In this Issue: The Stories Behind Some of the Museum's Most Remarkable Pieces and Collections
IN THIS ISSUE 4 LETTER FROM THE EXECUTIVE DIRECTOR 6 MOAS VOLUNTEER & INTERN SPOTLIGHTS
This issue, we spotlight volunteer, Anne Galya, and interns, Ariana Santana and Thanya Guevara
8 IN MEMORIAM
MOAS says goodbye to former Chief Curator and Gary R. Libby Curator of Art, Cynthia Duval
10 CURATING: PORTRAIT OF MISS PERKINGS
AND THE AMAZING STORY OF JOSEPH WHITING STOCK BY J. “ZACH” ZACHARIAS A closer look at the popular painting and the challenging and insprirational life at the man who painted it
14 DELVING DEEPER
BY RUTH GRIM
A Seminal Work from the Sinuous Lines: Art Nouveau from the Collection exhibit
18 2017 HOLIDAY GIFT GUIDE
Hot holiday gift items from the MOAS and Cici and Hyatt Brown Museum of Art gift shops
20 FALL EXHIBITS & PROGRAMMING CALENDAR 24 MOAS GUILD NEWS
ON THE COVER In this issue of Arts & Sciences, we take a deeper look at the stories behind the objects that you will find in our galleries at the Museum of Arts & Sciences, including our cover image, Portrait of Miss Perkings, by Joseph Whiting, which you can read about on page 10.
BY KATHY WILSON
Guild Board and Members get ready for the 55th season
26 THE OLGA HIRSHORN COLLECTION OF ASANTE GOLD BY DR. ROBIN POYNOR
The legends and history behind one of the Museum's more recently acquired collections .
FROM THE GREAT AMERICAN ECLIPSE 30 GREETINGS BY SETH MAYO AND JASON SCHREINER
MOAS Curator of Astronomy, Seth Mayo, and Planetarium Educator, Jason Schreiner, recount their personal experiences of one of the most incredible natural spectacles that can be witnessed.
For updates on MOAS programs and exhibits, visit MOAS.org and join us at Facebook.com/MOASDaytona Twitter.com/MOASDaytona
Do you know the meaning behind this gold sword ornament? Find out on page 27!
MOAS STAFF
LETTER FROM THE EXECUTIVE DIRECTOR
Executive Director ANDREW SANDALL RUTH GRIM, Chief Curator and Gary R. Libby Curator of Art ERIC MAUK, Curator of Exhibits MEGAN FINLEY, Curatorial Assistant ROBERT WOHLRAB, Curatorial Assistant JAMES ZACHARIAS, Senior Curator of Education and Curator of History NICOLE MESSERVY, Education Associate KELSEY HANSEN-KRAUSE, Group Tours and Education Coordinator SETH MAYO, Curator of Astronomy ROBERT CONSOLO, Planetarium Educator ASHLEY HOLLIS BUSSEY, Planetarium Educator ARIEL JENNIS, Planetarium Educator JASON SCHREINER, Planetarium Educator STEVE CONKLIN, Director of Finance DIANNE MORRIS, Finance Associate CHERYL LONGINO, Finance Assistant STEPHANIE MASON-TEAGUE, Director of Development MONICA MITRY, Membership and Volunteer Coordinator JENELLE CODIANNE, Director of Marketing and Public Relations ALEXANDRA MIDDLETON, Director of Sales and Special Events TORI CARTA, Rental Manager JOHN BRUCE, Security Supervisor PATRICIA NIKOLLA, Guest Services Manager BRANDON SHEPPARD, Facilities Manager Guest Services Team MARK CARRUTHERS, Guest Services Associate COREY COOK, Guest Services Associate LORI HOEPFINGER, Guest Services Associate HANH NGUYEN, Guest Services Associate LISA SHAW, Guest Services Associate DORIS STRNAD, Guest Services Associate Maintenance Team DEAN CORMIER, Facilities Assistant ISRAEL TAYLOR, Facilities Assistant CARLOS ZELLARS, Facilities Assistant Security Team JUSTIN ALISA, Security LEE ASHTON, Security WILL FIGUEROA, Security ANDY GION, Security AUSTIN HARDEN, Security CHERRIE HOLBROOK, Security LINDSAY MCCALEB, Security AMANDA MITCHELL, Security ANGELO PIERCE, JR., Security DORIS STRNAD, Security
Editor JENELLE CODIANNE Contributing Writers RUTH GRIM SETH MAYO DR. ROBIN POYNOR JASON SCHREINER KATHLEEN WILSON J. “ZACH” ZACHARIAS Art Director NIKKI MASTANDO, MASTANDO MEDIA
4 ARTS & SCIENCES MAGAZINE
CROWDS OF GUESTS ARRIVED AT MOAS ON AUGUST 21, 2017 TO VIEW THE GREAT AMERICAN ECLIPSE THROUGH MUSEUM’S SOLAR-FILTERED TELESCOPE.
DEAR FRIENDS,
Welcome to the latest edition of Arts & Sciences magazine, this time looking at some of the stories behind the objects that you will find in our galleries as you wander around the Museum. ANDREW SANDALL
It can be easy to overlook the importance of the objects and collections that we hold, especially as they vary so greatly in size, prominence, and subject matter. However, for those of us who have dedicated our careers to working in museums, we know that these objects are truly the heart of every museum. In this edition of the magazine, you will see just a glimpse of the rich stories behind some objects that you may have walked past many times, never quite realizing their true significance. After such a long period of physical change thanks to all of our construction projects here at MOAS, it is good to know that our collections have been a constant throughout and continue to delight and educate visitors daily. Much of the work of our staff is not only to design and build new homes for these collections but to also find innovative ways to share them with our visitors and students with a goal of helping them to better understand them. This is an ever-evolving process as the interpretation in our galleries often gets tweaked and updated as we develop new information that helps to better contextualize displays for our visitors. Sometimes what may not be immediately obvious is how we have designed many of the new spaces here to provide sympathetic backdrops to enhance the collections they hold. I have been giving some talks recently to various community groups where people have been surprised to hear some of the thought process and pre-planning that went into our new buildings. With both the West Wing and the Cici and Hyatt Brown Museum of Art, we were lucky enough to head into the design process knowing exactly what type of art and which collections would be displayed within them once complete. We kept this in mind while working with the architects on the projects. Knowing how many of the paintings
in the Brown's collection reflected Florida’s natural environment led us to using lots of earth tones such as browns, greens, and reds paired with natural wood finishes. The West Wing, which was designed at the same time but with a different architect at the helm, was always meant to be the counterpoint to the Brown Museum, with different lines and finishes that featured a monochromatic palette of colors. The idea was to present a neutral space that allowed the changing displays of art to dominate the room, drawing the viewer in. Next time you visit the Museum, take the opportunity to visit the Brown Museum and the West Wing in the same day and see if you can spot some of the other nuances that were deliberately designed into them to provide contrast with one another. This summer, we were sad to hear the news of the passing of Cynthia Duval, our former Chief Curator and Gary R. Libby Curator of Art. Her impact on museums reached way beyond Daytona Beach and she was a wellknown figure across the state with her deep knowledge of decorative arts which was maybe only bettered by the incredible list of contacts that she had built up in her impressive and varied career. On the day that the news of her passing became public, there were many messages and phone calls shared between museum staff, trustees, and donors from all over Florida who she had touched in one way or another during her time here. She remained very active even after she returned home to her native England following the passing of her beloved husband, Marcel. It was fitting that one of the final pieces of work she undertook was to write a piece for publication for former MOAS Executive Director, Wayne Atherholt, the man who tempted her over to this side of the state back in 2006. I feel privileged to have worked with Cynthia for the years that I did, but on a personal level, it was an honor to have known both her and Marcel as they were such a gracious, interesting couple with stories that you could sit and listen to for hours. I know that they would be flattered, and maybe a little embarrassed in the way us British are usually, by the outpouring of sadness and love from colleagues all across the state of Florida.
