access winter/spring 2018

access WOR C ESTER ART M U SEU M

winter/spring 2019

contents

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From the Director

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Monet’s Waterloo Bridge: Vision and Process

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Travels with Hiroshige

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Maximillian armor gets a makeover

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The humanities transform lives in Clemente Course at WAM

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MĂźnter among the men: new acquisition of modernist art

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Ongoing/Upcoming

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Tours and Programs

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Membership and Giving

Cover: John La Farge, The Pool at Bethesda, detail, 1898, stained glass, Gift of Mount Vernon Congregational Church, 1975.100.1

Image left: Utagawa Hiroshige, Kii Province: Wakanoura, detail, 1855, woodblock print, 1901.59.1447

access magazine is a publication of the Worcester Art Museum and funded in large part by the Herron-Dresser Publications Fund.

All rights reserved. Information subject to change.

Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Design: Kim Noonan Photography: Stephen Briggs, Norm Eggert, Kim Noonan, Troy Thompson Contributing Writer: Rae Padilla Francoeur

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from the director Move over Oakland! A recent story broadcast on NPR’s Morning Edition reported that Worcester is the new “It” town.¹ As Oakland benefits from its nearness to San Francisco, Worcester has its proximity to Boston to build upon. Worcester is earning praise for its cultural and educational density, as well as the city’s outstanding work to redevelop downtown and draw new business to Worcester. From new housing and hotels to the brand new baseball park in the works, Worcester is transforming at a noticeable pace. We are thankful for the work done by so many who—with foresight, determination, and hard work—are enabling our city to be a place where people want to visit, conduct business, and live.

What does that have to do with WAM? A lot! After all, Worcester is our first name.

The growth and development of our city strengthens every organization, and that is absolutely true for the Worcester Art Museum. As the city grows, so does support for the Museum. With this reinvigoration—called the “Worcester Renaissance” by some—we can rethink our programs and expand our reach. The addition of the Higgins collection of arms and armor has changed the complexion of the Museum, providing tremendous new opportunities to attract new audiences. Some of those you have already seen: armor in our European galleries, the display of ancient armor with Greek and Roman art, an exciting new presentation of our medieval collection, and more that is still to come. We are working hard to develop the plans for a dedicated arms and armor gallery and look forward to telling you more about this.

As one of the organizations in Worcester whose reputation reaches far beyond our city, we have always enjoyed inspiring new people to visit Worcester. Now these visitors are increasing, coming more often and staying longer. Coverage of our exhibitions and programs in the national and international press is growing. Just last year, WAM was featured in The Wall Street Journal five times! Due in part to that coverage and to the newly created Worcester buzz, our programs attract an increasing number of visitors from Metro West and beyond. (For some exhibitions as many as two thirds of our visitors come from outside of Worcester County.) We also see an increase in the number of visitors from throughout New England and New York, as well as visitors from Europe and Asia.

This is the beginning of Worcester’s transformation. Together we will become stronger, more vibrant, and better able to move forward in the ways many have dreamed possible. The Worcester Art Museum looks forward to its place in that growth, for the Museum’s vitality and that of our beautiful, reawakening city. Cultural strength and vitality is part of what will make Worcester the “It” city for a long time.

Stay tuned—and in the meantime enjoy this new issue of access magazine.

Matthias Waschek C. Jean and Myles McDonough Director ¹ “Forget Oakland Or Hoboken. Worcester, Mass., Is The New 'It' Town,” by Aaron Schachter, National Public Radio, Morning Edition, October 23, 2018

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WORCESTER ART MUSEUM

Board of Trustees 2018-2019

Lisa Kirby Gibbs, 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 Dorothy Chen-Courtin James C. Donnelly, Jr. Antonella Doucette 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 Clifford J. Schorer Anne-Marie Soullière

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

Image right: Louis C. Tiffany, Resurrection, detail, 1899, stained glass, Gift of Mount Vernon Congregational Church, 1975.99.1

exhibitions

Monet’s Waterloo Bridge: Vision and Process

January 25 – April 28, 2019

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laude Monet’s serial approach to landscape painting— in particular his signature groupings of the Rouen Cathedrals, Poplars, and the first of the Water Lilies—is well known. Less so are the subjects he explored in London from 1899 to 1901, even though they resulted in over 100 canvases. Monet’s Waterloo Bridge: Vision and Process, organized by the Memorial Art Gallery in Rochester, New York, investigates the visual subtleties of the artist’s largest London series, Waterloo Bridge. The Worcester Art Museum’s iteration of the exhibition features nine of Monet’s Waterloo paintings from museums across the country.

Monet’s first use of the series as a tool for experimentation was in 1877, when he painted a dozen canvases featuring the Gare Saint-Lazare, Paris’ busiest train station. However, his Grainstacks, begun in 1889 (and often mistranslated as haystacks), are generally regarded as his first foray into using a serial approach. Painting the same subject repeatedly was a way for the artist to use various natural and architectural elements to articulate the way time, light, and atmosphere affect how we perceive the landscape.

Until the Grainstacks, Monet’s practice could best be described as itinerant. He was constantly in motion, traveling throughout France and abroad. He went to London for the first time in 1870 to avoid conscription into the Franco-Prussian war. The wear and tear of a nomadic existence, in combination with financial insecurity, took considerable toll on the body and mind of the headstrong artist. By the time Monet began work on the Grainstacks, he was an aging 50-year-old with a frustrated livein mistress (later wife), Alice Hoschedé, and hungry children.

In light of these factors, Monet’s serial approach to painting was, at least initially, a practical solution. It allowed him to investigate shifts in light and atmosphere while remaining in one place.

When the public responded favorably to the Grainstacks, Monet embraced the serial approach and finally realized the prestige that had previously eluded him. In the fall of 1899, having accumulated both professional admiration and relative wealth, Monet embarked on the first of three extended trips to London. Over the course of these visits, he focused on three London landmarks: The Houses of Parliament, Waterloo Bridge, and Charing Cross Bridge. Unlike his early days of dragging easel and paints down craggy cliffs on the Normandy coast, Monet painted both of the bridge series from the comfort of his live-in studio on the fifth and sixth floors of the fashionable Savoy London Hotel.

What unites all three London series is the fog, partly a product of the city’s notorious pollution. The painter marveled at the way a murky haze could sweep-in and swallow the city whole.

According to Monet, depicting fog required “rapid notations” in paint: “Objects change in appearance in London fog more and quicker than in any other atmosphere.”1

There are 41 known Waterloo Bridge canvases, the largest grouping to result from the 1899, 1900, and 1901 London tours.

Waterloo is the most industrial of the three London motifs and in many ways an image of modernity. Opened as a toll bridge in 1817, Waterloo Bridge was nationalized for public use in 1878. Monet’s many canvases highlight the movement of traffic, people, and contemporary shipping vessels. In addition to the subject matter, the element that ties together nearly all of the 40-plus Waterloo paintings is the use of blue. Monet often used cobalt blue to establish structure in his early sketches. By his own reports, Monet employed a surprisingly limited palette, heavily reliant on his masterful ability to blend paint directly on the canvas.2

The exhibition, Monet’s Waterloo Bridge: Vision and Process, reunites more than half of the Waterloo Bridge paintings that exist in North American public collections. This rare opportunity allows us to compare nine very different interpretations from this London series, as Monet intended them to be explored— not in isolation, but as a group where the subtleties, nuances, and variations of light, color, and atmosphere can be best appreciated and understood.

—Nancy Kathryn Burns, Associate Curator of Prints, Drawings and Photographs

The exhibition Monet’s Waterloo Bridge: Vision and Process and accompanying catalogue and technology originated at the Memorial Art Gallery of the University of Rochester, Rochester, New York. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Monet’s Waterloo Bridge: Vision and Process at the Worcester Art Museum is sponsored by Cornerstone Bank. Additional generous support is provided by the Bassick Family Foundation, Ruth and John Adam, Jr. Exhibition Fund, Heald Curatorial Fund, and Michie Family Curatorial Fund.

Media Partners: From a 1901 interview with American journalist Emma Bullet.

The Worcester Art Museum’s version of the Waterloo Bridge, 1903 (1910.37), was purchased directly from Paul Durand-Ruel in 1910, just two months after Monet sold it to him. Visually Worcester’s painting is most similar to Waterloo Bridge, Gray Weather (1900) at the Art Institute of Chicago. Based on the results of scientific analysis conducted by conservation teams at both institutions, both paintings are thinly painted and dominated by cobalt blue, green, and violet.

