access magazine fall/winter 2021

access W O R C E S T E R A RT M U S E U M

fall / winter 2021

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From the director

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Neumann exhibition inspires restitution symposium and preserves Holocaust stories

contents

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Love Stories from the National Portrait Gallery, London

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Collaboration explores identity through the lens of visual strategy

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Philanthropy spotlight: Ed Osowski

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Newly acquired Japanese woodblock prints highlight “City of Fires”

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Conservation Now

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WAM Teen Council

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Find yourself at WAM

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Ongoing/upcoming exhibitions

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Tours and programs

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Master Series

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Seen at WAM!

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Membership

Cover: Angus McBean, Berto Pasuka,1947, vintage bromide print, National Portrait Gallery, London.

Inside back cover: George Romney, Emma Hamilton, c.1785, oil on canvas, National Portrait Gallery, London. Purchased, 1870. © National Portrait Gallery, London Left: Gillman & Co, May 1893, Oscar Wilde; Lord Alfred Bruce Douglas, gelatin silver print, National Portrait Gallery, London.

These works will be on view in Love Stories from the National Portrait Gallery, London, opening November 13. 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: Jack Gallagher Design: Kim Noonan Photography: Stephen Briggs, Kim Noonan, Troy B. Thompson Photography Contributing writer: Cynthia Allegrezza

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From the director After months of few in-person events, Worcester’s cultural sector was enthusiastically revived this past summer with street festivals, concerts, outdoor and indoor performances, art exhibitions and, of course, baseball. ArtsWorcester’s much-anticipated biennial, the JMAC’s (Jean McDonough Arts Center) eclectic variety of pop-up events, and The Hanover Theatre’s fabulous August presentation of Shakespeare’s “Julius Caesar” outside City Hall were just some of the activities that infused downtown with vitality and energy. Here in the Salisbury Cultural District, music returned to Institute Park with the Massachusetts Symphony Orchestra’s concert series, while WAM’s dynamic exhibition, The Iconic Jersey: Baseball x Fashion, introduced a whole new audience to the Museum.

The common engine for all of these—what makes Worcester a great place to live—is a commitment by the residents of our community to support and nourish the cultural organizations and programs that they hold dear. There is no better example of that commitment than Jean McDonough, who passed away on August 22, and her husband, Myles, who predeceased her in 2012. Together, starting in their garage, they built a successful business, FLEXcon, and over several decades gave generously to the city and organizations they loved.

In recent years, Jean made several transformational gifts that will shape Worcester’s cultural organizations for years to come. In 2015, the C. Jean and Myles McDonough Charitable Foundation gave over $15 million to seven organizations, including $4 million to endow the Worcester Art Museum’s directorship. This was followed in 2019 by a $10 million gift to WAM— the largest in our history. Our reimagined and fully accessible Lancaster Plaza is the first visible manifestation of that gift. The Worcester Art Museum and the City of Worcester’s cultural life is stronger and healthier because of Jean and Myles McDonough’s support—and that of their children who are carrying on their parents’ legacy.

This summer we witnessed what can happen when philanthropy works hand-in-hand with civic and business leadership. The on-time completion of Polar Park (despite pandemic challenges) and its astounding success in bringing crowds not only for WooSox games, but for all manner of community events, demonstrates the power of collaboration and shared vision. The success of The Iconic Jersey: Baseball x Fashion, created to coincide with the opening of Polar Park, was in large part because of the momentum created around City Manager Ed Augustus’ vision and determined commitment to build the ballpark in Worcester. Connecting baseball with art through The Iconic Jersey was WAM’s way of participating in this unifying moment when civic and cultural organizations, businesses, and philanthropists all came together with the common goal of making our city a healthy, strong, vital, welcoming place to live and visit. We are proud to be part of that remarkable effort.

I am grateful to live in a city with a growing art scene, where members of the community come together to strengthen valued organizations, and where new projects and partners are enthusiastically welcomed. Please enjoy this new issue of access magazine and please attend the many programs and exhibitions we have planned during the coming months—from a traveling exhibition from London to a new Master Series season. In honor of Jean and Myles McDonough, we will continue to work together to ensure WAM is a major partner in building a thriving Worcester.

Matthias Waschek Jean and Myles McDonough Director

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The Worcester Art Museum's mission is to connect people, communities, and cultures through the experience of art.

WORCESTER ART MUSEUM

Board of Trustees 2021 Dorothy Chen-Courtin, President Mark W. Fuller, Vice President Douglas S. Brown, Vice President Susan M. Bassick, Clerk Sarah G. Berry, Treasurer Karin I. Branscombe James C. Donnelly, Jr. Antonella Doucette Lisa Kirby Gibbs Jennifer C. Glowik-Adams Karen M. Keane Sohail Masood Lisa H. McDonough Margaret McEvoy-Ball Thomas P. McGregor Philip R. Morgan Malcolm A. Rogers John Savickas Clifford J. Schorer Jonathan R. Sigel Anne-Marie Soullière Cynthia L. Strauss George W. Tetler III Christina Villena Valerie Zolezzi-Wyndham Ex Officio Matthias Waschek Jean and Myles McDonough Director

Jean McDonough November 24, 1927 – August 22, 2021 The Worcester Art Museum is forever grateful to Jean McDonough for her incredible generosity and for her many years of leadership, service, and support.

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Exhibitions

Neumann exhibition inspires restitution symposium and preserves Holocaust stories

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he current exhibition of works once owned by Austrian-Jewish art lover and businessman Dr. Richard Neumann presents what remains of his original collection, which was confiscated by the Nazis through forced sales and outright theft.

What the Nazis Stole from Richard Neumann (and the search to get it back), on view through January 16, 2022, presents 14 paintings and sculptures from Dr. Neumann’s collection, recently reunited following his and his family's 75-year struggle to regain possession of them. With a floor-to-ceiling reproduction of the Neumanns' living room — made from a photograph of the family's Vienna home — and period-appropriate seating, visitors experience the collection from the vantage point of their guests.

A view into the exhibition.

A discerning collector with an eye for fine works of art, Richard Neumann (1870 – 1959) believed in the obligation to promote the role of the arts in civic life. His family’s struggle for the restitution of his collection is emblematic of the challenges faced by many other Jewish collectors of that period. His family’s long-term loan of these works to the Worcester Art Museum makes it possible to carry on Neumann's legacy of sharing his collection, making it accessible to a new generation.

Organizing a symposium to explore the complexities of recovering art stolen from

Jewish families during World War II was a logical undertaking between WAM and the Strassler Center for Holocaust and Genocide Studies at Clark University, a supporter of the exhibition. The academic symposium with lectures by art historians and scholars of Nazi-era provenance took place virtually on October 14. A recording of the event can be found on the exhibition's webpage.

According to Marnie Weir, Director of Education and Experience at WAM, the symposium was an important way to highlight the studies, experiences, and relevance around the recovery of confiscated art. “Now more than ever, it is critical to ensure such narratives are brought to life and widely shared.

Whether a scholar researching these topics, a classroom teacher making connections to K-12 curricula, or a casual visitor simply interested in learning more, we encourage all to participate and welcome the chance to collaborate with our partners in such a meaningful way,” she said.

Strassler Center Executive Director Mary Jane Rein, Ph.D., who was instrumental in organizing the symposium, agrees. “The Holocaust was a vast criminal enterprise that included theft on a grand scale. Museums around the globe have abetted these crimes by holding on to looted art,” she points out.

“A symposium on this subject gives WAM the opportunity to address these wrongs on behalf of the museum community and harkens back to the important work of the Monuments Men, among them George L. Stout, a former director of WAM from 1947 – 1954, who rescued stolen art in the aftermath of World War II.” Steven Schimmel, Executive Director of the Jewish Federation of Central Massachusetts — also a supporter of the Neumann exhibition—believes the show is important to the Jewish community because it helps to give the Holocaust a human face and tells the story of the tragedy in a unique way. “As the last generation of Holocaust survivors passes on, it is more important now to make certain their stories are not lost.

Richard Neumann and his family in New York, 1950s.

“We talk about the millions of victims of the Nazi regime, but we less often tell the narrative of who these people were,” Schimmel concludes. “The Neumann exhibition does that and, in a special way, highlights what was lost, what was taken, and how it was recovered.”

Generous support for the exhibition is provided by the Jewish Federation of Central Massachusetts and anonymous donors. Additional support is provided by the Strassler Center for Holocaust and Genocide Studies at Clark University, PEACE Fund GWCF, Marlene and David Persky, Carol and Michael Sleeper, Dr. and Mrs. Herbert Dean, Dr. Shirley S. Siff, Johanna D. Drooz Yoffie and Alan S. Yoffie, and Carol Seager.

Related exhibition programming is supported by the Amelia and Robert H. Haley Memorial Lecture Fund.

Sponsored by:

Did you know?

Every exhibition and program at WAM is only possible through the generosity of people who care about the Museum and the topic being presented.

Individual donors are vital, along with foundations and corporations. If you would like to learn more or offer your personal support for one of WAM’s extraordinary exhibitions or programs, please contact Karmen Bogdesic at KarmenBogdesic@worcesterart.org or 508.793.4326.

Opposite: Maerten van Heemskerck (Netherlandish, 1498–1574), Left Altar Wing with Male Donor, detail, about 1540, oil on panel, The Selldorff Family in memory of Richard Neumann.

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Exhibitions

Portraits and the pandemic: Thinking about love stories in unusual times Love Stories from the National Portrait Gallery, London November 13, 2021 – March 13, 2022

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hen I reviewed the prospectus for the new touring exhibition Love Stories from the National Portrait Gallery, London in early 2020, COVID-19 was in the news, but the reality of a global pandemic had yet to be felt in Massachusetts. Months later, when the decision was made to host the exhibition at WAM, we were not only acutely aware of how our lives had been changed by the emergence of a novel virus—but also that love had become a very important theme for our unusual times.

Love Stories embraces an inclusive definition of love and celebrates a broad spectrum of relationships over several centuries of portrait-making. These images—in a variety of mediums—are especially poignant at a time when many of us have been compelled to keep a distance from loved ones and, in

the most tragic cases, have experienced great suffering and loss. We still rely on pictures—today digital photos and video rather than oil painting—to sustain our relationships. These images serve as reminders of happier times when we could enjoy each other’s company without apprehension.