BOARD OF TRUSTEES AND SPONSORS
MAJOR SPONSORS
2017 BOARD OF TRUSTEES
GOLD Brown & Brown Inc. Cici and Hyatt Brown Destination Daytona Beach Guild of the Museum of Arts & Sciences Halifax Health Spectrum Zgraph, Inc.
Melinda Dawson, President SILVER Linda M. Hall, Vice President Cobb Cole J. Lester Kaney, Second Vice President Daytona Beach News-Journal Ellen O’Shaughnessy, Secretary Daytona Beverages, LLC Daytona International Speedway Todd Huffstickler, Assistant Secretary Jon Hall Chevrolet Amy Workowski, Treasurer Mastando Media Bridget Bergens, Assistant Treasurer NASCAR RLF Architects Cici Brown, Trustee Liaison Exhibit Support Provided in Part by Thomas Hart, Past President SunTrust Foundation Randy Dye Carl W. Lentz, III, MD, FACS BRONZE Bahama House Katherine Hurst Miller Best Western Aku Tiki Inn Carol Lively Platig Bomar Construction Rachel Samson Embry-Riddle Aeronautical University Florida Hospital Memorial Medical Center Dr. Kent Sharples Gary R. Libby Charitable Trust Kathy Wilson, MOAS Guild Representative Giles Family Electric Allison Morris Zacharias Tom and Peggie Hart
HONORARY TRUSTEES Miriam Blickman Anderson Bouchelle (Deceased) J. Hyatt Brown Alys Clancy (Deceased) Tippen Davidson (Deceased) Susan Root Feibleman (Deceased) Thurman Gillespy, Jr., MD Herbert Kerman (Deceased) Chapman Root (Deceased) Jan Thompson (Deceased)
Ed and Pat Jackson Dr. and Mrs. Kim A. Klancke Jill Simpkins and L. Gale Lemerand Stuart and Lisa Sixma David and Toni Slick
Executive Director Emeritus Gary R. Libby
Arts & Sciences is published quarterly by the Museum of Arts & Sciences, 352 S. Nova Road, Daytona Beach, Florida 32114, telephone 386.255.0285, website www.moas.org. Income from contributors helps offset a portion of the expense involved in the production of this publication. ADVERTISING INQUIRIES All inquiries regarding advertising should be directed to the MOAS Communications Department at 386.255.0285, ext. 320.
ABOUT THE MUSEUM ABOUT THE MUSEUM OF ARTS AND SCIENCES The Museum of Arts and Sciences is a not-for-profit educational institution, chartered by the State of Florida in 1962 and accredited by the American Alliance of Museums. Museum collections and research include Cuban and Florida art, American fine and decorative arts, European fine and decorative arts, pre-Columbian and African artifacts, Pleistocene fossils, Florida history and regional natural history. Permanent and changing exhibitions, lectures, and classes highlight educational programs. The Museum houses changing arts and sciences exhibition galleries, permanent collection galleries, a gallery of American art, paintings, decorative arts and furniture, the Charles and Linda Williams Children’s Museum, the Cici and Hyatt Brown Museum of Art, the Cuban Fine and Folk Art Museum, a state-of-the-art planetarium, library, the Frischer Sculpture Garden, maintains nature trails in a 90-acre preserve in adjacent Tuscawilla Park, and operates Gamble Place in Port Orange. The Museum of Arts and Sciences is recognized by the State of Florida as a cultural institution and receives major funding from the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture. Major Museum programs and activities for members, school children and the general public are also supported by grants from the County of Volusia, the Guild of the Museum of Arts & Sciences, Elfun Community Fund, and over 30 Major Sponsors from the community. MUSEUM HOURS: 10 a.m. – 5 p.m. Monday through Saturday 11 a.m. – 5 p.m. Sunday The Museum of Arts and Sciences is committed to the Americans with Disabilities Act by making our facility and programs accessible to all people. If you have any special requirements, suggestions, or recommendations, please contact our representative, Executive Director, Andrew Sandall, at 386.255.0285. If you prefer, you may contact the Cultural Council of Volusia County representative at 386.257.6000, or the Division of Cultural Affairs, The Capitol, Tallahassee 850.487.2980, or TT 850.488.5779. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL OR RECOMMENDATION BY THE STATE. THE TOLL-FREE NUMBER IS 1.800.435.7352. FLORIDA REGISTRATION #CH-1851
MOAS VOLUNTEER & INTERN SPOTLIGHTS
VOLUNTEER OF THE QUARTER
Anne Galya
Last fall, Anne and her husband Wayne took the plunge, packed their things, and moved beachside from central New Jersey. Like many “retirees,” they wondered how they would fit into a new community and gain a sense of belonging. Before long, they were approached by a neighbor on her way to work with a plate of brownies welcoming them to the neighborhood. Upon discovering that she was employed at MOAS, Anne divulged that the number one item on her bucket list was to become a docent at an art museum. Without skipping a beat, her neighbor invited Anne and her husband to experience MOAS. After their first visit, Anne and her husband became members and, because they enjoyed MOAS and its special events so much, decided to volunteer. It was not difficult for Anne to see where she would feel the most at home. After years interacting with the public in the business sector, guiding others was a natural fit, especially while sharing her passion for all things art related. Volunteering as a docent at MOAS has been both energizing and rewarding to Anne by helping others to understand the role that the exhibits play in their contemporary experience, as well as to truly appreciate the value of these resources right here in Volusia County. Anne’s goal is to help people (locals and visitors) have an “experience” when they visit MOAS. Even if only one person takes a museum tour on the days that Anne volunteers, she considers this her attempt to educate and stimulate them, which means that her day was well spent.
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INTERN SPOTLIGHTS
Ariana Santana
Ariana Santana began interning for the Museum in June of 2017. She is currently enrolled at Stetson University where she will graduate with Bachelor of Arts degrees in Studio Art and Economics. During her time at the Museum, Ariana assisted the Education Department with the Summer Learning Institute (SLI), the creation of props for class engagement and future outreach programs, as well as other projects that would further engage the community with the department. Ariana plans to attend graduate school and hopes to obtain a position in commercial arts.
Thanya Guevara
Thanya Guevara began interning for the Museum in June of 2017. She currently attends Stetson University, and in May of 2018 will receive her Bachelor of Arts degree in Studio Art. Thanya interns with the Museum’s Education Department, assisting them with the Summer Learning Institute. Her contributions included illustrating a coloring book for the Prehistory of Florida Gallery, giving tours of the galleries to museum visitors, and creating props for class engagement. Thanya aspires to attend graduate school and acquire a career as an illustrator.
IN MEMORIAM
IN MEMORIAM OF
Cynthia Duval
Cynthia, Marcel and son Jonny
It is with sadness that we say goodbye to Cynthia Duval. The Museum received the news this summer that it’s former Chief Curator and Gary R. Libby Curator of Art, Cynthia Duval, had passed away. Many of you knew and worked with her during her long tenure here and many of those friendships were maintained even after her move back home to the United Kingdom after her retirement in 2014. Cynthia has had a major impact on museums in Florida, not just at MOAS, but through her work at The Ringling, MFA in St. Petersburg, and Florida International Museum. Throughout her time in the United States, her knowledge and experience in the field of decorative arts made her highly sought after as an expert and advisor, helping hundreds of museums from all over the country and countless individuals who needed assistance. Her wisdom and expertise greatly enhanced the reputation of MOAS and allowed us to put on some impressive shows and exhibitions. As Executive Director, I had the pleasure to work with Cynthia for two years before her retirement and was able to witness not only the vast professional network she built up, but the respect in which they all held her. For me personally, I will never forget her sharp sense of humor which she regularly displayed in her interactions at MOAS, often throwing a phrase or reference into the conversation that she knew only a fellow Brit like myself would appreciate. All of this was usually delivered with that twinkle in her eye that we will all remember. She was truly one of a kind and kept in touch with many of her former colleagues and friends here in Daytona Beach after she moved home to the United Kingdom. She will be missed by all of us here at MOAS. – MOAS Executive Director, Andrew Sandall
‘‘Cynthia has had a major impact on museums in Florida, not just at MOAS, but through her work at The Ringling, MFA in St. Petersburg, and Florida International Museum.’’