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Left: Claude Monet, Waterloo Bridge, detail, 1903, oil on canvas, Museum Purchase, 1910.37

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exhibitions Travels with Hiroshige February 23 – May 26, 2019

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ith new roads throughout the country, relaxed travel restrictions, and social stability, the Japanese were on the move in the late Edo period (1603-1868).

This flowering of tourism in Japan created a voracious demand—by would-be and armchair travelers alike—for illustrated travel guidebooks, which dispensed useful information, from road conditions to local products to buy.

Selling by the thousands in the late 1700s, these guidebooks and the growing interest in travel helped spur the rise of landscape prints, a new print genre established by the leading artist Utagawa Hiroshige (1797-1858). The exhibition, Travels with Hiroshige, explores his Famous Views of the Sixty-odd Provinces (1853-1856)—one of several complete sets of Hiroshige’s monumental landscape series in the Museum’s collection—and the relationship between tourism and landscape prints in early modern Japan.

Hiroshige’s Famous Views of the Sixty-odd Provinces was ambitious in its comprehensive breadth to represent, each with a print, the country’s 68 provinces plus the capital, Edo (modern-day Tokyo). Unlike the practical guidebooks with monochromatic landscape illustrations, the prints by Hiroshige were created as works of art. The series’ unprecedented vertical format—as well as irregular forms, unexpected vantage points, fine color gradations, and bold compositions—encouraged public interest in visiting even faraway places of the country. His publisher’s store in Edo located near the entrance to the busy Tokaido Road, which connected Edo with Kyoto, additionally allowed these landscape prints to be marketed directly to departing tourists as souvenirs. After Hiroshige finished the series, a table of contents page was added to further entice customers to buy the whole series together as an album.

Like other early landscape print artists, Hiroshige adopted not only Chinese and Japanese landscape painting traditions, but also the European landscape tradition of direct sketching outdoors (this was later developed by the Impressionists into painting en plein air). In Hiroshige’s earlier The Fifty-Three Stations of the Tokaido (1833-1834), for instance, the series is based on sketches he made while traveling along the full length of the Tokaido Road. Yet Hiroshige is known too for borrowing extensively from existing travel guides and illustrated gazetteers. Rather than traveling to each province to create Famous Views of the Sixty-odd Provinces, he sourced several designs from the popular guidebook, Exceptional Views of Mountain and Water Landscapes (1800). Illustrated by Fuchigami Kyokko (1753-1816), the eight-volume guidebook

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is based on sketches made on site during Fuchigami’s 23 years of travels throughout Japan. Other sources Hiroshige used included Hokusai’s Manga.

While Famous Views of the Sixty-odd Provinces epitomizes the wide domestic travel enjoyed in nineteenth-century Japan, it also contrasts with the isolationist policies of the government at the time that forbade overseas travel and foreigners’ travel in Japan. In the first year Famous Views of the Sixty-odd Provinces was published, international events would dramatically transform Hiroshige’s Japan.

—Vivian Li, Associate Curator of Asian Art and Global Contemporary Art

Hiroshige and Monet

The exhibitions Monet’s Waterloo Bridge: Vision and Process and Travels with Hiroshige present important series by two masters of landscape—Claude Monet and Utagawa Hiroshige. Each had a visionary perspective on landscape as a subject and played a critical role in its development.

Born two generations after Hiroshige, Monet admired Japanese prints and owned 243 of them, 50 of which were

by Hiroshige.

Eleven of the prints in Hiroshige’s series, Famous Views of the Sixty-odd Provinces, featured in Travels with Hiroshige, were in Monet’s personal collection. Completed in 1856, late in Hiroshige’s life, this landscape print series is particularly celebrated for its use of color and innovative printing techniques. Before the 1830s, landscape subjects were a minor genre of Japanese prints. This changed when Hiroshige and his older rival, Hokusai (1760-1849), began producing landscape series that became wildly popular.

While Impressionists advocated for the value of painting on site, Hiroshige often portrayed places he had not seen.

Although he referred to illustrated books to provide topographic information, conveying the essence of a place was more important than realistic details. Even without visiting a location, Hiroshige created a sense of immediacy by depicting the ephemeral effects of season, weather, and time of day. It was these effects that particularly appealed to Monet and his fellow Impressionists.

—Susannah Baker, Co-curator of Travels with Hiroshige

Image right: Utagawa Hiroshige, Kai Province: The Monkey Bridge, detail, 1853, woodblock print, John Chandler Bancroft Collection, 1901.59.1406

conservation

Maximillian armor gets a makeover It was made to emphasize the power and masculinity of the wearer.

Armor design closely emulated the male haute couture of the day. “Men were totally the peacocks back then, and battlefield dress was as impressive as anything you would wear in court. The armor was voluminous, styled in that period of Henry VIII, massive and imposing,” he explains.

MacMillan, who took a near-microscopic look during the conservation process, has a soft spot for the maker of such finely crafted armor. “I look at the hammer marks, the sculpted interior edges, and I see how they approached it, how they made it, how good they were.” The full suit of armor weighs only 64 pounds, 14 ounces, compared with the 80 to 130 pounds the contemporary foot soldier must carry.

Arms and Armor Conservator Bill MacMillan works on a 500-year-old Maximillian armor.

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ive hundred years ago a six-foot-tall man galloped headlong into battle, confident and fierce, his Maximilian field armor glinting in the morning sun.

“The knight is the tank of the battlefield, punching through the enemy line,” says Jeffrey Forgeng, curator of arms and armor and medieval art. “He’s armored, powerful, forceful — the highly mobile element on the battlefield. He looks like a tank, so big, so imposing and yet gorgeous.”

Arms and armor are very popular with visitors, and WAM’s magnificent Maximilian field armor is one of the most prominent pieces in the 2,000 piece collection it acquired from the former Higgins Armory Museum—which in North America is second only to the Metropolitan Museum of Art. And thanks to Bill MacMillan, arms and armor conservator, the knight never looked shinier or more viscerally impressive.

This summer MacMillan completely dismantled the 500year-old Maximilian armor and spent four months cleaning, restoring, studying, and documenting its every nook and cranny. This rare and impressive piece is being readied for exhibition in the future arms and armor gallery, which is now in the planning stage.

The Maximilian armor was made around 1525 and is one of the few complete and intact armors from that time. “It is a star piece in the Higgins Collection,” says Forgeng, “a tour de force at a time when the craft was in its final flourishing.”

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Despite the casual viewer’s first impression, a knight’s armor was flexible. A knight had to be mobile. He had to get up quickly if knocked off his horse. “The armor is very well articulated,” says MacMillan. “It has much greater range than people think. I’m not saying you could go out and do a full night of dancing, but you could if pressed. You would just get really hot.” In fact, says MacMillan, “the only thing you can’t do in armor is scratch between your shoulder blades.”

This kind of precision crafting requires comparable precision conservation.

“The armor is made out of steel, and steel rusts,” says MacMillan. “It gets dirty, the leathers get old, dirt accumulates, and people touch it even though they’re not supposed to. Dust build-up causes moisture to accumulate.

Occasionally, he needs a really good cleaning.”

The Maximilian armor hadn’t had a full conservation treatment in over 30 years. To begin the work, MacMillan disassembled the armor. It has 15 main pieces, but each section is made up of many smaller parts. “I take time to look over the pieces, the leathers, the rivets, the old repairs that need attention. I wash the pieces with mineral spirits to remove the dust and dirt. I remove the corrosion as best as I can, using polishing papers and light abrasives. I photograph all the pieces inside and out, before and after.

We can see the changes that way, and document what we’ve done.”

Most viewers, when they do see the Maximilian armor again, will only perceive the full and magnificent power of the armor thanks in part to the hard work of the conservation staff. “The armor’s been well used,” says MacMillan. “But it will survive in good shape for another 50 or 100 years until another group of conservators stabilize things once again.

Conservation is a little like holding back the ocean with a broom.”

community The humanities transform lives in Clemente Course at WAM As Donovan Byfield studied the “Hunt” mosaic in the Renaissance Court, his art history professor, Dr. Barbara BeallFofana, explained that the 20-by-23-foot work of art was created in Daphne, near the great ancient city of Antioch early in the sixth century. It came to the Worcester Art Museum, piece by piece, in 1936. The mosaic features athletic men, some on horseback and some on foot, wielding swords and bows.

Among their prey are a lion, tiger, deer, and bear.

Of the six Clemente programs in Massachusetts—all supported, in part, by Mass Humanities—Worcester’s is the only one held in an art museum.

