AQOctNovDec09

A benefit of membership with the New Orleans Museum of Art

ARTSQUARTERLY VOLUME XXXI ISSUE 4

NEW ORLEANS MUSEUM OF ART

OCTOBER/NOVEMBER/DECEMBER 2009

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

BY LELLA F. SMITH Creative Director of the Walt Disney Animation Research Library

Disney Studio Artist Sleeping Beauty’s Castle from Sleeping Beauty, 1959 Background painting: gouache on paper © Disney Enterprises, Inc.

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NEW ORLEANS MUSEUM OF ART

ARTS QUARTERLY

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FROM

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DIRECTOR

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oon after Katrina, the New Orleans Museum of Art had the unique opportunity of presenting an exhibition in New York as a benefit for its Recovery Fund. The project was initiated by Joseph Baillio, a native of Louisiana and Vice President of Wildenstein & Co. in New York, the world's most important gallery for old master paintings. He proposed to his company's president, Guy Wildenstein, who enthusiastically agreed that they mount an exhibition of some of NOMA's finest paintings, sculptures, and drawings to focus national attention on our recovery efforts and to raise funds for that purpose.

Titled The Odyssey Continues: Masterworks from the New Orleans Museum of Art and from Private New Orleans Collections, the exhibition opened at the Wildenstein gallery on November 17, 2006, with two evening benefits. The gallery produced a beautiful 263-page catalogue, with essays by Joseph Baillio about the history of New Orleans and the history of the Museum, which included much new research on the provenance and exhibition record of many of the artworks. It was a thrill for me to see NOMA's masterworks so handsomely installed in the magnificent Wildenstein townhouse on East 64th Street.

The exhibition was a great success with glowing reviews in The New York Times and other art publications. This prompted a number of museums across the country to ask if they might present the exhibition as well. In the end the show was on the road for nearly three years, being presented in Omaha, Nebraska; Colorado Springs, Colorado; Stanford, California; Kalamazoo, Michigan; and Charlotte, North Carolina. All together, the exhibition was seen by over 300,000 visitors and raised $1 million for NOMA's Katrina Recovery Fund.

The absence of so many important works from the Museum for such a long period allowed NOMA's curatorial staff to install fine works from our storage rooms that had not seen the light of day for many years. Also we were able to borrow a number of fine artworks from artists and private collectors to broaden and enrich our displays. But many of our visitors, particularly those from New Orleans, have missed seeing some of their favorite NOMA treasures. Most have now been rehung in the galleries, some in the same place, others in different spaces with the addition of new works acquired in the past three years.

So come out and see some old friends, like Marie Antoinette and Estelle Musson Degas, and welcome them home.

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ARTSQUARTERLY VOLUME XXXI ISSUE 4

NEW ORLEANS MUSEUM OF ART OCTOBER/NOVEMBER/DECEMBER 2009

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Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Lella F. Smith

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William Woodward, 1859-1939: American Impressionist in New Orleans Judith H. Bonner

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Käthe Kollwitz: Graphics from the Jean Stein Collection Jane Kallir

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CURATOR’S CHOICE, PARIAN PORCELAIN: Copeland’s The Continents, A Promised Gift John Webster Keefe

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John Gorham: Innovator in American Silver Alice Webb Dickinson

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Feathers, Fur and Flowers: The Natural World in Edo-period Painting Lisa Rotondo-McCord

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Remembering Dreux Van Horn Jackie Sullivan

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CROSSCURRENTS OF DESIGN: East to West and West to East in Ceramic Design John Webster Keefe and Lisa Rotondo-McCord

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Skylar Fein: Youth Manifesto Miranda Lash

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Banksy’s NOLA Pink at NOMA Rachel Hudson

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Sculpture Garden Welcomes Three New Additions Sarah Dugopolski-Lusk

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Boulders: A Limited Edition 1-4 Robert Tannen

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NOMANS Look to Expand Empire Jim Mulvihill

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Experience Japan at NOMA/Call For Volunteers

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Odyssey Ball: A Fairy Tale Event Virginia Panno

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2009 Odyssey Ball Auction

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Circles Take Chicago Taylor Bigler

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Join the Circles and Upgrade Your Support of NOMA

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Circles and Fellows of the New Orleans Museum of Art

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Corporate Membership

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The Art of Business: Corporate Membership in the New Orleans Museum of Art

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Contributions

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WELCOME HOME MARIE AND ESTELLE !

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Library Happenings

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NOMA Education: Programs & Activities

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New Fabergé Catalogue Available in the Museum Shop/Meet Renowned Artists in Person at the Museum Shop

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Come to NOMA for a Unique Holiday Shopping Experience

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Museum Shop Featured Artists

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Program Sponsors

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Museum News

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NOMA Exhibition Schedule

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NOMA Calendar of Events

© Disney

*Articles appearing in any issue of Arts Quarterly do not necessarily reflect the opinion of the staff or the board of trustees of the New Orleans Museum of Art.

Editor: Caroline Goyette

SUPPORT ACKNOWLEDGEMENT

Art Director: Aisha Champagne Advertising Manager: Karron Lane Printing: Roberson Printing

The programs of the New Orleans Museum of Art are supported by a grant from the Louisiana State Arts Council through the Louisiana Division of the Arts and the National Endowment for the Arts.

Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179-0123. 504-658-4123. Advertising 504-610-1279 or 504-658-4123. © 2009, New Orleans Museum of Art. All rights reserved. No part of this magazine may be reproduced or reprinted without permission of the publisher.

Free admission for Louisiana residents is sponsored by The Helis Foundation and the members of the New Orleans Museum of Art. The Museum is open Wednesday, noon to 8 p.m., Thursday through Sunday, 10 a.m. to 5 p.m. The Besthoff Sculpture Garden is closed for renovations. For information on upcoming exhibitions and events at NOMA, please call 504-658-4100 or visit our website at www.noma.org.

NEW ORLEANS MUSEUM OF ART

ARTS QUARTERLY

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Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

BY LELLA F. SMITH Creative Director of the Walt Disney Animation Research Library

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s long as man has possessed the gift of language, fairy tales and their close cousins legends, fables, myths, and folktales have served the indispensable function of transmitting intergenerational wisdom.

Through oral storytelling such traditions emphasize fundamental values that resonate across cultural boundaries. The enduring strength of such communication derives from an inherent flexibility to adapt to time and place so that the core message is understood most effectively. Over the years, the primary audience might have changed, the storyline may have been altered, or certain elements thought unnecessarily gruesome may have been eliminated so as to better emphasize the story’s message, but the essence of the story has survived.

Change and adaptability have been essential characteristics of classic fairy tales as they have moved from their oral roots to written versions to cinematic revisions. Walt Disney felt it was possible to “translate the ancient fairy tale into its modern equivalent without losing the lovely patina and the flavor of its once-upona-time quality.” Although sometimes criticized for making revisions to “classic” fairy tales, Disney’s animated versions of these tales have kept the stories alive and relevant for recent generations of children. The Dreams Come True exhibition, running from November 15, 2009 through March 14, 2010 at the New Orleans Museum of Art, provides the visitor with an extraordinary opportunity to learn how classic fairy tales such as Snow White and the Seven Dwarfs and Sleeping Beauty were adapted from written form by the Walt Disney Studio in order to create a compelling version for the movie screen.

The process of transforming fairy tales into films is a complex one that requires the collaboration and creativity of many. Animated films are a unique blend of art and technology, yet the foundation of the film remains the story. Disney understood that “the screen version must perceive and emphasize the moral intent and values upon which great persistent fairy tales are

Andreas Deja, German, born 1957; Belle and the Beast from Beauty and the Beast, 1991; Visual development: ink and colored pencil on paper; Walt Disney Animation Research Library Collection; © Disney Enterprises, Inc.

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founded.” The challenge is to give visual form to the characters and places that comprise the story. The creative team must also understand movement and emotion, how to build tension and create comic relief, how to employ special effects, and how music might enhance the mood or propel the action. Every frame of the final film is the result of numerous decisions that must coalesce into a single cohesive experience.

The evolution of the animation art form is inextricably interwoven with the history of the Walt Disney Studio, which arose largely out of the vision and tenacity of Walt Disney himself. The youngest child in a family of modest means, he held fast to his dreams and found inspiration in the stories his grandmother would read to him every evening as well as in books on animation he discovered in the public library. He quickly realized that those books explained how he might some day bring fairy tales to audiences around the world. The international recognition the company he built now enjoys did not arise without catastrophic setbacks along the way. Following the failure of his first business, Laugh-O-gram Films, Disney would say, “It is good to have a failure while you’re young because it teaches you so much. For one thing it makes you aware that such a thing can happen and, once you’ve lived through the worst, you’re never quite as vulnerable afterward.” Men of lesser character might have been crushed by the incident. The exhibition title “Dreams Come True” may apply equally to the life of Walt Disney as it does to the fairy tales he loved.

The artwork on display in this exhibition reveals the evolutionary process that each film undergoes on its journey to completion. Arranged chronologically by year of release, the themed galleries of the show will feature classics such as Cinderella, The Little Mermaid, and Beauty and the Beast. Showcasing more than 600 works in all, Dreams Come True includes examples from all stages of the animation process, including concept artwork, story sketches, character and location designs, layouts, animation drawings, background paintings, and cel setups. Short film clips will accompany the artwork to

Glen Keane, American, born 1954; Ariel and Flounder from The Little Mermaid, 1989; Concept art: gouache and black line (xerographic copy) on paper; Walt Disney Animation Research Library; © Disney Enterprises, Inc.

NEW ORLEANS MUSEUM OF ART

Disney Studio Artists; Princess Tiana and the Frog from The Princess and the Frog, 2009; Digital concept art: print on paper; Walt Disney Animation Research Library; © Disney Enterprises, Inc.

demonstrate how individual sketches and paintings lead to a finished cinematic masterpiece.

Beyond understanding the artistic process and the storyline modifications necessary for a cinematic transformation, the visitor will appreciate how the animation process itself has developed over nearly eighty years at Disney. This process culminates with the studio’s most recent fairy tale, The Princess and the Frog, set for release December 11, 2009. This film’s story bears only the slightest resemblance to that of Jacob and Wilhelm Grimm’s The Frog King. While it marks a greater departure from the original story than other Disney adaptations, the film nonetheless serves to convey enduring values through the interaction of virtuous and villainous characters. The departure also gave John Lasseter, Chief Creative Officer, Walt Disney and Pixar Animation Studios, more creative latitude. He decided that New Orleans, with its rich cultural, visual, and musical heritage, would provide a wonderfully magical environment within which a modern American fairy tale could be told.

Walt Disney Studios is grateful for the collaboration with the New Orleans Museum of Art and to the city of New Orleans that has inspired the dreams of so many around the world. It is the sincere wish of all those at Walt Disney Studios’ Animation Research Library that children of all ages will delight in the art of so many dedicated and talented artists who are part of the enduring legacy of making dreams come true. n Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio will be on view in the Ella West Freeman Gallery from November 15, 2009 through March 14, 2010. The NOMA Members’ Preview is Saturday, November 14, 10 a.m.

ARTS QUARTERLY

Disney Studio Artist Snow White with a Bird on her Finger from Snow White and the Seven Dwarfs, 1937 Reproduction of publicity background Walt Disney Animation Research Library © Disney Enterprises, Inc.

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William Woodward, 1859-1939: American Impressionist in New Orleans

BY JUDITH H. BONNER Senior Curator, The Historic New Orleans Collection

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he names of Massachusetts-born William Woodward (1859-1939) and his younger brother Ellsworth (1861-1939) are irrevocably and inseparably intertwined with art in Louisiana. Both brothers were integrally involved with numerous art organizations in the state and across the South, often in the role of a founder, an officer, or a trustee. Their accomplishments, like their reputations, have merged through time.

Invariably, the question arises about which of the brothers was more important. Or which brother was the better artist. In truth, the brothers were a joint force.

Together, their intensity was magnified. The strength of their individual artwork is dependent upon the personal taste of the viewer, for like any artist, both brothers produced some drawings and paintings that are more successful than others. The large body of their artwork was preserved by William’s son, Carl Woodward, who became caretaker of his father’s work as well as that of his Uncle Ellsworth’s.

The breadth in their surviving oeuvre provides an excellent opportunity for study. Additionally, the New Orleans Museum of Art (then Delgado) received 110 etchings and forty-four oil crayon paintings by William Woodward from benefactress Mrs. Edgar B. Stern. The Historic New Orleans Collection is also rich in works by the Woodward brothers, thanks in large part to the gift of Laura Simon Nelson. A selection of William Woodward’s artworks from the permanent collections of NOMA and THNOC are on view in this, the sixth collaborative exhibition between the two museums.

Because of his unwavering interest in architecture, William Woodward’s work shows depth in development.

His focus on architecture included drawings, watercolor paintings, oil paintings, oil crayon, and etchings. After six decades of concentrated work on architectural scenes, he published his etchings of the Vieux Carré. From his earliest days, Woodward produced views of his family’s homestead and other New England landscapes.

Invariably, farm buildings and other structures in these early works are crisply delineated.

William Woodward, American, 1859-1939; Woodward House, Lowerline and Benjamin Streets, 1899; Oil on canvas; The Historic New Orleans Collection, 1979.376.1

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As a youth Woodward was accustomed to the rural landscape and the close proximity of family and relatives.

His family was supportive of his interest in art, an interest he attributed to an uncle, his mother’s brother, who had been killed in the Civil War when Woodward was a small child. In his biographical note, Woodward wrote of his Uncle George, “unmarried and seems to be the first in the family to develop art tendencies, producing crayon portraits of family members including one of my mother, which had much to do in causing me to turn to art for a life work.” William’s interest in art intensified after a visit to the 1876 Philadelphia Centennial Exposition where he and his younger brother saw art exhibitions. After this exposure to fine art, Woodward began an intense seven years of continuous art training. He undertook studies at the Rhode Island School of Design, newly established in response to the Philadelphia Exposition and based on the indivisible relationship of art to industry. This concept remained with Woodward throughout his life. In preparation for a teaching career, Woodward studied at the Massachusetts Art Normal School, where his interest in architecture began.

In 1884 William Preston Johnston recruited Woodward to teach fine art, mechanical drawing, and architectural drawing at Tulane University. Woodward, who had taught at the School of Design while still a student, was also a student-teacher at the Art Normal School, a position he resigned before departing for New Orleans. Continuing his studies by correspondence, Woodward graduated in 1886. On June 1, he married native New Orleanian Louise Amelia Giesen, who had been his student. Woodward extended their honeymoon through Scotland and England to include a three-month summer study at the Académie Julian in Paris. This sojourn provided a new direction for his artistic development, for there he saw Impressionist works, a style he soon adapted to his architectural scenes.

Without doubt, Woodward’s impression of the multicultural Vieux Carré in a crescent of the Mississippi River provided life-long artistic inspiration. Unlike the wide-open spaces of his youth, the Quarter was crowded

William Woodward, American, 1859-1939; Restaurant de la Renaissance, 1904; Oil crayon on board; The Historic New Orleans Collection, 1976.181

NEW ORLEANS MUSEUM OF ART

with European-style residences alongside docks, open air markets, dry goods stores, and hardware stores—all located in the shadow of St. Louis Cathedral on the city’s main square.

Woodward was the first artist to focus intensely on the Vieux Carré “before it was fashionable,” documenting the city’s rich cultural heritage in vignettes of daily life— street cleaners, milkmaids driving drayage carts, women at market, and residents otherwise engaged in their daily routines. These scenes have been said to “rank as his best of the urban fabric of New Orleans.” He assimilated Impressionist tenets with his own style and ultimately developed a manner of artistic rendering suitable for capturing the soft light, moisture, and romantic essence of the French Quarter. His palette lightened and the contours of figures and architecture softened. His figures, which are imbued with a sense of immediacy, enliven his architectural scenes.

Woodward was active in every facet of architecture, including planning for Tulane’s new buildings and the disposition of interior rooms and studios. Upon the organization of the College of Technology, Woodward was appointed Professor of Drawing and Architecture, and worked incessantly toward the establishment of a school of architecture, “to introduce in this region an awareness of professional values in design, and especially to provide exercises in the skills of mechanical, freehand and architectural drawing.”

Woodward’s goal was ultimately achieved in 1907 when Tulane formally established the School of Architecture.

Woodward’s impressionistic views of the Vieux Carré were paramount in focusing attention on the historical structures, many of which were being recklessly destroyed. In 1895 Woodward was in the forefront of the movement against the demolition of the Cabildo, the seat of government during the Spanish Colonial period— rebuilt after the 1794 fire and one of the few surviving structures of the colonial era. This battle for historic preservation in the French Quarter ultimately led to the establishment of the Vieux Carré Commission.

