James Dye, Sally R. Bishop Prize Winner of the 2017 ArtsWorcester Biennial, were shown in a gallery exhibition from April to September 2, 2018.

The realization of our mission is not possible without a solid financial foundation. We will end this fiscal year with a balanced budget, growth in our endowment, and a reduction in the amount we spend from our endowment. I am grateful to all who believe in and support the Worcester Art Museum. It is only through the commitment and hard work of our Board of Trustees, Corporators, Members, and dedicated staff—as well as our amazing, diverse, and inspiring community—that the Museum can serve its community. Thank you all!

Matthias Waschek C. Jean and Myles McDonough Director

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WORCESTER ART MUSEUM

Board of Trustees 2017-2018

Lisa Kirby Gibbs, President James C. Donnelly, Jr., Vice President Mark W. Fuller, Vice President Lisa H. McDonough, Vice President Thomas P. McGregor, Treasurer Susan M. Bassick Sarah G. Berry Karin I. Branscombe Catherine M. Colinvaux Gabriele M. Goszcz Jennifer C. Glowik Abraham W. Haddad Andrew T. Jay Rachel Kaminsky Arthur G. Kentros Dana R. Levenson Patricia S. Lotuff Philip R. Morgan Michael V. O'Brien Marc S. Plonskier Malcolm A. Rogers John Savickas Anne-Marie Soullière

Ex Officio Matthias Waschek, The C. Jean and Myles McDonough Director of the Worcester Art Museum

Image right: Bharti Kher, A Vegetarian Lion, A Slippery Fish, detail, 2013, acacia, plaster and paint, Museum Purchase through the Eliza S. Paine Fund, Sarah C. Garver Fund, Harriet B. Bancroft Fund and the Alexander H. Bullock Fund, 2018.36


Louisa Davis Minot, Niagra Falls, 1818, oil on canvas, The New-York Historical Society, Gift of Mrs. Waldron Phoenix Belknap, Sr., to the Waldron Phoenix Belknap, Jr., Collection, 1956.3

America’s magisterial mountain peaks, thunderous waterfalls, and spectacular autumnal foliage inspired a loosely connected group of 19th-century painters and like-minded poets and writers to set their sights and their brushes towards the landscape. From the panoramic scenes atop iconic peaks to the secluded vignettes of woodland streams, artists expressed the enchantment and reverence of their local environment and forged the first distinctly American artistic style. Initially dubbed the “Hudson River School” by a disparaging critic for what was perceived as a myopic perspective, the moniker has since come to represent a celebration of the American environment. Never an official “school,” these artists often worked in and around the Hudson River Valley in upstate New York inspiring a reverence for nature akin to spiritual renewal and evoking an expression of cultural and national identity.

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exhibitions The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society September 8 – November 25, 2018

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ur fall exhibition, The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society provides a lush survey of the Hudson River School style with some 40 paintings by 25 artists from 1818 to 1886. Enriched further by each artist’s personal vision, the exhibition also offers an opportunity to explore how a group of artists, through their social and professional networks in New York City and at their favored sketching grounds, established this unique American artistic tradition. Drawn from the renowned collection of the NewYork Historical Society, these paintings speak powerfully to the Hudson River School’s poetic exultation of nature.

Often referred to as the “founding father” of the movement, English-born Thomas Cole adapted British Romanticism for the New World. Perhaps in comparison to the grim sight of the Industrial Revolution abroad, Cole found the American landscape an idyllic respite. Within this sublime scenery, Cole experienced the popular nineteenth-century belief that the divine existed in nature—a concept that would eventually spur the American conservation movement. Transfixed by the sight of unadulterated natural wonder on an 1825 trip to the Hudson River near the eastern Catskill Mountains, the largely self-taught artist sketched his rendition of an idealized reality represented in Catskill Creek, New York. Engraver Asher B. Durand discovered Cole’s Catskill landscapes in a New York City bookseller’s window, and Cole quickly ascended the ranks in New York’s cultural elite, soon becoming one of the founding members of the National Academy of Design. Through Durand’s association with Cole, he abandoned printmaking for landscape painting, advocating for detailed studies of nature derived from painting outdoors or en plein air.

Following Cole’s death in 1848, Durand assumed a leading role in the Hudson River School and established the leading aesthetic in nineteenth-century America. During his summer sketching tours to the Hudson River Valley and the Catskills, Durand would execute meticulous studies of forest interiors, copse of trees, and moss-covered rocks that critics heralded for their accuracy and close examination of nuanced forms over expansive vistas. Study from Nature: Rocks and Trees and Black Birches, Catskill Mountains are examples of Durand’s fidelity to nature in this exhibition. Durand would leave a lasting influence on a second generation of Hudson River School artists such as William Trost Richards, Thomas Hotchkiss, and Mary Josephine Walters (the latter was Durand’s only female student) toward depicting American scenery through intimate settings.

Although many artists affiliated with the style worked in the Hudson River Valley, several also sketched in adjacent regions, such as the Adirondack and White Mountains, taking refuge from urban centers. Coinciding with the emergence of domestic

tourism, the artists of the Hudson River School contended with a rapidly changing landscape. As part of a living legacy, the Hudson River School left a lasting impact on how Americans viewed the scenery as a national treasure to be preserved. This new perspective laid the foundation for the national system of parks that millions of people from across the globe enjoy today. — Erin R. Corrales-Diaz, Assistant Curator of American Art

Opening Party: Friday, September 7, 5:30-8:30pm Tickets at worcesterart.org

This exhibition has been organized by the New-York Historical Society

Lead Sponsor: Skinner Auctioneers Supporting Sponsors: Cole Contracting, Inc. and Imperial Distributors, Inc.

AUCTIONEERS & APPRAISERS

INTRODUCING

Erin R. Corrales-Diaz, Assistant Curator of American Art

Erin R. Corrales-Diaz, PhD, has joined WAM as Assistant Curator of American Art, a position generously supported by the Andrew W. Mellon Foundation. Before coming to Worcester in May, CorralesDiaz held dual posts as Curator of the Johnson Collection and Visiting Scholar at Wofford and Converse Colleges in Spartanburg, South Carolina. Her curatorial projects included the exhibitions, To Teach Is To Learn: Lessons in African American Art of the South, Southern Roots: Selections of Self-Taught Art from the Johnson Collection, and A Process of Learning: Educating the Avant-Garde at Black Mountain College. Prior to moving to Spartanburg, Corrales-Diaz held the post of curatorial fellow at the Shelburne Museum in Vermont. She also has extensive experience teaching, researching, and editing in projects related to American art, including serving as researcher and art historian on the digital humanities project at University of North Carolina: Commemorative Landscapes of North Carolina. Corrales-Diaz received her doctorate from the University of North Carolina, Chapel Hill, completing a dissertation titled “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915.” She earned a master’s degree from Williams College, following undergraduate work in art history at the University of Washington, Seattle.

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exhibitions Preserved Pages: Book as Art in Persia and India, 1300-1800 October 13, 2018 – January 6, 2019

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he year 1935 was a pivotal one for the Islamic art collection at the Worcester Art Museum. Previously the Museum had made a few notable purchases of Persian ceramics and miniature paintings and in 1913 exhibited a private collection of Persian carpets and textiles. However, in 1935 WAM fortuitously purchased a major group of 25 Persian and Indian illustrated folios, 20 of which were from the important collection of the Paris art dealer Georges Demotte (1877-1923). The group included some of the finest examples of the Islamic miniature painting tradition that remain renowned treasures in the Museum’s collection to this day.

Many of these illustrated folios will be featured in the fall exhibition Preserved Pages: Book as Art in Persia and India, 1300-1800 (October 13, 2018 - January 6, 2019), organized by guest co-curators Hannah Hyden and David J. Roxburgh of Harvard University. The exhibition introduces the two main contexts for image making in premodern Islamic Iran and India—books and albums. Drawing on these disbound and dispersed painted pages, which once were part of a manuscript or independent paintings compiled in an album, the exhibition explores the spread and development of the Islamic art of the book from the Mongol invasions of the mid1200s through the 1800s.

Among the 40 works that will be on view in Preserved Pages, one of the most notable is the rare Bahram Gur Hunting Wild Ass, a page from the landmark fourteenth-century manuscript, the Great Mongol Shahnama. The Shahnama, or literally the Book of Kings, is a famous epic poem penned by the renowned Persian poet Firdusi in the early eleventh century. Describing the numerous histories and legends of ancient heroes and kings of pre-Islamic Iran, the contents of the Shahnama became attractive to subsequent rulers, who commissioned lavish manuscripts of the poem. The Great Mongol Shahnama is the oldest and most elaborate surviving manuscript production of the Shahnama and is the largest early book in the Islamic miniature tradition.

