Vincent Price as Art Collector

Vincent Price visiting the Indiana University Art Museum (now Eskenazi Museum of Art) with former museum director Thomas T. Solley and former curator of education Virginia Jackson.

By Nan Brewer, the Lucienne M. Glaubinger Curator of Works on Paper, Eskenazi Museum of Art, Indiana University

Whenever I showed works from the Vincent Price collection to classes, I began by asking the students if they were familiar with his name. Some recalled that he was an actor; others knew that he appeared in horror flicks. When I mentioned that he played the inventor who dies at the beginning of the movie Edward Scissorhands (1990) or that he provided the monologue in Michael Jackson’s video for Thriller (1982) they lit up. Few, however, had any idea of Price’s background in the visual arts or interest in collecting.

Vincent Price

Born in 1911 in St. Louis, Missouri, to a wealthy and distinguished family, Price studied art history at Yale University and the University of London. In England, he switched his attention from art to acting. Nonetheless, he never lost his love of art and regularly purchased original artworks as his time and resources allowed. Price often lectured and wrote about art, including the book I Like What I Know: A Visual Autobiography (1959), and served as an art consultant, most notably for the Sears, Roebuck, & Company. The first exhibition and sale of the “Vincent Price Collection of Fine Art” took place in 1962 at a Sears store in Denver, Colorado, before being expanded nationwide. Most of the items—available for $10 to $3,000 and payable in $5 installments—attracted entry-level collectors. Although Price never actually owned the art, he selected the pieces to be sold and even commissioned contemporary artists, like Salvador Dali, to create works specifically for the collection. The program claims to have sold more than 50,000 pieces of original fine art by the time it ended in 1971. Price’s daughter, Victoria, said in her 1999 biography of her father that he saw the Sears collaboration as an “opportunity to put his populist beliefs into practice, to bring art to the American public.”

Vincent Price examines a sculpture by artist David Smith, on a tour of the Indiana University Art Museum (now Eskenazi Museum of Art), with former museum director Thomas T. Solley and former curator of education Victoria Jackson. Image courtesy of Indiana University Archives.

When Price came to lecture at Indiana University in 1984 (his fourth time in Bloomington), the museum’s Director Emeritus (then curator), Heidi Gealt, knew of his art education and passion for collecting. She asked if he would be willing to lend a portion of his personal collection for students in an art history graduate seminar to use as the source material for technical examination and in-depth research. Their work would result in an exhibition with an accompanying scholarly catalogue. This was the fourth such partnership that the museum had undertaken with the art history department in the School of Fine Arts (now School of Art, Architecture + Design). Mr. Price kindly agreed to do so and sent 53 drawings ranging in date from the sixteenth to the nineteenth century.

I’ve always thought of this act as not only benevolent—in that it greatly benefited young scholars in their hands-on education—but also brave. Price opened up his treasures to intense scrutiny by the students, their professors, and the outside experts they consulted. In the field of Old Master drawings, authorship is often based on connoisseurship. When Price purchased a work, he generally assumed that the attribution to a particular artist was correct. Would those assignments withstand close inquiry? As it turns out, some of the works were by lesser-known artists or their respective schools, while others proved to be more important than was originally thought. What really interested Mr. Price was not increasing their monetary value, but learning more about the artworks that had attracted his eye and imagination.

The sampling of his collection that arrived at IU reflected Price’s eclectic taste. There were works in all media, ranging from delicate pen-and-ink drawings to graphite preparatory sketches. Although a few of the pieces, including a Study of Skulls by Giovanni Battista Franco, suggested a macabre (or vanitas) theme, there were also works of touching beauty, serenity, and piety. Among the artists best known by today’s audiences were Giovanni Domenico Tiepolo, Odilon Redon, Camille Pissarro, Jean François Millet, and Paul Gauguin.