One particularly moving object in the exhibition is a bronze cast (above) of the clasped hands of the British literary couple Robert Browning (1812 – 1889) and Elizabeth Barrett Browning (1806 – 1861).

The act of holding hands can be mundane under normal circumstances, but when I viewed this cast during lockdown, I saw it as an extraordinary gesture. The Brownings’ bronze hands symbolize our longing for touch, as well as comfort in its physical expression of love and affection, while in pandemic isolation.

Above: Harriet Goodhue Hosmer, Elizabeth Barrett Browning; Robert Browning, 1853, bronze cast of clasped hands, National Portrait Gallery, London

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At the time the cast was made, it encapsulated the bond between the two writers in the face of external forces trying to keep them apart. Elizabeth Barrett was raised in a family of significant wealth, largely from her maternal grandfather’s Jamaican sugar plantation, and lived her first four decades in what has been described as reclusive confinement due in part to her father’s wishes and her frail health. She began writing poems at an early age and by 1844 had become one of England’s most popular poets. Her work attracted the attention of fellow writer Robert Browning, and after an extensive exchange of letters and 91 meetings by Robert’s count, they wed in secret, on September 12, 1846.

Elizabeth’s father disinherited her following the marriage.

Opposite: Michele Gordigiani, Robert Browning, 1858, oil on canvas, given by Florence L. Barclay (Florence Louisa Barclay (née Charlesworth)), 1921. National Portrait Gallery, London; Michele Gordigiani, Elizabeth Barrett Browning, 1858, oil on canvas, given by Florence L. Barclay (Florence Louisa Barclay (née Charlesworth)), 1921, National Portrait Gallery, London

The bronze was made from a plaster cast of the Brownings’ actual hands taken by sculptor Harriet Goodhue Hosmer (American, 1830 – 1908). Hosmer, who grew up in Massachusetts, spent much of the 1850s in Rome, where she came into contact with Elizabeth and Robert. The cast was made at a time of great happiness for the two, whose famous portraits will also hang in the exhibition. At age 43, Elizabeth gave birth to their son, Pen. Both Brownings wrote prolifically and thrived creatively during this period, each supporting one another in their artistic pursuits. In 1850, Elizabeth released Sonnets from the Portuguese, a compilation of poems she had written to Robert while they were courting. Initially she had intended these intimate verses to be private, but Robert convinced her to publish them. In this volume, “Sonnet 43” begins with what has become one of the most famous and oft-repeated declara-

tions of love in the English language: “How do I love thee, / let me count the ways.” Fifteen years after their elopement in 1861, Elizabeth died in Robert’s arms.

The COVID-19 pandemic has arguably introduced a new dimension to the way we look at portraits. Perhaps the past year and a half has increased our sensitivity to images of faces, because we have spent so much time interacting with others over mediated digital platforms. Portraits of people that commemorate moments of celebration and loss may invoke greater empathy in us. Love Stories from the National Portrait Gallery, London will invite our visitors to explore the richness of this diverse national collection through the lens of love. There will be oil paintings by Van Dyck and Gainsborough for the traditionalists; stories of heartbreak for the romantics; love triangles for soap-opera lovers; royal wedding portraits for the

Anglophiles; John and Yoko for the Boomers; and much more. It is, however, our universal need for deep connection— manifested all the more throughout the pandemic—that exists at the core of this exhibition and allows us to recognize our common humanity in these artworks, now more than ever.

—Claire C. Whitner, Ph.D., Director of Curatorial Affairs and James A. Welu Curator of European Art This exhibition is organized by the National Portrait Gallery, London.

WAM’s presentation is made possible through the generous support from the Fletcher Foundation. This project is also funded in part by the Ruth and John Adam, Jr. Exhibition Fund, Richard A. Heald Curatorial Fund, Don and Mary Melville Contemporary Art Fund, Michie Family Curatorial Fund, John M. Nelson Fund, and Hall and Kate Peterson Fund. Related programming is supported by the Bernard G. and Louise B. Palitz Fund.

Sponsored by: AUCTIONEERS

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Exhibitions Collaboration explores identity through the lens of visual strategy In February 2022, the Worcester Art Museum will open Us Them We | Race Ethnicity Identity, an expansive exhibition co-curated by Nancy Kathryn Burns, Stoddard Associate Curator of Prints, Drawings and Photographs at WAM, and Toby Sisson, Associate Professor and Program Director of Studio Art at Clark University. In conjunction with the exhibition, they developed and co-taught a virtual course at Clark this past spring, immersing undergraduates in the artistic process and creative response around what is arguably the most central issue facing our society today. Toby Sisson talked with access magazine about how the course came to be; this article is based on that interview.

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n the summer of 2020, while social unrest erupted across the country following the murder of George Floyd by police in Minneapolis and issues of race rose to the fore of our national consciousness, Nancy Kathryn Burns at WAM was in the process of organizing an exhibition that would show how artists use different visual strategies—text, pattern, juxtaposition, and seriality—to express the complex concepts of race, ethnicity, and identity.

Serendipitously, Burns contacted Toby Sisson at Clark University about collaborating on the project just as Sisson was working on revamping an existing course, “Contemporary Directions,” to incorporate diversity and inclusion into the curriculum.

“As Nancy was looking at various formal elements that artists have used to address these issues, teasing out compositional threads that connect the artists, I was thinking, ‘How can I make this part of my own practice?’” she said.

Burns and Sisson spent the rest of 2020 planning the course and how to integrate it into the exhibition they curated together.

Thirteen Clark students, from a variety of majors, took the virtual course, which ran in the spring semester of 2021—with perfect attendance. One student, living in China at the time, had to log into the Zoom class at 1:30 a.m. and never missed a session. Because the classes were held remotely due to COVID-19, artists from around the country and museum professionals could attend as guest lecturers. This allowed students to interact with individuals working in the field and have conversations about a variety of topics. “This was actually a benefit of Zoom,” Sisson said. “We had guest artists of international stature, including Nyeema Morgan in Chicago and Layla Ali in Western Mass, who wouldn’t have been able to visit an in-person class.”

The course was structured with two projects in which the students were asked to examine their own feelings around identity by responding to two different objects that will be shown in the upcoming exhibition at WAM. Students chose from a selection of works on the exhibition checklist, researched the artists, then

created their own works of art in response and wrote corresponding labels. “Young people are much more open to and accepting of identities over a broad range of ideas,” Sisson said, adding that this sensitivity was reflected in their personal response works.

She gave as an example a student who responded to a photograph by artist LaToya Ruby Frazier depicting her fraught relationship with her mother and her mother’s boyfriend. The student related to the family tension depicted in Frazier’s image because of similar dynamics in his own relationship with a family member that developed during the pandemic. According to Sisson, students responded deeply to the works and conversations around the idea of identity. “They could say, there’s an artist who doesn’t share my lived experience but is addressing a topic that I can relate to,” she explained.

At the same time the students, Burns, and Sisson were delving into the profoundly personal ideas of identity, race-related events were unfolding across the country in real time. “We were talking about current issues while protests were happening in the real world. That was exciting and inspiring for all of us,” said Sisson.

“Art has intrinsic value, and it includes beauty, celebration, protest,” she explains.

“That happens because artists use devices with emotional power, like color and contrast. I wanted the students to understand that, to understand artists’ language, how art takes form.”

When Us Them We | Race Ethnicity Identity opens in February 2022, the student response works will be displayed in a space adjacent to the exhibition, allowing visitors to see for themselves the power of that language.

This exhibition is organized by the Worcester Art Museum in partnership with, and with support from, Clark University. Early support has been provided by Marlene and David Persky, Michael and Kristy Beauvais, Eve Griliches, and Sara Shields and Bruce Fishbein. This project is also funded in part by the John M. Nelson Fund and the Hall and Kate Peterson Fund.

Related programming is supported by the Amelia and Robert H. Haley Memorial Lecture Fund and Spear Fund for Public Programs.

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Philanthropy

David Emitt Adams, 111 Degrees, Facing West, wet plate collodion tintype made on object found in the Sonoran Desert, Funded by the Douglas Cox and Edward Osowski Fund for Photography, 2018.49 Left: Meghann Riepenhoff, Littoral Drift #3 (Rodeo Beach, CA), cyanotype diptych on wove paper, Funded by the Douglas Cox and Edward Osowski Fund for Photography in memory of Robert A. Royka (1933–1996) and in honor of Margaret Kent Royka, 2015.44

Ed Osowski

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d Osowski’s interest, curiosity, and passion for art began at an early age when his father brought him to the Worcester Art Museum in the 1950s. The visit and recollection are quite vivid, as Ed recalls viewing the Picasso drawing Three Nudes Reclining on the Beach—his first exposure to how art and art expression push the boundaries of everyday life. He returned to the Museum for a Pop Art show during his high school years.

Attending the College of the Holy Cross in Worcester Ed started to visit the Museum regularly. He found the galleries quite contemplative and even wrote a term paper in the Chapter House, reveling in the history of the building as the first complete medieval structure to be brought to the United States from Europe. Ed’s academic journey continued with a fellowship to study literature at Rice University in Houston, followed by a year of study at Simmons College.

Back in Texas, Ed started writing grants for the Houston Public Library. That funding allowed him to hire photographers and writers for publications on Houston's built and social environments. Resonating with the photojournalism of his childhood through his father’s Life and Look magazines, he became even more fascinated with photography and its ability to capture the cultural and social fabric of life. He joined the Houston Center for Photography and became the book editor for its quarterly, reviewing exhibitions and books, formalizing a program for seeking donations to establish its library, and eventually serving as president in the early 1990s.

While he could have supported the museums in Houston, Ed made a conscious decision to benefit WAM with his financial support, having learned his appreciation for art at the Worcester Art Museum. Ed also found it meaningful that WAM was one of the first museums to recognize photography as an art form and held annual photography exhibitions since 1904.

