John Himmelfarb: A Chicago-based Artist’s IU Connections

John Himmelfarb’s Toward the River in construction at IU Central Stores ceramic studio, 2010.

By Nan Brewer, Lucienne M. Glaubinger Curator of Works on Paper

Although born and raised in the Chicago area (where he currently resides) and educated at Harvard University, the artist John Himmelfarb (b. 1946) has a deep fondness for Indiana University.

In the late 1980s, Himmelfarb was invited to produce a print at Echo Press, a fine arts press associated with IU and founded by IU fine arts professor Rudy Pozzatti and master printer David Keister (who he’d worked with earlier on one of his first lithographs at Landfall Press in Chicago). Himmelfarb created a large-scale combination print with the assistance of Pozzatti and printer Dave Calkins.

The artist lost touch with IU until 2009, when his friend Stephen Mueller donated a major painting from Himmelfarb’s ongoing Truck series to the Eskenazi Museum of Art (then the Indiana University Art Museum) in memory of Mueller’s parents. Mueller recalled seeing the painting shortly after its completion in the artist’s studio: “It was a stunning first encounter and I continue to be surprised with every viewing. I would like my parents to be associated with a work that can provide others with a similar experience.… My father, who was an artist himself, would have called it a painter’s painting with all of the excitement in full view for the general public.” (Editor’s Note: This painting has indeed inspired many visitors to our museum, read a great story about the impact this painting had on a young student HERE.)

This gift encouraged Himmelfarb to make a return visit to Bloomington in 2010 where he met IU ceramics professor Malcolm Smith. After hearing about Himmelfarb’s interest in making large-scale clay truck sculptures, Smith invited him to come back the following year for an artist-in-residency and the museum asked him to present a Noon Talk, “Mad Dogs and Rust Buckets” on his work in the collection. Not only did students get a chance to work with an accomplished professional artist, but Himmelfarb was also able to undertake a monumental project that required more technical expertise and numerous assistants. The resulting piece, Toward the River (28½ x 38 x 83½ in.), unfortunately did not survive glazing and re-firing back in Chicago. Himmelfarb recently remarked, “I should really try to remake it, as it was something I liked a lot.” So you never know—he may be back to try again.

Realizing that the Eskenazi Museum of Art lacked examples of his other favorite subjects—based in calligraphic marks and hieroglyphic symbols—Himmelfarb encouraged collectors Stan Ries and Aline Hill-Ries to give two of his prints produced at UNO Print Workshop, and Nell and Paul Schneider to donate a beautiful mixed media drawing. More recently, Himmelfarb’s sister gave a complex pen and ink drawing that provides a deeper understanding of his earlier stylistic progression.

When documentarian Elizabeth Brackett began to make a short film on Himmelfarb’s career, the artist suggested the film crew go to Bloomington and shoot a segment in the Eskenazi Museum of Art’s works-on-paper storage room with Nan Brewer, the museum’s Lucienne M. Glaubinger Curator of Works on Paper.

Watch the video below:

Here are six works by John Himmelfarb in the Eskenazi Museum of Art’s collection.

John Himmelfarb (American, b.1946). Untitled (2-24-77), 1977. Black ink on Japanese paper. Sheet: 20 ½ x 31 3/4 in. (52.1 x 80.6 cm). Gift of Susan Himmelfarb, IU Eskenazi Museum of Art 2013.169

When a Harvard professor encouraged Himmelfarb to consider art as a career, he jumped in with a vengeance. As if he could not draw fast enough, Himmelfarb crammed his compositions with a myriad of details until his landscapes moved beyond representation into the realm of surrealism and non-objectivity. In this image animal-like creatures (fish, birds, and reptiles) peak out between vegetative forms, but the work is really about line and pattern. An earlier precedent for this type of fantasy mixed with linear abstraction can be found in Paul Klee’s etching Garden of Pleasure. Himmelfarb recalls that he grew up with books on Klee.

Paul Klee (Swiss, 1879–1940). Garden of Pleasure (Garten der Leidenschaft), 1913. Etching on paper. Image: 3 1/2 x 5 1/2 in. (8.9 x 14 cm). IU Eskenazi Museum of Art 75.2.2

Acknowledging a kind of automatism in his drawing technique, Himmelfarb said, “I get a little nervous when narrative element becomes too important and the investment in medium and process becomes less so. There is always a tug-of-war between content and abstraction, narrative and form.”