The resulting exhibition, Master Drawings from the Vincent Price Collection, was held at the Indiana University Art Museum (now Eskenazi Museum of Art) from January 21 to May 3, 1987. Eleven students authored the catalogue entries and thematic essays on the media, history, and collecting of drawings. A museum graduate assistant at the time, I wrote on the tradition of copying and on two of the drawings, one by Pieter van Lisebetten and the other by Bartolomeo Passarotti, the latter of which ended up on the exhibition poster and book cover. It proved a truly formative experience that showed me the rigors and excitement of original primary research and inspired me to become a curator of works on paper. As Gealt and the late Bruce Cole wrote in their preface, “We are convinced that close and continuous study of works of art is the foundation upon which all art historical scholarship should be based.” I can attest that it was a thrill to uncover the source material used for a particular drawing, learn how it related to the artist’s oeuvre, and about its potential use—a lot like being a forensic drawing detective!

Although Price was scheduled to attend the exhibition’s opening, he had to cancel due to his mother’s death. Gealt continued to maintain contact with the actor until his own death in 1993. I still recall how excited the museum’s receptionist became whenever that distinctive voice called. In appreciation of the excellent work done by the students and the museum, Price donated two drawings in 1987. He later gave a third work to Gealt, which she gifted to the museum in his memory.

Here are those three works.

Giovanni Agostino Ratti (Italian, 1699–1775). Sketchbook, 1736. Pen and iron gall ink with gray ink wash over graphite indications on paper. Gift of Vincent Price, Eskenazi Museum of Art, Indiana University, 87.9.1

The most complex work in the Price collection to arrive for the student seminar was a rare multi-sheet, bound sketchbook by the Genoese artist Giovanni Agostino Ratti. In 1736—per a date on the cover sheet—Ratti drew preparatory designs for paintings in nine small pilgrimage chapels for the Church of Nostra Signora della Misericordia in the northern Italian port city of Savona. Since the paintings were commissioned for the bicentennial of the miraculous appearance of the Virgin Mary in the town, her image figures prominently. In this sheet, the Madonna appears in the upper right, where she saves a ship by imploring a swordfish to fill a hole in the hull. Although the sketchbook seems to be incomplete, it gives interesting insight into the artist’s process and provides a valuable reference source for works now lost. Only three of the frescoes survive, but even these were overpainted by a restorer in 1835.

Nazarene or Pre-Raphaelite Artist. Woman by the Well, 19th century. Blue green gouache, graphite, and charcoal with some ink and white chalk highlights on paper. Gift of Vincent Price, Eskenazi Museum of Art, Indiana University, 87.9.2

When this piece arrived at the museum, it was attributed to the English painter William Dyce, but images and information sent to numerous experts around the world garnered mixed responses as to whether or not it was by his hand. Some suggested that it had similarities in style and theme to some British Pre-Raphaelite or German Nazarene painter, but no definitive matches were made. One even postured a French artist such as Leon Lhermitte. The subject matter, originally thought to be of a woman spinning, is probably a woman by a well, perhaps a segment of the biblical story from the Woman of Samaria. Even the drawing’s presentation raises questions. It appears to be a large preparatory drawing in a variety of media with gridded transfer lines; however, no corresponding mural or fresco has been found. Periodically, I re-examine this issue with the continued hope of unraveling this mystery.

Fortunato Duranti (Italy, 1787–1863). Arcadian Scene, after 1840. Pen and gray brown ink with black and brown ink washes on paper. Gift in memory of Vincent Price, Eskenazi Museum of Art, Indiana University, 93.11

This unusual drawing by a relatively unknown Italian artist reflects Price’s willingness to buy interesting material that was out of the mainstream. Duranti was born in Montefortino, a small town in the Italian Marches. Although he eventually went to study in Rome, he never achieved widespread success. Part of the reason for this failure may have been his mixture of Arcadian subjects based in a neoclassical tradition with an expressive romantic style. This image with its smudge-like shading is distinctive and personal in a surprisingly modern way. Relatively few American museums have any examples of Duranti’s unique work.

In March, Vincent Price’s daughter, Victoria, will visit the IU campus as part of a special program at IU Cinema. Victoria will give a special lecture about her father’s life and sign copies of her book Vincent Price: A Daughter’s Biography. IU Cinema will also be screening two of Vincent Price’s most celebrated films, The Masque of the Red Death and The Abominable Dr. Phibes. Learn more and purchase tickets at the IU Cinema website.