Staying connected to WAM, Ed helped to contribute to the 2004 exhibition catalog “Keeping Shadows.”

Ed Osowski, © Sharon Stewart

Following the death of his father, Ed connected with David Acton, WAM’s Prints, Drawings, and Photographs Curator at the time, and arranged for the purchase of a photograph in memory of his father. He also secured a donation of a matching work from the artist. That single purchase for WAM led to an involvement that has included direct purchases from artists and galleries of works for the collection, securing donations from photographers and collectors, and the donation of funds for items to strengthen the photo holdings.

In fact, his donated cyanotype photograph (pictured above) was the cover for the Cyanotype: Photography’s Blue Period exhibition catalog in 2016. At the same time, Ed decided to honor his life partner by establishing an endowed fund, the Douglas Cox and Edward Osowski Fund for Photography, which will have a lasting impact on the Museum’s ability to purchase photos in perpetuity.

Because of his commitment to the Museum, he was asked to become a Corporator in 2012. Ed has taken that role to heart, joining the Salisbury Society with an annual gift, supporting the WAM fundraiser every year, and connecting his network of photographers, artist friends, and collectors with Nancy Burns, the current Stoddard Associate Curator of Prints, Drawings and Photographs. Most recently, Ed has announced that he has included the Museum in his will.

Ed is a wonderful example of how you can support a museum—from establishing an endowed fund, to providing annual support for membership and fundraisers, to helping expand the collection with gifts or financial support, to leaving a legacy gift. We are grateful that Ed, now living in Texas, remembers his early inspiration at the Worcester Art Museum and that he has chosen to contribute in so many ways to WAM now and into the future. We thank him for his unwavering and steadfast support.

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Collection

Newly acquired Japanese woodblock prints highlight “City of Fires”

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etween 1603 and 1868, the city of Edo (present-day Tokyo) was arguably the most fire-prone city in the world, ravaged by over one thousand blazes. It became known as “City of Fires,” while its citizens called the fires “Edo no hana” or “flowers of Edo.” The combination of traditional Japanese houses, city infrastructure, and the indispensable use of fire in lighting, heating, and cooking made the city particularly susceptible. Arson, earthquakes, and the city’s unique prevailing north and south winds also contributed to Edo’s greatest and most devastating fires.

Utagawa Yoshiiku, Old Story of Withdrawal in the East, 1860, multicolored woodblock print, 2021.11

Edo relied heavily on its firefighters, who were organized into forty-eight brigades across the city, to combat these catastrophic blazes. Their unique role in Japanese society was captured by the renowned and prolific printmakers in Japan at that time. During the past year the Museum was able to purchase twelve of these extraordinary works, augmenting our already extensive collection of Japanese woodblock prints. These new firefighter prints will be part of a fall 2023 exhibition at WAM.

of longevity, “shrimp” was also a common name for a barbershop. Barbershops, often no more than shacks set up around bridge piers, were considered a major fire hazard, as an outbreak of fire in one of these shoddy structures had the potential to spread quickly to the bridge itself. To avoid being forcibly removed by the city, barbers volunteered to fight the fires themselves, leading to the formation of bridge brigades. In the center, Gonjuro I is depicted as one of them, wearing an inside-out firefighter coat.

One of the acquired prints, created by Toyohara Kunichika (1835 – 1900), portrays the famous kabuki actor, Kawarazaki Gonjuro I, dressed as a firefighter (left). He wears his firefighter coat inside-out to reveal a classic design of peonies and Chinese lions. (Firefighters turned their coats inside-out to reveal bold and colorful patterns to signify successfully combating a fire.) He carries the matoi (standard) of the ko-brigade. Standards identified each of Edo’s brigades, as well as marked the area of a fire and claimed it to receive the reward.

Another highlight is a print by Tsukioka Yoshitoshi (1839 – 1892) from his highlyregarded series, Thirty-two Aspects of Customs and Manners. It shows a woman waiting expectantly for the return of her husband, whose firefighter’s coat is hanging beside her. Her pose and facial expression convey both her impatience and trepidation as she waits for her husband to come home. While the majority of firefighter prints showcase their bravery and bravado, Yoshitoshi upends that conventional narrative, bringing to the forefront the sacrifices that firefighters and their loved ones made to keep the residents of Edo safe.

There were also volunteer and privatelycontracted brigades. A rare and unusual print in this acquisition group, also by Kunichika, shows three actors standing in front of a barbershop decorated with an image of a giant shrimp. A traditional symbol

Firefighters held a distinct position in Japanese society as both heroes and antiheroes. Seen by the urban population as courageous, latter-day samurai who risked their lives to combat and control great fires,

Left: Toyohara Kunichika, Kawarazaki Gonjuro, 1869, multicolored woodblock print, 2021.15

they were feared by authorities for their rebellious nature and bravado. They acted as police, gangsters, extortionists, and peacekeepers in the still lawless streets of Edo, making them a phenomenon of the city. One of the most dynamic prints in this acquisition is by Utagawa Yoshiiku (above).

It depicts a scene from a kabuki play that shows two actors dressed as firefighters and using a firefighter ladder to fend off attacks by two sumo wrestlers. The play, and in turn, the print, is based on a famous day-long brawl between the mebrigade and sumo wrestlers in 1805 over who “owned” Edo’s streets. Silhouettes of figures fighting on the surrounding buildings show the skirmish has spread as the fire tower in the center stands over the chaos and confusion.

An important addition to our Japanese print collection, these twelve works represent a relatively unknown, but fascinating part of Edo history. We can now better understand the context of a number of prints in our collection. I am grateful to Curatorial Consultant of Asian Art, Reiko Machi Shinomiya, for helping me with the research and selection of these truly magnificent acquisitions.

—Rachel Parikh, Ph.D., Assistant Curator of Asian and Middle Eastern Art

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Conservation Now

Replacing missing fingers and toes with 3D printing technology

Objects Conservator Paula Artal-Isbrand

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ver the past two years, Objects Conservator Paula Artal-Isbrand has gone through the painstaking process of cleaning the 19th-century sculpture, Shipwrecked Mother and Child, by Edward Augustus Brackett. Acquired by the Museum in 1904, the sculpture was stored in the basement for 80 years until it was moved to the Jeppson Idea Lab for conservation in December 2019. Visitors have been able to watch as the marble statue, dirty and dingy from decades of exposure to pollution and grime, gradually took on its original brilliant white color.

to 3D technology for the restoration of missing digits. For most of the losses, primarily fingers and toes, their mirror-image counterparts on the other side of the bodies were fortunately undamaged and Academia 50, 3D thus served as prototypes Digitizer for the restorations. The existing fingers and toes were scanned with a high resolution, Academia 50 3D Digitizer from Creaform that WPI acquired for this project.

In early 2020 Artal-Isbrand began a partnership with scientists at Worcester Polytechnic Institute (WPI) to prepare for the second conservation treatment phase: replacing toes and fingers that were damaged or lost over the years. For this complex process, Artal-Isbrand worked with graduate student Colin Hiscox and undergraduate student Nathan Kaplan under the supervision of Professor Cosme Furlong-Vazquez, Director of the Laser Holography Lab in the Mechanical Engineering Department.

Then, computer-generated algorithms turned the scanned information into a digital model which was mirrored to produce the

Because the sculpture is a representation of human figures, which are by nature symmetrical, the project lent itself perfectly Hiscox digitizing the sculpture

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Two 3D printed digits

desired shape and size of the missing fingers and toes. These files were ultimately 3D printed by Professor Erica Stults, director of WPI’s Advanced Prototyping Lab. According to Artal-Isbrand and Hiscox, the next phase of the project—fitting the printed prototypes to the sculpture—was the most challenging and time consuming, with Hiscox making numerous trips to the Museum. Because the printed parts did not always perfectly match the surface contours at the break site, the parts needed to be rescaled and reshaped to be consistent with the rest of the sculpture. The challenge did not just involve fitting the pieces seamlessly onto the surface of the sculpture, but also ensuring that the directionality of the replacement digit looked anatomically

Worcester Polytechnic Institute Professor Cosme Furlong-Vazquez with graduate student Colin Hiscox

“It was a conversation between Colin and myself, a collaboration of two minds: a conservator and a mathematician, engineer, and scientist. Our ultimate goal was to have Brackett's approval!” correct. It took several sessions of scanning and at least 10 rounds of subsequent printing of prototypes until Artal-Isbrand and Hiscox were satisfied.

“It was important to integrate the 3D-printed restorations into the sculpture so they would sit in a natural manner consistent with human anatomy,” explained ArtalIsbrand. “It was a conversation between Colin and myself, a collaboration of two minds: a conservator and a mathematician,

engineer, and scientist. Our ultimate goal was to have Brackett’s approval!”

“The biggest reward was seeing the computer-generated parts fit onto the statue. When they fit nicely and smoothly, it was very satisfying,” says Hiscox.

The final iterations were printed on an Objet260 Connex printer using an acrylicbased resin, chosen very carefully for this conservation project.

“As art conservators we carefully select the materials used in our restorations. We make sure they fulfill certain requirements, including that they are inert, do not change color and consistency over time, are different than the original, and are fully reversible at any time in the future,” Artal-Isbrand says.

Finishing the new digits involved coating them with a conservation-grade acrylic primer and then painting them with conservation-grade acrylic paints and

Left foot of mother before and after restoration

varnishes to match the color of the marble.

Artal-Isbrand adhered archival paper to the base of each 3D-printed restoration to serve as a barrier between restoration and original materials, and also to facilitate reversal of the adhesive join should that be needed in the future. She then attached each 3D restoration with an acrylic adhesive. Once in place, the final retouching with the acrylic paints fully integrated the restorations into the artwork so that even Brackett wouldn’t know they were not original.

But why restore the missing parts of this artwork? Artal-Isbrand says, “Shipwrecked Mother and Child is overall pristine, the missing parts were small, and it was clear what they were. By restoring them, we thereby averted a potential visual distraction. This will give our visitors a rich viewing experience, and allow them to fully enjoy this impeccable masterpiece

by Edward Augustus Brackett.”

This project has been generously supported by the Henry Luce Foundation.