Made by the best calligraphers and artists at court during the prosperous Ilkhanid period (1256-1353)—when the Mongols ruled much of East and West Asia and had contact with

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Europe—the monumental Great Mongol Shahnama distinctively reflects the remarkable cultural exchange enjoyed at the time. The miniature paintings illustrating the text demonstrate a combination of Iranian costume conventions, Chinese landscape elements, and European compositional techniques. WAM’s folio, Bahram Gur Hunting Wild Ass, shows the famed Sassanian king Bahram Gur (r. 430-438 AD), a legendary hunter. Before it was purchased by the Museum, this page was part of the groundbreaking 1931 International Exhibition of Persian Art at the Burlington House in London.

The Great Mongol Shahnama is also known as the Demotte Shahnama, not only because it was once in the art dealer’s possession but also because of his role in its eventual dispersal. Demotte had bought the bound manuscript in Paris. When he could not find a buyer willing to pay his desired price, Demotte took apart the manuscript in the 1920s and split pages with illustrations on both sides in order to sell the two leaves separately. He also attached unrelated text pages on the backs of undamaged split leaves or commissioned calligraphers to create new text and to touch up the existing text. The original Great Mongol Shahnama is believed to have consisted of two volumes that contained about 280 pages and 190 painted illustrations. Today only 58 illustrated and several text pages survive in various public and private collections, including WAM.

While the dispersal of Islamic manuscript and album folios over the centuries (whether due to natural circumstances, personal tastes, or commercial incentives) has allowed more people to see them, the irreversible alterations change how contemporary viewers can study and understand Islamic art. Art historian Oleg Graber once wrote that collecting is a “responsibility to all those who, for whatever reason, cannot collect but have a sensory or intellectual concern for beauty and for history.” With Preserved Pages: Book as Art in Persia and India, 1300-1800, the Worcester Art Museum is committed to continuing its collecting purpose to share with the public the most exceptional artworks from the Islamic world. —Vivian Li, Associate Curator of Asian Art and Global Contemporary Art

Image right: Persian (Tabriz), Ilkhanid dynasty, Bahram Gur Hunting Wild Ass, from the Great Mongol Shahnama of Firdausi, about 1335-36, opaque watercolor on paper, Jerome Wheelock Fund, 1935.24


community

Connecting communities and cultures through art Batul Juma, Al-Hamra Academy

Indian, from the area of Punjab Hills, The Storm, detail, about 1760–1770, opaque watercolor on paper, Gift of Alexander H. Bullock, 1656.3

For Batul Juma, an art teacher at AlHamra Academy in Shrewsbury, the exhibition Preserved Pages: Book as Art in Persia and India, 1300-1800, is an opportunity to expose her students to their creative heritage. “Many of my students are of South Asian background (Indian, Pakistani, Sri Lankan), but have never seen art from their cultures,” she explains. “It will be exciting for them to see works from their heritage and a great conversation to have with their parents.”

Preserved Pages showcases works on paper in the WAM collection that explore the abundant tradition of art making in books and albums in Islamic societies. The works are richly detailed and colorful pages that will appeal to Juma’s students. They depict a variety of animals; dramatic hunting and battle scenes; portraits of elegant noblemen and women, as well as ordinary people; scenes of daily life, such as students being taught under the watchful eye of their school master; and literary illustrations, such as The Fate of the Shepherd Who Diluted Milk, from a 13th-century Iranian poem.

Juma, who brings her students on field trips to WAM, hopes they will make a personal connection to the art in Preserved Pages. “South Asians, Iranians, Arabs all have their own cultures and think they are different, but everyone is rooted in the same beliefs,” she says. “Maybe when they see both religious and secular works of art from other Muslim cultures, they’ll find commonality and paint a broader, more complete picture of the world. Not just for my students, who are mostly Muslim, but also for non-Muslims.”

Juma’s own family background illustrates the diversity of Muslims around the world. Hailing from Indian heritage, multiple generations of her family lived in East Africa, ultimately emigrating from Uganda to the United States in 1972. Born and raised in Houston, Texas, she considers herself an American, through and through. “I hope this exhibition shows that we are ordinary people, who have a very rich background. We all have art, poetry, and literature.”

Batul Juma, a volunteer with EnjoinGood, an organization dedicated to dispelling the fear and hatred that leads to violence, is also part of a team of teachers that developed a curriculum around the exhibition for Worcester Public School middle and high school students. This curriculum will contribute to the new Massachusetts Core Curriculum Standard for World Religion and History.

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Virginia Powell-Brasier, Worcester Art Museum docent

Ginny Powell-Brasier has been a WAM docent since 2009. Over the course of nearly a decade, she has introduced hundreds of students and adults to the Worcester Art Museum collection as a passionate believer in making connections between art and people’s lives. “Art is universal. The past can also be the present,” she explains. “We can learn about our own ‘present’ by looking at that of others. What is your ‘present’ if you are Muslim or Jewish or Christian? With enough digging below the outer layers, we get to the core and find our common humanity. Art is the tool, the shovel, to help us do the digging.”

To illustrate, Powell-Brasier tells the story of her most meaningful experience as a docent. “I was sitting with a fourth grade group* on the floor in front of Gustave Courbet’s painting, Woman with a Cat. One girl, who was quite small, sat outside the circle. As we talked about the painting, how the woman holds the soft, fluffy cat as if it were a baby, the girl moved closer and asked if she could sit on my lap. I looked at the teacher, who said it was okay, and the girl climbed into my lap. That painting touched something inside this little girl, so that she wanted to be the cat.”

* Every Worcester Public School fourth-grade student visits WAM each year.


Southeast Asia Artist-in-Residency program forges greater understanding Two young artists from Vietnam will arrive at the Worcester Art Museum in late August to take part in a month-long, highly anticipated residency program that many expect will bring about meaningful connections between people and cultures. Those who’ve worked long and hard for this groundbreaking collaboration among artists, cultural agencies, and WAM hail it as a significant stride toward greater cultural understanding and support. As part of their activities in Worcester, the two young artists—one from the north and one from the south— will meet not only fellow artists and members of the Worcester community, but also Southeast Asian refugees and immigrants who came to Central Massachusetts after the Vietnam War.

These artists and refugees have much to share with each other, says Anh Sawyer, Executive Director of the Southeast Asian Coalition of Central Massachusetts. The Coalition, along with the Indochina Arts Partnership, helped make this

Li traveled to Ho Chi Minh City (formerly Saigon) and to Hanoi. Among the artists she met were Nguyễn Thế Sơn. He is a professor of fine arts in Hanoi who studied photography in Beijing. Fascinated by life on the streets, especially the ubiquitous, ever-toiling, low-wage earners who are so easily overlooked, Thế Sơn uses his photography to create largescale, layered and sculptural dioramas that reflect his street experiences. He intends to do similar work once he arrives in Worcester. This trip is his first to the United States.

Nguyễn Kim Tố Lan is a multidisciplinary artist in in Ho Chi Minh City, who helped found Sao La Collective, an independent art collective in the southern region of Vietnam. Community oriented, she and fellow artists have been working toward a multiform "art" approach and creating more public engagement. According to Sawyer, the residency program will give Tố Lan and Thế Sơn one month of complete artistic freedom to express their creativity without worry. “This is their opportunity to have total freedom without fear. Life for them is a survival game, not unlike what the Vietnamese here have experienced.”

“I’m very excited,” she says. “We are putting two far corners of the earth together to bring forth peace, beauty, understanding, and forgiveness. Through art, we will forge a greater understanding.”

Nguyễn Kim Tố Lan

Nguyễn Thế Sơn

residency program happen. Ravaged by war and lacking even the most basic resources when they arrived in the United States, Worcester’s Vietnamese population has worked for decades to overcome war-related trauma and stigma. In turn, the artists in Vietnam have struggled, as well, to make art in a country that limits and, at times, punishes artistic expression.

“WAM is very progressive to have made this arts residency happen,” says Sawyer. An entrepreneur, fashion designer and cultural liaison, Sawyer works with the large Southeast Asian population in the Worcester region, 65 percent of whom are Vietnamese. Many, like Sawyer, fled Vietnam during or right after the war.

One of the Museum’s key responsibilities, says Vivian Li, Associate Curator of Asian Art and Global Contemporary Art at WAM, “is to connect the Museum to the community and give people new ways to learn and explore. This residency program came about with our partners who are also very interested in bringing art and people together.”