Learn more about the IU Eskenazi Museum of Art



Heidi Davis-Soylu Named New Director of Education at the IU Eskenazi Museum of Art

Heidi Davis-Soylu. Image courtesy of Newfields

The Sidney and Lois Eskenazi Museum of Art at Indiana University is proud to announce Dr. Heidi Davis-Soylu as its new Lucienne M. Glaubinger Director of Education. Davis-Soylu will begin at the museum on January 11. Most recently, Davis-Soylu was Director of Academic Engagement and Learning Research at Newfields (formerly the Indianapolis Museum of Art). At Newfields she led the academic engagement department, including the St. Mary’s Child Center at the IMA preschool, the Art and Nature Homeschool Cottage (K-middle school), pre-K-12 school programs, docent program, adult and youth studio programs, studio classrooms, summer camps, educator professional development, and student and educator tours. A number of these programs began under Davis-Soylu’s direction, including the launch of the country’s first encyclopedic art museum preschool with a focus on serving children in poverty, and the Art and Nature Homeschool Cottage.

As the new Director of Education, Davis-Soylu will lead the Eskenazi Museum of Art’s education programs at an exciting time in the organization’s history, as it further solidifies its place as one of the preeminent teaching museums in the United States. The museum’s current renovation plans include a new Center for Education, which Davis-Soylu will help envision. And a recently launched school outreach initiative that organized visits by museum docents to every second grade classroom in Monroe County in 2017 will expand in 2018 under her direction.

Davis-Soylu is no stranger to Indiana University. She received both her Master’s and PhD in art education from IU Bloomington, and her bachelor’s in elementary education from IU Southeast. During her time as a graduate student at IU she served as an associate instructor and regularly embedded the Eskenazi Museum of Art into her courses in art education. In 2017, she received the Maris M. and Mary Higgins Proffitt Outstanding Dissertation Fellowship, which is awarded to one candidate each year at the IU School of Education.

“As a university art museum, education is central to what we do at the Eskenazi Museum of Art. We are very excited to welcome someone with Heidi’s expertise and background to lead our education department. This is an important time as we reimagine our museum, and plan for the reopening of our newly renovated building. It is a great pleasure to welcome Heidi to our team,” said David Brenneman, the Wilma E. Kelley Director of the IU Eskenazi Museum of Art.

You can follow news about the museum’s renovation and activities during this exciting period of change at

Caring for Works on Paper

Janelle Beasley, Works on Paper Preparator, Eskenazi Museum of Art

In pursuit of a new level of care for the works-on-paper collection at the Eskenazi Museum of Art, I recently attended an introductory course in paper conservation at the International Preservation Studies Center (IPSC). Located in the small town of Mount Carroll, Illinois, the IPSC offers more than 75 courses in collections care and historic preservation. Since its founding in 1980, the center has become a wonderful resource for museum professionals, archivists, librarians, and all those tasked with preserving historical artifacts.

Janelle Beasley (left) removing adhesive residue from a map with a crepe eraser

As the works-on-paper preparator at the EMA, my primary duty is to mat and frame the collection of prints, drawings, and photographs for exhibition and storage. Museum standards include using archival materials, framing the works with UV-filter glazing, and limiting their exposure to light. Given that paper degrades over time (to varying degrees depending on its quality), these preventative measures are crucial to prolonging the life of an object.

A damaged object, however, may require intervention by a conservator to improve its condition. In addition to internal degradation, paper can suffer from external sources such as poor storage conditions, exposure to light or humidity, acid migration, wear and tear, pollutants, and pest infestation. The instructors of “Care of Paper Artifacts,” Susan Russick and Tonia Grafakos of Northwestern University Libraries, provided a framework for understanding these issues as well as basic conservation treatments, including mending with Japanese tissue and wheat starch paste, surface cleaning, humidification and flattening, adhesive removal, and deacidification.