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ARTS & SCIENCES MAGAZINE 11
DOW GALLERY SPOTLIGHT | J. “ZACH” ZACHARIAS, SENIOR CURATOR OF EDUCATION AND CURATOR OF HISTORY
Portrait of Miss Perkings
and the Amazing Story of
Joseph Whiting Stock
The Dow Gallery of American Art has one of the most charming portraits in the Museum on display. This painting is titled, Portrait of Miss Perkings circa 1840 and was painted by early American primitive painter, Joseph Whiting Stock of Springfield, Massachusetts. The story behind Joseph Stock as an early American portrait artist is fascinating as he kept a detailed 73-page journal covering the years between 1832-1846. During that time, we know he painted over 900 paintings.
S
tock was born in 1815 in
Springfield, Massachusetts. At 11 years old, he was in a bizarre accident on his family farm involving an ox cart that left him paralyzed from the waist down. For almost eight years, Stock remained in mostly one position. He began passing the time by drawing, painting, and playing music while lying flat on his back. Stock became quite accomplished, teaching himself and creating his first portrait of his nine-yearold sister, Eliza. He also began to paint prominent local citizens and acquired a small reputation as a painter who painted his subjects all while lying down. A local physician, Dr. James Swan, heard about Stock and decided to make the young man’s life better. Dr. Swan built Joseph Stock a custom wheelchair that was fitted with levers and wheels which allowed him to get out of his bed and stand upright. This provided him with the ability to move about for the first time in the eight years since his accident. Dr. Swan designed the custom chair so that it could be put on a railway carriage as well. This allowed him to travel, generate commissions, and develop his skills as a portrait painter. Stock traveled
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to many small towns in Massachusetts, Connecticut, and Rhode Island painting portraits and miniatures as well. The beginning of his career was at a time when the demand for “preserving the resemblance of a particular person” was reaching its height in the smaller towns of New England. Over the span of his 40year life, he created just over 900 works, mostly portraits, miniatures, and a few landscapes. Only a small portion of his works are known today. Like many of the early American portrait artists, known as Limners, Joseph Stock guaranteed a “good likeness” of his subject. Stock painted adults from the waist up facing three-quarters to the right, following the academic conventions of the time. Children were painted most ambitiously, using the most attractive colors. He wanted to paint his sitters as accurately as possible and even capture some of their personality as well. As is the case with the Museum’s Portrait of Miss Perkings painting. She is shown as a full body portrait in bright red colors following most of the conventions of the day. Stock’s images of children have great charm and personality. He created his portraits of children with vibrant colors that contrasted
to his images of adults. Children came to his studio and sometimes used in-house props such as toys to accent the painting. He painted Miss Perkings with a large cat sitting on her lap, typical of Stock who showed girls with flowers, baskets, dolls, or a favorite pet. Boys were usually depicted with a prop such as a sled, toys, or a dog. Stock paid particular attention to the heads of his sitters, trying to give them the illusion of a third dimension. The rest of the body was less carefully modeled. The Portrait of Miss Perkings is painted with a doll like appearance which was typical of Stock. He captured her sweet and charming personality wearing a bright red dress. Many of his child portraits are shown with large eyes and untroubled faces as is with Miss Perkings. Many of the early American folk painters like Stock had trouble painting an entire portrait with the correct proportions. Often the head was too big, as is the lovable cat sitting on Miss Perkings lap. Small arms, tiny shoulders, and as with most of these painters, there was a difficulty in rendering accurate hands. The feet are often oddly twisted to one side and yet, there is a certain elegance to the portraits. There was little attention given to the background and
GALLERY FOCUS
About the Kenneth Worchester Dow and Mary Mohan Dow Gallery of American Art The Kenneth Worchester Dow and Mary Mohan Dow Gallery of American Art showcases selections from the Museum’s large and growing American collection of furniture, paintings, watercolors, drawings, and decorative arts, including silver and glass. The gallery is interpreted chronologically with emphasis on the Pilgrim Century, the Eighteenth Century, and the American Victorian Period.
sitters were shown up close and personal in the foreground. Stock excelled at painting children and had earned a reputation as an excellent portrait artist in regard to youth, as evident in the Museum’s Portrait of Miss Perkings. Tragedy and perseverance followed Joseph Whiting Stock. In 1839 while preparing varnish in his studio, he was severely burned when his materials caught fire. He survived this only to develop a hip infection on which doctors operated, removing part of his bone. Remarkably, he recovered to paint again. It was an amazing feat of medical success in a time when medicine dealt little with science. Stock also battled with bouts of typhoid fever and yet persevered to continue his life skills as an itinerant portrait artist. Stock's talent lay in his use of color and detail, especially as his experience grew. His definition in form also improved late in his career. In his journal consisting of a ninemonth period from 1842-1843, he painted to order 37 portraits and 18 miniatures, including several landscapes which earned him a total of $740.00. Today, those orders would be worth approximately $23,000. Unfortunately, his journal entries lack any
artistic statement or personal comments but still gives us insight into his mood, which was surprisingly optimistic for someone struggling with a severe handicap. In the newspaper, The Independent Republican, one of the country’s leading newspapers out of New York, Stock advertised that he could supply frames, brushes, paint, canvases, and other artistic materials. He also stated that he could supply daguerreotypes. Later in his career, he began to paint “a good likeness” directly from the early film process to achieve a realistic rendering. In the mid 1800’s Stock contracted tuberculosis and returned to Springfield to recover. This time, Joseph Stock did not recover and passed away in his home at age 40 on June 28, 1855. The Independent Republican stated, “he was best known through his paintings and these will long preserve an aggregable though saddened memory of him.” He had a positive outlook, rarely mentioning in his journal all of the hardships that he must have endured in his short life. Stock recalled “embraced much suffering and affliction with much sorrow and pain,” but also “much joy and happiness as well.” The suffering and affliction never revealed itself in his work.
The fact that the Museum owns and displays one of Joseph Whiting Stock’s finest portraits is remarkable. Out of 915 commissions listed in his journal, there are only approximately 100 works known. None of his landscape paintings are known to exist. Other works by Stock are found at the National Gallery in Washington D.C., the Boston Museum of Fine Arts, the Metropolitan Museum of Art, and the Museum of Arts & Sciences in Daytona Beach, as well as other prominent museums. His portraits provide a glimpse of early 19th century lifestyles, fashion, and furnishings. Very few artists of good health have produced such an immense body of work. In his brief life, his determination to overcome immense physical handicaps shows a man of great character, perseverance, integrity, and the courage to broaden his horizons.
Portrait of Miss Perkings and other significant American works of art can be found in the Kenneth Worchester Dow and Mary Mohan Dow Gallery of American Art in the North Wing at MOAS.
Are you d r iv ing fo r t he a rts ? Purchase a Florida Arts License Plate and support the arts in your county.
The Florida Arts License Plate is available in all local tag offices or through the mail. Locate your tag office at
w wwww.flhsmv.gov/locations w. f l h s m v. g o v / o f f i c e s 12 ARTS & SCIENCES MAGAZINE
Delv O
ne of the first works that I noticed in the Bouchelle Gallery upon arriving at MOAS as Chief Curator was a figure familiar to me from my undergraduate years in college. As if running into a friend not seen for decades, I was delighted to find a piece that I had researched in my first college thesis titled, The Image of Woman in Art Nouveau Decorative Arts. She is currently on view in the Sinuous Lines: Art Nouveau from the Collection exhibition in the Bouchelle Decorative Arts Changing Gallery and was, in fact, the inspiration for this exhibition. The bronze lamp of a female figure with a large scarf or veil swung in the air above her head as if she is caught in some kind of dance is not just any dancing figure. This piece by the French sculptor, Agatheon Leonard (1841-1923) is none other than the famous Loie Fuller, renowned in her day for her expressive dances with flowing scarves illuminated with colored lights.