The citizen most identified with architecture at that time, Woodward also chaired the Art Committee of the Artists’ Association of New Orleans, and thus spoke with the authority of both positions. Allison Owen, Woodward’s former student who continued architectural studies in Boston, supported passage of a city ordinance to establish the Cabildo as a museum. With this successful movement, Woodward’s preservationist activities began, as did the preservationist movement in the Vieux Carré. As Woodward, who reportedly “set up on street corners or mid-street,” documented the historic quarter, his awareness of historic preservation increased accordingly. His observance of the ambience of the Quarter is manifest in his earliest works, particularly an 1891 gouache and watercolor painting, French Quarter Market.

Woodward’s concern for architectural preservation is also evident in the appearance of Jackson Square in his view of the Cabildo from St. Peter Street. One sees beyond the arches of the loggia into the greenery of the Square, the equestrian statue of Andrew Jackson, to the lower Pontalba Building and an outbuilding that no longer exists. Woodward printed the name of the Cabildo in block letters to underscore the historical importance of the structure, a device he used in another image of the Cabildo’s gate.

Among Woodward’s students were the most respected practicing architects of the day: Richard Koch, Ernest Lee Jahncke, Edgar Stone, and Emile Weil, as well as Charles Bein, Frederick Duncan “Fritz” Parham, and

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William Woodward American, 1859-1939 Portrait of Girl in White Blouse, 1897; Oil on canvas; The Historic New Orleans Collection, Gift of Laura Simon Nelson, 1998.101.5

Alvin Callender, the latter two who assisted Woodward in documenting the features and dimensions of the St. Louis Hotel while it was being demolished in 1917. Callender, after whom Alvin A. Callender Air Field was named, was killed in World War I. Woodward painted the young aviator’s portrait posthumously, using photographs and including the airplane in which Callender crashed, with its propeller serving to mark his grave.

Following surgery to remove a tumor Woodward was confined to a wheelchair in 1921. Retiring to the Mississippi Gulf Coast in 1923, he continued his preservationist activities. His discovery of a plastic plate, Fiberloid, as a matrix for printmaking suited his softfocused street scenes. Within five years he executed 115 etchings, which were then printed by his brother, Ellsworth. In 1938 William Woodward published French Quarter Etchings, reproducing fifty-four architectural views with annotations regarding history, renovation, and destruction of the structures. Many of his paintings, drawings, and etchings record historic landmarks that were no longer standing at the time of the publication.

Another of Woodward’s legacies comes through the 1964 posthumous publication of a small guide book, Early Views of the Vieux Carré: A Guide to the French Quarter, which illustrates thirty-three of his architectural drawings and etchings. This spiral-bound guidebook, which sold out before it was released, ultimately sold over thirty thousand copies.

William Woodward’s reputation has been cyclical, but his work is appreciated for the French Quarter architecture. A dynamic force in New Orleans from 1884 to 1921, Woodward continued his activities on the Mississippi Gulf Coast until his death in 1939. Woodward, who spent his lifetime documenting street scenes at a time when many historic landmarks in the Vieux Carré were being demolished, was a pivotal figure in New Orleans art and architecture in the late nineteenth and early twentieth centuries. n William Woodward, 1859-1939: American Impressionist in New Orleans is on view in the Louisiana Galleries October 21 - February 28, 2010.

A reception to celebrate the opening of the exhibition will be held Wednesday, October 21, 5:30 to 8 p.m.

A walk-through of the exhibition with Judith H. Bonner, senior curator at THNOC, will take place Wednesday, October 28, 6 p.m.

A new book on the artist, titled William Woodward: American Impressionist, by Robert Hinckley et al., will be available in the Museum Shop.

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Käthe Kollwitz: Graphics from the Jean Stein Collection1

BY JANE KALLIR Senior Curator, The Historic New Orleans Collection

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äthe Kollwitz is one of the more anomalous artists of the twentieth century. Rooted in the narrative-symbolist traditions of the late 1800s, she stands apart from the various movements and “isms” of the modern era. In a period when much art and art theory revolved around formalist considerations, Kollwitz’s sustained commitment to socio-political content marked her as a loner. Gender further enhanced her isolation. Like many women of her generation who had to struggle for access to academic training, Kollwitz eschewed the stylistic rebellions mounted by her comparatively privileged male peers. An obsessed technical perfectionist, she instead carved out a niche where there was little competition from men: promulgating the “feminine” values of compassion and pacifism in the “secondary” medium of printmaking.

Kollwitz’s artistic choices—of style, content and medium—attracted a following that far transcended the confines of the traditional art establishment. Rather than cultivating the art-world elite, Kollwitz wanted an audience of kindred spirits: people like the ones depicted in her work, or those who sympathized with them. Often she created or donated works to help raise money for and awareness of different social causes. Because her subjects were everyday people, and her style essentially realistic, her work was readily comprehensible. Against the wishes of her dealers (who would have preferred small, high-priced editions), Kollwitz endeavored to make her prints extremely accessible, sometimes issuing them in large numbers and surreptitiously, upon request, signing unsigned impressions. It has always been

possible for people of relatively little means to collect Käthe Kollwitz, and for those with a passion to compile significant bodies of work.

For the aforementioned reasons, Kollwitz became broadly known in the United States well before her expressionist compatriots. The New York Public Library and the Smith College Museum acquired their first Kollwitz prints prior to World War I, and the artist’s first American one-person exhibition took place in 1925, at the Civic Club in New York. Kollwitz was warmly embraced during the Great Depression, which directed attention to the issues featured in her work: poverty, social justice, workers’ rights. Two major traveling exhibitions—one organized in 1934-35 by the College Art Association and a second in 1941 by the American Federation of Arts—introduced the artist to a large segment of the American public. In the foreword to a popular portfolio of Kollwitz reproductions, the critic Elizabeth McCausland noted that during this period, “an esthetic of humanism began to replace the conception of art belonging solely to the elite. Once again, art concerned itself with that proper study of mankind, man.”2 Growing opposition to Hitler further fueled American appreciation of Kollwitz. Although the Nazis had forbidden her to work or exhibit, Kollwitz was hailed abroad as a beacon of freedom, a champion of human rights and a staunch opponent of fascism. “Ignored in her own country,” McCausland wrote, “[Kollwitz] took on the stature of an artist of the people for every country. Her voice spoke more loudly in that it was silenced elsewhere.”3 Reviewing a 1937 Kollwitz exhibition

Käthe Kollwitz, German, 1867-1945 Visit to Children’s Hospital, 1926 Lithograph, 10-1/2 x 13 in.

Signed LR, Ed. 27/30 Collection of Jean Stein

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NEW ORLEANS MUSEUM OF ART

sponsored by the Hollywood Anti-Nazi league, the Los Angeles Times called her “the greatest woman artist of our time, . . . perhaps the greatest living artist of either sex.”4 To this day, many people associate Kollwitz with the Holocaust, which somehow resonates in her work, even though she never depicted it.

Refugees from Hitler also helped advance Kollwitz’s reputation in the United States. Some—such as Herbert Bittner, Henry Kleeman, Curt Valentin, Erhard Weyhe, my grandfather, Otto Kallir, and his (and later my) business partner, Hildegard Bachert—were dealers.

Others were collectors. Kollwitz naturally appealed to the sort of people likely to be persecuted by Hitler, and because the Nazis had branded her “degenerate,” emigrés were allowed to take her art with them into exile. Thus World War II brought a stock of Kollwitz material to the United States, and along with it a group of ready-made advocates. Museum directors and curators—such as Carl O. Schniewind and Harold Joachim at the Art Institute of Chicago, W.R. Valentiner at the Detroit Institute of Arts, and Carl Zigrosser at the Philadelphia Museum of Art— completed a circle of German-born aficionados who promoted Kollwitz in the 1930s, ’40s and ’50s. Their efforts were complemented by those of American-born professionals like the dealers Hudson D. Walker and Jake Zeitlin, and Charles Rossiter at the Museum of Fine Arts in Boston.

Over the years, a number of American collectors amassed significant Kollwitz collections, many of which can now be found in our nation’s museums. The collection of Lessing J. Rosenwald, comprising twentyseven drawings and 115 rare prints, ended up at the National Gallery of Art in Washington, D.C. The University of Connecticut in Storrs received a number of Kollwitz drawings and over one hundred prints from Walter Landauer, and the Minnesota Museum of Art in Saint Paul acquired a major Kollwitz collection from an anonymous donor. Such generosity is in keeping with Kollwitz’s spirit, which is shared by many of the people who collect her work.

Jean Stein, whose generous loan makes the exhibition at NOMA possible, is similar to prior Kollwitz collectors in her in-depth commitment and her identification with the artist’s humanist values. But there is no such thing as a typical collector, and the Stein collection is noteworthy for its personal character. Over the past decade, I have been privileged to assist Jean with her Kollwitz acquisitions. Lacking the resources of a Lessing Rosenwald (who was the chairman of Sears Roebuck & Co.), Jean has had to be selective in her choices. Drawings and rare proofs, much scarcer today than in Rosenwald’s time, were more or less out of the question. But I do not think that, even with unlimited means, Jean would have wished to form a comprehensive collection. Though her holdings span Kollwitz’s career—beginning with an 1891 etching of a male nude and ending with the artist’s last self-portrait (done in 1938)—Jean’s selection process is somewhat idiosyncratic. The narrative aspect of Kollwitz’s work does not seem to appeal to her. And despite her professed desire to own one of the artist’s woodcuts, Jean has yet to find the right one.

Collecting is a creative act, and the choices made by a dedicated collector are in some ways similar to the creative choices made by an artist. From the outset, Jean has been drawn to singular, iconic images: the mourner with bowed head; the angry protester; the artist’s own pensive visage, increasingly careworn as it ages; working-class mothers in all their tribulations and fleeting moments of joy; the oft-recurring hand of death. The

ARTS QUARTERLY

Käthe Kollwitz, German, 1867-1945 Self-portrait, 1934 Lithograph, 8 x 7-1/4 in.

Signed LR Collection of Jean Stein

focus of the Stein collection thus parallels Kollwitz’s own developmental trajectory. Over the course of her career, as she honed her skills, Kollwitz was able to simplify her imagery. She no longer needed to recreate elaborate narratives to get her point across, but rather could convey loss, anxiety, and a plethora of social concerns through posture and facial expression alone. This developmental thread unites the works in the Stein collection. It is evident both in the early etchings, such as At The Church Wall, and also in later images like Woman Entrusts Herself to Death. Jean responds strongly to the emotional freight carried by elementary gestures and to the expressive nuances of Kollwitz’s line. That may be why the less nuanced woodcuts have thus far eluded her.

While it is possible, from a distance, to intellectualize the choices made by a collector, in the end Jean Stein, like all true collectors, selects those works that speak viscerally to her. Her choices, ultimately, are beyond words or explanation. It would be scarcely an exaggeration to say that Jean’s Kollwitzes are as essential to her life as food and oxygen. n Notes 1. Much of the information in this essay is based on the article “Collecting the Art of Käthe Kollwitz” by Hildegard Bachert, in Käthe Kollwitz, Elizabeth Prelinger, ed. (Washington D.C.: 1992), pp. 117-135.

2. Elisabeth McCausland, Käthe Kollwitz: Ten Lithographs (New York: 1941), n.p.

3. Ibid.

4. Arthur Millier, “Woman Artist Draws Epic of Poor,” Los Angeles Times, III, 9.

Jane Kallir is the Director of Galerie St. Etienne in New York, founded by her grandfather and for many decades a major source of Kollwitz prints for collectors and museums.

Käthe Kollwitz: Graphics from the Jean Stein Collection will be on view in the Templeman Galleries from November 15, 2009 through March 14, 2010.

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CURATOR’S CHOICE: PARIAN PORCELAIN: Copeland’s The Continents, A Promised Gift

BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts

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fter decades of controversy, it is now generally accepted that Parian porcelain was developed in the early 1840s by the distinguished Staffordshire firm of Copeland and Garrett (active 1833-1847) of the Spode Works, Stoke-on-Trent, Staffordshire.1 Parian porcelain was one of the marvels of the Victorian era, with an influence that permeated all strata of AngloAmerican society. In the case of Copeland’s celebrated The Continents, the wonderful new marble-like porcelain attracted the attention of HRH Edward, the Prince of Wales.

Engaged to the Danish Princess Alexandra in 1863, the Prince of Wales ordered a splendid Parian dessert service from the Copeland works. The centerpiece of the service was a tiered design, with the principal comport supported by female figures representing the four primary quarters of the globe: Africa, America, Europe, and Asia. Each allegorical figure was depicted with an appropriate headdress and/or symbol. Europe wore a castellated diadem and held a sword while a ship’s

All three of the illustrated figures are composed of Parian porcelain and were designed by the sculptor Joseph Durham (English, 1814-1877) in 1864 for W.T. Copeland, Spode Works, Stoke-on-Trent, Staffordshire.

Left to right: Asia, Europe and America Commissioned from Copeland by the Prince of Wales in 1863 as part of the centerpiece of an important dessert service in Parian porcelain, The Continents were to mark the engagement of the

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rudder rested at her side; America’s diadem was composed of graduated stars, and her hand rested upon a large axe while a quiver of arrows rested at her opposite side. Asia sported an exotic headdress of draped fabric and leaves, while a tall exotic leaf was supported by her proper right arm.

Such a prestigious commission naturally required the services of a well-known sculptor. The artist selected was Joseph Durham (English, 1814-1877), a member of the Royal Academy who exhibited over 130 works there between 1835 and 1877. Durham was inspired by the full-scale figures of the continents surrounding the large figure of Albert, the Prince Consort, now in Kensington Gardens, London. Durham had been a pupil of the sculptor Edward H. Bailly (English, 1788-1867)2, himself a student of the great English neoclassical sculptor John Flaxman II (1755-1826). Both Bailly and his teacher Flaxman specialized in portrait busts, figures, and figure groups, all of which were in the neoclassical taste. Thus it was not surprising that Durham’s figures for Copeland too were neoclassical in character.

Prince to the Danish princess, Alexandra. The figures were modeled for Copeland by the noted neoclassical sculptor Joseph Durham; they are today regarded as among the major achievements in English porcelain during the nineteenth century.

The figures are a promised gift to the Museum from Dixie Hollis Butler in memory of her husband, Carl Hawley Butler III (19392003). Photograph by Judy Cooper.

NEW ORLEANS MUSEUM OF ART

The recipe for Parian porcelain had been formulated as an alternative to traditional white biscuit porcelain whose primary drawbacks were a requirement for timeconsuming hand-finishing for each piece and a tendency to soil irrevocably over time. The latter disadvantage was major in an era of coal-heated and gaslit interiors. The new Parian porcelain was capable of taking great detail, was easily cast and required but minimal hand-finishing.

It was also easily and successfully washable and, as a significant bonus, looked astonishingly like expensive white marble. It was therefore ideally suited to the production of high-quality small sculpture for the home.

Such works obviously recalled the full-scale marble works adorning the town houses and estates of the rich and aristocratic, a recollection important to a statusconscious era. The mid-nineteenth century was also a period of major archaeological excavations and a growing interest in the art of the Classical world. Parian porcelain was ideally suited to reflect these interests. The influential Art Unions of the day avidly endorsed the concept of tasteful small sculptures in Parian as a vehicle for raising the level of public artistic taste. The consumer was thus assured that he or she was acquiring a work approved by the art establishment. The promotion of Parian porcelain as an artful medium was fortuitously accompanied by the technological advance of Benjamin Cheverton’s reducing machine for which he was granted a patent on January 16, 1844. This device was essentially a three-dimensional pantograph which could efficiently reduce a full-scale sculpture to tabletop or mantel size.

That the patent was approved just a year prior to the commercial introduction of Parian porcelain was a boon for the new medium.

The Prince of Wales’ completed superlative Parian dessert service was delivered in 1866 with much publicity about the prestigious commission. The figures of The Continents were widely viewed as triumphs for the art of the porcelain modeller, and demand for them was such that Copeland offered the individual figures for sale in both the original plain white finish and a parcel-gilt tinted version. Being of a relatively large size and of complex composition, the figures were expensive for the time. In 1876, the price for each figure was 4.10 English pounds sterling. This at a time when the average annual middle-class income in England was roughly 100 pounds sterling. Copeland continued to market the figures until the mid-1880s. However, because of their relatively large size, complicated structure and relatively high price, The

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Continents did not sell in great number and are today rare.