A building on the International Preservation Studies Center campus

One benefit of attending the IPSC is getting to know other collections professionals. Our class of ten included representatives from a wide variety of institutions, such as the Whitney Museum of American Art, the U.S. Bureau of Engraving and Printing, and the Walt Disney Archives. All of us shared the common goal of providing care to the paper artifacts in our collections. Now that I am back in Bloomington and the museum is closed for renovations, I am focusing on re-housing works, updating data, and making minor repairs for a portion of the collection. Working with the EMA’s collection of 22,000 works on paper (and counting), it is safe to say there will always be a need for care.

Please visit the IPSC website at to learn more.

Susan Russick demonstrates the toning of Japanese tissue using acrylic paints.

Eskenazi Museum of Art Website



Celebrating the Centenary of Rodin’s Death

Image: Edward Steichen (American, 1879–1973). Rodin from Camera Work (vol. 2), 1903. Photogravure on paper. Eskenazi Museum of Art, 78.31A

November 17, 2017, marks the 100th anniversary of the death of Auguste Rodin (French, 1840–1917), one of modern art’s most famous sculptors. This portrait of the aging artist appeared in Alfred Stieglitz’s journal Camera Work. Stieglitz was an early proponent of modern art in America and he promoted Rodin’s work. He reproduced nine of Rodin’s drawings in Camera Work, vol. 34/35 (Eskenazi Museum of Art, 200.XIII.35.5–.13).

One of Stielgitz’s favorite photographers was Edward Steichen, who shared his interests in pushing the artistic possibilities of photography. In his early portraiture, Steichen embraced a Pictorialist aesthetic that featured the soft-focused veils of tone and idealized subjects promoted by Stieglitz. Steichen also sought to further the status of the medium through references to other fine arts. In this portrait, Steichen posed a pensive Rodin in silhouette against the gleaming white of the sculptor’s recently completed monument to the French novelist Victor Hugo. More than capturing a likeness, this image serves as a metaphor for the creative process—with the artist’s masterwork looking down angelically on its maker. The photogravure appears to be a cropped version in reverse of Steichen’s 1902 gum bichromate print, the latter of which was created by combining two negatives. The larger image, which was reproduced in Camera Work, no. 11, 1905 (Eskenazi Museum of Art 200.XIII.11.7) and a Special Steichen Supplement, 1906 (Eskenazi Museum of Art 200.XIII.15.10), also included and image of Rodin’s sculpture The Thinker (Le Penseur) facing the artist. The journal reproduced two more traditional portraits of the famous artist: by Steichen in Camera Work, vol. 34/35, 1911 (Eskenazi Museum of Art 200.XIII.35.1), and by the British photographer Alvin Langdon Coburn in Camera Work, vol. 21, 1908 (Eskenazi Museum of Art 200.XIII.22.40), further suggesting Rodin’s importance to burgeoning modern artists on both sides of the Atlantic.

Image: Auguste Rodin (French, 1840–1917). Head of Baudelaire, 1898 (cast 1959). Bronze. Gift of Mrs. Julian Bobbs, Eskenazi Museum of Art, 62.1

The first work by Rodin to enter the Eskenazi Museum of Art’s collection was a portrait head of the great French poet and art critic Charles Baudelaire (French, 1821–1867). Rodin never met Baudelaire, but his art was shaped by the former’s theories of modernity and subjectivity. In 1892, a group of writers commissioned Rodin to design a monument commemorating the twenty-fifth anniversary of Baudelaire’s death. He gladly made a portrait sculpture for the Montparnasse cemetery in Paris. Six years later, he reworked this image as an independent piece.

To make this portrait, Rodin studied the death mask of the poet and made life studies of a man said to bear a striking resemblance to Baudelaire. At the same time, he tried to conjure up the spirit of a Roman bust, allying the subject with the dignity and longevity of ancient writers. Finally, Rodin drew upon his own personal response to Baudelaire’s poetry to give expression to the artist’s viewpoint and to inject the eternal, spiritual quality that he—and Baudelaire—sought in art.

Rodin, whose sculptural talents are often considered equal to those of Michelangelo, was able to imbue simple compositions with psychological depth and intensely expressive feeling. Rodin was greatly influenced by Baudelaire’s 1857 poem The Flowers of Evil, which encouraged him to explore erotic themes, as seen in his sculpture of the goddess Iris.