BRONZE SCULPTURE OF LOIE FULLER BY FRENCH SCULPTOR, AGATHEON LEONARD (1841-1923) OPPOSITE TOP RIGHT: LOÏE FULLER OPPOSITE BOTTOM RIGHT: JULES CHÉRET (FRENCH, 1836-1932) LOÏE FULLER AT THE FOLIES BERGÈRES POSTER
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While not known to today’s audiences, images of Loie Fuller were immediately recognizable to turn-of-the-20th-century arts and culture patrons. It is as hard to overestimate the popularity of this figure for Art Nouveau artists as it is for us to understand in our high-tech, highproduction value entertainment world the extreme fascination this entertainer held for late 19th-century audiences. But images of her were everywhere – from posters by Henri de Toulouse-Lautrec and Jules Cheret to sculptures by many of the most prominent European artists such as Auguste Rodin, Maurice Denis, Koloman Moser, and Raoul Larche. Her flowing scarves tossed into serpentine shapes as she whipped them about became frozen in all types of images of her by contemporaneous artists and came to symbolize the organic, sinuous lines identified with Art Nouveau. In fact, images of Loie Fuller are some of the
BOUCHELLE GALLERY SPOTLIGHT | RUTH GRIM, CHIEF CURATOR AND GARY R. LIBBY CURATOR OF ART
ing Deeper
A Seminal Work from Sinuous Lines: Art Nouveau from the Collection
most famous Art Nouveau works – somewhat ironic given that Loie herself was born in a suburb outside Chicago. Marie Louise Fuller was born in America but made in France (her own words). While an artist and dancer in the States, it was not until she went to Paris in 1892 – the height of the Art Nouveau and the Belle Epoque – that she became an overnight sensation. In addition to the artists mentioned before, she befriended other famous Parisians of the day such as the novelist Alexandre Dumas and the scientists Pierre and Marie Curie. Prominent American expats such as fellow dance innovator, Isadore Duncan, were in her circle as well as European royalty such as Queen Marie of Romania. Fuller occasionally returned to America to stage performances by her students, the “Fullerets” or Muses, but remained a Parisian up until her death of pneumonia at the age of 65 on January 1, 1928. While a dance innovator, Fuller had no formal training in choreography. She simply perfected a rapid, strenuous dance technique using her flowing gowns, voluminous sleeves, and scarves with or without wood supports and illuminated with the colors of the rainbow. Often she would resemble another being from the natural world such as a butterfly. The references to nature certainly appealed to the 1890s arts patron avidly collecting the organic forms of Art Nouveau. Similarly, the curvilinear s-curves that her body made throughout her dances were in keeping with art tastes of the day. But one wonders if it also might have had something to do with the fact that most women in this era were dressed head-to-toe. Certainly, the free, unconstrained nature of Loie’s dance must have appealed to women and men alike in the prudish Victorian age when a glimpse of a bare ankle was considered scandalous. In fact, a case can be made that a large part
BOUCHELLE GALLERY SPOTLIGHT | DELVING DEEPER
Certainly, the free, unconstrained nature of Loie’s dance must have appealed to women and men alike in the prudish Victorian age when a glimpse of a bare ankle was considered scandalous.
EXAMPLE OF VICTORIAN DRESS
of the appeal of Art Nouveau itself was in response to the extreme corseting, layering, and buttoning-up that all late 19th century Westerners endured as a daily matter of course. It has often seemed ironic to me that Victorians, especially women, were surrounded by visual imagery in paintings, sculpture, graphics, and decorative arts in their homes and elsewhere that looked exactly the opposite of how they were expected to look and behave themselves. Visions of women – and it was exclusively women – twirling, twisting, bending, and reaching to the skies seemed almost to plead with the 1890s women to let loose and be free. And, yet, it would be decades before society would allow this. It would not be until the roaring twenties and the age of the Flapper that western women were emancipated from restrictive clothing. And what an emancipation it was! The Flapper dresses that were all the rage in that period between the two world wars were eye-popping for all the skin
they revealed and their lack of restraints. Many a mother must have looked at her daughter in dismay, feeling that she was about the town in her undergarment shift! We owe this revolution – and it was one – in no small way to Loie Fuller and her fabulous scarf dances from the 1890s. Yes, it took many years for it to be accepted that women have free range of motion in their clothing and accessories, but the seed was planted in the organic, flowing figure of Loie Fuller that appeared on posters, in paintings, sculpture, and decorative arts throughout Paris at the end of the 19thcentury.
Discover Agatheon Leonard's sculpture of Loie Fuller and other fine examples of Art Nouveau in Sinuous Lines: Art Nouveau from the Collection in the Anderson C. Bouchelle Changing Gallery at MOAS.
SATIN FRINGED EVENING DRESS, AMERICAN, LATE 1920S CREAM SILK SATIN WITH RHINESTONES AND PEARLS SILVERMAN/RODGERS COLLECTION, KENT STATE UNIVERSITY MUSEUM
GALLERY FOCUS
ABOUT THE ANDERSON C. BOUCHELLE STUDY CENTER AND GALLERY FOR INTERNATIONAL DECORATIVE ARTS This one-of-a-kind gallery is highlighted by 18th and 19th century silver, gold, furniture, mirrors, and other art objects. The Anderson C. Bouchelle Study Center and Gallery for International Decorative Arts and its adjacent gallery contain over 600 objects from the Museum’s collections.
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Clayton Park covers our business community but is also part of the community. You can find Clayton playing his guitar at venues throughout our community.
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FALL EXHIBITS Delicious and Refreshing: Over 100 Years of Coca-Cola Advertising Calendars
NOW THROUGH OCTOBER 29, 2017 The Coca-Cola Company is famous for its advertising which has taken many forms over the company’s long history. In 1891 Coca-Cola began using calendars as promotional material. The calendars were some of the company’s most popular advertising tools and they remain popular today. They offer a window into the popular culture and art of their respective years.
Sinuous Lines: Art Nouveau from the Collection
NOW THROUGH DECEMBER 31, 2017 Art Nouveau was a French term given to a movement that dominated European decorative arts in the years c. 1890-1910. Partly in reaction to the rise of machinemade objects, this elegant style embraced natural, curvilinear lines in subject matter and form as it overtook architecture, graphic art, interior design, and most of the decorative arts including jewelry, furniture, textiles, household silver and other utensils, and lighting, as well as the fine arts. MOAS has many fine examples of Art Nouveau in graphic art, sculpture, glass, porcelain and brass and these will be showcased in an exhibition outside the Bouchelle Gallery for International Decorative Arts.
The Legacy of Abstraction: Late 20th Century Paintings from the Collection
NOW THROUGH FALL 2017 Focused primarily on artists with strong Florida ties, this exhibition of large-scale contemporary paintings from the collection pays testament to the lasting legacy of late twentieth-century American and European Abstraction.
Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido
NOW THROUGH DECEMBER 3, 2017 From the Reading Public Museum in Pennsylvania, this exhibition brings one of the most important Japanese woodblock print series to Daytona Beach. In feudal Japan, the shōguns travelled the Tokaido road from Edo (Tokyo) to Kyoto to pay homage to the Emperor and the stops along the way became popular spots. Ando Hiroshige's (17971858) series of prints are the most famous depictions of these "stations" and reflect a time long ago on the island of Japan.
Treasures from the MOAS Natural History Collection
OCTOBER 28, 2017 THROUGH DECEMBER 10, 2017 The MOAS Natural History Collection is a physical record of life forms on Earth and many cannot be easily collected again. Explore and discover the breadth of scope of the Museum’s natural history collection. The Museum’s collection spans a vast array of specimens from fossils, minerals, sea life to a world-class mollusk collection. Discover how these animals adapted over time and became evolutionary success stories. Explore the beautiful biodiversity of the Museum’s collection.