These three figures come from the noteworthy Parian porcelain collection assembled by Carl H. and Dixie Butler at their antebellum home, Temple Heights, in Columbus, Mississippi. The figures entered the Butler collection at different times and from disparate sources.

In 1998, the Museum presented a Cameo Gallery exhibition of the Butler’s Parian porcelain in which The Continents were featured.3 It was always on the Butlers’ collecting agenda to locate the missing figure of Africa although to date that addition has proved to be elusive.

Following Carl Butler’s untimely death in 2003, Mrs. Butler decided to present the figures as a gift in memory of her husband.

These impressive figures, so expressive of their era, will be among the most important pieces in the Museum’s collection of nineteenth-century English porcelain while simultaneously recalling the life of one of the South’s most dedicated collectors of nineteenthcentury decorative arts, Carl Hawley Butler III (19392003). n Notes 1. The partnership of Copeland and Garrett succeeded Josiah Spode (active circa 1784-April 1833) and itself became W. T. Copeland and Sons, Ltd. in 1847, which remains active as a leading Staffordshire manufacturer.

2. Edward H. Bailly was best-known for his large figure of Horatio Nelson surmounting a monumental column in London’s Trafalgar Square.

3. The Cameo Gallery exhibition was entitled A VICTORIAN MARVEL: Parian Porcelain from the Collection of Carl and Dixie Butler.

It was presented from November 14, 1998 through January 17, 1999.

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John Gorham: Innovator in American Silver

BY ALICE WEBB DICKINSON Associate Collections Manager Photographs by Judy Cooper

T

he Gorham Company was started in 1831 by Jabez Gorham (1792-1869) in Providence, Rhode Island. When Jabez retired in 1847, the firm was taken over by his son, John Gorham (1821-1898). John wanted to expand the company’s production of silver spoons, jewelry, and small goods to encompass all silverwares. His ambition extended to the mechanization of the silvermaking process wherever possible. Under John’s leadership the company would grow to produce a wide range of silverwares for the mass market.

In 1852 John Gorham traveled to Europe to study French and English silvermaking and to find skilled craftsmen to employ in Providence. While in England, Gorham met with James Nasmyth (1808-1890), the inventor of the steam hammer. Gorham sought to have a steam-powered drop press created to make flatwares.

Nasmyth agreed to make the first drop press for Gorham, and the machine was installed in Providence between 1853 and 1854.

Until this time, silvermaking techniques had remained virtually unchanged since the seventeenth century. Gorham spoons were made entirely by hand through the 1830s. In the 1840s, Gorham and other manufacturers used dies, or molds, to shape the bowl of the spoon and the handle. Punches, the tool used to hammer the silver into the mold, and dies were available in the 1820s but not used at Gorham until later. Even with the assistance of these tools, the process of making silverware was labor intensive and intricate patterns were not attainable. John Gorham foresaw the potential for innovation and was one of the first to introduce modern manufacturing methods into the silvermaking process.

The steam drop press proved far superior to any other method of manufacturing flatware and helped

Gorham become a dominant producer of American silverwares. The first patterns utilizing the drop press were released in 1855 and included Josephine and Saxon Stag. The Grecian and Medallion patterns followed in 1861 and 1864. The vast array of silver patterns for which American manufacturers became celebrated had not yet appeared at this time. Before the press, most flatware was a variation of the basic Fiddle and Tipt patterns. As new lines became available, buyers began to favor intricate Victorian ornamentation over the older, classical forms. Gorham capitalized on modern taste and became a trendsetter through its inventive objects and patterns.

Expert designers and die-cutters were required to create the molds for the drop press; John Gorham recruited craftsmen from Europe to capitalize on the new technology. In addition to bringing skilled designers from abroad, Gorham also brought back books on art, design, botany, and architecture and began to amass the firm’s design library. It was a rarity to have a library and Gorham imported as many references as possible. For example, in addition to purchasing Japanese books on woodcuts and design, Gorham also obtained English and French books on Japanese art. With every source readily accessible, Gorham designers were able to create patterns in line with, and ahead of, the current tastes.

John Gorham was a true innovator. Under his leadership, the Gorham Company grew from fourteen workers in 1850 to two hundred by the end of the decade. Sales for the company increased fourteen-fold. In the 1860s the number of workers doubled to four hundred as yearly sales approached one million dollars.

John Gorham propelled the company into becoming the leading firm of modern silvermaking techniques, craftsmanship, and innovation in form and design. n

Punch Ladle, circa 1865-70 Sterling silver and silver-gilt Gorham Manufacturing Corporation (active 1838 to present), Rhode Island Length: 12-3/4 inches Gift of Mr. and Mrs. Moise S. Steeg, Jr., 97.816 This ladle is shaped, wrought, and parcel-gilt in the Neo-Grecque taste. It was not made using the drop press; the delicate silver rods were shaped by hand.

The unique form of the ladle demonstrates the versatility and playfulness present in Gorham’s work.

Punch Ladle, circa 1895 Sterling silver and silver-gilt Gorham and Company (active 1838 to present), Rhode Island Length: 14 inches Museum Purchase: Anita Nolan Pitot Fund, 95.323 This ladle is in the Mythologique pattern, released in 1894. The line was designed

by F. Antoine Heller (1893-1904), a brilliant die-cutter trained in the BeauxArts tradition. The ladle exemplifies the ability of the drop press to create precise and detailed designs. Each piece in a Mythologique set showcases a different mythological figure. The pattern was one of the most expensive of Gorham’s lines due to the heavy weight of its pieces.

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Pair of Oyster Spoons, circa 1880-1885 Sterling silver and silver-gilt Gorham Manufacturing Corporation (active 1838 to present), Rhode Island Length: 6-3/4 inches Gift of Harvey and Betty Adele Jacobs Schwartzberg in memory of her parents, Henry and Ethel Regina Landau Jacobs, 97.249.1-.2

Six Fruit Knives, circa 1880-1885 Silver and copper Gorham Manufacturing Corporation (active 1838 to present), Rhode Island Length: 7-7/8 inches Gift of Harvey and Betty Adele Jacobs Schwartzberg in memory of her parents, Henry and Ethel Regina Landau Jacobs, 97.250.1-.6

These japonesque spoons were made using the drop press and then chased, hammered, and engraved by hand.

Oyster spoons are one example of the many new specialized pieces that became available to the public as silvermaking became more affordable.

These knives are also in the japonesque taste. Their handles are thought to be original Japanese kodzukas, the handles of small knives called ko-gatama. Each of the six knives has a different handle.

The blades were manufactured and engraved at Gorham.

Serving Spoon, 1868 Sterling silver Gorham Manufacturing Corporation (active 1838 to present), Rhode Island Length: 9-1/4 inches Museum Purchase: William McDonald Boles and Eva Carol Boles Fund, 2001.71 This serving spoon is in the Lady’s pattern which was released in 1868. A ribbon and monogram plate adorn the top of the handle as it extends to a delicate hand which holds the bowl of the spoon.

15

Feathers, Fur and Flowers: The Natural World in Edo-period Painting

BY LISA ROTONDO-MCCORD Assistant Director for Art and Curator of Asian Art

I

nhabited by a profusion of flowers, geese, birds, and squirrels, the nineteenth century work Birds and Flowers (figure 1) by artists Sessai Bunshu and Shosensai Horyu is an extraordinary example of Edo-period (1615-1868) painting. The minutely detailed and realistic renderings of various flowers, flowering trees, and animals are placed in a fantastic botanical context: the heavy laden grape vines of autumn hang over the blooming plum tree that flowers at the New Year.

Birds and Flowers served as the inspiration for a new installation currently on view in the Japanese Galleries.

Feathers, Fur and Flowers: The Natural World in Edoperiod Painting includes hanging scrolls, handscrolls, screens, ceramics, lacquer-wares, and other decorative arts from NOMA’s permanent collection. These works, taken together, reflect the pervasive presence of nature in all aspects of Edo-period Japanese art. Examined singly, they provide the opportunity to consider an individual artist’s vision through the lens of a single subject.

Nature has served as a source of inspiration for Japanese artists since the earliest of times. In both of Japan’s major religious traditions—Shinto and Buddhism—nature is imbued with sanctity, and early ritual objects contained numerous botanical and zoomorphic motifs. By the tenth century, artists employed motifs derived from nature in secular art, particularly decorated writing papers and the applied arts. Elements of nature emerged as a discrete painting subject by the mid-thirteenth century and over the course of the next several hundred years, secular paintings of pure landscapes or featuring birds, flowers, animals, and insects came increasingly into the mainstream.

During the Edo period, 1615-1868, artists from a broad range of stylistic traditions looked to both established conventions and new modes for depicting the natural world. The Kano school was the most influential of the established traditions, producing artists to the Shogunate from the late Muromachi era (1392-1568) until the later nineteenth century. An extraordinary, early Kano screen, Birds and a Marshy Stream (figure 2), dating from

Figure 1: Sessai Bunshu, Shosensai Horyu Japanese, 19th century Birds and Flowers Ink and color on silk Gift of Mr. and Mrs. Herman Barnett, 77.85

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the mid-sixteenth century, embodies the strength of Kano painters’ composition and the lyrical approach to depicting the natural world.

Stylistic innovators during the Edo period were generally found outside of the Kano school aesthetic, however. Artists affiliated with lineages such as Rinpa drew from the deep well of classical Japanese references to create resonant images from nature that feature bold patterning and flattened forms. Others responded to new forms of naturalism made available through Western and Chinese books and Chinese monks and painters who made their way to the port city of Nagasaki during the seventeenth and eighteenth centuries. This imported knowledge had tremendous impact on Japanese artists and scholars who lived at a time when the government restricted international travel, both to and from Japan, and severely limited foreign trade.

One facet of this influence may be seen in Birds and Flowers, illustrated here. Its creators, who are identified but whose biographies are as yet unexplored, were surely members of the so-called Nagasaki “school,” a loosely affiliated group of painters who trained either directly with Chinese artists in Nagasaki or through the copying of Ming-dynasty Chinese paintings in Japanese collections. They followed the conventional format for Nagasaki-style works: realistically painted non-native birds or animals placed within a Japanese context. These works often feature large, bird-covered trees, anchored in rocks and grasses to the lower right.

Birds and Flowers is but one of the numerous interpretations of nature on view in Feathers, Fur and Flowers. All represent the varied artistic streams during the Edo period, and provide a glimpse into the remarkable diversity of style present during this period.n

Feathers, Fur and Flowers: The Natural World in Edo-period Painting will be on view in the Japanese Galleries on the third floor of the Museum until February 21, 2010.

Figure 2: Workshop of Kano Motonobu; Japanese, 1476-1559 Birds and a Marshy Stream, circa 1550 Ink and light color on paper Gift of Mr. and Mrs. Frederick M. Stafford, 71.53

NEW ORLEANS MUSEUM OF ART

Remembering M. Dreux Van Horn II

BY JACKIE SULLIVAN Deputy Director, New Orleans Museum of Art

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W

hat does one say about the last truly Southern gentleman? M. Dreux Van Horn II was the definition of a gentleman: kind, thoughtful, giving. I can't remember the very first time we met, but I know it was at the Museum, I know he was doing a fine job, and I am certain he was in his striped suit with a bright bow tie.

Dreux was born January 29, 1929, the only child of Marian and Lucille Van Horn and the apple of his mother’s eye. He grew up in Pass Christian, Mississippi, and attended grade school and high school there. Dreux was accepted at Tulane in 1948 and received his undergraduate degree in political science in 1951; he then went on to receive his law degree from Tulane in 1954, and was admitted to the Louisiana Bar in June of 1954. During his junior year in law school, Dreux served as Chief Justice of the Tulane Chapter of the Phi Alpha Delta legal fraternity. He also served as a member of the Leadership Council of Tulane University for two years and as a member of the Law School Student Council for a year and one half. Dreux also was a member of the Civil Law Society and was one of the outstanding public spirited students as evidenced by his many activities for the promotion of scholarship funds and student welfare.

This would be a course that Dreux would follow his entire life.

After completing his law degree, Dreux enlisted and served in the Army for three years, two of which he spent stationed in South Korea at the 38th Parallel. Upon returning home in 1957, Dreux’s father died in Pass Christian. With the passing of the senior Van Horn, Dreux returned to school at the University of Southern Mississippi and obtained a master’s in education. He felt his real vocation was teaching and that was exactly what he was going to do.

Dreux accepted a position at Pass Christian High School teaching social studies and history. He worked conscientiously and diligently to engage students to do

their best. The classroom, his students, his church, and his mother were all at the forefront of his attention during these years.

In August of 1969, Hurricane Camille occurred.

Everything Dreux and Mrs. Van Horn knew and owned was swept away except an oil painting of Dreux and his dog Adam. The painting was found on a roof of a house off the beach and somehow returned to him. Dreux and his mother survived Camille and permanently moved to New Orleans, she on St. Charles Avenue and he on Margarita Road in Metairie.

Dreux accepted a position at St. Martin’s High School and became the social studies teacher until he retired in 1980. I have heard only great things about his classes and all the extra activities he did with the students over the years, demonstrating his excellent teaching skills and his devotion to education and learning.

Retirement from teaching meant something “new” for Dreux. He was determined to stay active and to be more than just a contributing member of society. He was an active member of the Roundtable Club and the Stamp Club, and a volunteer at the Uptown Shepherd’s Center, St. Martin’s Church, and NOMA. He worked every day for a non-profit and the Museum was the recipient of his volunteer work three days a week for nearly thirty years.

Dreux’s many duties at the Museum included Summer Art Class Assistant, Library Volunteer, Arts Quarterly Assistant, Office Volunteer, Photographer when needed, staff Notary, Family Workshop Assistant (which might include dressing up in a costume like Dr. Seuss, or blowing up balloons all day), and many extra activities as requested. When one of our older volunteers needed someone to do errands every Saturday morning, I asked Dreux if he would handle this for me. Of course, he said yes. In 1985, Dreux was named Volunteer of the Year for his dedicated service to NOMA. During this same time period, Dreux took care of his mother Lucille and his Aunt Stella Kinney who both lived to be quite elderly and needed much attention. After their deaths in the late 1990s, Dreux moved to Lambert House and became very active in the library and the afternoon hospitality events. Dreux’s commitment to education and scholarship did not waiver with his retirement from teaching. He generously established scholarship funds for needy students at many institutions including Tulane, Southern Mississippi, and the Museum.

He was the first donor to establish an Educational Endowment at NOMA. Dreux was also the first individual to participate in NOMA’s Pooled Income Trust, whereby he received an annual income with the trust proceeds transferring to NOMA upon his death. When NOMA planned and opened the Besthoff Sculpture Garden in 2003, he was again the very first individual to sponsor a sculpture installation, Jacques Lipchitz’s Sacrifice III; he did this in memory of his mother, Lucille Kinney Van Horn.

Dreux Van Horn was a man with many great qualities which he demonstrated every day of his life. He was kind, loyal, generous—in spirit and with his wealth.

He was always unassuming and very grateful; he believed in perfect order. He was always doing something for others in order to contribute in his own way.

On a final note, the night of Hurricane Camille in August 1969, Dreux and his mother were in the attic of their home in Pass Christian. The water was in the attic and just as the house imploded, his mother said to him, “Son, it’s been nice having you.” From all of us, his friends at the Museum, we would like to say, “Dreux, it was nice having you.” n

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CROSSCURRENTS OF DESIGN: East to West and West to East in Ceramic Design

BY JOHN WEBSTER KEEFE The RosaMary Foundation Curator of the Decorative Arts

BY LISA ROTONDOMCCORD Assistant Director for Art and Curator of Asian Art Photographs by Judy Cooper

A

ccording to his memoir, the Venetian explorer Marco Polo (ca. 1254-1324) traveled through Persia and thence overland to China, arriving at the court of the Kublai Khan in 1275. For the next twenty years he worked for the Great Khan, earning favor and fortune in the process. Polo’s writings were the first to mention the splendour of the Khan’s court as well as the first to reveal the astonishing extent of China’s riches. Among the extraordinary things he described was porcelain, a seemingly magical translucent vitreous substance which was capable of taking mesmerizing colour and yet was different from glass. Remarkably, the Chinese had been crafting objects of this mysterious substance since about 850 A.D. In the years following Polo’s death in 1324, minute quantities of Chinese porcelain made their way to the royal palaces and aristocratic residences of Europe.

The privileged classes were amazed by such porcelains and initiated projects for making them in the West.