Image: Auguste Rodin (French, 1840–1917). Seated Nude Holding Left Ankle (Femme assise de tenant le pied gauche), ca. 1906–07. Watercolor over graphite on paper. William Lowe Bryan Memorial Collection, Eskenazi Museum of Art, 66.31

The first and only drawing by Rodin to enter the Eskenazi Museum of Art’s collection was acquired in 1966. Albert Elsen—an expert on Rodin and professor of art history at IU (1958–68)—noted in a letter (April 8, 1966) to the donor, James S. Adams, “It is a superb drawing and there is no question as to its authenticity. Every week I am called upon to give an expertise on a Rodin drawing or sculpture, many of which are fakes. But this drawing is of the highest quality and unmistakably by Rodin.” He went on to say, “This new acquisition will give me many hours of enjoyment and a superb work of art to use in my courses.” Although not as well-known as his sculptures, Rodin’s drawings and watercolors—of which he produced more than 10,000—are regarded by some scholars as more experimental and spontaneous than his large, three-dimensional works. Although they rarely served a preparatory studies for his sculpture, Rodin said in 1910, “It’s very simple. My drawings are the key to my work.”

Image: Auguste Rodin (French, 1840–1917). Iris, Messenger of the Gods (Iris, messagère des dieux) (also known as Another Voice, called Iris), 1890/91 (cast 1960). Bronze. Gift of Marion and Rudolf Gottfried, Eskenazi Museum of Art, 2011.40

Although the Eskenazi Museum of Art had not acquired a new work by Rodin in forty-five years, the gift of a bronze in 2011 rectified that situation. Seeming to defy the laws of gravity as she balances on one foot, Iris has a muscular body suggesting that of a dancer in Rodin’s frankly erotic sculpture. Her weightlessness also refers to the ancient Greek goddess’s role as a messenger traveling between the worlds of gods and humans.

Nan Brewer, Lucienne M. Glaubinger Curator of Works on Paper, and Jenny McComas, Curator of European and American Art,
Eskenazi Museum of Art at Indiana University.

IU Eskenazi Museum of Art Website


Limestone in Art

Our art museum, located on the Bloomington campus of Indiana University, is situated right in the heart of limestone country. Bloomington and the surrounding area are known as sources for some of the best limestone in the world. Limestone from southern Indiana has been used to create such iconic structures as the Empire State Building and Yankee Stadium in New York and the Pentagon and the National Cathedral in Washington, DC. It is the predominant building material throughout the Indiana University Bloomington campus, which was named the second most beautiful campus in the country in a 2016 USA Today poll. Every June we celebrate Limestone Month in Bloomington. It is an excellent opportunity to discuss limestone’s presence in the history of art, as well as some examples of limestone art in our collection.

Limestone has been used as a material in art since before antiquity. The Venus of Willendorf (28,000–25,000 BCE), one of the oldest and most famous surviving works of art, is made of Oolitic limestone (Oolitic is also the name of a town just south of Bloomington). The Great Pyramid of Giza was encased in Tura limestone, and the Great Sphinx of Giza, located in the pyramid complex, is made of Nummulitic limestone. (For an interesting and odd connection between the Great Pyramid of Giza and Indiana, read up on the failed attempt to create a limestone replica of the pyramid in Needmore, Indiana, in the 1970s.) Use of limestone can also be found in Sumerian, Egyptian, Cypriot, Greek, and Roman cultures, as well as medieval Europe, and China.

Two early examples from the Eskenazi Museum of Art’s collection include a Servant Figure of a Brewer, an Egyptian statuette dating to the 5th Dynasty (ca. 2,565–2,420 BCE) and Striding Young Man, a Greek kouros (a statue of a standing nude youth popular during the Archaic period), which dates to 500–450 BCE.

A more recent example of limestone sculpture in our collection is Peasant (La Paysanne) by the French artist Marcel Damboise (1903–1992), which you can read more about here.