Hiscox fitting a 3D printed toe

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Education

WAM Teen Council: Engaging the teen community Members of the WAM Teen Council.

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o develop art programming for teens we went to a reliable source: actual teenagers! The result is a new WAM Teen Council that wasted no time getting to work brainstorming creative ideas for attracting Worcester-area teens to the Worcester Art Museum.

Funded by a grant from the National Endowment for the Arts, the WAM Teen Council consists of a dozen tenth to twelfth graders from Worcester schools chosen to establish a group with a variety of skills, interests, experiences, and backgrounds with a shared passion for the arts and dedication to community building.

The application and selection process took place in early 2021.

“I enjoyed getting to know the Teen Council through their interviews and at meetings on Zoom and at WAM,” says Aileen Novick, Manager of Public and Education Programs and Council comentor. “It’s fun to show these interested students how a museum works and the people who do the work.”

For a Council member, there are hands-on opportunities to develop leadership, interpersonal, and professional skills as they work on developing and delivering these projects, explains Elizabeth Buck, Manager of Studio Class Programs and Council comentor. “The teens collaborate with WAM staff, Members, docents, and community volunteers to develop original public programs and events to engage other teens.”

“I wanted to be on the Council because I love art museums and interacting in community spaces where the purpose is to enjoy it,” says Elie, a high school junior and Council member. “When a museum is an inviting place and teens are encour-

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aged to be there, they return for more. I am happy to be part of a team making WAM more accessible and pleasant for that demographic.”

This group embraces their mission with passion, ingenuity, and a resolute purpose.

“They take this seriously,” says Elizabeth.

“These teens are asked to serve a oneyear term and meet once a month, either in person or via Zoom. Members are encouraged to continue their conversations after leaving the Council and offer new programming ideas.”

“The best part of being on the WAM Teen Council is the collaboration between diverse individuals,” says Rose, a high school senior. “We always manage to have incredibly rich conversations full of vibrant ideas.

The Council is a wonderfully intimate community that promotes both creativity and imagination.”

Zara, a fellow Council member and high school junior, agrees. “I also enjoy how we build upon one another’s ideas and that WAM staff members ask for our input on a potential project or programming idea.”

So far, the Council’s focus is on creating new interactive Art Cart opportunities for the Museum’s galleries, organizing recurring teen night open-studio activities, and curating a teen exhibition/auction in spring 2022.

“I'm excited about the teen exhibit,” Elie says. “We want to encourage teens unfamiliar with WAM to submit their artwork, have it on display, and bring friends and family to see their work. It’s a real opportunity for teens who may never have considered their art being on view in a museum.”

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“It’s great to have the Council share ideas for new programs at WAM,” says Aileen.

“I’m thrilled to see the teens develop a new Art Cart to engage the public. Having Council members at the Art Carts also can help involve children coming to WAM, since kids like interacting with teens. The Council will bring a lot of new energy to the Museum.”

Their commitment to achieving these goals is inspiring. There’s a Vision Team to assure programming meets the Council’s mission and to work on outreach; an Action Team to organize and run programs; and a Communications Team to work on marketing, graphic design, and community visibility.

“Despite the challenges of the last year due to COVID-19, or perhaps due to these challenges, the Council members are ready, excited to try new things, and make their mark on the Museum,” observes Elizabeth. “We were pleased to learn that making deeper connections with the Worcester community was a selfinitiated goal among the Council members.

These are talented artists passionate about what the arts can do for individuals and their communities.”

“Art is most powerful when it unites a group of individuals to form a community,” Rose emphasizes, “and I believe the Teen Council came about in that way. Art will always be an integral part of any society.”

Do you know a teen interested in creating WAM programming? We’d love to meet them! Email teens@worcesterart.org to start the process of getting involved in the WAM Teen Council.

Find yourself at WAM

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

Covered Tea Bowl with Design of Swimming Goldfish Tucked away in a corner of the Chinese jade gallery is a small, unassuming bowl decorated with a charming goldfish design.

Covered Tea Bowl with Design of Swimming Goldfish (Chinese, 1821 – 1850) is elegant and expertly crafted, but there is a whimsy in the colors and design that make it feel relatable and almost contemporary. The stylized fish, the delicate texture of the scalloped waves that shimmer under the light, the soft teal contrasting with orange—it’s all so satisfying.

For me this little bowl represents an evolution in both my understanding of art and my relationship with the Museum. As a kid growing up in Worcester I mostly paid attention to the huge, dramatic paintings in the European galleries (basically the bigger the better!). Then in college at Holy Cross I had the opportunity to take art history courses that frequently held lectures at the Museum. These formative WAM visits helped me develop a roster of favorite artists, periods, and styles.

After college I began another phase in my relationship with the Museum when I was lucky enough to start working here. Beginning as a gallery attendant and spending so much more time in the Museum, I learned to appreciate works I might previously have rushed past. Ceramics, furniture, and other decorative arts that previously held little appeal suddenly became fascinating to me. Finding such a love for this little porcelain bowl, amongst so much else at WAM, has changed my perspective on how I appreciate art and experience museums.

Jack Gallagher lives in Worcester and is WAM’s Marketing Coordinator. He previously worked as a Gallery Attendant and Guest Services Representative.

Life is a Dream with Monet Claude Monet’s distinct ability to simplify the most complex aspects of nature and provide a lens of fragility is remarkable.

Often, I find his ability to do so unmatchable.

Nestled in a corner of the European Wing of the Museum is one of the 250 versions of Monet’s visual interpretation of his passion for horticulture. A pond curated and built "for the pleasure of the eye and also for motifs to paint,” has become a centerpiece of my life. An obsession to capture the beauty of everyday life and see the same imagery with new eyes and new emotion has become the mantra with which I live my life. In a world of constant change, the beauty of nature remains untouchable. Fluctuating with seasons, the time of day, and the amount of light, Monet’s Waterlilies is a collection provoking its audience to reflect on the importance of life as it captures time through change, breathing both the concepts of life and death onto the canvas.

A print version of the Museum’s Waterlilies from 1908 hangs on the wall of my office, providing me with a reminder to take a moment and reflect on the experiences of the day. I find myself sitting at my desk, with my eyes closed, retracing the short, flirtatious brushstrokes. This calming moment has settled itself into my routine as a means of meditation and a method I share with my children as they reimagine some of their own favorite WAM paintings.

Pictured above: Covered Tea Bowl with Design of Swimming Goldfish, Chinese, Jingdezhen, in Jiangxi province, Daoguang period (1821 – 1850) of the Qing dynasty (1644 – 1911), porcelain with enamel decoration and incised ground over transparent glaze, Gift of Helen M. Fernald, 2008.51; Right: Claude Monet, Waterlilies, 1908, oil on canvas, 1910.26

WAM Member Giselle Rivera-Flores lives in Worcester with her husband and three daughters.

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Ongoing/upcoming

Furuyama Moromasa, Hotei and Fukurokuju Visiting the Pleasure Quarter, detail, Enkyo era (1744 – 1748), handscroll; ink, color, gold, silver and gold flecks on paper, Stoddard Acquisition Fund, 1998.180.5

Japanese Case Rotation: Parodies and Legends by Furuyama Moromasa Through December 2021 The Japanese gallery features an installation of a handscroll by painter Furuyama Moromasa (Japanese, 1712 – 72). The unusually large handscroll, representing the most elaborate and extensive work by the little-known artist, contains twenty separate paintings, each approximately four feet long. Two of the paintings are displayed in this installation, including the one pictured above.

The majority of images are considered to be mitate-e, or “parody pictures.” A common feature of Edo period art, mitate-e are derived from legends, literature, religion, and history, and employ metaphors, playful comparisons, and humorous irony.

Supported in part by the Hall and Kate Peterson Fund.

Central Massachusetts Artist Initiative Sidney and Rosalie Rose Gallery Cesar Rodrigues December 1, 2021 – May 8, 2022 Cesar Rodrigues is a Worcester-based abstract artist who responds to the material properties of acrylic paint. His explorations in color, texture, gravity, and viscosity are recognized for their sophisticated and vibrant palettes.

Rodrigues considers his body of work a metaphysical representation of what lies outside of our perceived reality.

At an early age Rodrigues was diagnosed with Spinal Muscular Atrophy which causes progressive muscle weakness. When he could no longer hold a paintbrush, Easterseals Massachusetts helped engineer a custombuilt assistive device that pours paint and rotates a canvas using Bluetooth technology. Today, he is a beacon of inspiration in the greater Central Massachusetts art community.

Supported by the Don and Mary Melville Contemporary Art Fund.

Cesar Rodrigues, Untitled, 2008, acrylic on canvas

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Us Them We | Race Ethnicity Identity February 19 – June 19, 2022 Addressing identity as a socio-political issue has been a central theme for artists since the 1970s. Us Them We | Race Ethnicity Identity will consider the ways that contemporary artists accentuate concepts like race and ethnicity through various visual strategies. Four formal devices serve as the foundation for the exhibition: Text, Juxtaposition, Seriality, and Pattern. Artists often employ one or more of these approaches as means of storytelling, protest, and celebration. This exhibition demonstrates how these organizing principles serve as a common tool through which personal and communal social status are explored.

Co-curated by Nancy Kathryn Burns, Stoddard Associate Curator of Prints, Drawings, and Photographs at WAM, and Toby Sisson, Associate Professor and Program Director of Studio Art at Clark University, Us Them We | Race Ethnicity Identity will feature over 50 objects across a broad spectrum of media including: photography, prints, painting, and sculpture. Presented across two galleries, the exhibition features significant loans and some rarely seen objects from the Worcester Art Museum’s permanent collection. Highlights include works by Edgar Heap of Birds, Byron Kim, Roberto Lugo, Shirin Neshat, and Lorna Simpson.

Organized by the Worcester Art Museum in partnership with, and with support from Clark University. Early support has been provided by Marlene and David Persky, Michael and Kristy Beauvais, Eve Griliches, and Sara Shields and Bruce Fishbein.

This project is also funded in part by the John M. Nelson Fund and the Hall and Kate Peterson Fund. Related programming is supported by the Amelia and Robert H. Haley Memorial Lecture Fund and Spear Fund for Public Programs.