Inevitably, the forms and motifs of the exotic East deeply influenced such projects, finally culminating in the discovery of the secret of true, or hard-paste, porcelain at Meissen in the winter of 1709-1710. That discovery touched off an enduring Western mania for porcelain, although it must be recalled that by the eighteenth century, the Chinese had been making true porcelain for approximately 850 years.

During the past fifty years, several New Orleans collectors developed a serious interest in aspects of Asian porcelain manufacture. Among these were Robert C. and Dorothy Fleury Hills, Hewitt S. Law, Jr., Lillian Pulitzer, and Robin and R. Randolph Richmond, Jr. All of these collectors made bequests of their collections, placed them on long-term loan, or presented them as gifts to the Museum during their lifetimes. Although all were interested in different areas of Asian ceramics, their collections reflect either the fact that Western design had been influenced by that of Asia or that the reverse had occurred. An examination of the Hills’ collection of blueand-white Chinese porcelain reveals how the West borrowed and copied Chinese motifs for its own perennially popular blue-and-white porcelain. A review of the Law and Pulitzer collections of Chinese Export porcelain reveals how Chinese manufacturers had adapted their wares to suit Western taste and usage. The Richmond collection, rich in monochromes from the Song (960-1279) and Yuan (1279-1368) kilns, illuminates

the lasting debt Western potters owe these early glaze masters. Utilizing the aforementioned collections as a fulcrum, this interdepartmental exhibition illustrates these crosscurrents of design and traces their influence upon the history of ceramic production.

Ceramics were a staple trade commodity for the Chinese, and blue-and-white porcelains were the dominant ceramic “currency” from the time of their appearance in the first quarter of the fourteenth century until the beginning of the eighteenth century. The Chinese conducted trade in Southeast Asia, the Middle East, and of course, Europe; wherever blue-and-white was traded, its composition, form and decoration exerted a tremendous impact on local ceramic production. In the Netherlands, De Grieksche A (Greek A) Factory was one of the leading producers of Dutch pottery inspired by blue-and-white Chinese porcelains. In an interesting variation, some of the French faienciers forsook the frank imitation of Asian prototypes in favor of employing Asian themes for designs which were then interpreted in an original, very French fashion. The trade in Chinese Export porcelain gradually increased until such porcelains were thoroughly adapted to European taste by the last quarter of the eighteenth century.

During the late seventeenth and early eighteenth century, fashionable European taste had embraced chinoiserie, or Western evocations of Chinese art which were executed with “some reference to the European stylistic tenets of the time.”1 Chinoiserie motifs were fanciful interpretations of genuine Chinese prototypes.

An offshoot of this was singerie, or decoration in which the primary figures were monkeys. The monkeys were frequently clad in human clothes and engaged in human activities such as card playing, smoking, or hunting. Yet another, related offshoot was turquerie, in which Middle Eastern or Turkish motifs were adapted to the reigning rococo style and painted on European faience or porcelain. Removed as chinoiserie, singerie, and turquerie were from any true Asian prototypes, they were nonetheless inspired by an association with the East.

Indeed, some scholars feel that traditional Chinese design may have influenced the development of the rococo style in Europe.

The influence of Asia on European ceramics was further strengthened in the 1720s through the exportation of Japanese porcelain decorated in red, blue, and gold from the port of Imari. Europeans encountering these

Figure I: left to right CHARGER: Songbirds and Flowering Tree Ming Dynasty, circa 1573-1615; Porcelain: underglazed in blue; China: unidentified manufactory; Diameter 19-3/4 inches New Orleans Museum of Art: Gift of Paul R. Brackley in memory of his wife, Dolores Buesher Brackley, 1997.646 CHARGER: Peacock Amidst Flowering Shrubs Circa 1640-1650; Tin oxide-glazed earthenware (delftware) in blue and white; England: unidentified pottery, probably Liverpool; Diameter 13 inches; New Orleans Museum of Art: Gift of Elizabeth Danos Selley, 2002.73.19 Manufactured exclusively for export, the blue-and-white decorated porcelain known as Kraak (after the Dutch name for the Portuguese carracks, or merchant ships that brought the ware to Europe), caused a sensation in Europe during the late sixteenth and early seventeenth centuries. The enterprising English potter of the ambitious charger at the right took his cue from slightly earlier Dutch producers of blue-and-white delftware. Those Dutch potters looked to Chinese Export wares of the late Ming Dynasty (1368-1644) like the charger to the left. Such English delftwares were large for their time, extremely fashionable, and requisitely expensive. Although they mimicked Chinese prototypes, they were unable to capture the seductive glow of true porcelain.

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NEW ORLEANS MUSEUM OF ART

richly decorated, showy porcelains were impelled to imitate them. Dutch potters were particularly inspired by the striking palette and opulent decoration of Imari porcelains and produced notable interpretations in delftware. Given the close ties of The Netherlands and England, it was not surprising that Imari porcelain struck a similar chord with British potters. The Derby Porcelain Works (active circa 1750-1848, 1878-present) made a specialty of wares in the Imari taste and created a taste for them which endures to this day. The commercial success of these English “Imari” porcelains instigated the copying of them by numerous Staffordshire manufacturers of earthenwares.

The current of influence was not only from East to West. Much of the earliest export blue-and-white (known as Kraak porcelain) was in itself influenced by Islamic potters in both shape and design. The wares most commonly labeled “Chinese Export” by modern collectors had been adapted, often in both form and decoration, to suit Western taste and usage from the very beginning of large-scale trading. Armorials for the aristocracy, mythological and biblical scenes, as well as popular pastimes such as fox-hunting, made their way into the decorative vocabulary. Similarly, shapes unknown in China, such as chocolate and coffee pots, soup tureens, meat platters, and forms derived from metal prototypes became common in both the European and American markets.

The Canton-based “China trade” had originated with European traders; Americans did not arrive in Canton to take part in this lucrative commerce until 1784.2 However, these Chinese Export porcelains became extremely fashionable and were one of the primary indicators of an advanced socio-economic position in late eighteenth- and early nineteenth-century America. The trade was primarily in tablewares, with some decorative pieces such as vases and garnitures. Having been an enormous success in its day, Chinese Export porcelains again became an immensely fashionable and prestigious commodity during the 1920s and 1930s in this country, with such notably affluent collectors as Henry Francis DuPont and Helena Woolworth McCann assembling major collections. Such was the strength of the Colonial Revival in the United States during these decades that Chinese Export porcelain again became a status symbol indicating the “classic good taste” of its possessor. By the late 1940s, the fashionability of Export porcelains had begun a tapering off, but today it has returned as a highly desirable and prestigious area in which to collect.

If Chinese design and its related chinoiserie held sway in the late eighteenth and early nineteenth centuries, the influence of Japan became dominant in the 1870s and 1880s as a result of the reopening of Japan in 1853 by the American Commodore Perry. As a result of an enforced trade with the West, Japanese goods took England and Europe by storm, a mania which eventually spread to this country. Initially this new japonisme was restricted to artistic and/or affluent circles. However, as its popularity increased, it was embraced by an expanded consumer base, which led to the production of striking porcelain and pottery pieces in the new Japanese taste.

Enterprising Staffordshire potteries commissioned japonesque designs from prominent architects and noteworthy commercial designers thus presaging the present-day popularity of architect-designed objects.

Many of the best of these designs in earthenware were executed in the relatively inexpensive medium of underglaze transfer-print, thus making them available to a greatly expanded public. Nonetheless, costly porcelain

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FIGURE II: left to right DISH: Imari; Circa 1690; Porcelain: parcelgilded underglazed cobalt blue and overglazed red enamels; Japan: unidentified pottery, Arita; Diameter 9-1/2 inches New Orleans Museum of Art: Gift of Freda M. and Ralph E. Lupin on the occasion of their 50th wedding anniversary, 2001.120.2 DESSERT PLATE: Imari Flowers 1820-1840, Bloor period; Porcelain: glazed in cobalt blue and red and parcel-gilt England: Derby Porcelain Works, Derbyshire Diameter 9-1/2 inches; New Orleans Museum of Art: Gift of Mr. and Mrs. H. Hunter White III, 1994.435 PAIR OF PARROTS; Circa 1725-1750 Tin-oxide glazed earthenware (delftware) The Netherlands: Greek A Factory, Delft Height 5-3/4 inches; New Orleans Museum of Art: The Rosemonde E. and Emile N. Kuntz Collection, 1984.121.40.2 FIGURE OF A PARROT; Circa 1650-1725 Porcelain: famille verte type China: unidentified manufactory Height 9-1/4 inches; New Orleans Museum of Art: Bequest of Albert C. and Dorothy Fleury Hills, 2001.253.250.1

Chinese porcelain production was disrupted during decades surrounding the fall of the Ming dynasty and the establishment and solidification of the Qing. The fledgling Japanese porcelain industry stepped into the gap, providing Europeans with so-called “Imari” wares during the eighteenth through early twentieth centuries. Imari is characterized by its underglaze cobalt blue and overglazed iron red and gold decoration.

The Derby Porcelain Works (active circa 1750-1848, 1878-present) made a specialty of interpreting Japanese Imari wares for the English and, later, the American trade. So successful was the Derby manufactory in this facet of its production that other English makers began to produce both porcelain and earthenware.

In traditional China, the parrot had erotic connotations and appeared infrequently in art. However, export figures of parrots became popular in the early eighteenth century, spurred by the live parrots sold in Europe as part of the fashion for exotic orientalism. The Greek A Factory (active 1645-ca. 1819) of Delft was a leading producer of figures of birds in blue and white which imitated Chinese prototypes. The extreme fashionability of Chinese figures of parrots spurred the Delft potters to imitate them, creating in the process a longstanding European taste for decorative avian figures.

objects in the Japanese taste were also produced at the same time and retailed by such luxury surveyors as Tiffany and Company, New York; Cartier, Paris, and John Wanamaker and Company, Philadelphia.

Thus, these crosscurrents of design in ceramics have created a fascinating and diverse legacy of objects showcased in the present exhibition. Paired objects from East and West highlight the rich interaction of potters, clients, designers, and traders. n Notes 1. John Fleming and Hugh Honour, Dictionary of the Decorative Arts, Harper and Row, Publishers, New York, Hagerstown, San Francisco and London, 1977, p. 180.

2. So lucrative was this trade that in 1794 experts from Canton to England alone amounted to 1,500,000 pounds sterling.

CROSSCURRENTS OF DESIGN is presented in the Cameo Gallery in the Lupin Foundation Center for the Decorative Arts on the second floor of the Museum. It will open on Saturday, November 14, and run through Sunday, February 14, 2010.

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Skylar Fein: Youth Manifesto

BY MIRANDA LASH Curator of Modern and Contemporary Art

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his fall, the New Orleans Museum of Art is pleased to present Skylar Fein: Youth Manifesto, the first solo museum exhibition of work by New Orleans-based artist Skylar Fein. Focusing on youth culture, rock-androll, Americana and advertising, Youth Manifesto tackles the pervasive power and symbiotic relationship between rock music and consumerism. The high-energy exhibition is comprised entirely of new work, including painting, sculpture, video, and screen prints.

Beginning with the aesthetic of punk culture from the late 1970s and early 1980s, Fein re-contextualizes this spirit into large-scale sculptures, paintings, and T-shirts presented as art objects. Fein’s intent is to create a visually “explosive” environment, an ambience that conveys the charged energy of youth. The rebellion, drugs, and sexuality associated with counterculture are made apparent through references to alternative magazines such as Oor and VILE, as well as influential punk and New Wave bands including T.S.O.L., Adam and the Ants, Hüsker Dü, and Crime. Memorabilia from rock concerts—ticket stubs, bootleg cassettes, CDs and flyers—are re-interpreted into arresting, monumental objects. Drawing from the legacy of Pop art, Fein turns a bootleg tape of a concert by The Clash, for example, into a sleek sculptural presentation over four feet wide.

Typical of his artistic style, Fein imbues his art with elements of ambiguity and critique. His own

appropriations from pop or “low” culture are paired with references to American culture, famous for its ability to assimilate. His Black Flag and presidential silhouettes of George Washington and Thomas Jefferson are covered with advertising icons and prices, thereby raising the question of whether American history is a “product” in itself. Is the United States, as a black flag would indicate, in distress? Or is it merely available for consumption and sale?

Music plays a central role throughout Fein’s installation, including in his video component, entitled The YouTube Show. Recognizing YouTube as a preeminent force in twenty-first century youth culture, The YouTube Show displays a selection of actual YouTube videos that use music as a central emotive factor. Used with permission from the original authors, the videos are chosen for their ability to elicit strong responses from their viewers. Visitors are invited to view the commentary associated with these videos, which is projected onto an adjacent wall, and to add their own thoughts.

Skylar Fein: Youth Manifesto will be accompanied by an illustrated color catalogue with an essay by Dan Cameron, founding director and curator of U.S. Biennial Prospect.1 New Orleans and director of visual arts at the Contemporary Arts Center, New Orleans, and an interview with the artist by Miranda Lash, organizing curator of Youth Manifesto.

Skylar Fein, American, born 1968; Black Flag, 2009; Acrylic on plaster and wood, 68 x 114 x 3 inches Image courtesy of the Artist. Photography by Michael Smith.

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NEW ORLEANS MUSEUM OF ART

A native of New York, Skylar Fein (born 1968) was a participant in Prospect.1 New Orleans in 2008. His multimedia installation Remember the Upstairs Lounge garnered acclaim in publications such as Artforum, Art in America, The New Yorker, and the New Orleans TimesPicayune. Since moving to New Orleans in 2005, Fein has had solo exhibitions at Jonathan Ferrara Gallery (where the artist is currently represented), The Phoenix, Sound CafĂŠ, and Bazaar. His work resides in public and private collections across the nation. n Skylar Fein: Youth Manifesto is on view in the Frederick R. Weisman Galleries from September 12, 2009 through January 3, 2010.

A gallery walk-through with the artist will take place on Wednesday, September 30, at 6 p.m.

Skylar Fein, American, born 1968 Vile (Collaboration with Anna Banana), 2009 T-shirt: silkscreen on cotton, 20 x 30 inches Image courtesy of the Artist Photography by Michael Smith

Skylar Fein, American, born 1968 Never Always Sometimes (Boombox), 2009 Silkscreen on wood , 14 x 17 x 4 inches Image courtesy of the Artist Photography by Michael Smith

ARTS QUARTERLY

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NEW ORLEANS MUSEUM OF ART

Banksy’s NOLA Pink at NOMA

BY RACHEL HUDSON Curatorial Intern, Modern and Contemporary Art

Banksy, British, born 1975 NOLA Pink, 2008 Stencil paint on canvas 148 x 102 centimeters On loan from the Rushmore Collection

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OLA Pink, an original work on canvas by British street artist Banksy, is currently on view in the New Orleans Museum of Art’s galleries. The piece is on loan from Michael Rushmore, an American-born, Londonbased collector of street artists. Rushmore is pleased to create an opportunity for the presentation of NOLA Pink in the city of its inspiration, and hopes that the Banksy piece will attract a new, younger audience to the museum.

Nearly a year ago, Banksy, known for his clever and often subversive graffiti murals, created a series of public works in New Orleans. Commemorating the third anniversary of Hurricane Katrina, the murals represent the artist’s reflections on the aftermath of the storm and the city as a whole. Some of these images include a brass band wearing gas masks, looters dressed in military uniform, a child on a life preserver swing, and a young boy flying a refrigerator kite. One mural, located at the corner of North Rampart and Kerlerec Street, depicts a young girl holding an umbrella that protects her from the heavy rain falling around her. This same stencil design was used by Banksy to create NOLA Pink, which differs from the original mural in its bright pink streaks of rain, creating a striking contrast to the gray background of the canvas.

A few murals in Banksy’s series directly address the practices of Fred Radtke, better known as the Gray Ghost, and his local non-profit organization, Operation Clean Sweep. Radtke’s Clean Sweep has made it their

mission to systematically erase graffiti on all New Orleans buildings—public and private—by painting over the markings with solid gray paint, regardless of the original color of the building. Banksy commented on this campaign with murals, such as the one located on Jackson Avenue and Rousseau Street that shows a terrified stick figure being painted over with gray paint by a silhouetted man. This image and a handful of other Banksy originals have been preserved under plexiglas in their original locations, while most of the artist’s work in New Orleans has been removed, defaced, or “Gray Ghost-ed” in the last year.

Due to the transitory nature of graffiti murals, Banksy has recently begun the practice of creating more permanent stencil paintings on canvas, such as NOLA Pink, and limited edition screen prints of many of his designs. These works have had great success in the international art market and have been sold through major auction houses such as Sotheby’s and Christie’s.