Florida Postcards and Brochures: Sunshine State Tourism in the Early to Mid20th Century
NOVEMBER 4, 2017 THROUGH JANUARY 28, 2018 Florida history is often told through the stories of mighty men finding land they believed was unclaimed, but another history of the state can be told through the postcards and attraction brochures of the first half of the 20th century. Not only can the history be told, it can be recreated by today’s tourists and Florida residents alike by visiting the original attractions of the early 20th century that continue to be operated to this day.
“The Latest News from Florida”: Wood Engravings from 19th Century Periodicals
OPENING NOVEMBER 18, 2017 ON DISPLAY AT THE CICI AND HYATT BROWN MUSEUM OF ART Wood engravings from 19th century illustrated magazines and journals documenting events in the remote land of Florida – a state that few northerners knew a lot about or would ever visit. The works in this exhibit are grouped into three sections – “life”, “industry”, and “war”. “Life” includes depictions of daily activities and amusements. “Industry” includes depictions of processes such as citrus growing and harvesting and preparing Spanish moss for commercial purposes. “War” includes depictions of the armaments, military activities, fortification structures, and naval events. These topics proved to be of interest to those who bought these publications.
Stay in touch! For the latest exhibit and programming information, sign up for our e-newsletter on the Museum’s homepage at MOAS.org!
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FALL PROGRAMS Ongoing Events Wednesday Yoga in the Gallery Wednesdays, 5:30pm-6:30pm Take a break from your busy day and enjoy weekly Yoga in the Gallery at the Cici and Hyatt Brown Museum of Art. Meet in the lobby and join registered yoga instructor, Ashley Brooks of Holistic Movements, for an hour-long session that will provide you with an opportunity to practice a series of gentle yoga poses. Class is open to all experience levels. Please bring a mat, towel, and water. Space is limited and registration is required. RSVP to the Museum at 386-255-0285. $10.00 for future members, $5.00 for members.
October
October 12 5:30pm-7:30pm French Wine Tasting with Special Guest, Baptiste Koch Join us at the Cici and Hyatt Brown Museum of Art for our wine tasting series with S.R. Perrott. Spend the evening with friends while you sip up knowledge on swirling, tasting, and describing wine while learning about different food pairings. This month’s program will showcase wines from France with special guest, Baptiste Koch from Domaine Blanville Winery located in the Languedoc Region. This event is for ages 21 and older. Seating is limited. Call the Museum at 386-255-0285 to purchase your admission. $30.00 for future members, $20.00 for members. October 14 1:00pm-4:00pm Film Class: Special Visual Effects and Makeup Join award-winning filmmaker, Gary Lester, for an introductory hands-on workshop in creating visual special effects. Participants will create burns, cuts, and even fake blood using everyday household items. Are the injuries real or fake? Hard to tell, but this movie magic is sure to delight – especially during the Halloween season. Space for this class is limited. RSVP by calling the Museum at 386255-0285 ext. 312. $20.00 for future members, $15.00 for members. October 14 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Fright Light 8:00pm Laser Metallica 9:00pm Pink Floyd - The Wall $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. October 19 1:00pm-3:30pm Cross Creek Cookbook Luncheon & Florida Vistas Book Club: The Yearling by Marjorie Kinnan Rawlings Join us for a luncheon before our monthly Florida history book club at the Cici and Hyatt Brown Museum of Art. Carol Ann Moritz will be providing lunch with recipes from the Cross Creek Cookbook. After lunch, discuss The Yearling, a novel that epitomizes the love between a child and a pet. Young Jody adopts an orphaned fawn he called, Flag, and makes
it a part of his family and his best friend. But life in the Florida backwoods is harsh, and so, his family fights off wolves, bears, and even alligators, and faces failures in their tenuous subsistence farming, Jody must finally part with his dear animal friend. There has been a film and even a musical based on this moving story, a fine work of great American literature. RSVP is required by calling the Museum at 386-2550285 ext. 312. $5.00 per person (includes lunch and book club - cash only). October 19 3:00pm-4:00pm Curator’s Talk: Along the Eastern Road Join Scott Schweigert, Curator of Art & Civilization at the Reading Public Museum in Pennsylvania, in the Root Family Auditorium for a talk about the Tokaido road in Japan from Edo (Tokyo) to Kyoto. The Shōguns travelled the Tokaido to pay homage to the Emperor and the stops along the way became popular spots. Ando Hiroshige’s series of prints are the most famous depictions of these fifty-three “stations” and reflects a time long ago on the island of Japan. Free for members or with paid museum admission. October 19 4:00pm-5:00pm MOAS Member Meet and Greet with Scott Schweigert, Curator of Art & Civilization at the Reading Public Museum MOAS members can enjoy a meet and greet with Reading Public Museum Curator, Scott Schweigert after his Curator’s Talk. Receive a more in depth look into the exhibit, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido with extended questions with complimentary coffee and light snacks. Free for members. Must be a MOAS member to attend. October 21 11:00am-4:00pm Fall Family Festival Join MOAS educators, Kelsey Hansen and Nicole Messervy, at the Museum of Arts & Sciences for a fun day of fall activities. Children may dress up for a costume contest and go trick-or-treating throughout the galleries. The day will also include a variety of crafts, games, story time, and a special Halloween laser show in the Planetarium. For more information, contact Nicole Messervy at 386-255-0285 ext. 313. Free for members or with paid museum admission. October 27 6:00pm-9:00pm Passport to the Caribbean Join us at the Shores Resort & Spa for the 7th Annual Fundraiser for the Museum of Arts & Sciences. Enjoy a fabulous silent auction, live music by Steel Daddy, chef demonstrations, cultural displays, the opportunity to win the wine and spirits treasure chest, and more! Advanced RSVP is required by calling the Museum at 386-255-0285. Tickets are $125.00 per person. October 28 3:00pm-4:00pm Family Art Class: The Painted Rock Have a blast painting egg rocks using acrylic
paint and assorted brushes to create your own masterpiece. Paint a Halloween rock or a theme of your choice. Use your creation to decorate your home garden or as a beautiful paperweight. This class is enjoyable for the whole family. Space is limited and advanced RSVP is required by calling the Museum at 386-255-0285. $10.00 for future members, $6.00 for members.
November November 1 7:00pm-9:00pm Cocktails & Creations: Black Light Paint Night: Dia de los Muertos Join us in Root Hall at MOAS for another event in our Cocktails & Creations series with Johnny Yarbrough from Paint Nite in Flagler Beach. The theme of this instructional black light painting night will be Dia de los Muertos, or Day of the Dead, and will feature brightly colored sugar skulls. Enjoy a signature cocktail, light appetizers, music, raffles, and let the creative juices flow! This event is for ages 21 and older. Seating is limited. Call the Museum at 386-255-0285 by October 23 to purchase admission. $35.00 for future members, $30.00 for members. November 3 2:00pm-3:00pm Porch Talk at Gamble Place: Introduction to the Seminole War The United States spent $20 million dollars fighting the Seminoles. The war raged over the entire peninsula from the Panhandle to the Everglades. Join Senior Curator of Education and History, James “Zach” Zacharias, at Gamble Place in Port Orange for a discussion about the last Native American War east of the Mississippi River. Space is limited and advanced RSVP is required by calling the Museum at 386-255-0285. Free for members, $5.00 for future members. November 4 4:00pm-4:45pm You Run the Show! Join us in the MOAS Planetarium to take a journey to anywhere in the universe that you would like to explore during this quarterly presentation, guided by you! Come to the show prepared with a brief topic of your choice and let’s travel there to discuss it. We cannot wait to stargaze and navigate the universe with you! Free for members, with paid museum admission, or $5.00 for adults and $3.00 for children. November 7 3:00pm-4:00pm Root Family Museum Gallery Talk and Walk with the Authors Historians, authors, and film makers, Ron and Alice Howell, have researched and published a comprehensive work to tell the very interesting story of the Root family, from their design and patent of the iconic Coca-Cola bottle, through four generations of collecting Americana. Our Root Family Museum book serves as a gallery guide and provides an in-depth source of information through narrative and photos. This book can be purchased in the MOAS Gift Shop. Free for members or with paid museum admission.