Southeast Asian Artist-in-Residency August 20 – September 21, 2018

During their residency at at WAM, WAM, artists artists Nguyễn NguyễnThế ThếSơn Sơn and and Nguyễn Nguyễn KimKim Tố Tố LanLan willwill hold hold weekly, weekly,drop-in drop-instudio studio open houses open houses for the forpublic, the public, give give artistartist talkstalks to area to area youth, youth, engage with engage Art Alternatives—a with Arts Alternative—a partnership partnership with the juvenile with the court system—and juvenile court participate system—and in the participate StART oninthe theStreet StART festival on on September the Street festival 16. Related on September special 16. events Related include special a Third Thursday events include program a Third onThursday September program 20 and on September farewell party, hosted 20 and farewell by the Sprinkler party, hosted Factory by the in Worcester, Sprinkler Factory on September in 21. Worcester, For full details, on September visit worcesterart.org/events/se-asia-artists21. For full details, visit worcesin-residency. terart.org/events/se-asia-artists-in-residency. The Southeast Asia Artist-in-Residency Artist-in-Residency is is co-organized co-organized in in partnership partwith nership the with Indochina the Indochina Arts Partnership Arts Partnership and the Southeast and the Southeast Asian Coalition Asian of Central Coalition Massachusetts, of Central Massachusetts, and is supported and isby supported the Worcester by the Arts Worcester Council, a Arts local Council, agency supported a local agency by the supported Massachusetts by the Cultural Massachusetts Council, a state Cultural agency. Council, a state agency.

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conservation

New life for La Farge’s Peacock Window

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ehind the scenes in the Conservation Lab, Amanda Chau was embroiled in a mystery. The Andrew W. Mellon Fellow in Objects Conservation at WAM was looking at tiny pieces of glass in John La Farge’s prized Peacock Window. The most experimental of his stainedglass windows, in which he abundantly employed fused glass techniques, was also his most curious. It was her job to get to the bottom of many questions surrounding this notable work before she began her assignment: restore and conserve the 110-year old window.

WAM purchased the 20 x 40-inch window from La Farge himself in 1908, just two years before the artist died, and exhibited it in the American Galleries for decades. Time and ambient conditions took their toll. A century and some years later, the work fell under the scrutiny of our conservation staff, along with scientists from around the country.

Before Chau could begin working on the window, there were many questions to answer: What had the artist intended? What was at first a mistake, but, later, acceptable? What was wrong and needed to be restored? And, how much of the dark and dense interior of this multilayered work of exquisite beauty was dirty and how much of it was the piling on of glass that had been cut, fused, shattered, and/or painted with purpose? The assessment process took nine months, followed by a full year of repairs and conservation.

“I love this window. It is a spectacular piece. Completing it so late in life, it was as if La Farge had nothing to lose. I have never seen anything like this before,” said Chau, who specializes in stained-glass conservation.

Indeed, La Farge had been inspired when he began the piece. “The pattern, the elaborate peacock in all of the different, rich, luxe colors came to La Farge after an Asian/South Seas excursion,” said Amanda Lett, guest curator of the year-long exhibition, Radiance Rediscovered: Stained Glass by Tiffany and La Farge. “He was among several artists of the time who were boundary pushers. James McNeill Whistler and William Merritt Chase were leaders of the aesthetic movement—art for art’s sake. They were interested in creating art that is beautiful and deep.”

Her own first encounter with the window caught Lett by surprise. “The first thing I noticed was the tail, the blue and teal. He built in just a little bit of white, with glints of gold and yellow and a little green. These glints catch your eye. They lure you.”

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John La Farge, Peacock Window, 1892-1908, stained glass, Museum purchase, 1909.11


Peonies in pinks and purples are set against the dark blue background for a sense of depth. The peacock’s feathers are arranged in a raised, circular pattern. “As you come closer, the variety and texture of the glass becomes more fascinating,” said Lett. “In the exhibition this piece is positioned next to a Tiffany window, which is flat by comparison. The La Farge has modeling and movement. In fact, this amount of texture in this kind of art is unheard of.”

Chau used various imaging techniques including RTI—Reflective Transformation Imaging. This topographical examination lets the viewer see what can’t be seen in high-resolution imagery. Scientists from SUNY Buffalo State College helped identify types of paint. And Chau noted how dust and soot had accumulated on and in the glass over the decades. As Chau’s investigations continued, she found that the shattered glass along the edges of the frame were unintentional, whereas the small pieces of shattered glass in the window itself were purposely cut and applied to produce a sparkling effect.

Once the assessment had been completed, Chau made a rubbing of the leading network so she would know precisely how the piece fitted together. The window had been cemented into the frame so she had to remove the cement and the corroded lead borders. Next she repaired the glass and replaced the lead.

A greater clarity, more depth, and a far neater presentation are among the results of the conservation. “There are no longer light leaks and distortions,” said Chau. “Now we are free to pay close attention to La Farge’s experimental techniques, knowing what we see is what he intended.”

In Radiance Rediscovered, the newly resplendent Peacock Window joins four large stained-glass windows—also recently conserved—made by La Farge and Louis Comfort Tiffany for Boston’s Mount Vernon Congregational Church. The exhibition also includes other works that highlight the artists' creative visions and techniques, as well as their aesthetic influences, from paintings and works on paper to Favrile glass. Visitors are invited to spend time in the quiet, darkened gallery and experience a respite from the hustle and bustle of everyday life, said Lett. “You can sit in front of these beautiful windows and have a spiritual, contemplative experience—a pause in your day.”

Radiance Rediscovered: Stained Glass by Tiffany and La Farge On view through July 7, 2019

Compare the techniques and artistry of Louis Comfort Tiffany and John La Farge in two sets of recently conserved stainedglass windows, originally made for Boston’s Mount Vernon Congregational Church, and on view for the first time in more than 40 years.

Radiance Rediscovered: Stained Glass by Tiffany and La Farge is generously supported by the Henry Luce Foundation. Additional support is provided by the Sherman Fairchild Foundation. Corporate support is provided by Rand-Whitney Container.

Lumina

An immersive art and light experience December 1, 2018 – January 27, 2019 Opening Celebration: Saturday, December 1, 10am-4pm

Enter a canvas of brilliant light and color and connect with works from the WAM collection in a new way! Imagine immersing yourself in a stained-glass window or Monet painting and being surrounded by—and even part of—a cascade of shimmering, radiant, moving color. Lumina is made of dozens of strips of illuminated silk that reflect projected images of some of WAM’s iconic works of art. Visitors walk through the silk and become part of the animated color and light. Perfect for all ages, it’s an irresistible setting for photographing oneself, family, and friends! Lumina is designed by artist Sam Okerstrom-Lang and Vanessa Till Hooper and produced by LuminArtz, a non-profit organization that produces the ILLUMINUS festival in Boston. Lumina is free with Museum admission. Sponsored by:

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collection Art acquisitions diversify and enhance WAM’s collection Three strategic new acquisitions reflect the Museum’s ongoing focus on growing and diversifying our collections, as well as our commitment to collecting artists of color. An early twentieth-century German painting by Max Slevogt brings balance to WAM’s European collection and bridges gaps in the pathway to Modernism. At the same time, contemporary works by Bharti Kher and Stan Douglas add to our Asian art and photographic collections. Art purchases such as these are possible because of the generosity and foresight of generations of donors to the Museum’s acquisitions endowment funds.

Stan Douglas, Bumtown, 2015, printed 2016, digital chromogenic print mounted on Dibond aluminum, Museum purchase by the Loring Holmes Dodd Fund, Theodore T. & Mary G. Ellis Fund, and funds by deaccession from the Gift of Miss Annie Sprague Weston, 2018.38. Image © Stan Douglas, courtesy of the artist and David Zwirner Gallery

flickering play of light, brings Slevogt’s signature style—and his particular interest in landscape painting—to bear on a self-portrait.

Bharti Kher, A Vegetarian Lion, A Slippery Fish, 2013, acacia, plaster and paint, Museum Purchase through the Eliza S. Paine Fund, Sarah C. Garver Fund, Harriet B. Bancroft Fund and the Alexander H. Bullock Fund, 2018.36 Max Slevogt, A Self-Portrait in the Garden at Godramstein, 1910, oil on canvas, Stoddard Acquisition Fund, 2018.33

Max Slevogt’s painting Selbstbildnis im Garten (A Self-Portrait in the Garden at Godramstein) (1910) is an important contribution to our late nineteenth- and early twentieth-century European collections and connects the monumental portrait, Lady Warwick and Her Son, by John Singer Sargent with our other holdings of Impressionism. Slevogt (1868–1932), one of Germany’s leading Impressionist painters, is often paired with artist Lovis Corinth, who is well-represented in the collection with a number of works on paper and two major paintings. This work, which relies on virtuoso brushwork to depict the

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London-born, New Delhi-based artist Bharti Kher (b. 1969) is known for her sculptures and installation pieces, many of which draw on traditional Indian cultural or ritual elements, and incorporate both human and animal forms. The installation, A vegetarian lion, a slippery fish, (2013) is an assemblage of 70 small-scale figurines, in various stages of wear and deterioration, on a wooden table. The figurines range in representation from Hindu, Jain, and Buddhist deities and saints to generic figures, such as dancers, children, and a snake charmer. The artwork reflects Kher’s ongoing exploration of how humans imbue objects, icons, and symbols with social meaning. As the first

contemporary piece from India in the collection, the work will introduce exciting new dialogue between contemporary art and WAM’s extensive holdings of Asian religious art.