Marcel Damboise (French 1903-1922). Peasant (La Paysanne), 1938-1939. Stone. Gift of Danielle Damboise Françoise, daughter of the artist, 2016.2

The museum also owns a beautiful print by Indiana University Professor Emeritus of Photography Jeffrey Wolin, from his Stone Country series. Just this year, an updated version of Wolin’s book Stone Country: Then and Now, was released by IU Press. It serves as an artistic and informative document of the limestone industry and quarries of southern Indiana.

Jeffrey Wolin (American, born 1951). Winter, Oolitic, from Stone Country, 1984. Gelatin silver print. 90.18.7

If you are interested in other ways to celebrate Limestone Month, check out the Visit Bloomington calendar, which covers this month’s festivities in the city. Of particular note is a photography exhibition titled Building a Nation: Indiana Limestone, on view all month at Fountain Square Mall.


Packing an Art Museum’s Collection

As the IU Eskenazi Museum of Art prepares for a $30 million renovation, set to be completed by 2019, we are often asked why the renovation will take a full two years. Part of the answer is the monumental task of packing and moving a major collection of art. To explain the process better, Emma Kessler, the museum’s curatorial assistant for the Arts of Africa, Oceania, and the Americas gives us an inside look into the process. 

Due to the $30 million renovation of the Sidney and Lois Eskenazi Museum of Art at Indiana University set to begin this summer, we must move our collection of more than 45,000 objects to an off-site facility. While the museum closed its doors to the public on May 15, the packing of the collection, which began last year, will continue. It will take many months to safely move the collection so that the renovation can begin, and many months after the renovation is completed to reinstall the collection.

Example of a crate custom-built to hold a specific art object.

The packing process began its planning phase over a year ago. Given its size, as well as the value, fragility, and diversity of objects, the museum’s collection requires a packing process that is organized and executed in a very precise manner. Packing began with our African, Oceanic, and Americas (AOA) collection and is now underway with our holdings of ancient art, Asian art, works on paper, and European and American paintings and sculptures.

The first step in this process is a complete inventory of the collection. While inventories are done periodically, and a record is kept any time an object is put on display, loaned to another institution, or otherwise moved, surprises still pop up, especially when doing something as comprehensive as moving the entire collection piece by piece. To complete the inventory, every storage unit, shelf, and drawer was checked against both computer and paper records to make sure everything is up-to-date. It is also important to ensure that every object has a photograph accompanying its record in our database, as well as a physical tag recording the object’s accession number. A packing report is made for each object as well. It is displayed on the box or crate made for that item, allowing for easy identification while in storage.

Once the inventory process is complete, each object requires a condition report. With every object in our collection being moved, it is necessary to assess condition before packing, moving, and storage for an extended period of time. While this is a time-consuming process, it has a number of benefits, including aiding in future conservation efforts and drawing attention to any specialized care an object needs when being packed or during storage. For example, in 2014 we acquired a fantastic collection of art from Kenya. Among these objects are a number of skirts and aprons made from animal hide, a material that is quite susceptible to mold. Therefore, these items (and others like them) will need extra monitoring to make sure there are no issues.

After the inventory and conservation examination is complete, an object is ready to be packed. Whenever an item is moved or packed a digital record is created in our database, along with a backup paper record. We discovered that during this process it is extremely important to have someone on site who knows the collection well. As the curatorial assistant for the African, Oceanic, and Americas collection, I have been spending my days in the storage area recording each item and assisting with any additional questions, including those concerning numbering issues, materials, safe packing practices, and various oddities. Some issues may not occur to someone unfamiliar with the collection. For example, certain objects need to be packed together, while others need to be packed alone.

The actual packing of objects may sound very straightforward: you take the object, wrap it in bubble wrap, put it in a box, and move on to the next object, right? However, it is nowhere near that simple. The objects in the museum range in size, shape, material, and fragility, and the objects in the African, Oceanic, and Americas collection are some of the most diverse. They range in size from six-foot masks to 0.2-inch gold weights. There are also a wide variety of materials, including wood, fiber, bone, shell, feathers, hair, metal, and plastic. Often a single object will include several different materials. The size, shape, and materials used as well as any condition issues need to be taken into account when packing the object.

An example of a storage container specifically customized for the object it holds. Notice the supports on the lid, as well as inside the box.