“It makes a difference when we can go into a gallery and talk about a work in the presence of the work. We talk about the museum as a space. We talk about curation and provenance.

And it makes a difference in that this is a very grand building that can seem forbidding, yet over eight months students come to feel at home here and become regular attendees of exhibitions and events,” Cocola explains.

Elizabeth Bacon, who manages the student support aspect of the program says, “The conversations we have are extraordinary. This is what Clemente is about—sitting with these ideas that have been coursing through our society forever.”

The format and the diversity of participants has a lot to do with the impact the program makes on people’s lives. “People sit in a circle,” said Bacon. “We put an idea or a painting in the middle.

They study something from the Museum collection, or a poem, or a primary source document. They approach it from their own life experience.” The classes are offered free of charge, and local colleges—including Anna Maria College, Assumption College, Becker College, Clark University, Quinsigamond Community College, Worcester Polytechnic Institute, and Worcester State University—provide teaching staff.

Clemente student Rose Bilonda Muela of Worcester examines a Persian illustrated manuscript in last fall’s exhibition, Preserved Pages: Book as Art in Persia and India, 1300-1800

“I see more sport than hunt,” Byfield said. The Worcester resident walked along the edge of the mosaic and stopped in front of the fallen lion. “Things haven’t changed much since the sixth century.”

Byfield is one of many keen observers in the last five years to participate in the eight-month Worcester Clemente Course in the Humanities made up of art history, poetry, U.S. history, philosophy, critical thinking, and writing classes. The only admission criteria are the ability to read an English newspaper, income that falls below 150 percent of federal poverty guidelines, and an interview. All classes and graduation ceremonies are held at the Museum; free childcare is provided across the street at Trinity Lutheran Church.

The Clemente Course was founded 30 years ago by Earl Shorris, who wanted to connect lower-income urban and rural residents to a vital, interactive life within a downtown community, said Jim Cocola, a professor at Worcester Polytechnic Institute, a poet, and Clemente Academic Director in Worcester. Graduates gain newfound tools, confidence to take part in an enriched life that includes museums, theaters, public libraries and civic activities, plus the opportunity to earn six credits from Bard College.

Students come from several continents and as many as 14 countries. The age spread is from 17 to 60 in the current course of 25 students. Some have advanced degrees from other countries but cannot find work in their field in this country while others have served time in prison or work in low-wage jobs that don’t pay the bills. Students often start out in need, but graduate with bolstered self-esteem. Many go on to pursue other formal education, find jobs, get out of dangerous relationships, and almost all find ways to contribute to their community, just as Shorris, the founder, predicted.

Students say the model has been transformative. Life changing.

“That circle is so powerful,” says graduate Vanessa Calixto.

Now self-employed, she offers art classes to children and families, many based on the models she first saw during her Clemente experience.

“Within that circle, we look at each other. We’re all at the same level, intertwined and connected, communicating and learning with one another. This helped push me out of my own comfort zone. I listened to other people’s opinions and views and I was forced to share my own. Clemente is about coming together, sharing—a real home and community-like vibe. It was really beautiful. I never experienced anything like it.”

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collection

Münter among the men: new acquisition of modernist art

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or students of art history, Linda Nochlin’s 1971 essay, “Why Have There Been No Great Women Artists?,” has become part of the canon—required reading as they survey methods for critically assessing the visual arts. Intentionally provocative, Nochlin’s title reappears throughout the text: at first to bait us into listing the few exceptional women that were able to achieve renown, but ultimately to encourage us to question its very premise. She leads her readers to acknowledge that the social and economic systems that fostered the Western notion of artistic “greatness” embodied by the likes of Michelangelo, Rembrandt, and Picasso were closed to women. Male-only art academies, the traditional division of household labor along gender lines, hierarchies that imparted greater esteem to the fine arts than craft, economic independence, and other social and institutional norms contributed to a short list of female household names on the walls of our museums.

At the Worcester Art Museum, we find this imbalanced ratio of male to female artists represented in our galleries, particularly in the installations of our European and American art where the creators have been traditionally known by name. Of the roughly 175 paintings that hang in our European galleries surrounding the Renaissance Court on the upper level, only the work of Judith Leyster (Dutch, 1609-1660) and Mary Cassatt (American [active in France], 1844-1926) serve to remind us that women could produce masterful paintings when given the opportunity.

It is thus with great excitement that we invite our visitors to view one of our most recent acquisitions: Häuser in Riegsee (Houses in Riegsee) by Gabriele Münter (German, 1877-1962). Münter was one of the founding members of the Munich-based German Expressionist group known as Der Blaue Reiter (The Blue Rider), which between 1911 and 1914 counted among its members some of the most storied artists of the early twentieth century—Wassily Kandinsky, Franz Marc, August Macke, and Paul Klee.

Painted in 1909, Münter’s scene of houses in a Bavarian village reveals an artist engaged with the art of her time. She integrates the vibrant palette of the Fauves with the use of dark contours to outline figurative elements à la Gauguin within the landscape genre—a favorite among the avantgarde art movements of the second half of the nineteenth century. Münter does not appear overly concerned with naturalistically recording the subject. Instead, she uses the forms to further her artistic experimentation, varying the

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thickness of the paint, her brushwork, even leaving some of the cardboard substrate visible, its dull tones in high contrast to pigments that appear to glow.

By showing Münter’s work in the esteemed company of Monet, Gauguin, Braque, Renoir, and Cézanne—artists upheld as the great modern masters—we begin to redress the disparity on our walls. Certainly, for myriad reasons, fewer women than men were historically able to hone their artistic skills and dedicate their lives to the visual arts. Thus, we celebrate this opportunity to diversify the artists on view in our museum with work that speaks to the capacity for greatness, regardless of gender.

—Claire Whitner, Director of Curatorial Affairs and the James A. Welu Curator of European Art

INTRODUCING

Claire C. Whitner, PhD, joined WAM in August 2018 as Director of Curatorial Affairs and the James A. Welu Curator of European Art. She oversees all curatorial departments, bringing curators, educators, and conservators to collaborate on planning and presenting new exhibitions and installations that address a central element of the Museum’s mission. She is the first curator to hold the position recently endowed in honor of Director Emeritus James A. Welu, who served as WAM director for 25 years.

(See donor list on page 22.)

Whitner comes to WAM from the Davis Museum at Wellesley College, where she had been since 2014, most recently as the Assistant Director of Curatorial Affairs and Senior Curator, and where she oversaw the recent reinstallation of the Davis’ permanent collections galleries.

A specialist in German Modernism and 17th-century Dutch art, Whitner graduated from The Johns Hopkins University with degrees in English and German. She subsequently earned a Masters degree and doctorate in Germanic languages from the University of California, Los Angeles.

Gabriele Münter, Haüser in Riegsee (Houses in Riegsee), 1909, oil on cardboard, Stoddard Acquisition Fund, 2018.40 Photo © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

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ongoing/upcoming

Randy LeSage, Departure III, 2018, monotype with handcoloring, Courtesy of the artist

May 15 – October 2019: Randy LeSage

Toby Sisson, American | naciremA 1, 2018, encaustic monotype on paper mounted on wood; in two parts, Thomas Hovey Gage and Helen Sagoff Slosberg Funds, 2018.48.

Photo: © 2018 Toby Sisson

Central Massachusetts Artist Initiative (CMAI) Sidney and Rosalie Rose Gallery

On view through May 12, 2019: Toby Sisson

Randy LeSage, a resident of Lancaster, Massachusetts, has taught painting and printmaking at the Worcester Art Museum for more than 25 years. Raised in Marlborough, and having studied studio art at Framingham State College and Tufts University, LeSage has retained an interest in the themes of labor and urban architecture throughout his career. His upcoming CMAI rotation will feature a small grouping of monotypes representative of his geometric, abstract style and reminiscent of constructivist explorations of materials and mass production.

On view / Coming soon

The third CMAI rotation will feature an encaustic monotype by Toby Sisson, associate professor of studio art at Clark University. Created specifically for the CMAI wall, American|naciremA 1, is the first in a series that incorporates text and text-based fragments as a means of exploring identity and race.

Sisson’s monotype uses abstract forms alongside segments of the word American. The resulting collage explores W.E.B. Du Bois’s concept of the Double Consciousness, first published as part of his 1903 cultural history, The Souls of Black Folk. Du Bois describes the Double Consciousness as the experience of being internally divided, “the sense of looking at one’s self through the eyes of others.” Sisson’s large-format work visually pushes and pulls at the word, American, while simultaneously presenting somatic forms that never fully resolve into a recognizable head or body.