 

 

 

John Himmelfarb (American, b. 1946). Serena Lane Meeting, 1988. Color sugar-lift aquatint and relief flat on white Arches Cover paper. Image: 19 1/2 x 37 1/2 in. (49.5 x 95.3 cm). Echo Press Archive, IU Eskenazi Museum of Art 90.48.1

A multi-talented painter, sculptor, ceramist, and printmaker, Himmelfarb often works on an idea in a range of media over a period of years. Such is the case with this print (named after the artist’s then two-year-old daughter and Serena Lane in Bloomington, where master printer David Keister lived), which began in 1982 as a series of giant brush drawings. All of the works in the Meeting series feature a pair of grotesque heads (often accompanied by a snarling dog).

Despite the aggressive demeanor of the print’s protagonists—accentuated by the short, choppy black lines and fiery red-orange color—it was meant to represent confrontation and resolution. As such, the twining plant separating the faces might be construed as a divider or as a peace offering—an olive branch of sorts. The artist also saw the image as a psychological self-portrait with the frontal visage representing the integrated individual, while the face in profile and dog suggest competing inner voices. A lover of word play, Himmelfarb also enjoyed the title’s ironic pun on serenity.

John Himmelfarb (American, b. 1946). Quibble, 2000. Graphite and acrylic on pink paper. Sheet: 27 3/8 x 19 1/8 in. (69.5 x 48.6 cm). Gift from the collection of Nell and Paul Schneider, IU Eskenazi Museum of Art 2013.168

Himmelfarb has long been fascinated with the visual power of words and symbols. This drawing consists of a series of calligraphic shapes loosely based on Chinese or Korean seal script characters. The letters work together to form an “ideographic sequence” in seven horizontal lines with an empty space at the bottom that suggests room for a response. Even the title, Quibble, suggests a play on words or a pun. Within each letter is tiny written text in a vertical orientation with all capital letters and no punctuation. Although it is in English and readable, it remains a kind of insider’s joke on the condition of the art world and, thus, serves primarily as a textural contrast. The pinkish paper tone takes on an almost flesh-like appearance, transmuting the letters into cartoonish people or creatures, further referencing ideograms, pictograms, and hieroglyphs.

 

John Himmelfarb (American, b. 1946). Zklee, 2003-2004. Color aquatint and etching on Kitakata Chiri Large paper. Sheet: 23 3/4 x 35 3/4 in. (60.3 x 90.8 cm). Gift of Stan Ries and Aline Hill-Ries, Eskenazi Museum of Art 2010.99

Like fragments of a ceramic vessel, the shapes against this red claylike background long to be reconfigured into some sort of narrative. Figures follow visually from one shard into another. There are letters and recognizable pop culture references such as a Dick Tracy comic (by way of a Roy Lichtenstein work), as well as cartoonish, grotesque figures reminiscent of Chicago Imagist artists like Jim Nutt and Karl Wirsum. Although Himmelfarb moved back to Chicago in 1968, his work has never been associated with midwestern groups like the Hairy Who or Monster Roster, although his playful—and sometimes irreverent—imagery has natural affinities. Like them, he embraced the figurative with a raw energy, rather than a Pop artist’s cool. There are other little homages to his favorite artists, including Klee, as suggested by the print’s title, which sounds like giclée (zhee-KLAY), a computer printing process developed in the 1980s.

John Himmelfarb (American, b. 1946). Xtra Xtra, 2003-2004. Color sugar-lift aquatint, aquatint, and etching on Rives BFK tan paper. Image/sheet: 24 x 20 in. (61 x 50.8 cm). Gift of Stan Ries and Aline Hill-Ries, IU Eskenazi Museum of Art 2010.100

Through the use of brown and white inks on tan paper and the implied irregular edge of a tattered manuscript fragment against a black background, Himmelfarb suggests an ancient text. Since his freshman days at Harvard, when he invented his own pictorial alphabet, Himmelfarb has been fascinated by how people use markmaking to convey information. But what is this image trying to tell us? Is it a newspaper extra from some sort of distant or alien world? It reads like a puzzle with tile-like game pieces, letters, and numbers, but like all of Himmelfarb’s icons it remains mysterious and unfathomable. Himmelfarb began looking at the exterior contours of such images and making flat sculptures based purely on their form.