Banksy, once admired only by a small audience, has today gained a worldwide following. The artist currently has a major exhibition in his hometown of Bristol at the Bristol Museum. For more information on Banksy and for images of his work, including the original New Orleans murals, please visit the website www.bansky.co.uk. n Banksy’s NOLA Pink is on view in NOMA’s modern and contemporary galleries, located on the second floor.

View of NOLA mural as seen from corner of North Rampart Street and Kerlerec Street, 2008.

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Sculpture Garden Welcomes Three New Additions

BY SARAH DUGOPOLSKILUSK Curatorial Intern, Modern and Contemporary Art Photography by Judy Cooper

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his summer saw the arrival of three new sculptures to the Sydney and Walda Besthoff Sculpture Garden. Each comprised of different mediums, the thought-provoking works include a modernist sculpture by Giacomo Manzu and contemporary works by Jaume Plensa and Leandro Erlich.

Grande Cardinale Seduto, 1983, by Italian sculptor Giacomo Manzu, stands over seven feet tall and commands attention from its niche in the garden. Manzu created approximately three hundred works representing this figure. The inspiration for this recurring subject came when Manzu witnessed the reigning Pope Pius XI seated between two Cardinals in 1934. The Cardinale exhibits the smooth upward sweeping lines and minimal, abstract features that are typical of Manzu’s style. The body remains invisible with the exception of the hands and head. While stoic and commanding in presence, Cardinale is not static. The hands peek from between the folds in the Cardinal’s vestments, creating the slightest suggestion of movement. In this work, it is easy to see how Manzu’s ability to combine subtle animation with uniform planes earned him the respect of many modern sculptors.

Words play an important role in the work of Catalan artist Jaume Plensa. Consisting entirely of stainless steel letters, Overflow, 2005, is a whimsical piece in the shape of a man sitting with his arms clasping his knees. This position is a recurring theme for Plensa as he feels, “we firstly have to understand what is happening within ourselves in order to conceive the universal. The fetal position—the position we take inside our mother’s womb—expresses this idea most evidently. This is not a form of resistance. Rather, the position allows us to be more pliant to our interior selves.”1 Standing over seven feet tall, the stainless steel structure has a monumental yet fragile, lace-like quality to it. While there are no

Giacomo Manzu, Italian, 1908-1991 Grande Cardinale Seduto (Large Seated Cardinal), 1983 Bronze, 7 ft. x 3 in. h Gift of Walda Besthoff and the Edgar Stern Family Fund, 2009.1

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identifiable features to the face or knees, Plensa creates the illusion of these features with the careful arrangement of lettering that overflows from within the sculpture and out onto the granite base below. Nicknamed the “Alphabet Man” by NOMA staff, this new work is a mustsee in the Oak Grove.

The most recent installation in the garden is Window with Ladder—Too Late for Help, 2008, by Argentinean artist Leandro Erlich. The sculpture was first exhibited for the U.S Biennial Prospect.1, held in New Orleans in November 2008 to January 2009. Reminiscent of the surrealist work of Réne Magritte, the work was originally installed on a vacant lot in the Lower Ninth Ward, an area of the city devastated by Hurricane Katrina in 2005.

Window is currently nestled in the garden among ancient oak trees and lush landscape. Overlooking the garden wall, one is able to view clearly the brilliant sky through the window. In this serene setting, it is difficult to imagine the devastation of the Lower Ninth Ward that once surrounded the work. In its new home in the garden, Window with Ladder opens itself up to a world of fresh interpretations. As Erlich suggests, “The ladder on the window might be perceived as a love story … It’s like the way Romeo reached Juliet … I will leave such interpretations open.”2 n Notes 1. Lena Oishi. “The Sounds of Silence, An interview with Jaume Plensa,” Tokyo Art Beat, 2007, p. 3.

2. Interview with Leandro Erlich by Francesca Herndon-Consagra.

The Pulitzer Foundation for the Arts. www.pulitzerarts.org. 2008.

Note: The Sydney & Walda Besthoff Sculpture Garden is closed and under renovation through January 2010.

Jaume Plensa, Catalan, born 1955 Overflow, 2005 Stainless steel, 88 x 96 x 100 in.

Gift of Sydney and Walda Besthoff Foundation, 2008.133

Leandro Erlich, Argentinian, born 1973 Window with Ladder—Too Late for Help, 2008 Metal ladder, steel underground structure, fiberglass, Edition of 5, 14 ft. x 9 in. x 5 ft. x 3 in.

Gift of Frederick Weisman Company Fund and De-Accession Fund, 2009.21

NEW ORLEANS MUSEUM OF ART

Boulders: A Limited Edition 1-4

BY ROBERT TANNEN Photography by Judy Cooper

ARTS QUARTERLY

Renowned New Orleans-based conceptual artist and urban planner/architect Robert Tannen reflects on Boulders: A Limited Edition 1-4, now on view in the green space adjacent to the Besthoff Sculpture Garden.

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hy boulders? Why New Orleans? The city is alien to the form and size of such rocks. New Orleans sits temporarily on sediment and organic matter built by the Mississippi River system about 5,000 years ago. Prior to that time the site of New Orleans was covered by the Gulf of Mexico. A combination of natural forces over 100,000,000 years or more, including movement of continents by way of tectonic plate dynamics, rising and retreating sea levels, several sequences of rising and falling planetary temperatures with resulting advance and retreat of glaciers, the movement of sediment southward within the Mississippi River Valley and other factors, have created this river and new land. The resulting material and form of deltaic New Orleans is devoid of boulders and rocks except for those crushed into pebbles, grains of gravel, sand and clay. New Orleans is like a pudding when compared to the rock known as Manhattan Island. In long geological terms this site is not sustainable though we work hard at preserving the city. Boulders and rock are presumed to be permanent material but they too are

impacted by large-scale planetary forces. So here we have a rock planet with a very thin organic skin in constant dynamic change and now humans in large numbers at the top of the food chain have entered the equation by mismanaging the planet and its “skin-ny� skin of resources so that the boulder becomes the small portrait of the planet as its material becomes sediment lost to the oceans.

These four boulders brought by trucks to New Orleans from the Ozark Mountains and other places are also associated with the ancient myth of Sisyphus. A mortal attempting to help his city of Corinth by asking the gods for water, Sisyphus is condemned, for interfering in the business of gods, to watch a boulder roll down a mountain, then to push it back up the mountain for eternity. The four boulders numbered 1-4 are a numbered limited edition as in a multiple of art objects. There are a large number of boulders and other celestial objects in this universe and most are not numbered nor named. All of the known celestial objects are numbered. Even when these objects cease to exist, the numbers will remain. In time, these boulders will likely change in position and form or be reduced in size just as our beloved city of New Orleans will wash away regardless of our valiant preservation and restoration efforts. n

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NOMANS Look to Expand Empire

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BY JIM MULVIHILL Director of Communications and Marketing, New Orleans Museum of Art

he New Orleans Museum of Art now has a special membership group just for residents of St. Tammany Parish. NOMANS—New Orleans Museum of Art on the North Shore—will have the opportunity to attend exhibitions and special events just for North Shore members, including many right in their own heavily wooded backyards.

The first special event for NOMANS will be held in conjunction with the NOMA-organized exhibition, William Woodward: An American Impressionist in the French Quarter, on view October 10 at Brunner Gallery in Covington. The NOMANS will be among the first to see these popular watercolors during the annual Fall for Art festival on Columbia Street.

NOMANS was created in the wake of Picasso in the Pines, the wildly popular exhibition of prints, drawings and ceramics by Pablo Picasso that attracted thousands of visitors to Gallery Nu during last year’s Fall for Art. In addition to a series of exhibitions at various galleries and arts associations throughout the parish, NOMANS will receive invitations to exclusive social events with other North Shore-based arts patrons.

“We want North Shore residents to see the New Orleans Museum of Art as their museum, which it is,” said NOMA Director E. John Bullard. “Our audience

consists of art lovers throughout the State of Louisiana and the entire Gulf South region. NOMANS events will demonstrate our commitment to being an active part of the burgeoning St. Tammany arts community.”

NOMANS initiatives are conceived and organized by a steering committee which includes Brenda Moffitt, immediate past president of the NOMA Volunteer Committee; Brian Schneider, a NOMA trustee; Jacki Schneider, director of the Bayou Lacombe Art Center; and Sherry Snyder, immediate past chair for NOMA on the North Shore.

“I see tremendous potential for NOMA to continue its efforts to be recognized as a regional museum by piloting this outreach project on the North Shore,” said Snyder. “One of the most exciting aspects of NOMANS is that we will have a Steering Committee, open to anyone who wants to be a member, with no financial or time commitment, to help NOMANS direct their programming.”

Current Museum members with a St. Tammany Parish address on file will automatically be added to the NOMANS group. Other members who wish to join the NOMANS should contact the Membership Office at (504) 658-4127. Those who wish to learn more about joining the Steering Committee should contact the NOMA Volunteer Committee at (504) 658-4141. n

William Woodward American, 1859-1939 Old Mattress Factory, 1904; Oil crayon drawing on cardboard New Orleans Museum of Art: Gift of Edgar Stern Family Fund, 61.17 Photograph by Judy Cooper

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NEW ORLEANS MUSEUM OF ART

Experience Japan at NOMA

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he Japan Club of New Orleans and the New Orleans Museum of Art are pleased to present Japan Fest 2009, a day-long celebration of Japanese culture. The energizing and pulsating rhythms of Kaminari Taiko of Houston will open the November 8 event at 10 a.m. on the front steps of the Museum.

Throughout the day visitors will be treated to demonstrations, performances, exhibits, and hands-on experiences exploring the many facets of Japanese culture.

Inside the Museum, visitors will have the opportunity to view demonstrations of martial arts, including aikido, kendo, and karate; to view and purchase traditional Japanese arts and crafts such as calligraphy and origami; and to participate in the elegant and refined tea ceremony. Traditional Japanese dance and music will be performed by Kozakura, SharaYume, and a newcomer to

the festival, Midori Mochizuki of Houston. Among the numerous other performers and exhibitors are: the Greater New Orleans Suzuki Forum, the Japanese Weekend School of New Orleans, the Louisiana State Museum, the New Orleans Zen Temple, the Crane’s Nest Go Club, the New Orleans Haiku Society, Yakiba (traditional samurai swords and sword fittings), and Hokubei Mainichi, a newspaper for Japanese communities in North America. Additionally, tours of NOMA’s Japanese painting and ceramics collections will be given.

In the meadow adjacent to the Museum, Japanese and American-style food will be available from Ninja, Little Tokyo, New Orleans Fish House, and City Park Catering. Hands-on activities for adults and children will also be provided by NOMA and JETAA. Attendees will have the opportunity to purchase raffle tickets for a free round-trip airline ticket to Japan, courtesy of Continental Airlines. The winner need not be present to win.

Japan Fest 2009 is made possible by the participation of regional Japanese support groups, as well as generous contributions from Zen-Noh Grain, IHI Steel, the Consulate General of Japan in Nashville, Continental Airlines, CMP Marine Paints, the Japan Club of New Orleans, the New Orleans Museum of Art, and City Park.

Admission is free to Louisiana residents, with photo ID. n

Japan Fest 2009 takes place Sunday, November 8, 2009, from 10 a.m. - 4 p.m. at NOMA.

Photograph by Judy Cooper

Call for Volunteers for Disney Exhibition

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OMA NEEDS YOU! It’s not too late to be a “Disney Star” and sign up for what will be the most talked about happening in New Orleans, Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio. This blockbuster exhibition will run from November 15, 2009 - March 14, 2010 and is expected to draw record crowds to NOMA. This means we will need a record number of volunteers to see that everything runs smoothly. There are many areas in which volunteers will be needed including Logistics, Audio Tours, Membership, Admissions, Museum Shop, Auditorium and more. Shifts will be four hours on Wednesday through Sunday from 10 a.m. - 4 p.m., and Wednesday evenings until 8 p.m.

Be part of the production and excitement in a once-ina-lifetime exhibition! New Orleans is the only North American venue for Dreams Come True, which will feature more than 600 original artworks that shaped the animated features. Please call Gretchen or Molly in the volunteer office at 504-658-4137, or apply online at www.noma.org. n

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Odyssey Ball: A Fairy Tale Event

BY VIRGINIA PANNO NVC Correspondent

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he New Orleans Museum of Art will join with the Walt Disney Animation Research Library to present Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio. On the magical night of Friday, November 13, 2009, the Forty-Fourth Odyssey Ball will be the official unveiling of this exhibition of more than 600 original artworks that shaped such animated classics as Snow White, Cinderella, Sleeping Beauty, The Little Mermaid and Beauty and the Beast.

Odyssey Ball Co-Chairs Lori and Kevin Frischhertz and Charlotte and Marc Hebert promise an evening of enchantment. From early sketches to final film clips, the process of Disney animation will be on display, appealing to the young at heart in all of us. Disney’s upcoming The Princess and the Frog, a 1920s Jazz Age animated film set in New Orleans, will be highlighted in the exhibition and at the ball.

This fairy tale evening begins at 7:30 p.m. with a Patron Party and the musical storytelling of jazz trumpeter Jeremy Davenport. Grammy award-winning Zydeco musician Terrance Simien, featured on The Princess and the Frog soundtrack, will perform. Patron Chair couple Janet and Jimmy Frischhertz are pleased to announce that The Princess and the Frog’s writers/directors, Ron Clements and John Musker, will be in attendance as well as its producer, Peter Del Vecho.

Another very special guest will be John Lasseter, Academy Award-winning animator and director and chief creative officer at Pixar and Walt Disney Animation Studios.

Palate of New Orleans will tempt ball-goers with Fantasia hors d’oeuvres, The Little Mermaid seafood station, a Cinderella carving station and a Snow White dessert bar. Apples, anyone?

NOMA’s galleries will come alive with fairy tale favorites. Monica and Stephen Gele and Denise and Bill Galloway, Decorations co-chairs, promise a fantasy land to delight the eyes, while the musical stylings of Vieux Carré will keep Odyssey guests on the dance floor—until midnight, of course!

Auction Co-Chairs Melissa and Sam Scandaliato and Christian and Jamie Ellingsworth are amassing an outstanding array of art, jewels, and antique treasures to delight bidders. A certain “Donald” will be the star of the live auction when the Roy Lichtenstein framed silkscreen print, Portrait of a Duck, a gracious donation from Disney, comes up for bid.

Journey back to the joyful memories of childhood with dashing heroes, beautiful princesses, and happy endings at the Forty-Fourth Odyssey Ball on Friday, November 13. For ticket information, call (504) 658-4121 or visit www.noma.org. n

Disney Studio Artist Sleeping Beauty’s Castle from Sleeping Beauty, 1959 Background painting: gouache on paper © Disney Enterprises, Inc.

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NEW ORLEANS MUSEUM OF ART

2009 Odyssey Ball Auction The filmmaker of The Princess and the Frog and the Walt Disney Studios Portrait of a Duck, Roy Lichtenstein framed silkscreen 27/60.

Value: TBD

Karoline Schleh Pekin China—Stereo View, diptych, 12” x 12” paintings on birch panels.

Value: $1,600

Ralph Wolfe Cowan Portrait by master painter, 30” x 40,” oil in sepia.

Value: $12,500

Jean Bragg Gallery of Southern Art Rosalie Roos (Wiener), Eugene Field, Wyn Ken, and Nod Blynken, watercolor for a child’s room, c. 1925, 12.25” x 9.5” Value: $1,500

Daniel Bibb Porcelain, winged eagle Cape de Monde.

Value: $10,000 Wirthmore Antiques 18th century French panetiere, 35-1/2” H x 40” L x 17-1/2” W. Value: $7,800 Hurwitz Mintz Furniture Co. Paragon Victoria, one-of-a-kind handwoven rug, 8.1’ x 9.11’.

Value: $7,700 Paul Daigrepont Abstract on canvas.

Value: $4,500 Wayne Amedee Work on paper titled Goe Series, 1988, a monotype with geometric lines measuring 30” x 40.”

Value: $3,800 Valerie Stangl Melancon, Figure Painter Eternity in an Hour, an original oil painting by Valerie Stangl Melancon. Completed in August 2009, the work is oil on linen and measures 24” x 36.” The subject is a reclining female facing right holding a calligraphy brush, surrounded by grass meadow.

Value: $3,760 Ferguson Enterprises Robern Medicine Cabinet with side kit. Robern C. Series, three door flat beveled mirrored cabinet, 48” W x 38” H. Value: $3,059

JW Marriott New Orleans One night stay in the Presidential suite, based on availability, including breakfast for two.