While some items fit into standard size boxes, many require the creation of a specialized box or crate. While they may look like simple large boxes from the outside, they are very intricate on the inside, with close attention paid to every detail. The object must be secured in such a way that there is no chance of it moving around as the crate is transported. As a result, each crate has a number of specially made supports for the particular object it holds. In addition, the materials used for these supports (or anything that touches the object) must be of archival quality and acid-free. Also, the materials used can vary considerably based on the individual qualities of the object that is being packed. Some items in our collection have sticky materials on their outer surfaces—for these objects tissue paper will not work, as it will stick to the object. Instead, a soft archival fabric-like material is used. While this is a lengthy process, it has some added benefits, as we have been able to improve our storage methods in many ways. For example, within our textile storage, new containers and protective coverings were created for all of our leather and hide objects. This is an improvement over how they were initially stored.

Within our encyclopedic collection of more than 45,000 objects there are a myriad of different sizes, materials, and individual needs when packing and storing the collection. While it is a monumental challenge to pack up a collection of this size, it is also an opportunity to reassess our holdings and improve methods of storage and care for our collection. In that way, it is a great moment for ensuring that our collection will be properly preserved and available for Indiana University students, visiting scholars, and the general public for years to come. We look forward to unpacking our collection and reinstalling it in the newly renovated museum to provide a new way for everyone to engage with original works of art.

IU Eskenazi Museum of Art Website


The IU Eskenazi Museum of Art in Texas!

Riberia 57.7
Jusepe de Ribera (Spanish 1591-1652). Study for Martyrdom of Saint Sebastian, ca. 1626. Red chalk on paper. William Lowe Bryan Memorial, Eskenazi Museum of Art 57.7

Two major works from the IU Eskenazi Museum of Art’s collection are now on view in the Dallas / Fort Worth area.

After premiering at the Museo del Prado in Madrid, Spain, Between Heaven and Hell: The Drawings of Jusepe de Ribera recently opened at the Meadows Museum of Art in Dallas, Texas. Curated by Gabriele Finaldi, former Associate Director of Conservation and Research at the Museo del Prado, and current Director of the National Gallery in London, the exhibition celebrates the first catalogue raisonné of Ribera’s drawings. The aim of the catalogue is to give a complete vision of Ribera as a draughtsman and to document all of the known drawings by his hand (around 160 in total). Among the drawings in the catalogue and exhibition is Saint Sebastian seated and attached to a Tree from the Eskenazi Museum of Art’s permanent collection. The drawing is highlighted in the catalogue as “One of Jusepe de Ribera’s most beautiful drawings, this work demonstrates the artist’s expert handling of the chalk medium for shading and contour, his understanding of human anatomy, and his dramatic use of contortion in the figure’s sinuous pose.” We are very happy to contribute to this new look at a major Spanish artist. Other loaning institutions beyond the Eskenazi, include the Metropolitan Museum of Art (New York), British Museum (London), Fitzwilliam Museum (Cambridge), and the Istituto Centrale per la Grafica (Rome). The exhibition at the Meadows is on view now through June 11, 2017.

“Swing Landscape” Installation from Amon Carter Museum on Vimeo.

Stuart Davis’s masterpiece Swing Landscape, a perennial favorite of visitors to the Eskenazi Museum of Art, is currently on loan to the Amon Carter Museum of American Art in nearby Fort Worth, Texas. Produced under the auspices of the Works Progress Administration, the 1938 mural portrays the Gloucester, Massachusetts, waterfront through the lens of Davis’s exuberant brand of abstraction.  As the New York Times’s art critic Holland Cotter recently wrote,  “we see bits of Gloucester—ships, buoys, lobster traps—but basically we’re in a whole new universe of jazzy patterns and blazing colors, a landscape defined not by signs but by sensations: sound, rhythm, friction.” Swing Landscape recently anchored Stuart Davis: In Full Swing, a major retrospective organized by the Whitney Museum of American Art in New York and the National Gallery of Art in Washington, DC. Swing Landscape will remain on view at the Amon Carter Museum throughout the Eskenazi Museum of Art’s renovation, which is set to be completed by fall of 2019.

Eskenazi Museum of Art Website