 

 

John Himmelfarb (American, b. 1946). Forbearance, 2009 Acrylic on canvas 54 x 76 in. (137.2 x 193.0 cm) Gift of Stephen Mueller in memory of Karl and Tanny Mueller, Eskenazi Museum of Art, Indiana University, 2009.65

“Since 2003, Himmelfarb has created a body of work focused on the image of the truck. Explaining his fascination with trucks, he has said, “There’s just something about them that’s so easy to anthropomorphize.…They’ve got personality, a soul.”

Himmelfarb’s parents were artists, and they introduced him at a young age to postwar European painting. The spontaneity and directness in the work of these postwar painters—including Art Brut pioneer Jean Dubuffet and CoBrA members Pierre Alechinsky and Karel Appel—made a strong impression on Himmelfarb.

Jean Dubuffet (French, 1901–1985) Business Lunch (Dejeuner d’affaires), 1946 Oil and sand on canvas 35 x 45 1/2 in. (88.8 x 115.5 cm) Gift of Dr. and Mrs. Henry R. Hope, IU Eskenazi Museum of Art 69.157

The tension between representation and abstraction in Dubuffet’s work, as well as his gestural spontaneity, finds echoes in much of Himmelfarb’s oeuvre. The latter’s work, too, is characterized by its balance of painterliness and draftsmanship. Forbearance’s impastoed surface and vigorous brushwork are tempered by its calligraphic, linear pattering. Subtle hints of red, green, and blue soften the boldly black and white composition.”
(This entry excerpted from Curator of European and American Art Jenny McComas’s cover story in Indiana University Art Museum newsletter, November & December 2009).

 

 

You can learn more about John Himmelfarb on his website.

IU Eskenazi Museum of Art Website

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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

 

New Acquisitions of Works by Female Artists

We continue to be very active while our museum building is undergoing renovation. This includes acquiring new works for our permanent collection. We have recently added a number of interesting pieces by some phenomenal women artists. Here are a few of our recent acquisitions.

 

Resurrection Story with Patrons by Kara Walker

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Kara Walker (American, b. 1969). Resurrection Story with Patrons, 2017. Etching with aquatint, sugar-lift, spit-bite, and drypoint on paper, frames (left and right): 42 x 32 in.; (center): 42 x 51 in. Museum purchase with funds from Paula W. Sunderman, Eskenazi Museum of Art, Indiana University, 2017.81

This new triptych by Kara Walker reflects the complexities of her narratives and her use of the print medium. Walker emerged on the international art scene with paper silhouettes of the antebellum atrocities of slavery. Resurrection Story with Patrons continues to explore contemporary issues of race through references to the historical past. While a 2016 resident at the American Academy in Rome, Walker reflected on the police killings of young black men and social unrest back home. Drawing on iconography of Christian martyrdom from Western European artistic traditions and contemplating the challenges of erecting monuments and memorials, she created a resurrection story that she says alternates between captor and redeemer. In the central panel, a half-length nude black woman is pulled up by ropes with her back supported by a man and a baby. The standing figure on the right suggests an African chief with ceremonial staff, while the wooden boards recall the hull of a slave ship or the cross. The ghostlike figures in the wings—reminiscent of wealthy patrons in medieval and Renaissance altarpieces— are actually black house servants. The great colossus serves as a tribute to the souls of slaves lost in the Middle Passage and to the power of collective memory.

 

Seated Figure with Hands in Head by Elizabeth Catlett

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Elizabeth Catlett (American, active in Mexico, 1915-2012). Seated Figure with Hands in Head, 1982. Bronze. Museum purchase with funds from Donald, Nicole, and Dexter Griffin; Janice and Mary Wiggins; and the Estate of Herman B Wells via the Joseph Granville and Anna Bernice Wells Memorial Fund, Eskenazi Museum of Art, Indiana University, 2017.62

With the acquisition of this sculpture, the Eskenazi Museum of Art adds a work by one of the most significant American artists of the twentieth century to its collection. Born in Washington, DC, Elizabeth Catlett studied at Howard University and at the University of Iowa with renowned regionalist painter Grant Wood, who encouraged her to develop her talents as a sculptor. Frustrated by the limited opportunities available for African Americans in the United States, Catlett moved to Mexico City in 1946, and became a Mexican citizen in 1962. The politically and socially engaged prints she produced at Mexico City’s Taller de Gráfica Popular have become icons of twentieth-century art, and they reflect her activism in support of the civil rights movement in the United States and against human rights abuses in Latin America. Catlett’s sculptures often portray archetypal African or African American women, either alone or with children. The intimately sized sculpture now in the museum’s collection is posed in a manner that recalls traditional Western depictions of melancholy (as in Albrecht Dürer’s famous engraving Melancholia), but the solidity of the figure’s limbs suggests strength, and her mask-like face hints at resolve while also referencing African art.