FALL PROGRAMS November 9 6:30pm-8:00pm An Evening with Florida History “Celebrating Veterans” In honor of Veteran’s Day, join us for an evening of Florida History with a special emphasis on honoring our veterans and their service. Free for members, $7.00 for future members. Florida During the Spanish American War In 1898, national attention focused on Florida as the Spanish-American War began. The port city of Tampa served as the primary staging area for U.S. troops bound for the war in Cuba. The arrival of over 30,000 troops, including Lieutenant Colonel Theodore Roosevelt and his Rough Riders cavalry unit, changed Tampa from a small town into a city. Join Senior Curator of Education and History, James “Zach” Zacharias, in the Root Family Auditorium for a look at the Spanish American War in Florida. Learn about the chaos that ensued as several cities hosted training camps and how Florida became the prime staging point for the invasion of Cuba. Daytona: The War Years WWII Honoring Veterans of Volusia County, historian, and educator, Joseph Vetter, will present a program about their services in the history of WWII, focusing on the epic Greatest Generation and Florida’s role. Fallen heroes and local monuments will be celebrated, especially the naming of many Daytona area streets, in appreciation of their service. Two new local Veteran Museums will also be included and we invite anyone interested in WWII and veteran history to attend. Trivia, prizes, and artifacts will be part of the show! WACS in Daytona Beach During WWII It was because of the efforts of Mary McLeod Bethune that the Army established a major training facility in Daytona Beach for the Women’s Auxiliary Army Corps (WAAC), later renamed the WACS. These brave women who trained on the beaches attracted a lot of local attention and generated about $5 million per month for the city’s coffers. This money was a blessing to the city which lost tourism money due to the war. Join educator and historian, Jean Zimmermann, for a fascinating part of Daytona Beach history. November 10 8:30am-4:00pm MOAS Member Trip to the Lightner Museum Take a trip with MOAS to the Lightner Museum in St. Augustine. Enjoy a private tour of the former Alcazar Hotel, which is home to one of the best fine and decorative 19th century art collections in the country. During your visit, you will have the opportunity to see the traveling exhibit, Dressing Downton. The exhibit showcases 40-period costumes and jewelry from the hit television show, Downton Abbey. Enjoy lunch at Café Alcazar, located in the former indoor swimming pool of the Alcazar Hotel. Afterward, spend some time exploring St. George Street at your leisure. Please visit moas.org to view the lunch menu. Call the Museum at 386-255-0285 ext. 315 to RSVP
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and to place your lunch order by November 1st. Meet at the Cici and Hyatt Brown Museum to depart no later than 8:30am. $60.00 for members only. Price includes transportation, museum admission, and lunch. November 11 1:00pm-3:00pm Film Class: Filming with Digital Devices Back by popular demand – with the help of award-winning filmmaker Gary Lester, participants will learn to maximize video shooting capabilities on various devices such as smartphones, tablets, and iPads. Various topics will be covered such as composition, the best type of lighting, and what to do with the footage once it has been shot. Space for this class is limited. RSVP by calling the Museum at 386-255-0285 ext. 312. $20.00 for future members, $15.00 for members. November 11 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Laser Retro 8:00pm Laser Beatles 9:00pm Laser Zeppelin $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. November 15 3:00pm-4:00pm Talk and Walk Gallery Tour: Treasures from the MOAS Natural History Collection Exhibit The Museum has an extensive collection of natural history objects including minerals, fossils, and shells from around the world. Join Senior Curator of Education and History, James “Zach” Zacharias, for a look at this amazing and rarely seen collection, now on display in the Ford Gallery. Discover a world of biodiversity, species adaptation, and the importance of conservation. Free for members or with paid museum admission. November 16 2:00pm-3:30pm Florida Vistas Book Club: White Sugar, Brown Sugar by Michael Pyle Join us for our monthly Florida history book club at the Cici and Hyatt Brown Museum of Art. White Sugar, Brown Sugar is a novel set in Daytona Beach, Florida. An upper middle-class white boy from the peninsula, or beachside, of the Inland Waterway, and a black boy of lesser means – who lives west of the railroad tracks where Blacks (who were called Negroes and other names at the time) were required to live, become good friends, in spite of the racial separation in effect in the 60s in the south. Light refreshments will be served. RSVP by calling the Museum at 386-255-0285. Free for members, $5.00 for future members.
Fort Clinch and to explore historic downtown Fernandina Beach. Space for this bus trip is limited and advanced RSVP is required by calling the Museum at 386-255-0285. No refunds will be issued. Please meet at the Cici and Hyatt Brown Museum of Art no later than 8:30am. $50.00 for future members, $40.00 for members. (Lunch is not included) Civil War Fort Clinch Fort Clinch, on the tip of Amelia Island just north of Jacksonville on the St. Mary’s River, is the best preserved Civil War fort in America. It was also the site of the largest amphibious assault by the United States military until the Spanish American War. Enjoy a tour of this massive brick fort. Historic Downtown Fernandina Beach Fernandina Beach was once a stomping ground for pirates, Gilded Age millionaires, bootleggers, shrimpers, and other colorful characters. Enjoy lunch on your own and an afternoon of exploring the antique shops, along with the history of this enchanting Victorian seaport village. December 3 6:00pm-6:45pm Holiday Planetarium Special: ERAU Acafellas Under the Dome Get in the holiday mood with stars and music as we invite Embry-Riddle’s acapella group, the Acafellas, to perform inside the Planetarium. This talented group of ERAU students will sing wonderful tunes mixed in with some pop hits set to beautiful astronomical animations on the dome above. Admission may be purchased in advance. Future members: $8.00 for adults and $4.00 for children. MOAS members: $5.00 for adults and free for children. December 4 5:30pm MOAS Annual Dinner Join us at the Cici and Hyatt Brown Museum of Art for the Museum’s annual meeting, awards presentation, and installation of the MOAS officers and trustees. Dinner will be served and business attire is requested. A form to fill out and mail in can be found on page 29. Advanced RSVP is required by mailing in a form with payment, or by calling the Museum at 386-255-0285. $45.00 per person.
December
December 8 2:00pm-3:00pm Porch Talk at Gamble Place: The Life and Times of James Gamble Join Senior Curator of Education and History, James “Zach” Zacharias, at Gamble Place in Port Orange for a look at the life and times of one of Volusia County’s first snowbirds and famous part time resident, James Norris Gamble. Space is limited and advanced RSVP is required by calling the Museum at 386-255-0285. Free for members, $5.00 for future members.