American|naciremA 1 also refers to Sisson’s personal history.

Naciremas were African American social clubs popular in the Midwest during the mid-twentieth century. Sisson’s father belonged to the Nacirema in Minneapolis, a noteworthy venue for jazz in the 1960s and 70s. The clubs’ reversal of American, pointedly illustrated the way in which the black members were part of yet distinct from white, fully enfranchised American citizens.

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Lee Mingwei, Stone Journey, 2010, glacial stone, bronze and wood, Collection of Sophia and Leon Tan

Lee Mingwei: Stone Journey

Chinese Gallery On view through August 4, 2019 Internationally recognized artist Lee Mingwei poses questions about what ownership means with this simple, but impactful installation of two objects, a small stone Lee collected from a New Zealand river and an exact replica he cast in bronze.

Support for this exhibition is provided by the Ministry of Culture, Taiwan (R.O.C.) and Taipei Cultural Center in New York.

Izumita Yukiya, Aurora #6, 2012, wood-fired stoneware, Collection of Carol and Jeffrey Horvitz. Photo: © YUKIYA Izumita

Archaic Avant-Garde: Contemporary Japanese Ceramics from the Carol and Jeffrey Horvitz Collection

Japanese Gallery On view through October 27, 2019 This rotation exhibition focuses on Japan’s leading contemporary ceramicists who have explored and experimented with ancient Japanese pottery techniques and forms to invigorate their own modern creations.

With Child: Otto Dix/Carmen Winant September 21 – December 15, 2019

Centered on WAM’s recent purchase of Otto Dix’s provocative painting, The Pregnant Woman (1931), the exhibition, With Child, will explore the subject of pregnancy and birth in Dix’s works. In addition, this exhibition will be the first internationally to showcase the German artist’s works on this theme. With Child and its programming will reflect on women’s social, political, and medical conditions during the Weimar Republic (1918-1933), highlighting issues that are still relevant. The exhibition will also include a commissioned work by contemporary artist Carmen Winant. Inspired by The Pregnant Woman, Winant’s immersive, multi-media piece, Ha Hoo Ha Ha Hoo Ha Ha Ha Hoo, gives a woman artist’s voice to this universal topic.

With Child: Otto Dix/Carmen Winant is part of the Deutschlandjahr USA 2018/19 – Year of German-American Friendship. This initiative is funded by the German Federal Foreign Office, implemented by the GoetheInstitute, and supported by The Federation of German Industries (BDI).

Otto Dix, The Pregnant Woman, 1931, oil on canvas, Stoddard Acquisition Fund, 2016.11 Photo: © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Louis C. Tiffany, Resurrection, detail, 1899, stained glass, Gift of Mount Vernon Congregational Church, 1975.99.1

Radiance Rediscovered: Stained Glass by Tiffany and La Farge

Contemporary Gallery Through July 7, 2019

Two recently restored sets of stained-glass windows—on view for the first time in more than 40 years—show the exquisite artistry and techniques of American artists Louis Comfort Tiffany (1848-1933) and John La Farge (1835-1910). Originally made for Boston’s Mount Vernon Congregational Church, these exquisite memorial windows are remnants of the American Gilded Age, an era that saw rapid economic growth and development—and a boom in church construction that also brought along a resurgence of interest in stained glass for its beauty and power in conveying narrative.

The exhibition also features 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. Among these works is La Farge's experimental Peacock Window (1892–1908)—another work in WAM's collections—which simulates the vibrant coloration of the magnificent, exotic bird, and is the last example of La Farge working with the challenging process of cloisonné glass.

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.

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

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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

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.

March 2 and 16 Monet's Waterloo Bridge and His Influence on American Impressionism Learn about the paintings in the exhibition, Monet's Waterloo Bridge: Vision and Process, which reveal the artist’s emphasis on color, light, and density.

Then discover Monet's impact on American Impressionists by viewing works from WAM's permanent collection.

April 6 and 20 The History of Color: Blue and Red Follow the fascinating history of color on this unique tour of the Museum’s paintings, armor, pottery, and sculpture, and learn about the ever-changing role of color in society as reflected in works of art.

May 4 and 18 Modern Art Since 1960, Postmodern Art Explore the WAM Modern Art collection of the artists that followed the Abstract Expressionists and the significant changes in their goals for the art world.

June 1 and 15 Dionysus: More Than Just a Party God Look at different presentations of Dionysus and discover the many attributes of this ancient deity.

July 6 and 20 Early American Portraiture Join this tour of early American portraits, including the important seventeenthcentury portraits of John and Elizabeth Freake and Baby Mary, works by John Singleton Copley, Gilbert Stuart, and others.

August 3 and 17 The Art of Fashion Look beyond the surfaces of historical clothing styles that reveal much more than beauty or elegance, but also social status and personality.

Please check our website for Tour of the Month topics for the rest of the year. * Free with Museum admission

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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.

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. Adult tour groups pay Museum admission and a $2 service fee per person.

Youth/Student Group Tours 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 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. * Includes Museum admission

Family programs

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 and 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, January – June 5:30-8pm Teens ages 14+ enjoy art demonstrations, gallery visits, and time to work on individual art projects, plus instructor feedback and portfolio reviews upon request. Refreshments served. Space is limited; register online at portal.worcesterart.org 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

school vacation workshops

Arms + Armor Demonstrations Most Saturdays and Free First Sundays, 11:30am and 2pm Join us for these fun interactive programs, and learn about different kinds of arms and armor used by Roman soldiers, Medieval knights, and beyond! Before visiting, check our website for weekly 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.

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 three weeks in advance. Call Elizabeth Buck at 508.793.4462 to discuss cost and schedule your troop’s private workshop!

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.

Community events

Spring Community Day: Heroes and Villains Saturday, April 13, 10am-4pm Connect with heroes—and villains—from throughout history, cultures, and galaxies!

Watch demonstrations, mingle with reenactors and historical characters, make art, and more!

Sponsored by

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 visit worcesterart.org before visiting.

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. Feb Fun programs are 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 redesigned week-long art classes for kids in July and August.

Register early for best selection.

MAsTer series ThirD ThursDAys 2019

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

Enjoy an illustrated talk focused on a select work of art from the Museum galleries, presented by a scholar in the field and accompanied by a reception with music, cash bar, and conversation with other art enthusiasts.

Utagawa Hiroshige, Mikawa Province: The Horaiji Temple Mountains Program: Thursday, March 21, 6pm Speaker: Kit Brooks, PhD, Independent Curator Art Talk: Blending into the Woodwork

Hosted by the WAM Members Council

Free with Museum admission.

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.

Master series sponsor

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’ The Spinner Connect with us

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education WAM docents make a difference with every tour

If anyone is adaptable, it’s a volunteer docent at the Worcester Art Museum. Docents guide fourth-graders through the Renaissance Gallery, explain armor to dignitaries, awaken a passion for stained glass in patrons with dementia, or just pause with a few moms pushing strollers for a long, slow look at an astonishingly detailed, brilliantly hued watercolor made 700 years ago in Baghdad.

“Docents are our front line,” says Martha Chiarchiaro, docent program manager at WAM. “They meet more people than anyone else in this Museum.”

Significant time and resources are devoted to docent training in order to maintain a cadre of about 65 docents, each of whom is asked to lead 24 tours a year for at least two years. They undertake a rigorous 10-month program made up of classes, tours, lectures, and trips. They make presentations, write papers, and take art classes in the studios. They learn new and novel techniques for talking about art. And they happily commit to a continuing education program that includes more classes, trips, presentations, as well as social time with their docent cohorts.

“For me, docents play one of the most important roles in museums,” says Jan Ewick, tour program supervisor at WAM. “They model how to enjoy being in a museum.”

For art museums everywhere, helping people feel confident and comfortable is essential. “Members often reference trips they made to the Museum when they were kids, with their parents or in school,” says Ewick. “Now they feel comfortable, like this is their Museum. There’s nothing mystical here, or offputting. They come back again and again, as qualified as the next person.” This sense of personal dominion in grand halls filled with ancient objects does not come naturally. Exposure and guidance make all the difference.

One of the greatest joys in docent work is the opportunity to help people enjoy the Museum’s exhibitions and galleries, which, of course, meets the Museum’s docent mission.