Stan Douglas’s Bumtown (2015) is a large-format, photo-based chromogenic print mounted on Dibond aluminum. Saturated in blacks and grey, the work is part of a group of photographs informally known as the Night Photographs. Douglas (b. 1960) is perhaps best known for his videos and photographs that connect with lost histories and their relationship to memory. He created Bumtown by suturing archival photographs of 1940s Vancouver with advanced 3-D software called Maya, a computer program typically used in animation. The resulting Night series reinvents low-income, hardscrabble neighborhoods that once existed in Vancouver, Canada that have since been razed. Among these, Bumtown is an aerial image of a railroad traversing the water. The blurring of contemporary technology and archival photography creates an uncanny relationship between the real and the unreal, like an elaborate theater set. At approximately 10 x 5 feet, this photograph generates an immersive environment that absorbs the viewer and becomes the largest photobased object in the Museum’s collection.


Find Yourself at WAM

Works of art speak to us in different ways; sometimes we find ourselves returning to the same work over and over. We asked some WAM Members to tell us about their favorite work in the Museum’s collection.

The Shipwreck ... awe-inspiring

My favorite painting at the Worcester Art Museum is that of the The Shipwreck. It was painted by the French artist Hubert Robert. It is a large oil on canvas, from the late eighteenth century, that depicts a ship in distress near a rocky cliff, during a fierce ocean storm.

I have always found nature and her natural forces awe-inspiring. This painting illustrates many of those forces and natural wonders. The painting shows a great ship in the distance being pushed by storm winds and large waves toward its likely demise against a rocky shore at the base of an enormous cliff. Halfway up the cliff, on a small ledge, a group of people watch in horror at the plight of the vessel. The second group of people, which appears to be a family, are in the foreground of the painting trying to rescue a loved one from the swirling waters. As in life, nothing in the painting seems determined, despite its title, The Shipwreck. The ship remains upright. It may or may not strike the shore rocks. The floundering family member may or may not be rescued. The artist leaves the outcome of the dire situation to the viewer’s imagination, with the majestic cliff and its rock-strewn shore, a reminder of the ocean’s ability to destroy. I revisit this painting whenever I go to the Worcester Art Museum, to ensure that I have not missed anything.

—Thomas Logan

Hubert Robert, The Shipwreck, 1780–1790, oil on canvas, Gift of Theodore T. Ellis, 1927.34

Thomas Logan of Worcester is a long-time Salisbury Society Member and, together with Sandy Hubbard, generously supports programs and accessibility at WAM.

Golfe Juan by Paul Signac ... catches my eye every time I have a few favorites at WAM, but the pointillist work, Golfe Juan by Paul Signac, is one that catches my eye every time I walk into the gallery. The question of “How many times did he step back to review the last tiny dots of paint that were just placed on the canvas?” always pops in my head. Works by Impressionists have consistently been of interest, but with the Golfe Juan, it stands out in the Impressionist gallery amongst the other master painters (Monet, Gauguin, Renoir, etc.), perhaps because it’s different, showcasing a new style of the time, evolving the use of a paint brush. The vibrant and fluorescent colors along with effects of sun light on the harbor play tricks with your eyes, blending hues together and attempting to define what exactly you are looking at. The depth perspective accomplished also keeps me intrigued. This painting brings happiness, perhaps because it exudes the feeling of summer or a Mediterranean adventure along the water. Now, if only anyone had the time to actually count the perfectly placed dabs of paint!

Paul Signac, Golfe Juan, 1896, oil on canvas, Gift from the Chapin and Mary Alexander Riley Collection, 1964.27

—Jennifer C. Glowik

Jennifer C. Glowik is a member of the Worcester Art Museum Board of Trustees.

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ongoing/upcoming Central Massachusetts Artist Initiative

Lee Mingwei, Stone Journey, 2010, glacial stone, bronze and wood, Private Collection

Lee Mingwei: Stone Journey

The vibrant local art community now has a permanent presence at WAM. The Central Massachusetts Artist Initiative (CMAI) showcases the extraordinary and multifaceted talents of artists who live or work in the greater Worcester region with a solo installation in the Sidney and Rosalie Rose Gallery. Each year, two artists from the area will be invited by one of the Museum's curators to display a small grouping of works—alongside significant contemporary artists, such as Willie Cole, Doris Salcedo, and Alice Neel.

Chinese Gallery Opens September 26, 2018 Since ancient times humans have strived to represent or emulate the beauty of the natural world. In the Chinese literati tradition, scholars would not only decorate their studies with paintings, jades, and ceramics that portrayed the natural world outside, but they also would collect and display naturally formed rocks. What kind of object is more valuable then, the natural or man-made? And what does it mean to own an object? In Stone Journey, conceptual artist Lee Mingwei poses these questions and invites us to contemplate what we would choose.

Archaic Avant-Garde: Contemporary Japanese Ceramics from the Carol and Jeffrey Horvitz Collection Japanese Gallery Opens October 27, 2018 While artists today often look outside their immediate cultural realm for inspiration, many also study their own culture’s ancient techniques and forms. This case rotation focuses on contemporary Japan’s leading ceramicists who have explored and experimented with ancient Japanese pottery techniques and forms to invigorate their own modern creations. Featured artists range from renowned late twentieth-century potters Kamoda Shoji, Mori Togaku, and Mihara Ken to emerging stars, such as Isezaki Koichiro.

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Japanese, Haniwa of Female Shaman (Miko), Kofun Period, 3rd–6th century CE, earthenware, Alexander H. Bullock Fund, 1964.70

Tony King, Ice Cream Cowboy, 1978, printed 1979, gelatin silver print, Courtesy of the King Family

On view through November 11, 2018: Tony King Tony King (1934 - 2017) lived and worked as a photographer in Worcester for many years, detailing the lives of “everyday people” from varying socioeconomic backgrounds. This rotation features a grouping of candid portraits taken in the late 1960s into the 1970s, illustrating the diversity of his subjects. In addition, an installation of 31 photographs is hung on the walls of the Museum Café, showing the breadth of King's subject matter, which includes still-life and landscape photography. Support for this project has been generously provided by the Stoddard Charitable Trust and the Judy and Tony King Foundation.

November 14, 2018 – May 12, 2019: Toby Sisson Toby Sisson’s American | naciremA, is a series of encaustic monotypes—a reversed and flattened image of America across the racial divide, exploring ideas about ‘the other’ and W.E.B. DuBois’s concept of Double Consciousness, in which one sees themselves through the eyes of another. Sisson currently works as Associate Professor of Studio Art at Clark University.


community

New partnership removes barriers to art Shayna and Savannah Davis hold their breath, excited but anxious. They can barely look as a curator carefully arranges four of their ceramic sculptures on a pedestal in the newly renovated Open Door Gallery at the Worcester Art Museum. They grin in happy relief as the curator steps away from their prized pieces and a photographer moves in to take pictures.

Door Gallery gives the collaboration a physical space and a grounding that brings greater visibility to the innovative program. Among the Museum’s contributions are supplies, studio space, access to all the galleries and collections at WAM, and support from faculty in addition to the bright and colorful gallery itself, located in the Higgins Education Wing.

“I love art, says Shayna, who has sculpted more than 500 pieces.

“Building community and, through that process, uplifting each other,” says Dr. Jordan, “is the responsibility of all of us. Art helps us all transcend our own humanity. This marriage between WAM and Seven Hills helps our community build upon our historical values and belief in the dignity of all people.”

The two young women, aged 24, are twins with cognitive challenges that, while not debilitating, set them apart in some arenas. Yet here at WAM, as their pieces are positioned for display, they are fully present, utterly charming, and possessed of an enviable confidence. Their art has given them voice, competence, and awareness — and frees them from perceived constraints. Savannah and Shayna radiate a quiet, joyful satisfaction.

“I love the smell here,” says her sister Savannah, breathing deeply. “I love the smell of the material that art is made out of. It’s very soothing to me.”

The twins are enthusiastic participants in a collaboration that provides people with disabilities access to art. WAM, Seven Hills Foundation and its affiliate, VSA Massachusetts, have come together to offer a rich and meaningful cultural experience to many in Central Massachusetts who, like the twins, thrive as they acquire new skills and experiences, make new social connections, revel in creative expression, learn new ways to solve problems, and just have fun. WAM’s Open

Dr. David A. Jordan, president of Seven Hills Foundation, has followed the progress of the collaboration closely. The partners conducted a 12 month pilot program before entering into a permanent agreement.

Matthias Waschek, the C. Jean and Myles McDonough Director of the Worcester Art Museum, is an equally enthusiastic advocate. “The Worcester Art Museum's mission is to connect people, communities, and cultures through the experience of art,” he says. “This partnership of shared values, committed innovators, and eager participants is an inspiring and vital collaboration. We are grateful and gratified.”

