Photographs and Text by John P. Walsh.
At Museums. (50 Photos).
The Bunworth harp is inscribed: “made by Iohn Kelly for the Revd Charles Bworth Baltdaniel 1734″. The wire-string harp was made by Catholic instrument maker John Kelly for the Reverend Charles Bunworth, also of Baltdaniel, who was the Protestant rector of Buttevant, County Cork. The many aspects of the instrument—from soundbox, harmonic curve, fore-pillar, tuning pegs, and ornamentation and color— invite interest. Though it may be the female head at the top of the harmonic curve that at first most intrigues. (see – https://harp.fandom.com/wiki/Bunworth_Harp and http://www.earlygaelicharp.info/harpmakers/ – both retrieved October 14, 2021).
Robert Fagan was an Irish painter who was born in London but spent most of his artistic career in Rome and Sicily (Fagan first arrived into Italy in 1781). Though an expatriate, Fagan’s oil on canvas depicts a woman who represents Ireland careessing the strings of the harp, the country’s national instrument and symbol. Seated next to an Irish wolfhound, she holds a scroll that reads: “Ireland Forever” (“Erin go bragh“).
Henry Moore’s 16-foot sculpture was made when the 84-year-old British artist was concerned with the construction of three-dimensional space, internal forms within solid volumes, and placing his work in a natural setting.
Moore had worked primarily in stone but as these formal concerns emerged, he shifted to modeling and bronze casting.
Large Interior Form explores mass and void as well as gravity and growth within a nature-inspired artist-created form.
Swedish sculptor Carl Milles (1875-1955) studied in Paris from 1897 to 1904, working in the studio of Auguste Rodin (1840-1917). Yet Milles departed from the prevailing naturalism that dominated sculpture in the Belle Époque era, and embraced ideas and forms that reflected the artist’s independent spirit, his knowledge and appreciation of classical and Gothic sculpture, and his Nordic roots. Speaking of the fountain, Milles observed: “The great classicists knew that it was impossible to reproduce the appearance of flesh in marble, and they set themselves to create forms of pure beauty that would merely suggest and symbolize the living creature, and then to invest those forms with a meaning that mankind would feel intuitively to be universal and significant. This is what I have tried to do.”
The headdresses at the right and at the left are Gelede headdresses. The headdress in the middle is perhaps a Gelde or Efe headdress. The headdress at the left is made of wood and the oldest of the headdresses. It was made in Nigeria or Benin by the Yoruba community in the late 19th/early 20th centuries.
Gelede headdresses often portray women. The headdresses in the center and at right depict women. One is wearing a head tie and the other is showing a woman with a plaited hairstyle. These were made in Nigeria by the Yoruba community in the early 20th century.
The Gelede festival of the Yoruba community in western Africa is a public spectacle which uses colorful masks that combines art and ritual dance to educate, entertain and inspire worship. Gelede includes the celebration of “Mothers,” a grouping that includes female ancestors and deities as well as the elderly women of the community whose power and spiritual capacity in society is convoked. The Efe is a nighttime public performance held the day before the Gelede.
The artist, born in Sweden, moved with his family to Toledo, Ohio, as a child. Lungren wanted to be an artist but his father objected, wanting him to be a mining engineer. For a brief time, in 1874, Lungren attended the University of Michigan at Ann Arbor to study his father’s preferred subject. But after two years, Lungren’s father still opposed to his being an artist, the younger Lungren rebelled and prevailed. In 1876 he was able to study under Thomas Eakins (1844-1916) at the Pennsylvania Academy in Philadelphia. In winter 1877 the 20-year-old Lungren moved to New York City. With his first illustration published in 1879, he worked as an illustrator for Scribner’s Monthly (renamed Century in 1881) as well as for Nicholas (a children’s magazine) and as a contributor until 1903. He later worked for Harper’s Bazaar, McCLure’s and The Outlook. Lungren’s illustrations included portraits, and social and street scenes.
In 1882 Lungren traveled to Paris via Antwerp. In a brief stay in Paris he studied informally at the Académie Julian, and viewed French Impressionist artworks. Lungren returned to New York City in 1883 and, soon afterwards, established a studio in Cincinnati, Ohio. In 1892 he visited Santa Fe, New Mexico for the first time and, in the following years painted artworks inspired by his contact with American Indian culture and the desert landscape. In 1899 he showed these American desert works at the American Art Galleries in New York and afterwards at the Royal Academy in London and the Walker Art Gallery in Liverpool.