“I love showing guests how to look, how to see, how to think about the artist, where this work of art falls in history. People really appreciate this,” says docent Susan Gately, who was an art college dean before retiring. “Helping someone feel comfortable without any judgment is something docents do well. They play a huge role in that welcome and in breaking down the wall of sophistication that many visitors anticipate with anxiety.” Although Gately worked at an art college, she had no art history background whatsoever. For her, the extensive docent training was daunting, but she came to relish the classes and the discussions.

Docents lead a variety of tours, from private and customized gallery visits to 20-minute zip tours to tours of special exhibitions. There are over a dozen types of tours, with the

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Martha Chiarchiaro, docent program manager (back, center), poses with the new docent class.

number expanding. “We are working with more and different audiences which means our docents will have to be even more versatile” says Chiarchiaro.

WAM serves 11 colleges, many with art history classes that come to the galleries. Every Worcester Public School fourth grade class and some eighth grade classes visit the Museum each year, and over half of all tours are for public school students.

Diane Mammone is currently enrolled in WAM’s docent training program. A retired Chinese language teacher, she spent many delightful hours at WAM as a child. “If my father and I were in the neighborhood, he’d say, ‘Let’s go to the Museum.’ Spending time with art is like traveling. You don’t just go to a place when you look at a painting, you travel in time. What’s not to love?”

INTRODUCING

Marnie P. Weir joined the Worcester Art Museum in October 2018 as Director of Education and Experience.

She most recently held the position of Director of Public Education & Visitor Services at The Cathedral Church of St. John the Divine in New York City. In her role at WAM, Weir oversees the Education and Experience Division, which encompasses the full scope of educational and public programs for all audiences, as well as classes for adults, youth, and teens. In addition, she works closely with the curatorial and exhibition teams on strategy, planning, and interpretation; leads the Audience Experience Work Group; and is responsible for evaluation and documentation of education programs, interpretation, and events.

Weir received a Master of Science degree in Museum Education from Bank Street College of Education and a Bachelor of Arts degree in Art History from Hobart & William Smith Colleges.

Find yourself at WAM Works of art remind me of home

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

One of my favorite things about WAM is the rich collection of Asian Art. It is incredible to see the long history of my people represented so many miles from home. Much of this began with Ananda Coomaraswamy, who began bringing Indian art to this area in 1917. Today, Vivian Li, associate curator of Asian art, carries on that tradition. There are two upcoming pieces I am especially looking forward to seeing on display. The first is A Vegetarian Lion, A Slippery Fish (2013)

by Bharti Kher. Kher was born in London and now lives and works in India. Her perspective is one that feels especially interesting to me, since her sense of both cultures has shaped who she has become and the art that she creates.

It’s also special to see pieces of my childhood home make their way to WAM. The Museum plans to commission a decorative jhula from the Indian state of Gujarat that will one day be displayed as seating in the Asian Art Gallery. The jhula is a porch swing with room for two. It reminds me of dusty summer days in India. These pieces, like me, are objects of another world within this one. We bring our culture, traditions, and stories with us.

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

To me, that is the beauty of this Museum. You can look at a work of art and feel at home and learn something new at the same time. I am proud to be a part of the fabric of the vibrant Worcester community, and even prouder to see not only my rich heritage and culture, but the culture and heritage of so many others, all on display in one place.

—Barin Bando

Originally from India, Barin Bando, who moved to Worcester in 1984, is a Guest Services Representative and valued adviser to the Business Partner Committee at WAM.

The Chapel of the Virgin at Subiaco is a painting that always welcomes me

One of my favorite works at the Worcester Art Museum is The Chapel of the Virgin at Subiaco, by famous artist and inventor, Samuel F. B. Morse.

It caught my attention as a child and since then I’ve never been able to walk past it without stopping a few minutes.

As a child I was awestruck by the exotic setting. What type of place is this? It is rugged terrain with the fortress in the background, and sharp mountain cliffs. The hidden path and the mist along the steep slope and treetops add more mystery. I could drift off into any number of fantasy stories based on this marvelous location.

The tiny figures in the landscape are also intriguing, just by their presence in such a dramatic setting. As I got older I became more and more interested in their possible stories. They are likely a local shepherd and some travelers on a pilgrimage—a family, acquaintances, or complete strangers. The low, slanting light shows it is late in the day. Perhaps the visitors started early in the morning to reach their destination. What brings them here? What are they hoping for from this pilgrimage? Will their lives afterwards be changed by their experience?

Samuel F. B. Morse, The Chapel of the Virgin at Subiaco, 1830, oil on canvas, Bequest of Stephen Salisbury III, 1907.35

These stories grew and changed over the years. While the figures are anonymous, it is possible to imagine what hopes and wishes they carry. My hopes and wishes have changed too over time, and since I’ve known this painting for many years, revisiting it helps me to recall other times in my life.

A good painting frames another time and place and invites one to step into that world. The Chapel of the Virgin at Subiaco is a painting that always welcomes me when I come to the Museum.

—Diane Mammone

A retired Chinese language teacher, Diane Mammone, of Hardwick, is currently enrolled in the docent training program.

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curatorial news In September 2018, Nancy Kathryn Burns, associate curator of prints, drawings and photographs, and Janette Thomas Greenwood, Professor of History at Clark University, presented on the multifaceted platforms of engagement used for the WAM exhibition, Rediscovering an American Community of Color: The Photographs of William Bullard (October 2017 – February 2018) at the conference, “The Inclusive Museum,” held at the University of Granada, in Granada, Spain. In addition, the exhibition catalog, Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917, won the 2018 Historic New England Book Prize. A second edition of the catalogue is expected in summer 2019.

From Conservation

Rita Albertson, chief conservator contributed to the book, Leonardo: Discoveries from Verocchio’s Studio, Early Paintings and New Attributions, by Laurence Kanter, Yale University Art Gallery, New Haven, 2018.

The article, “So delicate yet so strong and versatile – the use of paper in objects conservation,” by Paula Artal-Isbrand, objects conservator, was published in the Journal of the American Institute for Conservation in August 2018

In October 2018 Erin Corrales-Diaz, assistant curator of American art, gave talks to the New Hampshire Historical Society in Concord, New Hampshire, on artist James Walker’s The Battle of Gettysburg: Repulse of Longstreet’s Assault, July 3, 1863 and to the Blowing Rock Art and History Museum, Blowing Rock North Carolina, on “Lady Rebels: Southern Women Artists and Art Education in Gilded Age America.” In addition, her book chapter, "Contrary Instincts: Art History’s Gendered Color Line,” was published in Central to Their Lives: Southern Women Artists in the Johnson Collection, Lynne Blackman, ed. (Columbia, SC: University of South Carolina Press, 2018).

Jeffrey Forgeng, curator of arms and armor and medieval art, published two books in 2018: The Medieval Art of Swordsmanship: Royal Armouries MS I.33. Leeds: Royal Armouries Museum, 2018, and Pietro Monte’s Collectanea: The Arms, Armor and Fighting Techniques of a Fifteenth-Century Soldier. Woodbridge, Suffolk: The Boydell Press, 2018.

In September 2018 Vivian Li, associate curator of Asian art and global contemporary art, was an invited discussant in the conference, “Material Culture and Mao’s China,” at Yale University. She has been invited to present in the symposium, "China Contemporary Art: Exhibition, Collection, and Collaboration," at the University of Michigan Museum of Art in April 2019.

“Among the Engravers, Etchers, and Gougers: Christiane Baumgartner and the German Printmaking Tradition,” a chapter written by Claire Whitner, director of curatorial affairs and the James A. Welu curator of European art, was published in the book, Christiane Baumgartner, Another Country, Lisa Fischman, ed. (Munich: Hirmer, 2018). In addition, Whitner’s translation (Dutch to English) of “The Netherlands Drawn from Life: An Introduction," by Boudewijn Bakker, was published in Journal of Historians of Netherlandish Art (Vol. 10:2, 2018).

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The chapter, “Silicone polymers for the removal of grime from a selectively varnished oil, graphite and ink painting,” by Birgit Straehle, associate paintings conservator, Philip Klausmeyer*, Matthew Cushman, and Rita Albertson, was published in Gels in the Conservation of Art, Lora Angelova, Bronwyn Ormsby, Joyce H. Townsend, Richard Wolbers (eds). London: Archetype Publications, 2017.

The exhibition catalog, Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917

*Deceased

WAM around the World

One of the Museum’s most popular paintings, Portrait of the Artist’s Daughters, by Thomas Gainsborough, has traveled to London, where it is on view in the National Portrait Gallery’s exhibition, Gainsborough’s Family Album, through February 3, 2019. Thomas Gainsborough, Portrait of the Artist’s From there the exhibition travels Daughters,1917.181 to The Princeton University Art Museum from February 23 – June 5, 2019.