Byron Kim, American, b. 1961, Synecdoche: Danielle Brunner, Dominic Shamyer, Ella Kim, George Gountas, Glenn Ligon, Jay Patrikios, Johannes Gachnang, Joanna Bossart, Joseph Benjamin, Konrad Tobler, Kyle Wilton, Louis Barney, Lourdes Mercado, Luciano Berti, Marc Pia, Marvin Siegel, Miguel Maldonado, Niki Hosig, Remy Pia, Roland Fellmann, Rosa Duran, Ruth Libermann, Sean Casey, Susann Bossart, Vijay Kapoor, 1992 – 1998, wax and oil on panel, Collection of Noel Kirnon. © Byron Kim 2021. Image courtesy of the artist and James Cohan, New York.

Jewels of the Nile: Ancient Egyptian Treasures from the Collection of the Worcester Art Museum June 18, 2022 – January 29, 2023 When Jewels of the Nile opens in spring 2022, the Worcester Art Museum’s extensive collection of ancient Egyptian jewelry will be on view for the first time in nearly a century. The collection—much of it given to the Museum by Laura Norcross Marrs (1845-1926)— is remarkable not only for its breadth and quality, but also for its fascinating backstory.

Marrs was the daughter of Boston Mayor Otis Norcross (18111882) and wife of amateur photographer Kingsmill Marrs (d. 1912).

During a trip to Egypt in 1908, the Marrses met archaeologist Howard Carter (1874-1939), who would later discover the Tomb of Tutankhamun. Carter was originally offered work in Egypt because of his artistic talent. He would supplement his income by selling beautiful watercolors of scenes from Egyptian tombs and temples.

Laura Marrs had a keen interest in prints and watercolors, acquired many of them, and eventually donated them to WAM. The Museum now holds the largest collection of these paintings.

Brooch Featuring a Skiff with Blossoms and an Ancient Plaquette, umarked, (plaquette) New Kingdom, ca. 1539 – 1077 BCE; (gold mount) late 1800s – early 1900s, glazed steatite and gold (modern), Gift of Mrs. E.D. Buffington, 1914.2

The Marrses struck up a friendship with Carter, and they wrote letters and visited one another in Florence, Italy, and in Luxor, Egypt. Carter also advised them on purchasing antiquities— particularly jewelry, which was legal at that time. With his knowing eye and the Marrses’ acumen, together they assembled an outstanding collection. After Mr. Marrs’ death, Laura gave it to Worcester. Over 90 years later, their generosity will be celebrated in Jewels of the Nile, showcasing nearly 300 objects from this collection and the Museum’s other holdings.

This exhibition is made possible through the generous support of Dr. Sohail Masood, his wife Mona Masood, and their children Laila Masood and Omar Masood. Additional support is provided by the Fletcher Foundation.

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Tours and programs Public tours begin in the Lancaster Welcome Center.

Guided Tours These docent-led Highlights tours explore significant art, artists, and cultures presented throughout WAM's galleries. Tours are held every Sunday at 1pm.

Zip Zooms & Zip Tours Join us for our docent-led art discussions on selected works in the collection. These 30minute spotlights include time for audience comments and questions.

Virtual Zip Zooms are on the following Wednesdays at 12:30pm: October 20; November 3 and 17; December 1, 15, and 29. Free; advance registration required. Visit our online calendar at worcesterart.org for details and links to programs.

Onsite Zip Tours are on the following Saturdays at 12:30pm: October 23; November 6 and 20; December 4 and 18; January 2. Free with Museum admission.

Art Carts: Family Fun in the Galleries Think visiting a museum is just walking around and looking at stuff? Think again!

With the assistance of knowledgeable staff, Art Carts offer engaging activities on different themes. Check our online calendar for dates and times.

Community events Día de los Muertos Saturday, October 30, 10am to 4pm Celebrate Day of the Dead with community partners across the city! A central part of this Mexican tradition is an ofrenda, or offering, where people welcome and give gifts to spirits of deceased loved ones.

Along with a refresh of our Arts of the Ancient Americas gallery, WAM hosts a community ofrenda—on view through November 14—as well as activities and tours. Look for additional events by partners at JMAC, City Hall, and Main IDEA as part of this important cultural tradition. Free.

Tours of the Month Stop by on the first and third Saturdays of the month at 2pm for an in-depth look at various themes found in the Museum’s collection in these docent-led tours.

November 6 and 20 Enjoy a Diwali-inspired tour that captures Indian and East Asian themes throughout the galleries.

Programs for all ages Arms + Armor Presentations Join us on the second and fourth Saturdays of each month (except Christmas Day) at 11:30am and 2pm.

Discover different kinds of arms and armor used by Roman soldiers, medieval knights, and many others in this fun, interactive program. Events held onsite in the Museum Conference Room and virtually through WAM’s Facebook Live page.

Learn more at worcesterart.org

Performances and events Sundays at 2pm December 12: Merrimack Valley Ringers

December 26: John McDonough’s Pumpernickel Puppets Musical Variety Show!

Ice Carving by Chip Koser of South Cape Ice Sculptures Saturday, January 8, beginning at 11:30am Outside on Lancaster Plaza

Diwali Sunday, November 7, 10am to 4pm Honor the traditional fall Hindu "Festival of Lights" with the India Society of Worcester on WAM’s Free First Sunday! Enjoy an exciting day of Indian dance, music, food, and artmaking. Free.

Deck the Halls!

November 26 – January 9 WAM gets merry and bright for the holidays with artfully decorated trees inspired by the Museum's special exhibition, Love Stories from the National Portrait Gallery, London, and the 1965 classic movie, Doctor Zhivago. Stroll through the galleries and view the decorations created by Sally Jablonski of Herbert E. Berg Florist, Inc.

All programs are free with Museum admission, unless otherwise noted. Admission is free on the first Sunday of each month, except March 6, 2022. Information subject to change; visit worcesterart.org for scheduling updates prior to arriving at WAM.

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Hanukkah at WAM Sunday, December 5, 10am to 4pm Join us for a day-long program celebrating Hanukkah with activities for all ages. Enjoy Klezmer music, live cooking demonstrations of latke making, story times in collaboration with PJ Library, art activities, and discussions about the traditions and history of Hanukkah. In partnership with the Worcester JCC and the Jewish Federation of Central MA. Free.

December 19: Duets by Arianna Falk (cello) and Peter Sulski (viola), plus students from Worcester’s Neighborhood Strings program

December 4 and 18 This tour focuses on works of art that feature gatherings, as you prepare to celebrate fall and winter holidays with friends and family.

Group Tours To schedule an onsite adult or youth/student group tour, contact KaylaPeterson@worcesterart.org. Due to the COVID-19 pandemic, masks are required for all visitors regardless of vaccination status. Please check WAM’s website for up-to-date information.

Also on view during the holidays is Dwight Sturtevant’s interactive train layout of The New Middleton & Stony Point RR. Surrounded by artwork showcasing Worcester’s legacy of trains, this U-shaped display —with double main line and modular design—features working streetlights and crossing signals with bell sound effects.

A fun way to celebrate the winter season!

Screening of Doctor Zhivago Sunday, January 9, 1 to 4:30 pm Higgins Education Wing, Second Floor Conference Room

Flora in Winter March 3 – 6, 2022 The region’s premier floral design event includes captivating and imaginative interpretations of artworks on view in the Museum. The muse for this year's Flora programming is our Love Stories from the National Portrait Gallery, London exhibition.

Enjoy an exciting array of festivities and programs throughout the four days including tours, demonstrations, lectures, workshops, and music. Visit worcesterart.org for updates on tickets and event schedule.

MASTER SERIES 2021 – 2022 The Worcester Art Museum’s Third Thursday Master Series features in-depth presentations by art scholars, providing insights and stories about works in the Museum’s collection or on view in special exhibitions. The art talks are held on most third Thursdays at 6pm.

Hosted by the WAM Members Council, 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.

Sponsored by:

October 21, 6pm — Laura C. McDonald, Art Collections Registrar at Tufts

University Art Gallery Creating an Icon: Edward Augustus Brackett's visit to John Brown's Prison Cell Laura C. McDonald will share the amazing story of the bust that sculptor Edward Augustus Brackett carved of abolitionist John Brown and will trace how it went missing at Tufts University. WAM will also share an update on its conservation project of Brackett’s Shipwrecked Mother and Child.

November 18, 6pm — William R. Short, Ph.D., author, filmmaker, lecturer, and independent scholar specializing in Viking-age topics Men of Terror: A Comprehensive Analysis of Viking Combat One thousand years ago, a rune stone memorial was raised to a man named Fraði, called the “first among Vikings” and a “terror of men.” In this lecture, William Short discusses his new book that looks at how Viking society revolved around violence. The holistic picture of Viking combat derived from Short’s research allows us to understand Viking society and put a human face on these men of terror. WAM will also share information about our recently acquired Viking sword.

February 17, 6pm — Lucy Peltz, Ph.D., Head of Collection Displays (Tudor to Regency) and Senior Curator 18th Century Collections from the National Portrait Gallery, London; A. Cassandra Albinson, Ph.D., Head, Division of European and American Art; and Margaret S. Winthrop, Ph.D., Curator of European Art, Harvard Art Museums Love Stories from the National Portrait Gallery, London This Valentine’s Week presentation focuses on works in our special exhibition Love Stories from the National Portrait Gallery, London, with the exhibition curator, Lucy Peltz, in conversation about selected works from this exhibition with two art scholars from the Harvard Art Museums.

March 17, 6pm — Kimberly Juanita Brown, Ph.D., Associate Professor of English and Creative Writing, Dartmouth College Us Them We | Race Ethnicity Identity This exhibition considers the ways that artists from the last 40 years accentuate concepts like race and ethnicity through four formal devices: text, juxtaposition, seriality and pattern. Artists often employ one or more of these approaches as a means of storytelling, protest, and celebration.

Kimberly Juanita Brown, a specialist in visual culture studies, will address selected works in the exhibition and share her thoughts on the stories they tell.