“It’s a gift to have a permanent space from which we can access the Museum,” says Sean O’Gara, an expressive arts coordinator from Seven Hill’s ASPiRE! program — a partner in this far-reaching collaboration. “It’s like having a home base. A clear foundation. Sometimes we just come to sit and sketch. Other times we go into the galleries to look at art. Once we came upon a children’s group, busy sketching their sculptures.”

O’Gara turns to Savannah and Shayna and tells them, “Art is a tool for empowerment. I always want to put you in the creative seat and see where you go. I keep my opinions to myself.”

“Don’t worry,” says Savannah, as if to reassure O’Gara. “You cannot burn out the light in my brain.”

Savannah and Shayna Davis in the Open Door Gallery at WAM

Claude Monet, Waterloo Bridge, 1903, oil on canvas, 1910.37

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Flora

in

winter

Save the Date!

January 24 – January 27, 2019

Leave the winter cold outside and treat yourself to color and fragrance during WAM’s annual floral extravaganza— when the entire Museum blooms with flower arrangements inspired by works of art. The region’s top floral designers interpret paintings, sculpture, and other works with imaginative arrangements that both dazzle and delight! Demonstrations, lectures, guided tours, and activities for children also take place throughout Flora in Winter. For the complete schedule, please visit worcesterart.org/flora. Members enjoy free admission to Flora in Winter, except for An Evening of Monet and Flowers. Admission for non-members is $22 for adults and $6 for youth.

2019 Flora Chairs: Kim Cutler, Kathy Michie, and Sarah Ribeiro

Water Lilies to Waterloo: An Evening with Monet and Flowers Friday, January 25 5:30-8pm

Join our opening celebration of Flora in Winter and Monet’s Waterloo Bridge—a perfect fusion of color, light, flowers, and art! Enjoy entertainment, live music, hearty hors d’oeuvres, and cash bar. Tickets go on sale January 1, 2019. Visit worcesterart.org/flora

Monet’s Waterloo Bridge: Vision and Process January 25 – April 28, 2019

Explore Claude Monet’s artistic vision and process in this focused exhibition of nine stellar versions from his well-known series of paintings depicting London's Waterloo Bridge. Each work reveals the artist’s passionate study of color, light, and density—qualities he found inherent in the River Thames fog-bound landscape. The exhibition, which include WAM's own 1903 version of the iconic bridge, gives a rare opportunity to view an exceptional grouping of Monet's paintings—made possible through loans from museum collections across the United States—and to examine closely the Impressionist master's creative genius.

Claude Monet, Waterloo Bridge, 1903, Museum Purchase, 1910.37

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programs MASTER SERIES THIRD THURSDAYS 2018-19

The Worcester Art Museum's Master Series highlights selected works of art in galleries throughout the Museum. Each work is also the focus of a Third Thursday art talk presented by a scholar in the field, allowing for more in-depth appreciation of the piece and artist.

Learn more about this year’s Master Series works by joining the WAM Members Council for an illustrated art talk, followed by music, cash bar, and conversation with other art enthusiasts. Free with Museum admission.

T H I R D   T H U R S D AY S

MASTER SERIES hosted by worcester art museum

members council John La Farge, Peacock Window Program: Thursday, October 18, 6pm Speakers: T. Amanda Lett, PhD Candidate, History of Art and Architecture Boston University, and Guest Curator at the Worcester Art Museum; Diane Rousseau, Stained Glass Conservator; and Amanda Chau, Assistant Conservator, American Museum of Natural History Art Talk: The Techniques, Conservation, and History of John La Farge’s Stained Glass Persian, Ambassadors of the Mamluk Sultan al-Nasir Faraj b. Barquq Present their Gifts of Tribute to Timur in September 1404 Program: Thursday, November 15, 6pm Speaker: David Roxburgh, PhD, The Prince Alwaleed Bin Talal Professor of Islamic Art History at Harvard University Art Talk: Illustrating Epic Poetry and History in Persian Manuscripts from the Mongols to the Timurids Monet, Waterloo Bridge Program: Thursday, February 21, 6pm Speaker: Gloria Groom, PhD, The David and Winton Green Curator at the Art Institute of Chicago Art Talk: New Light on Monet

Andō Hiroshige, Province of Mikawa: Rocks on the Hill of Horaiji Program: Thursday, March 21, 6pm Speaker: Kit Brooks, PhD, Independent Curator Art Talk: Blending into the Woodwork

Lee Mingwei, Stone Journey Program: Thursday, April 18, 6pm Speaker: Lee Mingwei, Contemporary Artist Art Talk: Five Stories

Thomas Eakins, The Spinner Program: Thursday, May 16, 6pm Speaker: Erin Corrales-Diaz, PhD, Assistant Curator of American Art at the Worcester Art Museum Art Talk: Thomas Eakins’s The Spinner The Master Series is presented with support from the Bernard G. and Louise B. Palitz Fund and the Amelia and Robert H. Haley Memorial Lecture Fund. M A STE R S E R IE S SP ON SOR

M ED IA PARTN E R

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tours and programs Drop-in Tours

Public tours begin in the Lancaster Lobby

Tours of the Month* First and third Saturday of the month, 2pm Get an in-depth look at the Museum’s collection in these docent-led tours

September 1 and 15 Classical Mythology in WAM’s European Art The Classical world has served as the inspiration for the European Renaissance and beyond. Come see the art of myth from both the Classical world and the later works from Europe that were based on them.

October 6 and 20 The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society This exhibition brings together paintings by 25 artists, offering a varied survey of the Hudson River School style and their collective vision. November 3 and 17 The Art of India and Iran Discover the artistic traditions and cultures of India and Iran in both the special exhibition, of rarely seen works on paper, Preserved Pages: Books as Art in Persia and India, and other selected objects from the collection.

December 1 and 15 “The Ten” American Painters In 1897, the ten leading painters in America, led by Childe Hassam, agreed to resign en masse from the Society of American Artists and form their own group. This tour will examine dozens of works by those men, with samples from seven of the ten at WAM. January 5 and 19 Radiance Rediscovered: Stained Glass by Tiffany and La Farge Tour this unique exhibition featuring two sets of memorial windows made by the nineteenth-century's most recognized innovators of American stained glass, John LaFarge and Louis Comfort Tiffany.

February 2 and 16 Images of the Divine in Buddhism and Christian Art Explore religious symbols found in Eastern and Western art and influences shared along the Silk Road cultures.

Please check our website for Tour of the Month topics for the rest of the year. 20

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Family Programs

Zip Tours* Saturdays, 1pm Delve into one artist or work of art in these fast-paced, 20-minute tours.

Sunday Tours* Sundays, 1-2pm Join one of our docents for an overview of the Museum collection.

* Free with Museum admission

Group Tours

All tours meet in the Lancaster Welcome Center

Adult Group Tours Private docent-led group tours for 10 or more can be arranged by calling 508.793.4338.

Youth/Student Group Tours All tours meet at the Lancaster Street entrance WAM special exhibitions and permanent collections can be used to support your curriculum through tours, hands-on workshops, teacher resources, and other events. Guided by trained docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5 per student for prearranged school tour groups on either docent-led or self-guided tours. Chaperones are free. Admission is free for Worcester Public School students and their chaperones. For more information and to book a tour, call 508.793.4338 or visit worcesterart.org/events/group_tours.

Art Carts: Family Fun in the Galleries Get hands-on with a stop at one of our interactive Art Carts, located throughout the Museum. Touch materials, draw, create mosaics, and discover the answers to your questions and more. Check our website for schedule.

Families @ WAM Tour First Saturdays, 10:30-11am Explore the Museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories and enjoy sharing observations and time together.

Stroller Tours First and third Wednesdays, 10:3011:15am Our special gallery experience engages caretakers and their infants and toddlers with art and stories focused on different themes. Stay for snacks and socializing after your tour.

Programs for Teens

Teen Nights Third Thursdays, September – December, 2018, 5:30-8pm Teens ages 14+ enjoy art Demonstrations, gallery visits, and time to work on individual art projects—as well as instructor feedback and portfolio reviews upon request. Refreshments served. Space is limited; register online at worcesterart.org/classes or call 508.793.4333.

Teen programming is supported by the National Endowment for the Arts and Hanover Insurance Group Foundation, Inc.


Programs for All Ages

Arms + Armor Demonstrations Third Saturday of the month, 11:30am and 2pm Join us for this fun interactive program, and learn all about different kinds of arms and armor used by Roman soldiers, Medieval knights, and beyond! Visit our website for the monthly schedule.