December 1 8:30am-5:00pm Florida History Bus Tour Join Senior Curator of Education and History, James “Zach” Zacharias on a bus trip to tour
December 9 7:00pm-9:45pm Second Saturday Laser Rock Concert 7:00pm Laser Holidays 8:00pm Laser U2
FALL PROGRAMS 9:00pm Pink Floyd – The Dark Side of the Moon $5.00 for one show, $7.00 for two shows, and $9.00 for three shows. December 12 6:00pm-8:00pm MOAS Member Holiday After-Hours Celebrate the holidays with MOAS at our MOAS Member Holiday After-Hours featuring exclusive gallery access and tours, a holiday planetarium show, photo station, champagne toast and appetizers, and fun door prizes and raffles. Get some last minute shopping done with special discounts and offers in the gift shop as well as a wine tasting and sales station with a Sommelier from S.R. Perrott. Holiday attire is encouraged! RSVP by calling the Museum at 386-255-0285 by December 1. This event is complimentary for MOAS members. Members are welcome to bring up to two guests for $10.00 per person. December 13 12:00pm-1:30pm Lunch and Learn: Comparing Florida Vintage Postcards to Florida Landscape Paintings History itself can be tracked on postcards, from historical buildings, famous people, art, holidays, and more. Join Senior Curator of Education and History, James “Zach” Zacharias, for lunch at the Cici and Hyatt Brown Museum of Art and take a grand tour of our state's history through historic postcards and magnificent paintings. Call the Museum at 386-255-0285 ext. 312 to
RSVP and place your lunch order. Space is limited and advanced RSVP and paid lunch are required. Lecture is $5.00 plus the price of paid lunch for future members. Lecture is free plus the price of paid lunch for members. December 14 2:00pm-3:30pm Florida Vistas Book Club: Scat by Carl Hiaasen Join us for our monthly Florida history book club at the Cici and Hyatt Brown Museum of Art. From Newbery Honoree, Carl Hiaasen, comes this New York Times bestseller set in Florida’s Everglades in which an eccentric eco-avenger, a stuffed rat named Chelsea, a wannabe Texas oilman, a singing substitute teacher, and a ticked-off panther cannot stop two kids on a mission to find their missing teacher. Smoke has something to do with her disappearance but not in the way they think. There is a lot more going on in Black Vine Swamp than any one player in their twisted tale can see. It is all about to hit the fan, and when it does, the bad guys better scat. Light refreshments will be served. RSVP by calling the Museum at 386-255-0285. Free for members, $5.00 for future members. December 16 1:00pm-3:00pm Film Class: Introductory Story Development Spend an afternoon with award-winning filmmaker, Gary Lester, as he explains how to develop a story outline suitable for motion
pictures. Participants will learn all about a story’s hook, how to create memorable characters, and how to write a visual script outline with absolutely no dialogue. Space for this class is limited. RSVP by calling the Museum at 386-255-0285 ext. 312. $20.00 for future members, $15.00 for members. December 21 10:30am-3:00pm Holiday Hangout Need to get some extra holiday shopping done? Drop your child off at the Children’s Museum at MOAS for some holiday fun! Children will enjoy crafts, activities, and a special reading of The Polar Express inside the Hiawatha train car in the Root Family Museum. Advanced registration for the Holiday Hangout is required and is for children ages 4-10. Space is limited. Call Kelsey Hansen at 386-255-0285 ext. 312 or Nicole Messervy at 386-255-0285 ext. 313 to confirm your child’s spot. $6.00 for future members, $5.00 for members.
For updates on MOAS programs and exhibits, visit MOAS.org and join us at Facebook.com/MOASDaytona Twitter.com/MOASDaytona
GUILD NEWS | BY KATHY WILSON, GUILD PRESIDENT
Guild Board and Members Get Ready for the 55th Season
A
new season of the MOAS Guild is upon us, filled with our fun fall events. We gathered on September 12 to welcome back our members and friends in anticipation of our 55th year. Please join in and be active with the Halifax Art Festival which takes place on November 4 and 5. There are many committees that need our support. Remember, it “takes more than a village” to bring this event to historic Beach Street in Daytona Beach. There is also a new HAF Patron Program
this fall and you are invited to participate. Everyone benefits from the Patron Program which supports the artists as well as the Museum of Arts & Sciences which includes the Charles and Linda Williams Children’s Museum and the Cici and Hyatt Brown Museum of Art. There is a NEW Family Festival of Trees that will be held on December 9. In lieu of an evening gala, this year we will come together for a day of holiday activities and food while exploring MOAS, all with a special accent on family fun. What
better way to kick off the holiday season than spending the day with our children and grandchildren.
This year the Guild has many unique programs scheduled for our monthly Guild meetings. Do not miss out! Bring a friend and get involved. Our success is because of your interest and help. We hope to see you at MOAS!
First row from left to right: Ruth Ann Auditori, Brenda Rivers, Karrie Houlton, Beverly Grissom. Second row from left to right: Ruth Snyder, Maureen McAvoy, Miriam Hughey-Guy, Mary Alice Wnuk. Third row from left to right: Carolyn Keene, Pat Masotti-Abernathy, Clarice Fooks, Jane Funk. Fourth row from left to right: Andrea Pair, Mike Armstrong, George Fortuna, Connie Holland, Shirley Sorvillo.
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MOAS Guild 2017-2018 Event Calendar Guild meetings take place in Root Hall at the main Museum, unless noted otherwise. Social time 10:00 – 10:30 a.m., Meetings or Speakers begin at 10:40 a.m.
OCTOBER 10 Guild Meeting
Dr. Rosario Upchurch “Embrace the Sparkling Moments in Your Life and Stay Young Forever”
October is Mental Health month. Dr. Upchurch will talk about great life lessons as we age. The Guild members will vote on the slate of officers this month.
OCTOBER 11 1:00 - 4:00 p.m. Fun Raising at Masterpiece Jewelry
Check out the unique jewelry which includes estate jewelry too. Door prizes and lots of fun. Come and enjoy wine and cheese. 20% off items purchased will go to the Museum.
NOVEMBER 14 Guild Meeting
John Brinkley, Founder and current Chairman of the Daytona Beach Veterans Museum and Education Center
The center is located on the second floor at TicToc on Beach Street. Mr. Brinkley will speak about the role the Veteran Museum plays in the local community.
DECEMBER 9 10:30am - 3:00 p.m. Family Festival of Trees at MOAS
A new twist to bring families together for a day of activities and food choices. Santa will also be present along with a Holiday boutique. Cost: $5.00 per each child and adult (grandparents are also welcome!)
DECEMBER 12 11:00 a.m. - 2:00 p.m. Guild Holiday Celebration at MOAS
A festive and fun holiday party for Members only. Thank you for all of your support. There will be the installation of the new Guild officers for 2018-2019.
JANUARY 9 Guild Meeting NOVEMBER 4 10:00 a.m. - 5:00 p.m. NOVEMBER 5 10:00 a.m. - 4:00 p.m. 55th Halifax Art Festival
Our annual fundraising event brings Beach Street to life with artists, crafters, music, food, and fun. Volunteers are needed for a variety of duties. We also need books and plastic egg cartons. Come and be a part of this great event. HAF Chair: Andrea Pair 407-701-1184 Become a Patron of the HAF - it is an easy way to support the artists and the Museum. A special Patron Happy Hour will be held on October 10th and the Patron reception will be on October 30th. RSVP to join us. Contact Patron Chair: Gloria Keay 386-453-7380
Planetarium with Seth Mayo, MOAS Curator of Astronomy
We will explore the universe in the completely digital planetarium, where science, art, and technology blended seamlessly to create an experience that you will not forget.
FEBRUARY 13 11:00 a.m. - 2:00 p.m. Fashion Show and Luncheon
What a treat to have our annual fashion show and luncheon at the Halifax Plantation as we “Spring Forward in Fashion.” Cost: $35.00 Reservations Contact: Jennie Palmer 386-236-9810
MARCH 13 Guild Meeting
Kathleen Hilbrandt, a Historic Woman in our Midst
Recognizing Women’s History Month brings us a World War II pilot. Kathleen will share what it was like being a woman pilot in a “Men’s Only” environment during the war. Finally granted veteran’s status in 1977, Kathleen will share the details of her most interesting life.
APRIL 10 Annual Garden Party and Luncheon
Spring is in the air and the Brown Museum Courtyard will be bursting with color for our annual Garden Party. Selections that you can purchase and take home include potted plants, herbs, and beautiful blooming flowers. Cost: $35.00 Limit: 100 Reservation Contact: Marilynn Sternberg 386-5854047
APRIL 23 7:30 a.m. Registration 9:00 a.m. Tee Time Children’s Museum Golf Classic
Come and “Play for the Kids” at our 8th annual Children’s Museum Golf Classic. Enjoy the day and play 9 or 18 holes on a spectacular private golf course at Plantation Bay Golf and Country Club. Registration will be at 7:30am with a 9:00am Tee Time followed by a luncheon and silent auction. Volunteers are needed. All Guild members and friend are invited to the luncheon and festivities. Cost of Luncheon: $30.00 Reservation Contact: Mike Armstrong 203-414-2379
MAY 8 Guild Meeting
Spring Thing/Fling featuring the Shenanigans
This group will surely entertain us with music and humor. You will thoroughly enjoy the group and are guaranteed to leave still chuckling.