Value: $1,500 The Louisiana Art Gallery/Bill Hemmerling I Danced, 63” x 20” hand-embellished giclee.

Value: $1,400

Dr. Thomas Moulthrop, Hedgewood Surgical Center Gift certificate toward any plastic surgery services.

Value: $1,000 David Tompkins Photography 24” x 30” paramount wall portraiture and one outdoor or location session.

Value: $1,000 JoAnn Flom Greenberg Tall planter with mermaids and other incised figures.

Value: $1,000 The New Orleans Conservation Guild A gift certificate toward the restoration of a painting or a painting and a frame.

Value: $1,000

Omni Royal Orleans Two night’s accommodations in a luxurious suite, based on availability, and dinner for two in the Rib Room.

Value: $1,300

Wendy and George Rodrigue Rodrigue’s Louisiana 2008 original silkscreen, open edition, 37” x 21,” signed by the artist and two signed children’s books, Are You Blue Dog’s Friend and Why is Blue Dog Blue.

Value: $1,000

The Louisiana Art Gallery/Bill Hemmerling Wrought by Prayer, 28” x 42” hand-embellished giclee.

Value: $1,295

Saks Fifth Avenue Gift card.

Value: $1,000

Bevolo Gas and Electric Lights French Quarter Post light.

Value: $1,250

Gretchen Wheaton Faubourg Marigny, 16” x 20,” color print, framed.

Value: $1,000

Dr. Lawrence and Joan Zaslow Fired and patinated clay sculpture of a female nude by Joan Zaslow.

Value: $1,250

Coleman E. Adler & Sons, Inc. Jewelry.

Value: TBD

Rolland Golden Mother and Twins, framed, mixed media: print and hand painted with acrylic. The cows are on the Mississippi River in Louisiana; part of the series Cows For All Seasons.

Value: $1,200

Raine Bedsole Painting.

Value: TBD Alex Harvie Original painting created for NOMA. Value: TBD

Ezulwini Game Lodge South African photo safari at Ezulwini Game Lodges located within the boundaries of Kruger National Park. Six days and five nights for two people in a luxury bungalow at either Bill’s Lodge or River Lodge or a combination of both. All meals included with lodge’s private chef. Also included are two game drives per day with certified game rangers.

Value: $3,000

Soniat House Antiques Miniature 18th-century bois dore trimmed petit Corona.

Value: $1,200 Mignon Faget Ironworks Serpentine Collar and Serpentine Jeweled Dangle Earrings.

Value: $1,130

Edith Moseley Abstract painting.

Value: TBD

Andrew Brott, Brottworks Fabulous one-of-a-kind glass sculpture.

Value: $3,000

The Windsor Court Hotel Two-night getaway including dinner for two and breakfast for two.

Value: $1,120

Julie Neill TBD Value: TBD

Keil’s Antiques An antique American 14kt gold bracelet.

Value: $2,400 Neal Auction Company TBD Value: $2,000-$2,500 Dagney Jochem One week stay in a two-bedroom, two-bath beachfront condo, Stuart, FL. Value: $2,000 Shirley Masinter / Le Mieux Galleries Original pencil drawing, Julia Street by Shirley Rabé Masinter, 20” x 24.”

Value: $2,000 Paula Landrem Abstract mixed media 24” x 24.”

Value: $1,800 Wendy and George Rodrigue At the Delgado, original silkscreen, Edition 600, 19” x 30,” signed by the artist.

Value: $1,800 New Orleans Silversmiths Silver plate on copper wine cooler designed for four bottles.

This item includes two bottles of French Champagne and two bottles of Sauvignon Blanc.

Value: $1,750 Jos A. Banks Men’s suit.

Value: $1,600

ARTS QUARTERLY

Salon M Gift basket of luxurious hand care products and candle, gift certificates for keratin complex svc, ultimate manicure and pedicure, and makeup application.

Value: $1,065 Louisiana Philharmonic Orchestra 30 Choice Tickets to 2009-2010 Season.

Value: $1,050 Anonymous Donor Fashion Plate: Gouache on board by unknown hand, framed.

“Gibson Girl”-style fashion illustration in color, c. 1910.

Value: $1,000

Beth Lambert Artwork.

Value: TBD

Perlis Gift certificate.

Value: TBD Annie Weinstein Richardson Abstract painting.

Value: TBD Holly Sarre Artwork.

Value: TBD Martin Welch Artwork.

Value: TBD

Anonymous Donor Framed, limited edition screen print, Anything is Better than Reality–One, 30” x 40” by Chris Orr, Professor of Printmaking, Royal College of Art, London; inscribed “more than amusing” and signed.

Value: $1,000 Pamela Conway Caruso/New Orleans ArtWorks at New Orleans Glassworks & Printmaking Studio Dispersal, a whimsical and colorful botanical monoprint of garden fern fronds. With added pigment and applied Joss paper cutouts, this one-of-a-kind original print is a fanciful representation of New Orleans flora and fauna.

Value: $1,000 The filmmakers of The Princess and the Frog and the Walt Disney Studios The Princess and the Frog Gift Basket Value: $1,000

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Circles Take Chicago

BY TAYLOR BIGLER Development Intern

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ne of the perks of membership in NOMA’s Circles Society is the chance to take part in special travel programs. This summer, the Circles traveled to Chicago for a behind-the-scenes look at some of the city’s outstanding public and private art collections.

After enjoying an evening of fine dining, Circles members and NOMA Director E. John Bullard started the day with an exclusive opportunity at the Art Institute of Chicago. Although the highly anticipated grand opening of the museum’s Modern Wing was still two weeks away, the group was given a private guided tour by Art Institute Director James Cuno. The sprawling, pristine pavilion, enhanced by floods of natural light, was designed by famed architect Renzo Piano and is home to twentiethand twenty-first century works by renowned artists such as Matisse and de Kooning.

Circles members were also VIP guests to ArtChicago, where they sipped libations while observing the work of a variety of contemporary masters housed together in Chicago’s Merchandise Mart. Travelers also viewed the collections at Millennium Park, Douglas Dawson Gallery, and the Museum of Contemporary Art. A trip to the

Windy City wasn’t complete without a jaunt down the Magnificent Mile where the group perused the designer shops and famed galleries.

Perhaps the crown jewels of the trip were visits to the homes of Richard Gray and John Bryan. Located on Lakeshore Drive in the elite heart of Chicago, collector and dealer Richard Gray’s apartment was on private display for the group’s enjoyment. There, the Circles caught a glimpse of his stunning collection of drawings which will be exhibited at the Art Institute in 2010.

Later, the Circles ventured outside the city limits to view Crab Tree Farm, which features a nineteenthcentury home and twelve surrounding structures restored to museum quality by John and Neville Bryan. Renovated using time-period specific materials, the home, indoor tennis court, guest houses and even hermit’s cottage are testaments to the ingenuity and enduring quality of the Arts and Crafts movement.

If you are interested in joining the Circles or would like additional information on these exclusive travel opportunities, please call the Membership Office at (504) 658-4130 or (504) 658-4107. n

From left to right: Sydney Besthoff, John Bullard, Jacki Schneider, Brian Schneider, Marilyn Dittmann, Walda Besthoff, Marjorie Van Dervort, Paul Leaman, Claire Leaman. Not pictured: Adrea Heebe.

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NEW ORLEANS MUSEUM OF ART

Join the Circles and Upgrade Your Support of NOMA

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he Board of Trustees of the New Orleans Museum of Art cordially invites you to upgrade your support and become a member of the Patron’s Circle, Director’s Circle or President’s Circle.

These categories, our most prestigious levels of annual giving, are comprised of individuals who contribute $5,000, $10,000 or $20,000 each year in unrestricted funds.

NOMA is pleased to extend unique privileges including Fellows and Collector’s Society memberships to those who demonstrate their commitment at these levels. We are most grateful for your generous and continuing support.

President’s Circle

$20,000

Director’s Circle

$10,000

• Complimentary membership in NOMA’s Fellows and Collector’s Society • All Members’ Previews of special exhibitions • An opportunity to have a private tour with the director or curator of a collection or special exhibition • A special reception in a private collector’s home • Invitations to attend behind-the-scenes events with Museum curators • Advance announcements for special travel programs • Annual listing on Donor Wall as a member of the Circle group • Special recognition in Arts Quarterly

Patron’s Circle

$5,000

GENERAL MEMBERSHIP PRIVILEGES, PLUS: • Free admission to the Museum and Sculpture Garden at all times • Reciprocal membership in major art museums across the U.S. and Canada

Circles _________________________________________

ircles

These circles recognize cumulative giving in a calendar year, restricted to gifts of Annual Appeal and membership dues. Contributions to capital projects and special events do not apply. _________________________________________ For further information on NOMA’s Circles, please call 504-658-4107. n

ARTS QUARTERLY

31

Circles and Fellows of the New Orleans Museum of Art

T

he two most prestigious levels of annual giving in support of the New Orleans Museum of Art are the Circles and the Fellows. We invite you to consider upgrading your support of NOMA and joining the following Circles and Fellows. For information, please call 504-658-4107. n

Circles CIRCLES

ircles

PRESIDENT’S CIRCLE

Mrs. Jack R. Aron Mr. and Mrs. Sydney J. Besthoff III The Booth-Bricker Fund Mr. and Mrs. Ralph O. Brennan Collins C. Diboll Private Foundation Mr. and Mrs. David F. Edwards Mr. and Mrs. S. Stewart Farnet Dr. and Mrs. Ludovico S. Feoli Mr. and Mrs. Stephen A. Hansel Ms. Adrea D. Heebe and Mr. Dominick A. Russo, Jr. Helis Foundation Mr. Jerry Heymann Heymann-Wolf Foundation Mrs. Killian L. Huger, Jr. Mr. and Mrs. David A. Kerstein Mr. Paul J. Leaman, Jr. Mrs. Paula L. Maher Mr. and Mrs. Charles B. Mayer Mrs. Robert Nims Mr. and Mrs. Charles S. Reily, Jr. Mrs. Françoise B. Richardson Mr. and Mrs. Benjamin M. Rosen Mr. and Mrs. Robert Shelton Mrs. Patrick F. Taylor Zemurray Foundation

PATRON’S CIRCLE Mr. and Mrs. William D. Aaron, Jr. Mr. and Mrs. Wayne F. Amedee Mr. and Mrs. Robert H. Boh Mr. E. John Bullard III Mr. and Mrs. Mark Carey Mr. and Mrs. William K. Christovich Dr. and Mrs. Isidore Cohn, Jr. Mr. Leonard A. Davis Mr. and Mrs. Prescott N. Dunbar Mr. and Mrs. H. M. Favrot, Jr. Mr. and Mrs. Timothy Francis Mr. Richard W. Freeman, Jr. Mrs. Sandra D. Freeman Mr. and Mrs. James J. Frischhertz Mr. and Mrs. Edward N. George Mrs. John D. Guthrie Mr. and Mrs. Frederick Heebe Ms. Allison Kendrick Mr. Henry M. Lambert and Mr. R. Carey Bond Mr. and Mrs. Thomas B. Lemann Dr. Edward D. Levy, Jr. Mr. and Mrs. J. Thomas Lewis Dr. and Mrs. E. Ralph Lupin Mr. and Mrs. Paul J. Masinter Mr. and Mrs. Edward C. Mathes Ms. Kay McArdle Mr. and Mrs. R. King Milling Mrs. Ellis Mintz Mr. and Mrs. Michael D. Moffitt Robert and Myrtis Nims Foundation Dr. Howard and Dr. Joy D. Osofsky Mr. and Mrs. R. Hunter Pierson, Jr. Mr. and Mrs. James J. Reiss, Jr. Dr. and Mrs. Edward F. Renwick Mr. and Mrs. R. Randolph Richmond, Jr. Mr. and Mrs. Brian A. Schneider Mr. and Mrs. Edward Shearer Mr. and Mrs. Bruce L. Soltis Mrs. Harold H. Stream, Jr. Mr. and Mrs. James L. Taylor Mrs. John N. Weinstock Mrs. Henry H. Weldon Mr. and Mrs. Louis A. Wilson, Jr.

DIRECTOR’S CIRCLE Mr. and Mrs. F. Macnaughton Ball, Jr. Mr. and Mrs. John D. Bertuzzi Ms. Tina Freeman and Mr. Philip Woollam Mr. and Mrs. Lawrence D. Garvey Mrs. Harry Greenberg Mrs. Charles W. Ireland Mr. and Mrs. Erik F. Johnsen Mr. and Mrs. Peter R. Monrose, Jr. Mr. and Mrs. Robert J. Patrick Dr. and Mrs. James F. Pierce Mr. and Mrs. George Rodrigue Ms. Debra B. Shriver Mrs. Margaret B. Soniat and Mr. Joel J. Soniat Dr. and Mrs. Richard L. Strub

32

FELLOWS Mr. John Abajian and Mr. Scott R. Simmons Mrs. Adele L. Adatto Dr. and Mrs. Kenneth N. Adatto Mrs. Jimi Andersen Mrs. Jack R. Anderson Mrs. H. W. Bailey Mr. and Mrs. William F. Banta Mrs. Howard T. Barnett Ms. Roberta P. Bartee

NEW ORLEANS MUSEUM OF ART

Mr. and Mrs. Beauregard L. Bassich Mr. Robert M. Becnel and Ms. Diane K. Zink Mr. and Mrs. Edward B. Benjamin, Jr. Mr. and Mrs. W. Mente Benjamin Mr. and Mrs. Dorian M. Bennett Mr. and Mrs. Michael A. Berenson Mrs. Marian Mayer Berkett Ms. Virginia Besthoff and Ms. Nancy Aronson Dr. Siddharth K. Bhansali Mr. and Mrs. Donald T. Bollinger Mrs. Jane Bories and Mr. Sam Corenswet Ms. Jean M. Bragg Dr. and Mrs. Joseph Brenner Mr. and Mrs. Edgar E. Bright, Jr. Mrs. B. Temple Brown, Jr. Mr. and Mrs. Perry S. Brown Mr. and Mrs. William D. Brown Mr. and Mrs. Christopher Bruno Ms. Debra Bryant and Mr. Fred Riddlemeyer Ms. Pamela R. Burck Mr. Harold H. Burns Mr. and Mrs. Joseph C. Canizaro Mr. and Mrs. Carlo Capomazza di Campolattaro Mr. James Carville and Ms. Mary Matalin Dr. and Mrs. Edgar L. Chase III Mr. and Mrs. William J. Chaucer, Jr. Dr. Victor P. Chisesi Mr. Stephen W. Clayton Mr. and Mrs. John Clemmer Mr. and Mrs. Thomas B. Coleman Ms. Shirley Colomb and Don Clausing Mr. Barry J. Cooper and Mr. Stuart H. Smith Mr. and Mrs. Orlin Corey Mr. and Mrs. Camille A. Cutrone Mr. and Mrs. Charles B. Davis III John W. Deming and Bertie Murphy Deming Foundation Mr. and Mrs. Con G. Demmas Drs. Raja W. and Nina Dhurandhar Mrs. Albert S. Dittmann, Jr. Mr. and Mrs. Clancy DuBos Dr. Clayton B. Edisen Dr. and Mrs. John Ollie Edmunds, Jr. Mr. and Mrs. Joseph H. Epstein, Jr. Mrs. Eleanor T. Farnsworth Dr. and Mrs. K. Barton Farris Mr. and Mrs. D. Blair Favrot Mr. and Mrs. Edward Feinman Ms. Natalie Fielding Mrs. Julia Fishelson Ms. Anne A. Fitzhugh Mr. and Mrs. Richard B. Fox Mr. and Mrs. Louis M. Freeman Mrs. Gore Friedrichs Mr. and Mrs. Louis L. Frierson Mrs. Anne Gauthier Dr. and Mrs. Charles F. Genre Mrs. Dennis A. Georges Dr. Kurt Gitter and Mrs. Alice Rae Yelen Mrs. Luba B. Glade Mrs. Louis A. Glazer Mr. and Mrs. Mason Granger Ms. Susan Talley and Mr. James C. Gulotta, Jr.