Homeschool Programs WAM welcomes homeschool groups with tours and gallery studio workshops designed to complement home-based learning for ages 5 and up. Call or email Jan Ewick at 508.793.4338 or janewick@worcesterart.org to schedule your homeschool visit today! Please schedule at least three weeks in advance. NEW! Earn your Girl Scout Badge at WAM One-and-a-half hour workshops are led by teaching artists, include all materials, a WAM gallery tour, and the badges. Private workshops must be scheduled at least 3 weeks in advance. Call Elizabeth Buck at 508.793.4462 to discuss cost and schedule your troop’s private workshop! Do you have a small troop or individual Girl Scout? Join one of our Open Workshops this fall to earn your badges! Call to register, or register online at worcesterart.org/classes.

Community Events

Fall Community Day: Diwali Festival of Lights Saturday, November 3, 10am to 4pm Join our annual celebration of this traditional Hindu festival with a full day of cultural programs, including artists, artmaking, and performers.

Holidays at WAM Family Day/Opening Celebration for Lumina, an immersive art and light experience (see page 13) Saturday, December 1, 10am-4pm; Sunday Concerts: December 9, 2pm (Salisbury Singers); December 16, 2pm (Merrimack Valley Ringers); December 1-24: Members enjoy a double discount in the Museum Shop.

Flora in Winter January 24 – 27, 2019 A four-day floral design extravaganza showcasing imaginative interpretations of artworks created by skilled arrangers from across the region. Demonstrations, lectures, guided tours, and more! For complete schedule, please visit worcesterart.org/ flora. Non-member admission is $22 for adults, $6 for youth. Free for WAM Members, except for opening party.

School Vacation Workshops

School vacation workshops provide creative hands-on experiences that are rooted in the Museum’s collection and exhibitions. Half or full day sessions for ages 3-17 are designed to build skills, confidence, and a life-long connection to art. Learn more and register at worcesterart.org/classes.

Feb Fun: Show me the Monet! February 19 – 22, 2019 Youth and teens from ages 3-17 learn new skills and make friends in our handson vacation week programs inspired by the exhibition, Monet’s Waterloo Bridge. April Art: Pacific Arts April 16 – 19, 2019 Have fun experimenting with color and mediums, inspired by the Travels with Hiroshige exhibition and art from the Pacific regions, in classes for youth and teens from ages 3-17.

Summer Art for Youth Stay creative all summer and explore new skills in our week-long art classes for kids. Registration begins in January.

Water Lilies to Waterloo: An Evening with Monet and Flowers Friday, January 25, 5:30-8pm Exclusive opening celebration for Flora in Winter and Monet’s Waterloo Bridge. Separate ticket prices apply; tickets go on sale January 1, 2019. Visit worcesterart.org/flora

All programs listed are free with Museum admission, unless otherwise noted. Admission is free on the first Sunday of each month. Information subject to change; please check worcesterart.org before visiting.

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philanthropy

Three great reasons to give to the WAM Fund! 1 Groundbreaking Exhibitions

“Coming Away: Winslow Homer and England, a splendid, thought-provoking exhibition at the Worcester Art Museum … Coming Away poses fascinating questions about what it means to be an American, a New England or even a ‘Yankee’ artist.”

—Lance Esplund, The Wall Street Journal, November 14, 2017

2 International Acclaim

“Worcester Art Museum has long been a pioneering institution, but it has sometimes been overshadowed by other museums in the area. This all looks set to change in the year ahead.”

3 Community Impact

“I cannot express enough my gratitude to the Worcester Art Museum’s director, Matthias Waschek, his board of directors, and the staff of WAM for recognizing that people who have either physical, cognitive, or behavioral challenges still require art and aesthetics in their lives.”

— Dr. David Jordan, President of Seven Hills Foundation, partnering—along with their affiliate VSA Massachusetts—with WAM on the Open Door Gallery.

You can take pride in the fact that the Museum is a place that connects people, communities, and cultures through the experience of art.

—Louise Nicholson, Apollo, March 2018

GIVE TO THE WAM FUND TODAY :

Help us continue to attract new audiences, showcase groundbreaking exhibitions, and be an agent of change and community building for our region and beyond. Make your gift at worcesterart.org/give or by calling 508.793.4325.

CH AR ITA BLE GI FT ANNUI T Y Receive a steady income stream and benefit the Worcester Art Museum

SAVE THE DATE

SATURDAY, MAY 4, 2019

It is a simple contract between you and the Worcester Art

Museum. In exchange for a gift of $10,000 or more, the Museum will provide guaranteed fixed payments to you for life. Other benefits include the following:

• You support the Worcester Art Museum with a substantial gift • Payments you receive are partially tax free for a period of time • You receive a charitable deduction in the year of your gift How much income will I receive with a gift of $10,000? Age

Annuity Rate

Annual Income

Charitable Deduction

60

4.4%

$440

$2,410

65

4.7%

$470

$3,096

70

5.1%

$510

$3,798

75

5.8%

$580

$4,348

*Please note that this information is for illustrative purposes and is not intended as tax or legal advice. Rates are subject to change and are based on rates suggested by the American Council on Gift Annuities.

For more information on how you can leave WAM a legacy, please call the Development Office at 508.793.4313 or email us at plannedgiving@worcesterart.org

American Splendor: A Celebration of the art of Tiffany  La Farge CO R P O R ATO R S B A L L

W O R C E ST E R A RT M U S E U M


membership Members are vital to WAM’s success in connecting art and community! WA M

MEMBER

TL: What is your favorite memory as a member? The day I came to the Museum to learn about the Docent Program. I was in the Renaissance Court where I listened to a presentation on the program. I knew this was going to be a major commitment and a lot of work. I asked myself, do I stay or do I move on? I did not have any art history knowledge and was nervous. I decided to stay and become a member of the Museum. This was the best decision I made. Becoming a member and a docent opened a whole new art world for me that I passed on to my children and my grandchildren.

What is the value of WAM Membership? WAM member and docent Ursula Harper

Membership Manager Tara Leahy recently asked longtime WAM member and docent Ursula Harper about her involvement with the Museum.

TL: People become WAM members for many reasons. What was yours? UH: I joined the Worcester Art Museum over 45 years ago because I wanted to become a docent in the newly established Docent Program. As a docent I expanded my knowledge of art and became more involved in the community. I also was a member of the Members Council and I received the Volunteer Award of Merit, which I still have on display in my dining room.

TL: What has being a WAM member been like for you? UH: I always enjoyed attending the lectures at the Museum. They expanded my knowledge of art and the history of art. With this knowledge I enjoyed visiting other museums and recognizing a painting and the artist. Whether visiting the Worcester Art Museum or other museums, I took pleasure in closing my eyes and seeing the art for myself. Over the years I developed a love for Impressionism and Realistic Art.

In addition, I have fond memories of bringing my grandchildren to art classes when they were young. Two of my granddaughters developed a love for art and graduated from college with art history majors.

• Free visits all year! • Special Discounts in the Café, Museum Shop, and for studio classes. Members enjoy discounts all year – and 20% off in the Museum Shop during December. • Member-only privileges: These include Members-only hours, discounted tickets, and “Skip the Line” admission at major events. • Satisfaction in supporting one of the region’s most treasured cultural destinations. Purchase your Worcester Art Museum membership online at worcesterart.org/Membership, email membership@worcesterart.org, call 508.793.4300, or stop by one of the Guest Services desks. For Salisbury or Benefactor level membership, call Nancy Jeppson at 508.793.4325.

Jump to Benefactor Membership

Did you know that if you donate over $200 to the Museum in any given year, you qualify for a BENEFACTOR membership? While supporting your Museum, you will enjoy all of the regular member benefits, plus reciprocal memberships at other museums, additional guest passes, an invitation to the Benefactor Event, and more! To join or upgrade to the Benefactor level with a gift of $200 or more, donate online at worcesterart.org/join or call 508.793.4325.

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Salisbury Society members enjoy access to unique art experiences

Salisbury Society members have made WAM and art and culture in this community a priority. Their unrestricted gifts to the Annual Fund of $1,250 or more provide essential support to all areas of the Museum. Under the leadership of Lisa Bernat and Chris Collins, the Society has welcomed 23 new members this year: Anonymous Rosamond L. Bennett William Breidenbach and Melanie Gage Douglas S. Brown and Jennifer Ryan-Brown Jennifer B. Caswell Gail Dempsey Melissa Durfee The Esler Family Mel and Joyce Greenberg John Hardin, M.D. Lyn and George Herbolsheimer Peter and Marty Hurley Matthew Kamins and Laurian Banciulescu Dr. George Krasowski and Theresa A. Quinn Dr. Paul J. Mahon Emily P. Murray Edward J. Osowski Philip and Ellen Phillips Kathleen and John Polanowicz Kathleen and Robert Stansky Andrea and Michael Urban Patricia and Paul Verderese Wallace and Robin Whitney

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Because of their philanthropy and commitment, Salisbury members are treated to a full array of benefits and exclusive programs:

• Free admission and member benefits at over 1,000 museums • Special access to Curators and the Director

• Salisbury Art Series, including sneak previews

• Salisbury Art Travel program in the fall and spring each year

• Annual Salisbury Evening with a renowned speaker Salisbury Upcoming Programs

September Behind-the-Scenes Tour for new Salisbury Members Salisbury Society Sneak Preview of The Poetry of

October November

January

Nature

Salisbury Society Evening Salisbury Art Travel

Annual Meeting Invitation

Salisbury Art Series: Flora in Winter Chairman’s

Tour and Reception / Sneak Preview of Monet’s Waterloo Bridge

February

Behind-the-Scenes Tour for new Salisbury Members

May

Salisbury Art Travel

March July

Salisbury and Benefactor Event Salisbury Art Series

For questions or more information about joining the Salisbury Society, contact nancyjeppson@worcesterart.org or 508.793.4325.