Artful Interludes will be announced and are TBD for January through April 2018
The Olga Hirshorn Collection of
Asante Gold Figure 4: Soulwasher badges were large gold beads suspended by a thick white cord to be worn on the chest of a member of the royal family. The role of the “soul-bearer” was to precede the king in royal processions and to sit before him on occasions of state to ward off evil from the king’s spirit. The carefully ordered strands of wax used to create the mold are clearly rendered in the final casting.
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GILLESPY GALLERY SPOTLIGHT | DR. ROBIN POYNOR, PROFESSOR IN THE CENTER FOR AFRICAN STUDIES AT THE UNIVERSITY OF FLORIDA
While visitors to the Elaine and Thurman Gillespy, Jr. Gallery in the Museum of Arts & Sciences have long appreciated the Asante gold objects displayed there, the Museum has only recently acquired the Olga Hirshorn collection of gold objects as part of the permanent collection.
B
oth legend and history proclaim the story of gold in Africa. Fictions of King Solomon’s mines locate his source of wealth somewhere on the African continent, but legends of Mansa Musa, the tenth mansa, or emperor of Mali, are supported by fact. One of his titles, Lord of the Mines, alludes to Musa’s tremendous wealth. He was purported to be one of the wealthiest of men in the 14th century. (Figure 1.) The great trading cities of the Empire of Mali, Djenne, Gao, Timbuktu, were the source of Musa’s wealth as they linked the Mediterranean in the north and the west coast of Africa to the south. As far back as pre-history, goods have traveled back and forth across the Sahara. Great caravans, consisting in some cases of as many as 12,000 camels, carried goods such as ivory, kola, slaves, and especially gold from the south in exchange for brass and salt from the north and from the desert itself. Word of Musa’s great wealth was broadcast throughout the world when he made a pilgrimage to Mecca in 1324. Crossing the desert and moving across North Africa, he made his way through Egypt and into the Arabian Peninsula. Sixty thousand men in his entourage each carried four-pound gold ingots, and eighty camels each bore up to 300 pounds of gold dust in their saddlebags. So much gold was doled out to the poor in exchange for goods and
services along the way that the economies of Egypt and the Arabian Peninsula shook. The resulting inflation took over a decade to recover from. While some of Musa’s gold was produced in gold fields within the borders of his own empire, much came from the south. The affluence of the great trading cities on the Niger River, and thus Musa’s, came largely from the south, a region soon to be referred to by Europeans as “the Gold Coast.” Here numerous small kingdoms thrived, each headed by a king who theoretically held a monopoly on all of the gold in his district. Known as the Akan peoples, their trade in gold was well-known by both Africans and Arabs who had long traded in North Africa and across the Sahara. By the 1470s, the Portuguese had sailed around the west coast of Africa. In 1482, they constructed a “castle” or trading post at the site they called Elmina, “the mine.” (Figure 2.) The location had long been a trading spot for Africans and the Arabs, especially for the gold, which was mined just inland. Now Europeans eagerly tapped into the established trade. In fact, a young Christopher Columbus visited Elmina between 1482 and 1485 before his eventual travels into the Caribbean. Akan rulers had long used gold, not only for the wealth it represented but also for the extensive regalia that signified their
Figure 1: Mansa Musa, ruler of the Mali Empire in the 14th century, was pictured in a 1375 Catalan Atlas of the known world (mapamundi). The image, drawn by Abraham Cresques, shows Musa holding a gold nugget, grasping a gold scepter, and wearing a European-style crown of gold. The section to the right translates, "This Negro lord is called musse melly (Mansa Musa), Lord of the Negroes of Guinea. So abundant is the gold which is found in his country that he is the richest and most noble king in all the land.”
Figure 3: Gold sword ornaments, cast in the cire perdu or lost wax method and attached to scabbards of state swords, were visual references to proverbs. In this example, crocodiles sharing the same stomach warned that infighting was useless since all things were share for the good of all.
positions as elites in a complex social and political hierarchy. Artists cast gold by the lost wax process, beat it into sheets to decorate with repousse work, and worked gold leaf over carved wooden sculptural forms. The ruler and his chiefs wore headgear decorated with gold ornaments, wore slippers laden with gold icons, and their arms, wrists, and hands were weighed down with elaborate gold armlets, bracelets, and rings. Multiple necklaces made of gold beads in great numbers of shapes and sizes draped around their necks.
Figure 2: The Portuguese constructed a trading “castle” on the Guinea Coast in 1482 as São Jorge da Mina (St. George of the Mine). As the first trading post built on the Gulf of Guinea, it is the oldest European building south of the Sahara. While its name refers to the gold traded there, Elmina Castle later became an exceptionally important stop in the Atlantic slave trade. By then the Dutch controlled the site, and it was during that period that this image was created between 1665 and 1668.
GILLESPY GALLERY SPOTLIGHT | ASANTE GOLD
Figure 5: A color illustration in Thomas Bowdich’s 1819 publication, Mission from Cape Coast Castle to Ashantee depicts the umbrellas of chiefs defining their spaces during the New Yam ceremony. Each elaborate textile structure is topped by a sculptural finial covered in gold leaf.
The entire court was resplendent in worked gold. Spokesmen for the king referred to as linguists, carried wooden staffs topped with elaborately-carved sculptures covered in gold leaf. Each sculpture gave visual emphasis to a proverb or illustrated a significant idea about a just rule or state power. State sword bearers carried iron swords whose hilts were held at the ready for their ruler. Their doubleorb pommels were covered with gold leaf and their scabbards were decorated with wonderfully designed cast gold ornaments that referred to proverbs as well. (Figure 3.) Large gold beads signified the role of “soul bearers,” men whose presence warded off evil from the soul of the king. (Figure 4.) On occasions of state in which the king and his chiefs appeared in public gatherings, their location could be determined by large ostentatiously designed umbrellas that served as quasiarchitectural settings. Each umbrella was topped by a sculptural finial carved in wood and covered with gold leaf. (Figure 5.) From the 13th through the 17th centuries, the many small kingdoms of the Akan peoples thrived, but they jostled for powers – economic, political, and military. The first of these states was Bono Mansu,
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founded around 1280. Other small kingdoms developed in the 14th and 15th centuries. Their locations amid the gold fields allowed them to participate in the profitable trade to the north and eventually to the south. To the south, the Portuguese were followed by the French, the English, and the Dutch – at Elmina and at other ports established along making the coast. As economic competition increased among the Akan states, political struggles intensified. Numerous smaller kingdoms were threatened by two of the larger, wealthier and more dominant kingdoms that used military force to expand their borders – Akwamu and Denkyira. Seeing the risk of being conquered and swallowed up by the larger entities, Oseitutu, and the Kumasihene, or ruler of the kingdom of Kumasi, called together representatives of several other small kingdoms in the last part of the 17th century. He convinced them that uniting forces to form a confederacy would allow them to fight effectively against the encroaching larger powers. About 1701, after all parties had agreed to participate, Oseitutu ordered that all previous symbols of the individual states be buried in the Volta River, and then a panoply symbolizing
the new confederation was introduced. A new state stool carved of wood and plated in heavy gold enshrined the “soul” of the newly unified state – the Asante Nation. Oseitutu became the Asantehen, or king of Asante. He continued the older system of visual symbols that had developed over the past five centuries – a panoply consisting of a state stool, royal stools, state swords and scabbard ornaments, large cast “soulwasher badges,” sculptural finials atop linguist staffs, great umbrellas of state topped with gold-covered sculptural finials, and an abundance of gold jewelry. While gold still figures importantly in the ostentatious visual displays of Akan royalty and nobility, it is no longer restricted to the traditional elites. Like the wellknown kente cloth, which was also initially connected to Akan nobility, gold objects can be purchased by any who can afford them today. But still, a person of Akan descent would not be so presumptuous as to own or to manipulate symbolic gold objects that he or she has no right to use. Explore The Olga Hirshorn Collection of Asante Gold and other African art and artifacts in the Elaine and Thurman Gillespy, Jr. Gallery at MOAS.
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