In addition, our painting, A Miracle of Saint Donatus, attributed to Leonardo da Vinci and Lorenzo di Credi (featured in the 2018 exhibition, The Mystery of Worcester’s Leonardo) will be shown at the Palazzo Strozzi in Florence, Italy, in the exhibition, Andrea del Verocchio: Sculptor-Painter of Renaissance Florence from March 8 – July 14, 2019. The work will then travel to the Louvre in Paris from October 24, 2019 – February 24, 2020, where it will be part of Leonardo da Vinci, a major international exhibition commemorating the 500-year anniversary of the artist’s death.

Additional loans from the WAM collection this year go to the Carnegie Museum of Art, Baltimore Museum of Art, and the Museum of Fine Arts in Boston.

philanthropy

What’s your legacy?

Donna and hank rose

Donna and Hank Rose have been involved in various capacities at WAM for a combined 100 + years. Donna first visited the Museum as a schoolgirl with her parents, and Hank when he came to Worcester to work as an engineer at Jamesbury Corporation and was drawn to the WAM film series. From that he discovered the amazing art treasures offered as well. Neither Hank nor Donna had ever studied art seriously, but both had a latent interest in it, which was awakened as they discovered the WAM collection and the temporary exhibitions offered throughout the year. Later, Hank served as a Corporator and as co-chair of the Corporator Council. After retiring, he became a docent as well, a role he continues to perform today. Donna shares his enthusiasm for the Museum and enjoys helping out during the annual Flora in Winter celebration as a member of the Worcester Garden Club. During Flora, she and Hank lead tours together, he explaining the artwork and she describing the accompanying floral arrangements.

Having visited art museums all over the U.S. and in several foreign countries as well, Donna and Hank appreciate the extraordinary quality of the Worcester Art Museum programs and collection. They take particular pride in the fact that our Museum, unlike many others, was started by private Worcester citizens and continues to be sustained by private donations rather than by any public authority. Donna and Hank continue to contribute to this fine institution as others have done since it started 120 years ago.

They feel it has enriched their lives, and they want it to continue doing that for others long into the future. Joining the Legacy Society helps them satisfy that desire.

Hank and Donna Rose

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

Robert A. DeLuca 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 508.793.4404 or emailing us at marillynearley@worcesterart.org.

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philanthropy WAM FUND

120 for 120

CHALLENGE

Did you know that this is WAM’s 120th Anniversary?

The doors first opened in May 1898. In recognition of the philanthropy that has made the Worcester Art Museum what it is today, The Kirby Foundation has offered WAM a CHALLENGE to raise $60,000 in new or increased gifts that they will match between now and January 31, totaling $120,000 for 120 years of continuous service and enrichment in our community.

GIVE BEFORE JANUARY 31 to the WAM FUND and DOUBLE YOUR IMPACT on the Museum, our community, and all those who visit, take classes, and participate in inspiring programs.

Contact the Development Office at 508.793.4325 or visit www.worcesterart.org/give to make and double your gift today— thank you!

the JaMes a. Welu Curator of european art enDoWMnent funD

Th A n k yo u

it is with sincere appreciation that we recognize Jim Welu’s many friends and family who have made this endowment possible. this list of major donors to the fund can also be found on a new plaque outside the entrance to the european Galleries. $500,000+ Jeanne Y. Curtis* C. Jean McDonough

$100,000-$499,999 Marianne and John Jeppson* Mr. and Mrs. B. Anthony* King Hope and Ivan Spear* $50,000-$99,999 Anonymous Ralph and Frances Crowley Family Mary and Warner Fletcher

$25,000-$49,999 Maria and John Dirlam Mr. and Mrs.* Warren C. Lane, Jr. Julie and Clive Thomas in memory of Karl Lombard Briel

$15,000-$24,999 Mahroo and Barrett Morgan Mrs. Anne (Nancy) Morgan Barbara Ketcham Wheaton $10,000-$14,999 Paula H. Connolly Mary S. Cushman* Jock Herron and Julia Moore Hoche-Scofield Foundation The Welu Family

*Deceased

Jusepe de Ribera, The Astronomer, 1638, oil on canvas, Museum Purchase, 1925.116

Thank you to our Institutional Members anna Maria College assumption College Bancroft school Becker College Clark university College of the holy Cross

eagle hill school MCphs university the t.e.C. schools Worcester academy Worcester polytechnic institute Worcester state university

To learn more about Institutional Membership, contact Karmen Bogdesic at 508.793.4326 or KarmenBogdesic@worcesterart.org.

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

WA M

BE MEM

R

WAM member Brian Costello

Membership Manager Tara Leahy, recently asked Worcester native and entrepreneur, Brian Costello, why he and his family are members of the Worcester Art Museum. Brian Costello is a Digital Marketing Executive who resides in Shrewsbury with his wife, Amanda, and his eight-year-old son, Putnam.

TL: What made you decide to become a WAM Member?

BC: I am from Worcester and have always considered myself to be a ‘Worcester booster.’ I love how WAM is accessible and not difficult to get to. The Museum has a brilliant collection of art. I am always fascinated with how art connects history and how your viewpoint changes as you mature.

TL: How has WAM impacted you and your family?

BC: My son, Putnam, is eight years old. With events from Star Wars to Flora and everything in between, my wife Amanda and I are able to introduce our son to art. The Museum does a great job of bringing art to the children’s level. We see WAM as a place for my family to get away from the everyday grind into a place that is truly magical. For my family, this means a lot. Since we have been taking our son to the Museum for the last four years, he has been inspired by art. He brings a pad of paper with him on every visit and loves to draw a different piece of art that inspires him at the time. One of our favorite exhibitions was Reusable Universes. My son especially enjoyed meeting artists Ed Emberley (KAHBAHBLOOOM!) and Jarrett Krosoczka (Star Wars: Jedi Academy).

It was awesome!

TL: If you could have lunch with any artist from the WAM collection, who would it be and why?

BC: There are so many different personalities in art from Monet to Van Gogh. I am a big fan of American History. I think I would choose Paul Revere. I love looking at the furniture in the American gallery and seeing the craftsmanship in each of the pieces. Not to mention, my wife and son are directly descendant from Revolutionary War and folklore hero Gen. Israel Putnam (attributed with the saying “Don’t shoot ‘til you see that whites of their eyes” at the battle of Bunker Hill).

TL: Why do you feel art is important—for individuals, families, communities?

BC: Art shows the world that we are all human. I feel as though art is a reflection of who we are and it is important to experience art and culture. When my family and I are visiting the Museum, we feel as though we are a part of something bigger. Art helps us learn about historical events and how to dig deeper in ourselves.

What is the value of WAM Membership?

• Free visits all year!

• Special discounts in the Café, Museum Shop, and on 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 portal.worcesterart.org/join, email membership@worcesterart.org, call 508.793.4300, or stop by one of the Guest Services desks. For Salisbury or Benefactor level membership, call 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 portal.worcesterart.org/join or call 508.793.4325.

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Thank you to the following Salisbury Society members who 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 over 26 new members in the last year.