What’s your legacy? Claude Lee

Claude Lee’s first visit to the Worcester Art Museum was at age 13, when he came to Worcester to visit a favorite aunt, Agnes Scribner. He remembers coming to WAM with her and being impressed by both the art and the Museum’s manageable size. Over the years, he has returned many times and counts the recently re-attributed Leonardo panel as one of his “favorites.” Upon retiring from publishing in 2003, Claude considered pursuing a conservation degree but quickly realized that the years of schooling would make him a very old conservator indeed. In 2013 he met Rita Albertson, WAM’s Chief Conservator, who gave him a tour of the Conservation Lab. This is where he thought his support could do the most good.

“It is challenging to run a successful art museum so close to those in Boston. Having always loved WAM, it was a natural choice to support Worcester. In making estate plans, I realized I could honor my late aunt and help the Museum through the creation of a fund in her name to support the conservation work so essential to a great museum. It was easy to designate WAM as a residual beneficiary of my will and it’s gratifying to know this bequest will have a positive impact on the Museum and its collection conservation in the years ahead.” — Claude Lee

Legacy Society The Legacy Society was formed to recognize those individuals who have included the Worcester Art Museum in their will or estate plans. These generous and visionary members ensure that the Museum is a vibrant institution that will deliver transformative experiences for future generations. We are grateful to the following who have either left a legacy gift to WAM or have included the Museum in their estate plans, thereby making WAM a priority during their lifetime and beyond: Mrs. Margery A. Adams Mr.* and Mrs. William C. Arthur. Jr. Ms. Ann Baumann* Elaine W. Beals* Sarah and Allen Berry Mr. and Mrs. Howard M. Booth* Philip H. Brewer Karl and Dorothy Briel* Dr. Elaine and Mr. Robert Bukowiecki Elizabeth Burguet* Douglas P. Butler* Estate of Dr. and Mrs. William T. Carleton William R. Carrick* Alexandra Cleworth and Gary Staab Paula H. Connolly Susan C. Courtemanche Mrs. Fairman C. Cowan* Jeanne Y. Curtis* Mary S. Cushman* Janet B. Daniels* Dix and Sarah Davis

Patricia and Richard Desplaines, Jr. Henry B. and Jane K. Dewey Maria and John Dirlam Andrea N. Driscoll Estate of Shirley Look Dunbar Mr. and Mrs. I. R. Freelander* Esther and Howard Freeman* Estate of Judith S. Gerrish Daniel Grim and Irene Browne-Grim Robert D. Harrington, Jr.* Mrs. Milton P. Higgins* Dr. James and Mrs. Kathleen Hogan Prof. Louis J. Iandoli Frances and Howard Jacobson Peter Jefts John and Marianne Jeppson* Joan Peterson Klimann Sarah Bramson Kupchik* Claude M. Lee III Irving and Marie Lepore* Dr. Paul J. Mahon Patricia F. Mallard*

Carl A. Mangano* Jodie and David Martinson Mr.* and Mrs. Robert K. Massey Myles* and Jean McDonough Ellen E. McGrail* Dr. and Mrs. Glenn A. Meltzer Don and Mary Melville* Estate of Jean H. Miles Mrs. David J. Milliken* Mrs. Anne (Nancy) Morgan Ileana Muniz Linda and John* Nelson Viola M. Niemi* Douglas Cox and Edward Osowski Fund for Photography Mrs. Mae I. Palmgren* Richard Prouty* Sarah and Joe Ribeiro Mr.* and Mrs. Chapin Riley Estate of Blake Robinson Mrs. Elijah B. Romanoff* Mr. and Mrs. Henry B. Rose

Mr.* and Mrs. Sidney Rose Estate of Edith Stafford The Estate of Leonard B. Safford Mr. Norman L. Sharfman* Dr. Shirley S. Siff and Robert M. Siff Mary Skousgaard Ivan and Virginia Spear* Helen M. and Thomas B. Stinson* Helen E. Stoddard* Estate of Madeline Tear Richard S. Teitz* Mr. and Ms. Jack Tobin* Grace Van Tassel* Hester N. Wetherell* Margaret Ray Whitney* Irving N. Wolfson, M.D.* Mrs. Ledlie L. Woolsey* Elton Yasuna* *deceased

If you are interested in naming the Worcester Art Museum in your will or estate plans, please contact the Development office by calling 508.793.4313 or emailing us at plannedgiving@worcesterart.org. Connect with us

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Thank You

Business Partners!

Together we make a difference for our community SPONSORS

$10,000+ AbbVie Cole Contracting, Inc. Fallon Health FLEXcon The Hanover Insurance Group Foundation Interstate Specialty Products, Inc. The Kirby Foundation People's United Bank Rand-Whitney Container Saint-Gobain Skinner Auctioneers UMass Memorial Health Care Unum WinnCompanies $5,000+ The BHR Life Companies Bowditch and Dewey, LLP Fidelity Bank Imperial Distributors, Inc. Reliant Medical Group UniBank United Bank Foundation Massachusetts Webster Five Worcester Business Journal

DONORS $2,500+ J.J. Bafaro, Inc. Herbert E. Berg Florist, Inc. The Boston Globe CCR Wealth Management, LLC Christie's Commerce Bank Country Bank Fletcher Tilton PC Foley Incorporated Harvard Pilgrim Health Care iHeart Radio, 961 SRS & WTAG Mirick O’Connell Niche Hospitality Group Perfect Focus Eyecare / Goswick Eye Spectrum Health Systems, Inc. Waters Corporation

MEMBERS $1,000+ AAFCPAs Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank The Berry Group of Wells Fargo Advisors Biomere Blue Hive Strategic Environments Central One Federal Credit Union Columbia Tech Cornerstone Bank Cutler Capital Management, LLC Data Source, Inc.

Davis Publications, Inc. Fiduciary Investment Advisors, LLC Green Leaf Construction Greenberg, Rosenblatt, Kull & Bitsoli, P.C. Greenwood Industries Kelleher and Sadowsky Associates, Inc. Leadership Transitions, LLC Mercier Electric Co., Inc. Merrill Lynch / The O'Brien Group Metso Flow Control USA Inc. Miles Press, Inc. Russell Morin Fine Catering J.S. Mortimer, Inc. New England Disposal Technologies, Inc. Nitsch Engineering North Pointe Wealth Management Peppers Artful Events Penta Communications, Inc. Polar Beverages Risk Strategies Company Rollstone Bank and Trust Rotmans Carol Seager Associates Seder and Chandler, LLP Sentinel Benefits & Financial Group Southgate at Shrewsbury St. Mary's Credit Union Sullivan Benefits Sunshine Sign Company, Inc. Stephen F. Wentzell, CPA Thomas J. Woods Insurance Agency, Inc. Wings Over Worcester Worcester Magazine

FRIENDS $500+ Applied Interactive Burr Insurance Agency, Inc. Butler-Dearden Callahan Fay Caswell Funeral Home Coghlin Electrical Contractors, Inc. Cryogenic Institute of New England, Inc. Eagle Hill School Erskine & Erskine LLC Franklin Realty Advisors, Inc. F.W. Madigan Company, Inc. George's Coney Island Grimes & Company Janice G. Marsh, LLC Marsh & McLennan Agency, LLC MSW Financial Partners NAI Glickman, Kovago & Jacobs Quaker Special Risk Scavone Plumbing & Heating Seven Hills Foundation Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. The Willows at Worcester As of July 1, 2018

Vassily Kandinsky, Untitled, No. 629, detail, 1936, oil on canvas, Gift from the Estate of Mrs. Aldus Chapin Higgins, 1970.123


Business Partner Spotlight

The Art of Business We’re proud to be celebrating 100+ Business Partners!

These companies know that supporting the arts means good business. We thank them for their support and feature two of our Business Partners: UMass Memorial Health Care and Cornerstone Bank.

WA M (left to right) Sherri Pitcher, John Savickas, Karmen Bogdesic, Michael D. Sleeper, Lisa Kirby Gibbs at the Annual Business Partner event honoring Imperial Distributors, Inc. and CEO Michael D. Sleeper.