When Lungren was in London he made pictures of street life and met several artists, including James Abbott McNeill Whistler (1834-1903). In late 1900 Lungren traveled to Egypt and returned to New York via London in the next year. Lungren had married Henrietta Whipple in 1898 and they moved to California in 1903, settling in Santa Barbara in 1906. Lungren lived and work in California—including several notable trips to Death Valley—until his death in 1932. Most of Lungren’s artwork, including hundreds of his paintings, were bestowed to what is today the University of California, Santa Barbara.
SOURCE: J.A. Berger, Fernand Lungren: A Biography, Santa Barbara, 1936.
Acquired by the museum in 1966, photographs show that the statue stood in an open location by a garden pool at the museum. In 1991 following a whirlwind of euphoria associated with the successful completion of Operation Desert Storm, a victory celebration at the Mall in June of that year involved hovering military jets and helicopters. Their downdraft sent gravel footpath debris flying in the air that scratched and cracked several statues in the sculpture garden. Though none appeared to sustain damage beyond some repair, the Nymph—Central Figure for the Three Graces suffered the most damage as the nude female statue had pitted indentations on her backside. In 2010 when this photograph was taken, the sculpture was located in front of a protective garden wall. See- https://www.baltimoresun.com/news/bs-xpm-1991-06-12-1991163158-story.html
Aristide Maillol’s Nymph at the Hirshhorn Museum and Sculpture Garden in June 1975. Fair Use.
Bisa Butler uses the technique of appliqué quiltmaking to create her work. For the figures, the artist cuts, layers, and pins together fabrics and arranges them on the ground fabric. This comprises the quilt top. Between this quilt top and a backing fabric is a layer of fiber “batting” or stuffing. These layers are stitched to form the quilt with the thread lines part of the structure, texture and details of the image. Butler seeks to use fabric colors and patterns to contribute to the quilt’s subject and narrative.
Un sapeur (or, when female, une sapeuse) signifies, in French, a person who is “dressed up.” The practice and term originated and continues to be practiced in the major cities of Brazzaville in the Republic of Congo and, just across the Congo River, Kinshasa in The Democratic Republic of the Congo. La Sape embodies the elegance in style and manners of their predecessor colonial French dandies. Congolese dandies living in Paris and elsewhere in Europe today are deemed sapeur upon their return to Brazzaville and Kinshasa to showcase their style.
In a private collection in Munich, Germany, Lady In Red entered a private collection in the US when it was purchased from Kleemann Galleries in New York City in 1958. In December 1963, the painting was a gift to the Milwaukee Art Museum where it is today. The artwork’s first recorded public exhibition was in the Kunsthaus Zürich (Switzerland) in 1927. Since that time, the painting has been exhibited multiple times and around the world.
At the time Lady In Red was painted Oskar Kokoschka was a starving young 24-year-old artist living in Berlin. He became associated with Berlin’s avant-garde and made the acquaintance of some of that circle’s writers, artists, and actors.
Associated with German Expressionism, the extent of Kokoschka’s involvement with the group was limited. The artist admitted knowing some of the artists and other figures of Der Sturm, the German Expressionist art and literary magazine founded by Herwarth Walden (1879-1941) and published between 1910 and 1932, and the Die Brücke movement. However, Kokoschka was dedicated above all to pursuing his own artistic ideas and forms. Of his hard-won independence, Kokoschka wrote that he was “not going to submit…to anyone else’s control. That is freedom as I understand it.” (Oskar Kokoschka, My Life, translated from the German by David Britt, New York, Macmillan, 1974, p. 67).
Nonetheless, Kokoschka’s sinewy independence and Die Brücke’s revolutionary formal problems and moral ideas did interact generating an artistic atmosphere in Berlin and Vienna that mingled and melded and as well with these artists’ emotional involvement with world events that affected their creative processes.
For Kokoschka, the artist was a creative individual apart from ideologies, programs, and parties which was less of a choice than an existential fact: “There is no such thing as a German, French, or Anglo-American Expressionism!” Kokoschka explained, “There are only young people trying to find their bearings in the world.” (Kokoschka, My Life, p. 37).
Further reading – http://www.jottings.ca/carol/kokoschka.html#3