Chairman's Circle $25,000 + Lisa Kirby Gibbs and Peter Gibbs Marianne and John Jeppson Family

President's Circle $10,000 - $24,999 Karin I. Branscombe Catherine M. Colinvaux and Phillip D. Zamore Mary and Warner Fletcher Peter and Marty Hurley Mr. and Mrs. Arthur G. Kentros Mr. and Mrs. B. Anthony* King Mahroo and Barrett Morgan Philip and Gale Morgan Clifford J. Schorer Mr. and Mrs. Theodore E. Shasta Kathleen and Robert Stansky Matthias Waschek and Steve Taviner

Director's Circle $5,000 - $9,999 Herb and Maura Alexander Susan and Jack Bassick Sarah and Allen Berry William and Eileen Bush Mr. and Mrs. J. Christopher Collins Charles H. N. de Végvár Maria and John Dirlam Jim and Carol Donnelly Antonella and Roger Doucette Mark and Jan Fuller Dr. Gabriele Goszcz and Douglas Crawford Dr. Abraham and Linda Haddad Andrew and Irene Jay Christine and Dana Levenson Ronald and Angela Lombard Mrs. Joseph Lotuff C. Jean McDonough Mr. and Mrs. Neil McDonough Tom and Beth McGregor Marc S. Plonskier Emily Rauh Pulitzer Regan P. Remillard John and Ellen Savickas Anne-Marie Soullière and Lindsey C. Y. Kiang Barbara Ketcham Wheaton Patron $2,500 - $4,999 Marie and Mike Angelini Mr. and Mrs. H. Paul Buckingham III Christos* and Mary T. Cocaine Pablo and Paula Collins Dr. and Mrs. Herbert M. Dean Margery and Richard* Dearborn Allen W. Fletcher Patricia A. Fletcher* Susan M. Foley Richard and Joan Freedman Roberta Goldman Drs. Ivan and Noreen Green Amy Harmon and Rob Stefanic James N. Heald 2nd Margaret Keith

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Dr. Jean King and Dr. Carl Fulwiler Claude M. Lee III Tom Logan and Sandy Hubbard Stephen and Valerie Loring Moira and Charlie Manoog Dr. and Mrs. Glenn A. Meltzer Katharine and Henry Michie Thomas Michie Martha R. Pappas Marlene and David Persky Philip and Ellen Phillips The Plourde Family Charitable Trust Candace and Richard Race Linda and Ted Robbins Michael and Carol Sleeper George and Lynne Tonna Mark and Barb Wetzel Emily Wood

Member $1,250 - $2,499 & Contemporary Member $625 + John and Mary Lou Anderson Julia D. Andrieni, M.D. and Robert A. Phillips, M.D. Anthony and Barbara Trayers Athy Sharon and Richard Avis Robert and Beverly Bachelder Kristin and Joseph J. Bafaro, Jr. Charles P. Ball and Margaret McEvoyBall Brian and Janet Barlow Thomas and Lynora Bartholomew Dr. and Mrs. Frederick L. Bayon Whitney Beals and Pamela Esty Lisa and Rod Beittel Rosamond L. Bennett Barbara and George* Bernardin Eleanor C. Bernat Lisa M. Bernat and Abram Rosenfeld Michael and Cathleen Bollus Heath Drury Boote William Breidenbach and Melanie Gage Eric Brose and Jan Seymour Drs. Ann Brown and Dominic Nompleggi Douglas S. Brown and Jennifer RyanBrown Dawn and John Budd George and Tammy Butler Marilyn Butler and Mark Mancevice Tom Caldwell Jane Antoun Cartelli Jennifer B. Caswell James E. and Margaret F. Collins Michael F. Collins, M.D. P. Kevin and Clare K. Condron Paula H. Connolly Mrs. Fairman C. Cowan* Tracy A. Craig and Dr. James J. Convery Chris and Betsy Crowley Dix and Sarah Davis Phil and Laurie Davis Janet Andreson Dealy Gail Dempsey

Henry B. and Jane K. Dewey David DiPasquale and Candace Okuno Tom and Joan Dolan Melissa Durfee Marillyn and John Earley David and Sandy Ekberg The Esler Family Barbara E. Fargo Andy and Robin Feldman Marianne E. Felice, M.D. Allen and Yda Filiberti Justin and Laine Fletcher Lee and Dina Gaudette Paul J. Giorgio Dr. Wayne and Laura Glazier Jennifer C. Glowik and Maureen L. Glowik Stephen and Elaine Gordon Janet and Geoff Graeber John and Geri Graham Maureen and Bob Gray Hon. Mel L. Greenberg, ret.

Joel P. Greene and Ann T. Lisi David R. and Rosalie A. Grenon Dr. Thomas and Mrs. Patricia Halpin Dr. and Mrs. James B. Hanshaw John Hardin, M.D. Phyllis Harrington Dr. N. Alan Harris and Dr. Diane Lebel George Hecker Lyn and George Herbolsheimer Jock Herron and Julia Moore Janice Hitzhusen and Jim Pease James E. Hogan III Dr. James and Mrs. Kathleen Hogan James and Emily Holdstein Margaret Hunter Frances and Howard Jacobson Stephen J. Javaras and Robert A. Collins Jesuit Community of Holy Cross and Thomas Worcester Drs. David and Kathee Jordan Matthew Kamins and Laurian Banciulescu Rachel Kaminsky Amar V. Kapur Evelyn Karet, Ph.D. Marshall Katzen and Bari Boyer John F. and Rayna Keenan Maureen and William Kelleher Christine Keller and Walt Talbot David and Barbara Krashes Dr. George Krasowski and Theresa A. Quinn Tracy and Morey Kraus Mr. and Mrs.* Warren C. Lane, Jr. James and Anne Lang John and Kathleen Lauring Albert and Anna LaValley Mary Beth Leonard David Lucht and Susannah Baker Dr. Paul J. Mahon Robert and Minh Mailloux

Members from September 1, 2017 through November 30, 2018

Dr. and Mrs. Baltej S. Maini Kevin and Martha McKenna Daniel R. McLean and Jon L. Seydl Dr. Satya and Mrs. Supriya Mitra Mrs. Anne (Nancy) Morgan Michelle Morneau Jim and Patty Moynihan Emily P. Murray Charlene L. Nemeth Robert Oriol Edward Osowski Cori and Rick Packer Susan and Chris Palatucci Judith and Thoru Pederson Donald and Susan Pegg Deborah Penta Sharon and Howard Peterson Mr. and Mrs. N. William Pioppi Cynthia and Stephen Pitcher Kathleen and John Polanowicz Drs. Phyllis Pollack and Peter Metz George C. Rand, Jr. Patricia Lin Reedy and Charles L. Joyce Arthur and Debra Remillard Luanne Remillard Sarah and Joe Ribeiro Dr. Ruthann Rizzi and Edwin J. Barr Carol Robey and Robert Oot Dr. Malcolm A. Rogers Mr. and Mrs. Henry B. Rose Stuart Sadick and James Bryant Dorothy and Daniel Salmon Peter and Anne Schneider Carol L. Seager Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff and Robert M. Siff* Dr. Jang B. Singh Richard and Glena Sisson Jaclyn Skagerlind Mark Spuria Mr. and Mrs. John C. Stimpson Katy and Peter Sullivan John J. Szlyk and Betsy Busch Szlyk Anne C. Tardanico Sheila and George Tetler Tony and Martha Tilton Lee and Owen Todd Andrea and Michael Urban Judith and Gary Vaillancourt Luke M. Vaillancourt Judith Vander Salm Herb and Jean Varnum Patricia and Paul Verderese Kristin Waters Roger and Elise Wellington James A. Welu Jeffrey and Suzanne Wetton Wallace and Robin Whitney Peter and Shirley Williams Susan and David Woodbury Kulapat Yantrasast Dr. Edward C. Yasuna *Deceased

salisbury society members enjoy access to unique art experiences

Because of their philanthropy and commitment, Salisbury members are treated to a full array of benefits and exclusive programs: • Free admission and reciprocal member benefits at over 1,300 museums • Unique access to Curators and the Director

• Salisbury Art Series, including sneak previews • Salisbury Art Travel program • Annual Salisbury Evening

Salisbury Upcoming Programs January

January/ February March May

July

Salisbury Art Series: Flora in Winter Chairman’s Tour and reception and private preview of the Monet’s Waterloo Bridge exhibition (January 25) Behind-the-Scenes Tours (January 17 and February 21) Salisbury and Benefactor Event (March 7) Salisbury Art Travel Tour to Currier Museum of Art and Zimmerman House Salisbury Art Series: WAM Curators: Up Close and Personal (July 24)

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

The Annual WAM Gala Auction Saturday, May 4, 2019 5:30 – 11PM

Join us on the night of The Kentucky Derby for a fun and opulent evening with drinks, Derby viewing, auction, dinner and dancing, inspired by our exhibition Radiance Rediscovered: Stained Glass by Tiffany and La Farge.

Tickets available at www.worcesterart.org/events/wam-gala/ Thank you to our early sponsor:

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Thank You

Business Partners!

Together we make a difference for our community SPONSORS

$10,000+ abbVie Cornerstone Bank 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 united Bank foundation Massachusetts unum WinnCompanies $5,000+ the Bhr life Companies Bowditch and Dewey, llp Cole Contracting, inc. fidelity Bank imperial Distributors, inc. reliant Medical Group uniBank 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 lamoureux pagano associates/architects Mirick o’Connell perfect focus eyecare / Goswick eye spectrum health systems, inc.

WBur

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 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 inthink agency Kelleher and sadowsky associates, inc. leadership transitions, llC l.e.i. Corporation 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. niche hospitality Group nitsch engineering north pointe Wealth Management penta Communications, inc. peppers artful events phoenix Communications polar Beverages provo financial services, inc.