Pierre Subleyras, Maria Felice Tibaldi,1739–1749, oil on canvas, Gift of Helen Bigelow Merriman, 1901.54

April 21, 6pm — Eve Straussman-Pflanzer, Ph.D., Curator and Head of Italian and Spanish paintings, The National Gallery of Art, Washington, D.C. Pierre Subleyras’ Portrait of Maria Felice Tibaldi This WAM portrait is featured in By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500 – 1800, the first exhibition solely dedicated to Italian women artists. The cocurator of the exhibition, which started at the Wadsworth Atheneum and is now in Detroit, will share more about the portrait of this female artist and its role in the show.

May 19, 6pm — Courtney Ann Stewart, Researcher of Islamic art history, and the history of jewelry and gemstones Amulets and Adornments from Islamic Lands As a prelude to the opening of Jewels of the Nile, Courtney Ann Stewart talks about jewelry and gemstones from the Islamic world, highlighting the various associations of such ornaments, from symbols of power to sacred objects of protection. Featuring stunning artwork from the WAM collection and others, Islamic jewelry will be contextualized and connected to precursors from Ancient Egypt and Mesopotamia.

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exhibition openings and community days to Flora in Winter and VIP tours, WAM is the scene Seen at WAM! From of many memorable art moments. We hope to see you here soon!

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Philanthropy 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. Margey A. Adams Mr.* and Mrs. William C. Arthur, Jr. Ann Baumann* Philip and Elaine W. Beals* Toni Begman 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* Eleanor H. Burke* Douglas P. Butler* 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 Brenda Verduin Dean Margery Dearborn

Robert A. DeLuca Patricia and Richard Desplaines, Jr. Henry B. and Jane K. Dewey Maria and John Dirlam Andrea N. Driscoll Shirley Look Dunbar* James E. Lowell* Stephen C. Fitzsimmons Mr. and Mrs. I. R. Freelander* Esther and Howard Freeman* Eleanor M. Garvey* Judith S. Gerrish* Lisa Kirby Gibbs and Peter Gibbs Daniel Grim and Irene Browne-Grim Robert D. Harrington, Jr.* Mrs. Milton P. Higgins* Eleanor Daniels Bronson Hodge* Dr. James and Mrs. Kathleen Hogan Professor Louis J. Iandoli Frances and Howard Jacobson Peter Jefts John and Marianne Jeppson* Joan Peterson Klimann David and Barbara Krashes Sarah Bramson Kupchik*

Marcia Lagerwey and Loren Hoekzema 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* Jean H. Miles* Mrs. David J. Milliken* Mrs. Anne (Nancy) Morgan* Haim G. Nagirner* Linda and John* Nelson Viola M. Niemi* Edward Osowski Mrs. Mae I. Palmgren* Mary Ann Horner Pervier* Marilyn E. Plue* Richard Prouty* Sarah and Joe Ribeiro Mr.* and Mrs. Chapin Riley

Blake Robinson* Mrs. Elijah B. Romanoff* Mr. and Mrs. Henry B. Rose Mr.* and Mrs. Sidney Rose Ruth R. Rubin Leonard B. Safford* Edith Safford* Jennifer L. and Richard E. Saffran Norman L. Sharfman* Dr. Shirley S. Siff and Robert M.* Siff Mary Skousgaard Hope and Ivan Spear* Helen M. and Thomas B. Stinson* Helen E. Stoddard* Lois Tarlow* 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.

All ages & levels!

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Member spotlight

Mary Beth Burke A resident of Worcester for nearly 30 years, Mary Beth graduated from the College of the Holy Cross before earning a Master’s degree from Boston College. At Assumption College, she taught political science, including a course called Art and Politics. An active community volunteer, Mary Beth came to love her adopted city, where she and her husband raised their family. WAM has been an important part of that life.

Mary Beth Burke

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

access: Do you have a favorite memory of your visits to WAM?

MB:

MB:

Sometimes we just assume a community asset will always be there and then are shocked and saddened when it disappears. WAM is Worcester’s cultural gem and my husband and I want to be part of its preservation and its continued growth. We want it to be there for our family for many generations to come.

access: What Membership benefits do you appreciate the most?

MB:

I appreciate all the special exhibitions, like The Iconic Jersey, The Kimono in Print, and Rediscovering an American Community of Color, the photography exhibition about African American residents of Worcester at the turn of the 20th century.

In my house, going to museums and historical sites was always called Forced Family Fun. No one ever wanted to go to WAM but once we got there they would bounce from one exhibit to the next with questions and would be so into learning about each piece. When the kids were younger they were always impressed by the gold statuary and jewelry in the Ancient America’s Collection and Paul Revere’s silverware. As they got older they developed an appreciation for the other pieces in WAM’s collection that were not so flashy. Some of my children also took art classes. The Museum helped to develop a life-long appreciation of art in my children, and I will always be grateful for having it right here in our Worcester backyard.

WA M MEMBE

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Be part of all that happens at WAM— become a Member!

• RECEIVE Free admission all year!

• GAIN Flora in Winter reduced Member admission.

the museum

shop

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

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• DEMONSTRATE your support of a valuable organization.

• ENJOY special tours, talks, reading groups, virtual presentations, and sneak-peeks, just for Members.

• EARN discounts in the Museum Shop and on tuition for studio classes.

Join or renew online at worcesterart.org/join, email membership@worcesterart.org, call 508.793.4300, or stop by one of the Guest Services desks at WAM.

Erika Sidor Photography

Shane Godfrey Photography

Include MATISSE, REMBRANDT, and MONET on your Guest List For more information about holding an event at the Worcester Art Museum or to schedule a tour of the space, please email specialevents@worcesterart.org or call 508.793.4327.

W O R C E S T E R A RT M USEUM / wo r ce ste r a r t.o r g

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 $1,500 or more provide essential support to all areas of the Museum. Under the brilliant leadership of Lisa Bernat and the dedicated Salisbury Committee (Sharon Avis, Mary Fletcher, Lisa Kirby Gibbs, Gabriele Goszcz, Lisa McDonough, Toni Meltzer, Kathy Michie, Moira Moynihan-Manoog, Susan Palatucci, Lynne Tonna, and Kris Waters), the Society has welcomed 38 new Members in the last fiscal year—a record in the last 20 years. (9/1/2020 – 9/26/2021) Chairman's Circle $25,000 + Marianne and John Jeppson Family Arthur M. and Martha R. Pappas Foundation Anonymous President's Circle $10,000 – $24,999 Karin I. Branscombe Larry and Marla Curtis Mary and Warner Fletcher Peter and Marty Hurley Judith S. King Philip and Gale Morgan John Savickas Clifford J. Schorer Mr. and Mrs. Theodore E. Shasta, Jr. Director's Circle $5,000 – $9,999 Jack and Susan Bassick Sarah and Allen Berry Douglas S. Brown and Jennifer RyanBrown Bill and Eileen Bush Dorothy Chen-Courtin Mr. and Mrs. J. Christopher Collins Charles H. N. de Végvár Maria and John Dirlam Jim and Carol Donnelly Antonella and Roger Doucette Allen W. Fletcher Mark and Jan Fuller Lisa Kirby Gibbs and Peter Gibbs Drs. Ivan and Noreen Green Arthur and Mary Kentros Mrs. Myles M. McDonough* Beth and Tom McGregor Mahroo T. Morgan Emily Rauh Pulitzer Jonathan and Lisa Sigel # Anne-Marie Soullière and Lindsey C. Y. Kiang Andrea Bettacchi Urban and Michael Urban Patricia and Paul C. Verderese Kulapat Yantrasast Anonymous Patron $2,500 – $4,999 Charles P. Ball and Margaret McEvoyBall Eric Brose and Jan Seymour Mr. and Mrs. H. Paul Buckingham III Prudence and William Crozier # Dr. and Mrs. Herbert Dean Margery and Richard* Dearborn Grace Fey # Kathleen H. Gadbois Roberta Goldman Amy C. Harmon and Robert Stefanic Dr. N. Alan Harris* and Dr. Diane Lebel James N. Heald 2nd George Hecker Barbara and Amos Hostetter # Rita J. & Stanley H. Kaplan Family Foundation # Margaret Keith Christine Keller and Walter Talbot David and Barbara Krashes Dr. George Krasowski and Theresa A. Quinn

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Claude M. Lee III Mary Beth Leonard Tom Logan and Sandy Hubbard Mark Mancevice Linda and P. Andrews McLane # Dr. and Mrs. Glenn A. Meltzer Katharine and Henry* Michie Thomas S. Michie Sandra O. Moose # Robert G. Oriol Marlene and David Persky Philip and Ellen Phillips Cynthia and Stephen Pitcher Edward and Linda Robbins Kristin and Roger Servison Carol and Michael Sleeper Brian and Monique Spear Cynthia Strauss and Harry Sherr Lisbeth Tarlow # George and Sheila Tetler George and Lynne Tonna Paul and Christina Villena # Penny Vinik # Matthias Waschek and Steve Taviner Mark and Barb Wetzel Barbara Ketcham Wheaton Member $1,500 – $2,499 & Contemporary Member $750 + Kim and David Adler Herb and Maura Alexander John B. and Mary Lou Anderson Janet Andreson Dealy Drs. Julia Andrieni and Rob Phillips Marie and Mike Angelini Andrew Athy Anthony and Barbara Trayers Athy Richard and Sharon Avis Joe and Kristin Bafaro Bradford D. Barker and Judith L. Pugh Brian and Janet Barlow Joan T. Barry Thomas J. and Lynora S. Bartholomew Isa and Fred Bayon Whitney Beals and Pamela Esty Toni Begman Barbara C. Bernardin Lisa M. Bernat and Abram Rosenfeld Mr. and Mrs. Michael J. Bollus Heath Drury Boote Ann Brown and Dominic Nompleggi* Elizabeth and Philip Buck # Dawn and John Budd Bettina L. Burr # George and Tammy Butler Thomas W. Caldwell Jennifer B. Caswell Catherine Choquette Donna E. Cohen # Catherine M. Colinvaux and Philip D. Zamore Jim and Margaret Collins Michael F. Collins, M.D. Pablo and Paula Collins Evan Comjean # P. Kevin and Clare K. Condron The Martha A. Cowan Fund James J. Convery and Tracy A. Craig Chris and Betsy Crowley