ARTS QUARTERLY

Mr. and Mrs. James O. Gundlach Mr. and Mrs. John W. Hall Mrs. H. Lloyd Hawkins, Jr. Mr. and Mrs. Edward M. Heller Mr. and Mrs. Theo M. Heller Mrs. S. Herbert Hirsch Mrs. William H. Hodges Joan Von Kurnatowski Hooper and Julian Feibelman Mr. and Mrs. John C. Hope III Mr. Harry T. Howard III Mr. and Mrs. Arthur W. Huguley III Mr. Alex T. Hunt, Jr. Mr. and Mrs. Marvin L. Jacobs Mr. and Mrs. Harold B. Judell Mrs. Arthur L. Jung, Jr. Mrs. Gloria S. Kabacoff Mrs. Morris Klinger Mr. and Mrs. John E. Koerner III Mr. and Mrs. John P. Laborde Dr. and Mrs. W. Wayne Lake, Jr. Mr. and Mrs. Charles W. Lane III Mr. and Mrs. J. M. Lapeyre, Jr. Mr. and Mrs. John H. Lawrence Rita Benson LeBlanc Mr. Victor C. Leglise, Sr. Mr. and Mrs. Frank L. Levy Dr. and Mrs. Samuel Logan Mrs. Russell Long Dr. and Mrs. George D. Lyons Dr. Cris Mandry Mr. and Mrs. Stephen D. Manshel Mr. and Mrs. Adam B. Marcus Mrs. Walter F. Marcus, Jr. Mrs. Shirley R. Masinter Mr. and Mrs. Bernard Mason Mr. and Mrs. John McCollam Mr. and Mrs. William McCollam, Jr. Dr. and Mrs. Alvin S. Merlin Mr. and Mrs. Michael J. Mestayer Mr. and Mrs. Albert Mintz Mr. and Mrs. Saul A. Mintz Mr. and Mrs. Donald P. Mitchell Mrs. Louise Moffett Ms. Stephany S. Monteleone Mrs. George R. Montgomery Dr. and Mrs. Lee Roy Morgan, Jr. Mr. and Mrs. Walter Morton Mrs. Andrée Moss Dr. and Mrs. Bert Myers Mrs. Elizabeth S. Nalty Mr. Max Nathan, Jr. Mrs. Isidore Newman II Mr. and Mrs. John B. Noland Mr. and Mrs. W. D. Norman, Jr. Dr. and Mrs. John L. Ochsner Mr. Roger H. Ogden Mr. and Mrs. Richard E. O’Krepki Dr. Sanford L. Pailet Mr. and Mrs. Norvin L. Pellerin Mrs. Ben J. Phillips Mr. and Mrs. Dick H. Piner, Jr. Mr. and Mrs. Arthur C. Pulitzer

Ms. Sally E. Richards Mr. and Mrs. Leon H. Rittenberg Mr. and Mrs. James C. Roddy Mr. Andre Rodrigue Mr. Jacques Rodrigue Mr. Arthur Roger Mrs. Carol H. Rosen Mr. and Mrs. Paul S. Rosenblum, Sr. Mr. and Mrs. Louie J. Roussel III Mr. and Mrs. Hallam L. Ruark Mrs. Basil J. Rusovich, Jr. Ms. Nadine C. Russell Miss Courtney-Anne Sarpy Mr. and Mrs. Richard Schornstein, Jr. Mr. and Mrs. Aaron Selber, Jr. Mr. and Mrs. William H. Shane, Jr. Mr. and Mrs. Lester Shapiro Mr. and Mrs. Michael J. Siegel Mr. and Mrs. Edward M. Simmons Mr. and Mrs. Richard L. Simmons Dr. and Mrs. Julian H. Sims Mrs. Evald L. Skau Mr. and Mrs. Timothy C. Slater Mrs. Joe D. Smith, Jr. Mr. and Mrs. Rodney R. Smith Mr. and Mrs. Charles A. Snyder Mr. and Mrs. Harry C. Stahel Mrs. Frederick M. Stafford Mrs. Mary E. Stern Ms. Anne Reily Sutherlin Ms. Jude Swenson Dr. Nia K. Terezakis Ms. Catherine Burns Tremaine Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. George G. Villere Mr. and Mrs. St. Denis J. Villere Mr. John E. Wade II Mr. and Mrs. R. Preston Wailes Dr. and Mrs. Cedric Walker Mr. Albert J. Ward, Jr. Mr. and Mrs. Hugo Wedemeyer Dr. and Mrs. Robert G. Weilbaecher Ambassador and Mrs. John G. Weinmann Mrs. Karolyn Kuntz Westervelt Mrs. Donald L. White Mrs. Nan S. Wier Mr. Robert J. A. Williams and Mrs. Norris Williams Mrs. James A. Wysocki Mr. and Mrs. Joseph Young, Jr. Mr. and Mrs. Robert E. Young

33

CORPORATE MEMBERSHIP

W

e are deeply grateful to the following member firms whose investment in the Museum makes it possible for NOMA to pay dividends in service to the public, to the business community, to the City of New Orleans, to the greater metropolitan area, and to the State of Louisiana.

GUARANTOR Jones, Walker, Waechter, Poitevent, Carrere & Denegre Superior Energy Services, Inc. Whitney National Bank of New Orleans Willoughby Associates, Ltd.

BENEFACTOR

LEADER Boh Bros. Construction Co., L.L.C. Hotel Monteleone Laitram, L.L.C. Neal Auction Company, Inc. New Orleans Silversmiths Rathborne Companies East, L.L.C. Republic National Distributing Company The Times-Picayune

UNIVERSITY MEMBERS Delgado Community College Dillard University Loyola University Our Lady of Holy Cross College Saint Scholastica Academy (High School) Tulane University University of Louisiana at Lafayette

Antenna Audio, Inc.

PATRON Brian Schneider Company The Sydney and Walda Besthoff Foundation

ASSOCIATE Bolton Ford Bowie Lumber Associates M. S. Rau Antiques, L.L.C. Royal Antiques, Ltd.

MASTER Christie’s Fine Art Auctioneers Dooky Chase’s Restaurant Energy Partners, Ltd. The Schon Charitable Foundation

34

CONTRIBUTOR A. L. Lowe Picture Framing Company Aquatic Gardens As You Like It Silver Shop The Edgar Degas House Gulf Coast Bank Hirsch Investment Management, L.L.C. Mudbug Media, Inc. Teri Galleries, Ltd.

NEW ORLEANS MUSEUM OF ART

THE ART OF BUSINESS CORPORATE MEMBERSHIP IN THE NEW ORLEANS MUSEUM OF ART

BENEFITS TO YOUR COMPANY WHEN YOU INVEST IN THE PREEMINENT CULTURAL INSTITUTION OF OUR CITY CORPORATE MEMBERSHIP ❑ Please have NOMA’s Corporate Membership Director call. ❑ Please send me a brochure on Corporate Membership. ❑ Our check is enclosed in the amount of $_______________.

Please make check payable to: New Orleans Museum of Art. ❑ Please send an invoice in the amount of $______________.

Firm Name ____________________________ Contact Person ____________________________ Phone ____________________________ Address ____________________________ City/State/Zip ____________________________ Mail to: Corporate Membership New Orleans Museum of Art P.O. Box 19123 New Orleans, LA 70179-0123

ARTS QUARTERLY

When you take your place among the Corporate Members of the New Orleans Museum of Art, you are supporting the continuing excellence of the Gulf South’s finest institution for arts and arts education. NOMA is a force for economic development, contributing greatly to our city’s prominence as an international cultural center and visitor destination. The business and professional sectors have long recognized that the Museum makes our community a more desirable place for families and companies to locate.

BENEFITS FOR YOUR BUSINESS Your Corporate Membership provides world-class benefits to your employees and a positive image for your company. From unlimited family admission to NOMA, to the loan of fine art from NOMA’s permanent collection, to a Company Day for all your employees and their families, your Corporate Membership is a high-profile business asset and a great business decision.

The vitality and growth of the New Orleans Museum of Art is dependent, quite literally, on the companies we keep. Our Corporate Membership Program provides the opportunity for your business, whether large or small, to participate at the level most beneficial to you. We have streamlined the rate structure and improved benefits, so select your membership category today, and enjoy all the special privileges of Corporate Membership at NOMA.

CORPORATE MEMBERSHIP PRIVILEGES • Free family admission at all times (immediate family, including children and grandchildren 17 years and younger).

• Free subscription to Arts Quarterly.

• Invitations to Members-Only Previews throughout the year.

• Discount of 10% in the Museum Shop.

• First notices of Special Events at NOMA. • Opportunity to participate in Members’ Art Tours in America and abroad.

• Curatorial Opinion Service.

• Opportunity to participate in Volunteer Programs.

• Access to the Dreyfous Art Reference Library.

BENEFACTOR

• Limited use of a Museum space for a member’s business function at a mutually agreeable time.

• Your company’s name prominently displayed in the Museum.

• Family Membership privileges for eight designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 100 Museum passes.

• Curatorial consultation.

• One catalogue from NOMA’s inventory.

PATRON

$10,000 &

ABOVE

• Use of the Museum for a member’s business special event at a mutually agreeable time.

• Your company’s name prominently displayed in the Museum.

• A private viewing and guided tour of an exhibition for the executives of your firm.

• Family Membership privileges for ten designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 125 Museum passes.

• Curatorial consultation.

• One catalogue from the Museum’s inventory.

$5,000

• Family Membership privileges for six designated officials with Reciprocal Membership at 39 participating museums.

• A complimentary invitation for one designated official to NOMA’s Holiday Party.

• Specially scheduled Corporate Day with recognition in the Museum and free admission for all employees and their families.

• A Speakers Bureau program at your place of business or at the Museum.

• 75 Museum passes.

• Curatorial consultation.

• One catalogue from NOMA’s inventory.

MASTER

$2,500

• Family Membership privileges for five designated officials with Reciprocal Membership at 39 participating museums.

• A Speakers Bureau program for your employees at your place of business or at the Museum.

• 50 Museum passes.

• Curatorial consultation.

• One catalogue from NOMA’s inventory.

LEADER GUARANTOR

$7,500

$1,000

• Family Membership privileges for four designated officials with Reciprocal Membership at 39 participating museums.

• 25 Museum passes.

• Two posters from NOMA’s inventory.

ASSOCIATE

$500

• Family Membership privileges for three designated officials with Reciprocal Membership at 39 participating museums.

• 15 Museum passes.

• A poster from NOMA’s inventory.

CONTRIBUTOR

$250

• Family membership privileges for two designated officials of your firm with Reciprocal Membership at 39 participating museums.

• 10 Museum passes.

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C

O N T R I B U T I O N

T

he New Orleans Museum of Art has established a number of special funds for gifts in honor of or in memory of friends or family members or to commemorate an event. Recipients or their families will be notified of the gift and will be acknowledged in Arts Quarterly.

For information on NOMA special funds, call (504) 658-4100. Donations for all funds should be mailed to the New Orleans Museum of Art, PO Box 19123, New Orleans, Louisiana 70179-0123. ■

MRS. JEAN HEID MEMORIAL FUND

NVC PORTICO RENOVATION FUND

Marilyn & Paul Kullman Shirl D. Cieutat Mrs. Charles W. Lane III Ms. Lillian Samardzija Mr. & Mrs. Donald Meyer Ms. Maureen Donnelly & Dan Piersol Ronald & Jill Ruiz

IN HONOR OF

LIBRARY FUND

Cammie and Charles Mayer

BESTHOFF SCULPTURE GARDEN FUND

IN MEMORY OF

IN HONOR OF

GINGER MADDEN

CAMMIE MAYER

Isidore J. Grisoli, Jr. Jakks Pacific, Inc.

Sarah M. Ringle

S

ANNA CARDINALE ExxonMobil

IN HONOR OF STEWART FARNET’S 2009 DELGADO AWARD

IN HONOR OF NANCY ARONSON’S BIRTHDAY Evelyn Rodos

IN HONOR OF IN MEMORY OF WENDELL BERRY

BRENDA MOFFITT Alice and John Lowry

Christopher Ralston

EDUCATION FUND

IN MEMORY OF

IN MEMORY OF

IN HONOR OF

NORMA B. LARRIVIERE

KATHRYN DEVEREUX DANNA

JOANN GREENBERG

Jay Danna Rosemary Korndorffer Cynthia Rauchle Ann H. Hamilton Charlotte Travieso Charles and Jane Aprill Don and Lynne Perschall

The San Miguel Group

Jean and Jim Taylor Leslie Taylor Curran

IN HONOR OF HENRY ROSENFELD’S BIRTHDAY

P. ROUSSEL NORMAN FUND

Letty & Richard Rosenfeld Henry Rosenfeld

IN MEMORY OF SUNNY NORMAN

NVC FLOWER FUND

Mrs. Lillian Rodriguez

IN HONOR OF

PHOTOGRAPHY FUND

KAY MCARDLE’S PRIX D’ELEGANCE AWARD Mimi Schlesinger

IN MEMORY OF WENDELL BERRY Kimberly & Harry Rosenberg

IN MEMORY OF SOPHIE CARRIERE Kimberly & Harry Rosenberg

IN MEMORY OF CLIFFORDD H. HERN Kimberly & Harry Rosenberg

IN HONOR OF PAUL FABRY’S BIRTHDAY Kimberly & Harry Rosenberg

36

NEW ORLEANS MUSEUM OF ART

WELCOME HOME MARIE

AND

ESTELLE!

F

or nearly three years, eighty-five of NOMA's finest and most popular paintings, sculptures, and drawings—including the two ladies pictured here—have been on tour, part of a traveling exhibition to six museums across America. Now they are home and have been reinstalled in their galleries, where they can again be enjoyed by visitors, both local and out-of-town. n

Elisabeth Louise Vigée-LeBrun, French, 1755-1842 Portrait of Marie Antoinette, Queen of France, circa 1788; Oil on canvas; Women’s Volunteer Committee and Carrie Heiderich Funds, 1985.90

Edgar Degas, French, 1834-1917; Portrait of Estelle Musson Degas, 1872 Oil on canvas; Museum Purchase by Public Subscription, 1965.65.1

I SUPPORT

THE PORTICO RENOVATION FUND Yes, I want to help support the NOMA Volunteer Committee’s Pledge to the NVC Portico Renovation Fund.

Funds collected defray expenses associated with a new entry ramp, refurbished decking, urns and torchieres flanking NOMA’s main entrance at Lelong Avenue, and for providing attractive trash receptacles.

NAME _________________________________________________________________________ ADDRESS _________________________________________________________________________ CITY/STATE/ZIP _________________________________________________________________________

Enclosed is my donation in the amount of: ❑ $10 ❑ $15 ❑ $25 ❑ $50 ❑ $100* Other __________ Please make checks payable to the NOMA Volunteer Committee.

Mail to: New Orleans Museum of Art • NOMA Volunteer Committee PO Box 19123 • New Orleans LA 70179-0123

Special Members’ Pre-Holiday Shopping Event ONE DAY ONLY! Monday, October 19, 8 a.m. - 6 p.m.

All members will receive a special 20% discount on everything in the NOMA Shop! Plus a large selection of special bargains. Have your pick of the holiday season’s best gifts at substantial savings!

New Orleans Museum of Art City Park, New Orleans

The NOMA Museum Shop

We will be happy to accept credit card payments for contributions of $50 or higher.

Please call the NVC Office, 504-658-4121, to donate by credit card.

Thank you! *All contributions in the amount of $100 or more will be acknowledged in Arts Quarterly.

ARTS QUARTERLY

37

The Felix J. Dreyfous Library

Library Happenings Book Club Programs Join us for some great reads and fun field trips in October and November. Call 504-658-4117 or email scork@noma.org to reserve a place at book club discussions and events, and to become a member of the book club. In December we will not meet—it is such a busy time of year for all of us that it is difficult to set a date that works for a large group of people.

OCTOBER 2009 Restoration: A Novel by John Ed Bradley. Random House, 2004. ISBN: 9780385721165.

“Bradley is back in top form with this smart and disarmingly romantic novel about the artistic, erotic and racial history of New Orleans. … At a small dinner party, Jack, who's white, meets and falls in love with an African-American art restorer, Rhys Goudeau. She awakens in Jack a passionate interest in the paintings of Levette Ashmore, a once renowned, now nearly forgotten New Orleans artist who committed suicide in 1941 at the age of 23.” (Publisher’s Weekly, quoted at barnesandnoble.com.)

Restoration: A Novel

Thursday, October 8, 10:30 a.m.-1 p.m. Special Event Field Trip to the Williams Research Center, 410 Chartres Street, New Orleans. (Intersection of Conti and Chartres—river side.) Please call early to reserve a place—a head count is needed.

We will meet in the lobby of the Williams Research Center at 10:30 a.m. The research staff at the center will introduce us to their collection and artists’ files and explain the other resources that they have available. We will then be given a tour of their current exhibition.

Following the tour we hope to eat lunch at a nearby restaurant, details to be announced. Lunch will be a “Dutch treat”; we will all pay for ourselves.