Falcon by Kiki Smith

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Kiki Smith (American, born Germany, 1954). Falcon, 2001. Aquatint and etching on paper. Museum purchase with funds from the Elisabeth P. Myers Art Acquisition Endowment,
Eskenazi Museum of Art, Indiana University, 2016.122

Although recognized as a sculptor and installation artist, Kiki Smith is also known as a printmaker, particularly for her realistic images based on dead animals. The museum’s collection already included several smaller works by Smith, but Falcon (2001) is our first major print by the artist. For this large-scale image, Smith used an intaglio technique to carefully render the bird’s feathers and to create a haunting, macabre effect through the inclusion of a solid black hood over the bird’s head and flowing tendrils.

If you enjoy these works you can explore more art from our collection at our Highlights from the Collection website. You can also sign up for our monthly email newsletter or bi-annual museum magazine at our website: artmuseum.indiana.edu

 

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

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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 artmuseum.indiana.edu

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 www.preservationcenter.org 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

Textile Artist Isabel Berglund Visits Bloomington

Isabel Berglund

This fall, the Eskenazi Museum of Art at Indiana University is partnering
with IU School of Art + Design, Lotus Education and Arts Foundation,
IU Textile Artist Association, and IU Arts and Humanities Council to
support an artist residency. Danish textile artist Isabel Berglund, known
for her large-scale knitting events and participatory art projects, comes
to Bloomington September 12–October 5, 2017. This residency offers the
artist the opportunity to immerse herself in the local cityscape and partner with the IU and Bloomington communities to create a social art project. The project, called Home Mask Relations—A Social Art Project, explores themes of togetherness, relationships, and home. Berglund will lead workshops at which participants will knit and crochet pieces representing the floor plans of their homes. She will then assemble the pieces into a finished installation. The project invites people to create together while celebrating diversity within our community.

During the last week of her residency, a sample of Berglund’s finished work will be on view at the 24th Lotus World Music and Arts Festival at the Lotus Arts Village, and at Lotus in the Park. Lotus in the Park (September 30, at Third Street Park) will feature both a workshop with Berglund, and a conversation with the artist hosted by David Brenneman, the Wilma E. Kelley Director of the Eskenazi Museum of Art. The installation will also be on view at the IU First Thursday Festival on October 5 from 5 to 8:00 p.m. on the Fine Arts Plaza near the art museum.

Work by Isabel Berglund

Free artist talks and workshops will be provided at multiple locations, including several opportunities during the 24th Lotus Festival. The

workshops are free and open to the public. Supplies will be provided.
Beginners are welcome.

Events with Isabel Berglund
(All events are free and open to the public)

Thursday, September 21, 6-9 p.m.: Community Knitting Workshop
IU Fine Arts Building, room 230

Monday, September 25, 1-4 p.m.: Community Knitting Workshop
Meadowood Retirement Community

Wednesday, September 27, 6-7 p.m.: Artist Lecture
IU Fine Arts Building, room 015

Friday, September 29, 6-9 p.m.: Workshop, Sample Art Installation, Interactive
Lotus Festival Arts Village, E. 6th St. between Walnut St. and Washington St.

Saturday, September 30, 12:15-1 p.m.: Conversation with the artist,
hosted by Eskenazi Museum of Art Wilma E. Kelley Director David Brenneman
Lotus in the Park, Third Street Park

Saturday, September 30, 2-5 p.m.: Workshop, Sample Art Installation, Interactive
Art Camp at Lotus in the Park, Third Street Park

Thursday, October 5, 5-7:30 p.m.: Workshop, Sample Art Installation, Interactive
IU First Thursday Festival, Showalter Fountain Arts Plaza

Click here to learn more about Isabel Berglund and the 2017 Lotus World Music and Arts Festival.

Eskenazi Museum of Art Website