Bruce and Kim Cutler # Dix and Sarah Davis Laurie and Phil Davis Nina Chapin de Rochefort Glenn C. DeMallie # Henry B. and Jane K. Dewey David DiPasquale and Candace Okuno Tom Dolan Kent dur Russell and Aisling Gaughan Melissa Ann Durfee Marillyn and John Earley Sandy and David Ekberg Fred and Patty Eppinger # John and Jeanne Esler Dr. Marianne E. Felice Allen and Yda Filiberti Bruce Fishbein and Sara Shields Justin and Laine Fletcher Susan M. Foley Joan and Richard Freedman Lee and Dina Gaudette Paul J. Giorgio Jennifer C. Glowik-Adams Elaine and Stephen Gordon Dr. Gabriele M. Goszcz Emily Gowdey-Backus and Joshua Tucker # Janet and Geoff Graeber Maureen and Bob Gray Patricia A. Gray and Stephen D. Chubb David R. and Rosalie A. Grenon J. Michael and Brittany Grenon Eve Griliches # R. John Groves and Susan M. Groves Dr. Thomas and Patricia Halpin John W. Hardin, M.D. Phyllis Harrington Frank F. Herron and Sandra A. Urie Jock Herron and Julia Moore Janice Hitzhusen and Jim Pease Dr. James and Kathleen M. Hogan Emily and James Holdstein Elena Hutchinson # Kurt A. Isaacson # Katherine Burton Jones Drs. David and Kathee Jordan Oliver C. Joseph, M.D. # Matthew Kamins and Laurian Banciulescu Amar V. Kapur Evelyn Karet, Ph.D. Margaret Kavalaris # John F. and Rayna Keenan Maureen and William Kelleher Jean King and Carl Fulwiler James and Anne Lang Mr. and Mrs. John P. Lauring Albert and Anna LaValley Ann T. Lisi and Joel P. Greene Mr. and Mrs. Bruce D. Little # Siting Liu # Ronald and Angela Lombard Stephen and Valerie Loring Joseph and Bonnie Losavio # Larry Lucchino # David A. Lucht and Susannah C. Baker Dr. Paul J. Mahon Robert and Minh Mailloux

Mr. and Mrs. James V. Maloney # Moira and Charlie Manoog Dr. Sohail and Mona Masood Mr. and Mrs. Neil McDonough Philip McArthur Kevin and Martha McKenna Dr. Satya and Mrs. Supriya Mitra Michelle Morneau James and Patricia Moynihan Emily P. Murray Charlene L. Nemeth Edward Osowski Susan and Chris Palatucci The Parafestas Family # Fred and Christine Parson Thoru and Judith Pederson Patricia L. Pelletier Deborah A. Penta Mr. and Mrs. N. William Pioppi The Plourde Family Charitable Trust Dr. Phyllis Pollack William and Lia Poorvu # Carlos and Luz Ramos # George C. Rand, Jr. Arthur and Debra Remillard Luanne Remillard Sarah and Joe Ribeiro Dr. Ruthann Rizzi and Edwin J. Barr Shelley and Todd Rodman Malcolm Rogers Mr. and Mrs. Henry B. Rose Leah Rothstein # Trudy Roybal and Dr. Steven Rowell # Peter and Anne* Schneider Patricia A. Segerson # Carolyn and Thomas Selldorff # Frank and Nancy Selldorff # Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff Martha Simmons Dr. Jang B. Singh Richard and Glena Sisson James and Renee Skeffington # Mark Spuria Robin and Christopher Starr Mr. and Mrs. John C. Stimpson Katy and Peter Sullivan John J. Szlyk and Betsy Busch Szlyk Tony and Martha Tilton Susan and Phil Treide Karen Gottschang Turner and Thomas Gottschang Judith C. Vaillancourt Judith Vander Salm Herbert and Jean Varnum Kristin Waters Roger and Elise Wellington James A. Welu Jeff and Suzi Wetton Bernard M. Whitmore # Robin and Wallace Whitney Peter and Shirley Williams Emily Wood Dr. Edward C. Yasuna Valerie Zolezzi-Wyndham 4 Anonymous (#3 new Members) * Deceased # New Salisbury Members

Salisbury Society Members enjoy access to unique art experiences Because of their philanthropic spirit, Salisbury Members are treated to exclusive benefits and programs.

Benefits for Salisbury Members include: • Free admission and reciprocal member benefits at over 1,400 museums • Unique access to the curators and the director • Salisbury Art Series (“Drinks with the Director/Cocktails with a Curator”) and free access to the recorded programs • Sneak previews of exhibitions with a speaker and private tours • Annual Salisbury Evening with a renowned speaker

Salisbury Spotlight: Sandy Hubbard and Tom Logan WAM has been one of the iconic institutions in Worcester that we have come to love and enjoy. The world-class collection is breathtaking! The meticulously curated exhibitions are just amazing and current. WAM always manages to have a little bit of something for everyone regardless of who you are or where you're from. We appreciate how WAM continues to engage the Worcester community and because of that, we support the “Free First Sunday” program and provide exhibition support whenever we can. We realize that in order to fulfill WAM’s mission statement, we need to be active participants in order to further enrich the Worcester community and beyond.

Upcoming Salisbury Society programs include: September 24

“Exceptionally Understated: The Timeless Roman Gallery Frame” with Andrew Haines, former Frames Conservator at the Museum of Fine Arts, Boston

October 29

“Love Stories with the Curator” with Dr. Lucy Peltz, the exhibition’s curator and Head of Collection Displays (Tudor to Regency) and Senior Curator 18th Century Collections at the National Portrait Gallery, London

November 10

Invitation to the Annual Meeting

November 12

Love Stories opening benefit for Salisbury Members (in-person)

January 21

“The Secret Life of a Registrar: From Flora to International Shipments and Everything in Between” with Gareth Salway, Director of Museum Services

February

Salisbury Art Series: “Love Stories at WAM” with Antonella Doucette, Trustee Emerita and Docent Extraordinaire

March

Flora in Winter Chairman’s Tour and reception (in-person)

For questions or more information about joining the Salisbury Society, email MarillynEarley@worcesterart.org or call 508.793.4404.

Connect with us E D S Q

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Thank You

Business Partners!

Together we make a difference for our community SPONSORS $10,000+ AbbVie Cornerstone Bank Country Bank Fallon Health FLEXcon Gilbane Building Company The Hanover Insurance Group Foundation Interstate Specialty Products, Inc. Saint-Gobain Samuel Adams Skinner Auctioneers UMass Memorial Health Care UniBank Unum WinnCompanies $5,000+ Berkshire Bank The BHR Life Companies Bowditch and Dewey, LLP Cole Contracting, Inc. Fidelity Bank Imperial Distributors, Inc. Rand-Whitney Container Reliant Medical Group 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 Fletcher Tilton PC Foley Incorporated Harvard Pilgrim Health Care iHeart Radio, 961 SRS & WTAG Lamoureux Pagano Associates | Architects Mirick O’Connell Spectrum Health Systems, Inc. TD Bank WBUR MEMBERS $1,000+ AAFCPAs Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank The Berry Group Blue Cross Blue Shield of Massachusetts Central One Federal Credit Union Columbia Tech Cutler Capital Management, LLC Data Source, Inc. Davis Publications, Inc. Fiduciary Investment Advisors, LLC Gatorade 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 Lock 50 / Russo Mercier Electric Co., Inc. Merrill Lynch / The O'Brien Group Miles Press, Inc. Morgan Stanley, Mark Cote, Financial Advisor Russell Morin Catering and Events J.S. Mortimer, Inc. New England Disposal Technologies, Inc. Niche Hospitality Group Nitsch Engineering Penta Communications, Inc. Peppers Artful Events Perfect Focus Eyecare / Goswick Eye Phoenix Communications Polar Beverages Portland Group / Spritzo Provo Wealth Management Group Quaker Special Risk Risk Strategies Company Rollstone Bank and Trust 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. Table Talk Pies Stephen F. Wentzell, CPA The Wetzel Group at Morgan Stanley Thomas J. Woods Insurance Agency, Inc. Wings Over Worcester FRIENDS $500+ Akuity Technologies Applied Interactive Bisceglia, Steiman and Fudeman Burr Insurance Agency, Inc. Callahan Fay Caswell Funeral Home Coghlin Electrical Contractors, Inc. ConForm Lab 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 JM Coull, Inc. Longden Company Marsh & McLennan Agency, LLC MSW Financial Partners NAI Glickman, Kovago & Jacobs Nypro, Inc. Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. The Willows at Worcester Tufts Health Plan As of August 31, 2021

Left: Byron Kim, Emmett at Ten Years, 2003, oil on linen, Austin S. Garver Fund, 2005.3

The art of business

WA M Busin pa R t n E s s ERs

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.

“Peppers Artful Events has a 30-year relationship with the Worcester Art Museum, of which we cherish and are most proud.

WAM is a distinctly soulful and inspiring place to behold. We especially appreciate WAM as the loom that weaves the fabric of the Worcester community together through celebrating art, its many interpretations, and its diversity—while remaining relevant to all generations. Well done…WAM! —John and Susan Lawrence Owners, Peppers Artful Events

“As a lifelong resident, former Worcester City Councilor, and a financial planning firm owner, I have always admired the Worcester Art Museum as a crown jewel in the city. I am honored to co-chair the Business Partner program, as it brings together like-minded business professionals in a dynamic collaboration to gain insider access, network, and support one of the region’s most vibrant and unique cultural centers.”

—Joffrey A. Smith, CFP®, CLU®, ChFC®, LUTCF, PPCTM Certified Financial Planner™ Joffrey Smith Financial Group Co-Chair, WAM Business Partner Committee

Join us!

BECOME A BUSINESS PARTNER portal.worcesterart.org/join

For information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne, Corporate Relations Manager, at 508.793.4323 or MarleenKilcoyne@worcesterart.org.