Quaker special risk risk strategies Company rollstone Bank and trust rotmans Carol seager associates seder and Chandler, llp sentinel Benefits & financial Group seven hills foundation 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. erland Construction erskine & erskine llC franklin realty advisors, inc. f.W. Madigan Company, inc.

George's Coney island Grimes & Company integrated financial partners Janice G. Marsh, llC Marsh & Mclennan agency, llC MsW financial partners nai Glickman, Kovago & Jacobs Joffrey smith financial Group sotheby's struck Catering sullivan, Garrity & Donnelly insurance agency the Willows at Worcester As of December 15, 2018

Left: Claude Monet, Waterloo Bridge, detail, 1903, oil on canvas, Museum Purchase, 1910.37

The art of business

business partner spotlight

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 three of our Business Partners: Fidelity Bank, Rand-Whitney Container, and New England Disposal Technologies, Inc.

“Rand-Whitney Container has deep roots in Worcester going back to the 1960s.

We have been honored to grow and expand here over the years. Our success is due in large part to our relationship with a vibrant Worcester community that includes cultural experiences such as the Worcester Art Museum. We are thrilled to be a Business Partner Sponsor with the WAM and look forward to supporting this local treasure for many years to come!”

Nicholas Smith, President and CEO, Rand-Whitney Container

Business Partners Summer Social: guests enjoying networking, a live band, pizza, and beer!

WA M BusinEss pA R t n E R

“ A partnership with the Worcester Art Museum is a natural fit for New England Disposal Technologies (NEDT). Like WAM and its other business partners, NEDT strives to enhance the quality of life in the Worcester community and contribute so Worcester can continue to be a great place to live, work, and prosper. WAM is a blessing and NEDT is so proud to be able to supports its efforts.”

Michael Robertson, President, New England Disposal Technologies, Inc.

Join us!

BECOME A BUSINESS PARTNER portal.worcesterart.org/join

“ Fidelity Bank and the Worcester Art Museum share a deep commitment to making a positive difference in our community. We appreciate the opportunity to partner with Worcester’s own worldclass museum, which serves as a center for arts and culture in this community that we both care so deeply about.”

Edward F. Manzi Jr., Chairman & CEO, Fidelity Bank

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

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SALUTE TO FOUNDATIONS

The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal years 2018 and 2019 as of 11/30/18.

We are grateful to the many local, regional, national, and international 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.

The Andrew W. Mellon Foundation Bank of America – Museums on Us Barr Foundation Bradley C. Higgins Foundation C. Jean and Myles McDonough Charitable Foundation Carl Lesnor Family Foundation Dirlam Charitable Trust E. Rhodes and Leona B. Carpenter Foundation Fidelity Charitable Gift Fund The Fletcher Foundation Francis A. and Jacquelyn H. Harrington 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 Institute of Museum and Library Services J. Irving England & Jane L. England Charitable Trust Jeanne Y. Curtis Foundation The Kirby Foundation

The Klarman Family Foundation The Manton Foundation Mass Cultural Council MassDevelopment – Cultural Facilities Fund Mass Humanities The Mildred H. McEvoy Foundation Ministry of Culture, Taiwan (R.O.C.) The Nathaniel Wheeler Trust National Endowment for the Arts National Endowment for the Humanities 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 Taipei Cultural Center in New York TIAA Charitable Gift Fund Worcester Arts Council Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation

TRIBUTE TO ENDOWED FUNDS

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.” Interest income generated from these important named funds 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. The endowed funds include: ruth and John adam, Jr. exhibition fund alden trust assistant Director of education fund harriet B. Bancroft fund s.n. Behrman library fund sally riley Bishop fund Barbara a. Booth flower fund Booth family fund for education and outreach Karl l. and Dorothy M. Briel library fund alexander h. Bullock fund isabel Carleton Memorial fund Charles e. Culpeper Conservation laboratory fund Docent education fund frank f. Dresser fund David freelander Memorial education fund David J. freelander scholarship fund

George f. and sybil h. fuller Conservation fund thomas hovey Gage Memorial fund nehemias Gorin foundation fund nathan and Barbara Greenberg Discovery fund nathan and Barbara Greenberg education fund amelia and robert h. haley Memorial lecture fund heald Curatorial fund herron-Dresser publications fund Chester D. heywood scholarship fund Jacob hiatt scholarship fund hiatt faMe fund higgins armory Curatorial endowment fund higgins armory General endowment fund

SALUTE TO SPONSORS

Jeppson Memorial fund (GWCf) Christian a. Johnson endeavor foundation exhibition fund frances a. Kinnicutt fund philip Klausmeyer Conservation fund Macomber Conservation fund C. Jean and Myles McDonough Director endowment fund andrew W. Mellon foundation Conservation fund Don and Mary Melville Contemporary art fund Michie family Curatorial fund John M. nelson fund Bernard G. and louise B. palitz fund hall and Kate peterson fund Mary e. and irene l. piper scholarship fund

arthur J. remillard, Jr. Youth education fund romanoff education and library fund Marion olch ruhman education fund norman and Dorothy sharfman education fund spear fund for public programs stoddard acquisition fund stoddard Charitable trust Directors fund stoddard Discovery fund sudbury foundation scholarship fund alice eliza Waite Memorial fund Karl B. a. Wass/lundquist family scholarship fund James a. Welu Curator of european art fund

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.

Flora Winter in

JANUARY 24 – 27, 2019

Thank you!

The Worcester Art Museum’s 17th-annual floral design event showcases captivating and imaginative interpretations of works of art created by the region’s top floral designers. This four-day extravaganza would not be possible without the hard work of many volunteers. Our most sincere appreciation goes to our dedicated Flora co-chairs, Kim Cutler, Kathy Michie, and Sarah Ribeiro; WAM docents and volunteers; and Worcester Garden Club members for their generous contributions of time and talent to this successful and much-loved event!

Flora in Winter is sponsored by:

additional support from spear fund for public programs

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art

studio

classes

for all ages

try something new!

Enroll today! worcesterart.org/classes

WORCESTER ART MUSEUM

H APPI AP P I LY LY E V ER EVE E R AFTER A FT E R S TA RTS STA RT S H ERE ER E

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

Bancroft inspires students to take ownership of their learning.

Bancroft is Worcester’s premier PreK–12 independent day school.

bancroftschool.org 110 Shore Drive · Worcester 508.854.9227

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For more information, visit worcesterart.org/weddings or call 508.793.4327 Erika Sidor Photography

PROUDLY CELEBRATING 30 YEARS WITH STRONG ROOTS IN OUR COMMUNITY. Isn’t it time you explored a potential partnership with PENTA?

The PENTA Building / 208 Turnpike Road Westborough, MA 01581 / 508.616.9900

Programs for businesses of all shapes and sizes. Experience the PENTA difference.

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Exploring. Growing. Learning.

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lunch with us.

from soups and salads to sandwiches and entrees, we’re sure to enchant you with our seasonal specials. peruse our menus at worcesterart.org.

660 Lincoln Street, Worcester, MA 508 853.5912 508.853.5912 2 Affiliated showr owrooms Providence, RI Saco, ME Clinton, CT Middletown, CT Newton, MA

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87 77.571.SHOW (7469) • TheHanover e Theatre.org 2 Southbridge Street • Worcester Celebrating

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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 Performingg Arts. All donations are tax deductible to the fullest exten e t allowed by law.

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

GALLERY HOURS Wednesday – Sunday 10am-4pm 3rd Thursday 10am-8pm Closed Mondays, Tuesdays, and Holidays THE MUSEUM CAFÉ 508.793.4357 Wednesday-Saturday 11am-3pm

THE MUSEUM SHOP 508.793.4355 Open during gallery hours

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.)

Sponsored in part by Saint-Gobain EBT card holders: Free We partner with

SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 specialevents@worcesterart.org

LIBRARY 508.793.4382 library@worcesterart.org Wednesday – Saturday 10am-4pm CLASSES Higgins Education Wing transactions@worcesterart.org Registration: 508.793.4333

GROUP TOURS 508.793.4338 JanEwick@worcesterart.org

MEMBERSHIP 508.793.4300 membership@worcesterart.org

SALISBURY SOCIETY & BENEFACTOR MEMBERSHIP / ANNUAL FUND 508.793.4325 NancyJeppson@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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Unless otherwise stated, all images © Worcester Art Museum, all rights reserved.