Thank you to our Institutional Members

Anna Maria College

Assumption College Bancroft School Becker College

Clark University

College of the Holy Cross Grafton Job Corps

MCPHS University

The T.E.C. Schools

Worcester Academy

Worcester Polytechnic Institute Worcester State University

BusinEss pA R t n E R

“ UMass Memorial Health Care has a deep-seated mission to improve the health and well-being of the people of Central Massachusetts. As health care continues to evolve, we are increasingly looking outside our walls to help address the social determinants that drive health outcomes. These social factors determine community stability and the quality of civic life. We can think of no greater partner in this effort than the Worcester Art Museum and strongly encourage our employees and families to visit and experience all that it has to offer. Through our support of this prized institution, we know we are contributing greatly to the cultural richness of life in our community. And, it turns out, that makes healthier and happier people.” Douglas Brown President, UMass Memorial Community Hospitals and Chief Administrative Officer for UMass Memorial Health Care

“We are proud to be a WAM Business Partner. Museums are important both economically and culturally. They provide a place for individuals in our community to meet, explore, and discuss the past, present, and future, which can influence their view of the world.” K. Michael Robbins Cornerstone Bank Chairman & CEO

Join us!

BECOME A BUSINESS PARTNER Contact Karmen Bogdesic: 508.793.4326 KarmenBogdesic@worcesterart.org worcesterart.org/business-partners

For more information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Karmen Bogdesic at 508.793.4326 or KarmenBogdesic@worcesterart.org. Connect with us

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27


SALUTE TO FOUNDATIONS

The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal year 2018.

We are grateful to the many local, regional, and national foundations that make our work possible and sustain the Museum’s innovative exhibitions, public programs, and educational and community endeavors, as well as maintain and improve our exceptional facilities. To learn more about WAM’s institutional priorities and ways that foundations and government agencies might assist, please contact Christine Proffitt, Grants Manager, at 508.793.4322 or christineproffitt@worcesterart.org. Anonymous The Andrew W. Mellon Foundation Bank of America – Museums on Us Bradley C. Higgins Foundation C. Jean and Myles McDonough Charitable Foundation Carl Lesnor Family Foundation Dirlam Charitable Trust East Bay Community Foundation Fidelity Charitable Gift Fund The Fletcher Foundation Francis A. And Jacquelyn H. Harrington Foundation The George F. and Sybil H. Fuller Foundation

The Gladys Krieble Delmas Foundation Goulder Family Foundation Greater Worcester Community Foundation The Hanover Insurance Group Foundation, Inc. Heald Foundation Henry Luce Foundation Highland Street Foundation Hoche-Scofield Foundation J. Irving England & Jane L. England Charitable Trust Jeanne Y. Curtis Foundation The Kirby Foundation

The Manton Foundation Mass Cultural Council MassDevelopment – Cultural Facilities Fund Mass Humanities The Mildred H. McEvoy Foundation The Nathaniel Wheeler Trust National Endowment for the Arts National Endowment for the Humanities National Grid Paine Charitable Trust Patrick and Aimee Butler Family Foundation Regan Remillard Foundation

The Richard and Ann J. Prouty Foundation Rockwell Foundation Ruth H. and Warren A. Ellsworth Foundation The Schwartz Charitable Foundation Sherman Fairchild Foundation The Stoddard Charitable Trust TIAA Charitable Gift Fund Worcester Arts Council Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation

In addition to annual support provided by foundations, government agencies, businesses, and other organizations, endowed funds provide the Worcester Art Museum with vital long-term resources to advance the institution’s mission to “connect people, communities, and cultures through the experience of art.”

Presently, the Museum has 75 named endowment funds, including the C. Jean and Myles McDonough Director Endowment Fund, Stoddard Acquisition Fund, George F. and Sybil H. Fuller Conservation Fund, Christian A. Johnson Endeavor Foundation Exhibition Fund, Michie Family Curatorial Fund, Richard A. Heald Fund, Bernard G. and Louise B. Palitz Fund, Hall and Kate Peterson Fund, Amelia and Robert H. Haley Memorial Lecture Fund, The Spear Fund, James A. Welu Curator of European Art Fund, Jeppson Memorial Fund, and the Booth Family Fund for Education and Outreach through the Greater Worcester Community Foundation. These funds help to subsidize a variety of Museum functions and activities including staff positions, exhibition development, educational programming, the docent program, lectures and symposia, conservation, the library, scholarships, and art acquisitions. Interest income generated from these important named endowment funds, along with the Museum’s general unrestricted endowment, underwrites approximately half of the Worcester Art Museum’s annual operating budget. The Museum is grateful for this enduring legacy of support.

SALUTE TO SPONSORS

The Worcester Art Museum is grateful to our corporate sponsors for understanding the value of making the Museum’s exhibitions, projects, and programs possible.

For more information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Karmen Bogdesic at 508.793.4326 or karmenbogdesic@worcesterart.org.


Be frameed in color!

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ERIC LIMÓN PHOTOGRAPHY

For more information about renting the Museum for your event, visit worcesterart.org/events or call 508.793.4327


Worcester Academy iss a co-ed day and boarding ng school for grades 6 too 12 and postgraduates. Our ur urban setting, diversee community, and innovvative curriculum provide students udents with a solid, real-world d education. Learn moree at worcesteracademy.todayy/WAMN

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shop

101 Randolph Road, Worcester, MA • DodgePark.com • 508-853-8180

Exploring. Growing. Learning.

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Exploring. Growing. Learning.

the museum Featuring items inspired by art in the Museum’s collection and current exhibitions.


Experience the Exquisite Art of Sonoma Enjoy inspired, world-class cuisine using the freshest locally-grown ingredients while dining under our spectacular antique stained-glass dome. Sonoma offers an extensive West Coast wine list to complement your dining experience. Explore the Beechwood’s renowned priv vate art collection after dinner to complete your evening. Reserve your table today a at t 508.754.2000 or on OpenTable.com

OpenTable Diner s’ Choice Award Winner DiRō N A (Distinguished Restaurants of Northh America) Awarded Res t aurant

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art

studio

classes

for all ages

Try something new! Enroll today! worcesterart.org/classes

WORCESTER ART MUSEUM


Share the Joy o of Broadway, Music & More!

Christie Prades as Gloria Estefan, Adriel Flete, ON YOUR FEET! © Matthew Murphy

We have ssomething for everyon ne!

See a show orr take a class at our conservatory. New shows added all the time. Check our website fo or current off fferings erings.

87 77.571.SHOW (7469) • TheHanove erTheatre.org 2 Southbridge Street • Worcester Celebrat tiing

10

Years

Worcester Center for Performing Arts is a registered not-for-profit 501(c)(3) organization, which ownns and operates The Hanover Theaatre and Conservatory for the Performing Arts. All donations are tax deductible to the fullest exteent allowed by law.


WORCESTER ART M U SEU M fifty-five salisbury street worcester, massachusetts 01 6 0 9 WORCESTERART. ORG

ADMISSION Members: Free / Adults: $16 Seniors and Students: $14 Youth 4-17: $6 / Children under 4: Free First Sundays 10am-4pm: Free (The first Sunday of each month.) EBT card holders: Free

LIBRARY 508.793.4382 library@worcesterart.org Wednesday – Saturday 10am-4pm

THE MUSEUM CAFÉ 508.793.4357 Wednesday-Saturday 11am-3pm

GROUP TOURS 508.793.4338 JanEwick@worcesterart.org

We partner with

SALISBURY SOCIETY & BENEFACTOR MEMBERSHIP / ANNUAL FUND 508.793.4325 NancyJeppson@worcesterart.org

GALLERY HOURS Wednesday – Sunday 10am-4pm 3rd Thursday 10am-8pm Closed Mondays, Tuesdays, and Holidays

THE MUSEUM SHOP 508.793.4355 Open during gallery hours

SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 specialevents@worcesterart.org

CLASSES Higgins Education Wing transactions@worcesterart.org Registration: 508.793.4333

MEMBERSHIP 508.793.4300 membership@worcesterart.org

BUSINESS PARTNERS / SPONSORSHIPS INSTITUTIONAL MEMBERS / ACCESS ADS 508.793.4326 KarmenBogdesic@worcesterart.org GUEST SERVICES 508.793.4362 guestservices@worcesterart.org

ACCESSIBILITY For barrier-free access to the Museum, please park in the Tuckerman Street lot and enter via the Stoddard Garden Court or park in the Salisbury Street lot and enter via the access bridge. The Garden entrance is open during Museum hours and while classes are in session. The Salisbury Street access bridge is open during Museum hours only. Wheelchairs and walkers are available on a first-come, first-serve basis for loan. Please request upon arrival. p 508.799.4406 / f 508.798.5646

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Profile for Worcester Art Museum

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