Employees of Gilbane Building Company, a sponsor of The Iconic Jersey: Baseball x Fashion.

THANK YOU to our Institutional Members Anna Maria College Assumption College Bancroft School Clark University College of the Holy Cross Fay School MCPHS University

Quinsigamond Community College Saint John’s High School The T.E.C. Schools Worcester Academy Worcester Polytechnic Institute Worcester State University

To learn more about Institutional Membership, contact Marleen Kilcoyne at 508.793.4323 or MarleenKilcoyne@worcesterart.org.

Connect with us E D S Q

29

SALUTE TO FOUNDATIONS

The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal years 2020 and 2021 (as of 9/28/2021).

We are grateful to the many local and national funders 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 facilities. We are particularly appreciative of the funders that generously

awarded us COVID-19 relief support during this challenging time. To learn more about WAM’s institutional priorities and ways that foundations and government agencies might assist, please contact Christine Proffitt, Senior Manager of Institutional Giving, at ChristineProffitt@worcesterart.org.

George I. Alden Trust Bill and Joan Alfond Foundation Barr Foundation The Bassick Family Foundation Patrick and Aimee Butler Family Foundation E. Rhodes and Leona B. Carpenter Foundation The Crawford Foundation Fred Harris Daniels Foundation Dirlam Charitable Trust East Bay Community Foundation Ruth H. and Warren A. Ellsworth Foundation J. Irving England & Jane L. England Charitable Trust Sherman Fairchild Foundation, Inc. Fidelity Charitable Gift Fund

Lunder Foundation — Peter and Paula Lunder family The Manton Foundation Mass Cultural Council – Cultural Districts Initiative Mass Cultural Council – Cultural Investment Portfolio Mass Cultural Council – Universal Participation Initiative Massachusetts Cultural Facilities Fund Mass Humanities MassDevelopment C. Jean and Myles McDonough Charitable Foundation Mildred H. McEvoy Foundation The Murray Family Charitable Foundation

Fidelity Foundation FJC Foundation Fletcher Foundation George F. and Sybil H. Fuller Foundation Greater Worcester Community Foundation Hanover Insurance Group Foundation, Inc. The Richard A. Heald Fund Bradley C. Higgins Foundation John W. & Clara C. Higgins Foundation Highland Street Foundation Hoche-Scofield Foundation Institute of Museum and Library Services The Kirby Foundation The Klarman Family Foundation Carl Lesnor Family Foundation Henry Luce Foundation

National Endowment for the Arts National Endowment for the Humanities Paine Charitable Trust Arthur M. and Martha R. Pappas Foundation Amelia Peabody Charitable Fund Joseph Persky Foundation Rockland Trust Charitable Foundation The Schwartz Charitable Foundation Stoddard Charitable Trust Terra Foundation for American Art TIAA Charitable Gift Fund Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation

TRIBUTE TO ENDOWMENTS Worcester Art Museum was founded on a passion for art and community made possible through philanthropy. For nearly 125 years, the Worcester Art Museum has relied on the generosity of donors who believed in the value of the Museum.

We honor and recognize the following families, who have supported the Ruth and John Adam, Jr. Exhibition Fund George I. Alden Trust Assistant Director of Education Fund George I. Alden Trust Docent Education Fund Harriet B. Bancroft Fund S.N. Behrman Library Fund Sally Riley Bishop Fund Barbara A. Booth Flower Fund Karl L. and Dorothy M. Briel Library Fund Alexander H. Bullock Fund Burrow Movie Fund Isabel Baker Carleton Memorial Fund Abbie S. and Mildred L. Cather Fund Douglas Cox and Edward Osowski Fund for Photography Dorothy Frances Cruikshank Education Fund Charles E. Culpeper Conservation Laboratory Fund Dwight A. Davis Fund Alexander and Caroline Murdock DeWitt Fund Docent Education Fund Ruth and Loring Holmes Dodd Fund Frank F. Dresser Fund Theodore T. and Mary G. Ellis Fund J. Irving England & Jane L. England Charitable Trust

Museum by creating endowed funds. The income produced by these funds is used to support the purposes communicated by the donor. These funds provide important financial support to WAM and its programs. The Museum is grateful for this enduring legacy of support provided by the following endowed funds:

David Freelander Memorial Education Fund Chester D. Heywood Scholarship Fund Mary E. and Irene L. Piper Scholarship Fund David J. Freelander Scholarship Fund Hiatt FAME Fund Susan Ella Reed-Lawton Fund George F. and Sybil H. Fuller Conservation Jacob Hiatt Scholarship Fund Arthur J. Remillard, Jr. Youth Education Fund Fund Higgins Armory General Endowment Fund Romanoff Education and Library Fund Thomas Hovey Gage Memorial Fund The Higgins Curator of Arms and Armor and Marion Olch Ruhman Education Fund Austin S. Garver Fund Medieval Art Endowment Fund William S. Sargent Fund Sarah C. Garver Fund Hoche-Scofield Foundation Norman and Dorothy Sharfman Education Edward F. Goggin Fund Christian A. Johnson Discovery Fund Fund Nehemias Gorin Foundation Fund Christian A. Johnson Exhibition Fund Helen Sagoff Slosberg Fund Greater Worcester Community Foundation The Christian A. Johnson Resource Center Ethel M. Smith Education Fund Booth Family Fund for Education and Fund Spear Fund for Public Programs Outreach Frances A. Kinnicutt Fund Stoddard Acquisition Fund Martha A. Cowan Fund Philip Klausmeyer Conservation Fund Stoddard Associate Curator of Prints, Jeppson Memorial Fund Joseph and Shirley Krosoczka Memorial Drawings, and Photographs Endowment Louise R. and John F. Reynders Fund Youth Scholarship Fund Fund Marvin Richmond Fund Macomber Conservation Fund Stoddard Charitable Trust Directors Fund Chapin Riley Fund Jean and Myles McDonough Director Stoddard Discovery Fund Helen M. and Thomas B. Stinson Fund Endowment Fund St. Wulstan Society Fund Nathan and Barbara Greenberg Discovery Andrew W. Mellon Foundation Conservation Sudbury Foundation Scholarship Fund Fund Fund Alice Eliza Waite Memorial Fund Nathan and Barbara Greenberg Education Don and Mary Melville Contemporary Art Miriam Washburn Trust Fund Fund Fund Karl B. A. Wass/Lundquist Family Amelia and Robert H. Haley Memorial Michie Family Curatorial Fund Scholarship Fund Lecture Fund John M. Nelson Fund James A. Welu Curator of European Art Fund Charles A. Hamilton Fund PaineArt Charitable Trust Louisefor Wilding-White Fund The Worcester Museum is grateful to our corporateMary sponsors understanding Richard A. Heald Curatorial Fund the value of Eliza S. Paine Worcester Art Society making the Fund Museum’s exhibitions, projects, and programs possible.

Edith Florence Hendricks Scholarship Fund Bernard G. and Louise B. Palitz Fund If you are interested in establishing a fund, Herron-Dresser Publications Fund Hall and Kate Peterson Fund please call 508.793.4325.

SALUTE TO SPONSORS

AUCTIONEERS

For more information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne at 508.793.4323 or MarleenKilcoyne@worcesterart.org.

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Learn more at worcesterart.org

Flora Winter in

MARCH 3 – 6, 2022

Get a welcome taste of spring during WAM’s annual floral design extravaganza, when the galleries are filled with the color and scent of floral interpretations of works of art.

Special hours and ticket prices apply; visit worcesterart.org/flora for details.

FLORA EUPHORIA: Friday, March 4 An exclusive evening celebration of Flora in Winter.

Tickets go on sale in January at worcesterart.org/flora.

Flora in Winter is supported in part by the Bernard G. and Louise B. Palitz Fund and the Spear Fund for Public Programs.

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“THE JOB OF THE ARTIST IS ALWAYS TO DEEPEN THE MYSTERY.” – Francis Bacon

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5/21

WORCESTER ART MUSEUM fifty-five salisbury street worcester, massachusetts 0160 9 WORCESTERART. ORG

Save time when you arrive, reserve your admission tickets in advance.

Visit worcesterart.org for COVID-related visiting updates.

Wednesday – Sunday, 10am–4pm Open during the following holidays: Martin Luther King Jr. Day, Presidents’ Day, Patriots’ Day, and Indigenous Peoples’ Day THE MUSEUM CAFÉ Check worcesterart.org for reopening date.

ADMISSION Members: Free Adults: $18 Seniors and Students: $14 Youth 0-17: Free First Sundays 10am-4pm: Free (The first Sunday of each month.)

EBT, WIC, ConnectorCare cardholders: Free Sponsored in part by Saint-Gobain with support from Sandy Hubbard and Thomas J. Logan.

THE MUSEUM SHOP Open during Museum hours. For curbside pickup or mail delivery, call 508.793.4355 or email shopsales@worcesterart.org

BUSINESS PARTNERS / SPONSORSHIPS INSTITUTIONAL MEMBERS / ACCESS ADS 508.793.4323 MarleenKilcoyne@worcesterart.org

LIBRARY 508.793.4382 library@worcesterart.org Wednesday – Friday, by appointment only Saturday, 12–4pm

GUEST SERVICES 508.793.4362 guestservices@worcesterart.org

CLASSES Higgins Education Wing classes@worcesterart.org Registration: 508.793.4333 GROUP TOURS 508.793.4338 KaylaPeterson@worcesterart.org MEMBERSHIP 508.793.4300 membership@worcesterart.org SALISBURY SOCIETY & BENEFACTOR MEMBERSHIP / ANNUAL FUND 508.793.4325 membership@worcesterart.org

ACCESSIBILITY All entrances provide barrier-free access.

Wheelchairs and walkers are available for loan on a first-come, first-serve basis.

Please request upon arrival.

EDSQM

m 508.799.4406

General operating support is provided by the Mass Cultural Council, Patrick and Aimee Butler Family Foundation, Carl Lesnor Family Foundation, Paine Charitable Trust, Jeppson Memorial Fund, and J. Irving England and Jane L. England Charitable Trust.

Unless otherwise stated, all images © Worcester Art Museum, all rights reserved.