The Williams Research Center is the Historic New Orleans Collection’s research facility and houses an extensive collection of information about New Orleans

artists. “The Collection’s rare and important holdings at the WRC are available to the general public. Patrons, through the assistance of the Center's experienced reading room staff, have access to approximately 35,000 library items and more than 300,000 photographs, prints, drawings, and paintings, as well as to beautiful and unusual three-dimensional objects. Rare manuscripts and documents are available in the original and in microform.”

Saturday, October 17, all day Louisiana Book Festival in Baton Rouge, LA. This will be a fun, all day trip. Several volunteers are needed to help at our booth during the event. Please contact the library if you can help. More information about the festival can be found at http://www.louisianabookfestival.org Wednesday, October 28, 12-1 p.m.

Book Discussion Group

NOVEMBER 2009 Strapless: John Singer Sargent and the Fall of Madam X by Deborah Davis. Tarcher, 2003. ISBN: 9781585422210.

“John Singer Sargent's Madame X is one of the world's best-known portraits … ‘Madame X’ was actually a twenty-three-year-old New Orleans Creole, Virginie Gautreau, who moved to Paris and quickly became the ‘it girl’ of her day. All the leading artists wanted to paint her, but it was Sargent, a relative nobody, who won the commission. Gautreau and Sargent must have recognized in each other a like-minded hunger for fame.”

(Amazon.com—product description) “It is impossible to imagine such a painting causing a similar public outrage today, and author Deborah Davis has researched her subject thoroughly to produce a fascinating book providing biographical details of both Sargent and Gautreau, as well as the aftermath of the scandal, during which Sargent actually repainted the strap on Gautreau's shoulder. Highly recommended.”

(Kirkus UK, on Amazon.com) AND I Am Madame X: A Novel by Gioia Diliberto. Scribner, 2004. 9780743456807.

“Paris gasped and gossiped when John Singer Sargent's portrait of Madame X was first exhibited in 1884. Everyone knew the subject was the notorious Virginie Gautreau, and Sargent's shocking depiction— posed in profile, the woman boasts bare shoulders, deep decolletage and an exotically pale complexion— intimately suggested her vanity, arrogance and sexuality.”

(Publisher’s Weekly quoted at Amazon.com) Wednesday, November 18, 2009, 12-1 p.m.

Book Discussion Group

Photograph by Aisha Champagne

38

NEW ORLEANS MUSEUM OF ART

DECEMBER 2009 Book Club Winter Break We will meet again on January 15, 2010 to discuss The Land of the Firebird: The Beauty of Old Russia by Suzanne Massie.

Notable New Additions to the Library Visions of Africa, a series of books published by 5 Continents Editions. Various dates. Various ISBNs. Visions of Africa is a series of books of interest to scholars, curators, collectors and novices as they learn about the art of Africa. The series discusses different regions of Africa and the art that the people of that region create; each region and group of people has its own volume. “All of the books in the ‘Visions of Africa’ series are based on field research and written by leading experts, and feature both masterpieces and rare objects from museum and private collections.” (Publisher’s notes from Punu, a volume in the series.)

The books are illustrated and effectively organized.

Each volume begins with information about a region and the people that live there. This is followed by essays about the main types of art found in the area. For example, in the volume called Baule, the introduction contains sections about the Baule lands, the myth of origin, and the Baule religion, followed by chapters about statuary and masks.

Each volume contains a lengthy annotated bibliography and a “Plate Captions” section, which gives “thumbnail” black and white images of all the illustrated plates in the book, and detailed descriptions of the item pictured. Sadly, there is no index, which prevents the reader from isolating and searching for particular topics, although the comprehensive contents page helps to overcome this. The overall quality and content of this series is excellent.

(These books all deal with different types of art and regions of Africa; they are, therefore, shelved in different locations.)

FEATURED CATALOGUES Masterworks of Fabergé: The Matilda Geddings Gray Foundation Collection. 1993. By John Webster Keefe.

Fabergé: The Hodges Family Collection. 2009. By John Webster Keefe.

In this issue of Arts Quarterly I have two Fabergé catalogues to mention. The first was written for the Matilda Geddings Gray collection in 1993; the second was written for the recent NOMA exhibition Fabergé: The Hodges Family Collection, and has a publication date of 2009. The author of both catalogues is Mr. John Webster Keefe, NOMA’s RosaMary Foundation Curator of the Decorative Arts.

Both catalogues have well-written texts and are beautifully illustrated with many full-color photographs of pieces from the collections. Mr. Keefe points out that in viewing the two catalogues side by side, one observes an intriguing difference in the personal styles of the collectors. The Hodges’ Fabergé collection (the first important new American collection in many years) seems to be educational in purpose—the collector attempts to show examples of every Fabergé work master and outside supplier. Meanwhile, the Gray Foundation collection comprises objects of almost legendary beauty

ARTS QUARTERLY

Visions of Africa

and elegance—for example, the Imperial Easter Eggs— and clearly follows the collector’s personal taste.

In addition to reflecting the individual collector’s areas of interest, the collections illustrate the difference in the Fabergé market between the 1930s and today. When Matilda Geddings Gray was collecting, Fabergé items were readily available both because people who had escaped from the Russian Revolution needed money to support themselves, and because Fabergé was considered to be of little interest, an equivalent to modern day estate jewelry. Today, Fabergé objects are hard to find, and items such as the Imperial Easter Eggs are no longer available for purchase. The objects are considered to be works of art—examples of the finest goldsmith and silversmith work to be found—thus making the building of a comprehensive collection hard to accomplish.

Both catalogues are interesting and informative and stand alone as great reads. If you have one of the catalogues, think about adding the other to your library, as together they give an intriguing glimpse not only into Fabergé’s work, but also into the minds of the collectors.

About the Library The Felix J. Dreyfous Library is located in the basement of the New Orleans Museum of Art. The Library’s services and collection (20,000 books and 70+ periodicals) are available for use by members of NOMA. Members of the public, local students, and educators are also welcome. The library is staffed by a librarian, Sheila Cork, who holds a Master’s degree in Library and Information Science, with an extensive background in reference and research. In addition, the library is fortunate to have volunteers who help on a regular basis.

Use of the library is by appointment only during the librarian’s regular working hours, Monday through Friday, 9 a.m.-5 p.m. Call 504-658-4117 or email the librarian at scork@noma.org to make an appointment to use this valuable resource. n

39

NOMA EDUCATION: Lectures, Openings, and Walkthroughs

Mid-Week in Mid-City Events: NOMA is open from 12-8 p.m. on Wednesday evenings.

Wednesday, October 7, 6 p.m.

Six Shooters (Stern Auditorium) The New Orleans Photo Alliance presents the second installment of its ongoing “Six Shooters” program. Six local photographers from various photographic disciplines—commercial, documentary, editorial, educational, fine art, and photojournalism—will participate in a moderated discussion about their creative processes, their inspirations, and their intentions concerning their work. Cash bar.

Wednesday, October 21, 5:30 p.m.

William Woodward, 1859-1939: American Impressionist in New Orleans (Louisiana Galleries) Exhibition Opening of William Woodward. Cash bar. Book signing for William Woodward: American Impressionist.

Wednesday, October 28, 6 p.m.

William Woodward, 1859-1939: American Impressionist in New Orleans (Louisiana Galleries) Judith Bonner, Senior Curator at The Historic New Orleans Collection, will guide visitors through the William Woodward exhibition. Cash bar.

Wednesday, November 4, 6 p.m.

Director’s Choice (Great Hall) NOMA Director E. John Bullard will discuss selected works from the Museum’s collection of masterpieces that have recently been reinstalled following their three-year tour to art institutions across the country. Cash bar.

Wednesday, November 11, 6 p.m.

Ned Sublette: The Year Before the Flood (Stern Auditorium) Author and musician Ned Sublette presents a multifaceted program showcasing his many talents. From 6 to 7 p.m., Sublette will accompany himself on the guitar in a presentation

of his original songs. At 7:15 p.m., he will introduce his new book, The Year Before the Flood: A Story of New Orleans; a book signing will follow.

(Books are available for purchase in the Museum Shop.) Cash bar.

Wednesday, November 18, 6 p.m.

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio (EWF Galleries) Celebrate the Mid-Week in MidCity debut of Dreams Come True. Selfguided tours of the exhibition are available with Museum admission.

Wednesday, November 25, 6 p.m.

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio (EWF Galleries) Self-guided tours of the Dreams Come True exhibition are available with Museum admission.

William Woodward American, 1859-1939 House For Napoleon, St. Louis & Chartres, 1904 Oil crayon on board The Historic New Orleans Collection, Gift of Laura Simon Nelson, 2006.0430.18

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NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES Music and Films

Wednesday, December 9, 6 p.m.

Music Inspired by the Walt Disney Studios (Great Hall) Come hear pianist “Uncle” Wayne Daigrepont perform Disney hits in the Great Hall. Light hors d'oeuvres will be served.

Art-Making Activity

Wednesday, December 2, 6 p.m.

Find Your Inner King, Queen, Prince or Princess at NOMA! (Great Hall) Come tour the exciting new exhibition Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio and stay afterwards to create your very own tiara or crown … whichever fits your personality best! All materials will be provided. Free with Museum admission.

ARTS QUARTERLY

Wednesday, October 14, 6 p.m.

New Orleans Film Festival Screening (Stern Auditorium) This year marks the 20th anniversary of the New Orleans Film Festival. For more information and an up-to-date festival schedule, please visit neworleansfilmfest.com. Cash bar.

Wednesday, October 28, 6 p.m.

Haunted History Tours at NOMA: Journey Into Darkness (Stern Auditorium) Come see Haunted History Tours’ Journey into Darkness: The Trilogy, a spooky documentary about New Orleans voodoo, ghosts, and vampires

by Kalila Katherinas Smith. Footage from this video was aired on the Travel Channel’s “Supernatural Destinations” and “America’s Most Haunted Places.”

Director Kalila Katherinas Smith will hold a Q&A session following the screening. Cash bar.

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NOMA EDUCATION: For Members Only: Classic Disney Films

SPECIAL MEMBERS’ EVENT OUT OF THE VAULT: Classic Disney Films on the Big Screen at NOMA (Stern Auditorium) This fall, NOMA is proud to present five Disney animated classics which are featured in the upcoming exhibition Dreams Come True.

This exclusive engagement, specially selected for the inauguration of the exhibition, brings together Disney's all-time best loved animated fairy tales for a rare big screen presentation in one venue.

This member’s event welcomes children of all ages!

Snow White and the Seven Dwarfs Saturday, October 3 & Sunday, October 4, 11 a.m., 1 p.m., & 3 p.m.

With its timeless themes, heartfelt performances, memorable music, and brilliant artistry, Snow White and the Seven Dwarfs is generally acknowledged to be the most popular and widely seen motion picture ever produced by Hollywood. The timeless story of a young princess who, with the aid of her forest friends and adoring diamond miners, overcomes various worldly challenges to finally meet her prince. Rich in detail and imagination, this film stands apart from all other animated features because it was Hollywood’s first attempt at the genre and proved to numerous skeptics of the day that feature-length animation was a viable and exciting form of filmmaking.

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Cinderella Saturday, October 10 & Sunday, October 11, 11 a.m., 1 p.m., & 3 p.m.

Walt Disney's Cinderella, based on the world's greatest fairy tale, has captivated audiences for generations with its spellbinding story, memorable music, spectacular animation, and unforgettable characters.

With a wave of her wand and some “Bibbidi-Bobbidi-Boo,” Cinderella's fairy godmother transforms an ordinary pumpkin into a magnificent coach and Cinderella's rags into a gorgeous gown, then sends her off to the Royal Ball. But Cinderella's enchanted evening must end when the spell is broken at midnight. It will take the help of her daring animal friends, Jaq and Gus, and a perfect fit into a glass slipper, to create the ultimate fairy tale ending.

Sleeping Beauty Saturday, October 17 & Sunday, October 18, 11 a.m., 1 p.m., & 3 p.m.

One of the studio’s most ambitious undertakings, Sleeping Beauty features an Academy Award® nominated score adapted from the incandescent music of Peter Tchaikovsky. Disney's epic telling of the timeless tale holds breathtaking action sequences and extravagant musical production numbers which will charm adults and children as they chuckle at the antics of Flora, Fauna and Merryweather, the bubbly and bumbling fairy godmothers, and cheer the gallant Prince Philip in his quest to save Princess Aurora.

The Little Mermaid Saturday, October 24 & Sunday, October 25, 11 a.m., 1 p.m., & 3 p.m.

Ariel, a fun-loving and mischievous mermaid, is off on the adventure of a lifetime with her best friend, the adorable Flounder, and the reggaesinging Caribbean crab Sebastian at her side. But it will take all of her courage and determination to make her dreams come true—and save her father's beloved kingdom from the sneaky sea witch Ursula.

Beauty and the Beast Friday, November 6, 5 p.m. & 7 p.m.

Saturday, November 7, 11 a.m., 1 p.m., & 3 p.m.

The story of beautiful, bookworm Belle who charms the boorish Beast with her warmth, discovering that love comes in the least likely places. With its incomparable blend of magic and award-winning music, Beauty and the Beast won the prestigious Golden Globe for Best Picture and is the only animated film ever nominated for a Best Picture Academy Award®.

NEW ORLEANS MUSEUM OF ART

PROGRAMS & ACTIVITIES

Photographs by Marney Robinson

Docent Program

The New Orleans Museum of Art is currently accepting applications for Special Exhibition Docent positions for Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio, on view November 15, 2009 to March 14, 2010. Dreams Come True showcases original artwork from legendary Disney animated films, including Snow White, Cinderella, Sleeping Beauty, The Little Mermaid, and Beauty and the Beast.

What is a Special Exhibition Docent?

Special Exhibition Docent candidates are specifically trained volunteers who tour temporary exhibitions at the New Orleans Museum of Art and are invited to join the Master Docent program when it commences each fall. The candidates will attend four training sessions to receive Special Exhibition Docent certification prior to touring.

Teen Advisory Board

ARTS QUARTERLY

The New Orleans Museum of Art is accepting applications for its second annual Teen Advisory Board (TAB) for students ages 14-17. Teens will meet once a month from late fall through May on Saturdays. The Teen Advisory Board will collaborate with Museum staff to create ideas for new programming for young audiences and think creatively about the Museum’s role in their community. All applicants to the Teen Advisory Board should be motivated, self-directed, interested in working with other teens, and willing to take a leadership role at the Museum. To apply, download and complete the application form located under the Education link at www.noma.org and send one letter of recommendation from a teacher to Education Department, New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA 70179. Applications are due October 31, 2009.

Special Exhibition Docent candidates for Dreams Come True will be specially trained by professional staff from Disney’s Animation Research Library and Museum educators to tour during the Dreams Come True exhibition at the New Orleans Museum of Art. Selected candidates are rewarded with many unique and satisfying experiences, including working closely with a congenial and diverse group of co-docents and receiving intensive training in art, art appreciation, and educational techniques.

What is the time commitment to the Museum?

The Special Exhibition Docent program for Dreams Come True will take place from late October through the closing of the exhibition in midMarch. The Museum is open to the public from Wednesday to Sunday, with Wednesday through Friday

scheduled for school tours. All Special Exhibition Docents are expected to commit to working with school tours one of these days each week from 9 a.m. to noon for the duration of the exhibition.

Special Exhibition Docents are required to attend four training sessions to tour Dreams Come True: n Oct. 27, Nov. 3 and Nov. 10: 10 a.m. to noon or 6 to 8 p.m. n Nov. 16 or 17: 10 a.m. to noon.

Interested persons can download the application form at www.noma.org/docents or call the Education Department at 504-658-4128 to receive an application by mail.

Applications are due by October 16, 2009.

Photograph by Judy Cooper

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New Fabergé Catalogue Available in the Museum Shop

T

he catalogue of the Hodges Family Collection of works by Peter Carl Fabergé is now available in the Museum Shop. The Hodges collection is on extended loan to the Museum and is the first significant American collection of works by the great Russian “artist-jeweler” assembled in decades. The collection is further distinguished for its inclusion of a significant object by all but two of the recorded Fabergé work masters and suppliers. Many of these works have not previously been seen by the public. Covering 109 masterworks, the catalogue is written by the Museum’s RosaMary Foundation Curator of the Decorative Arts, John Webster Keefe, with essays contributed by owner Daniel Lee Hodges; international Fabergé scholar Geza von Habsburg; Fabergé bibliographer Christel L. McCanless; and Fabergé wood specialist Kieran McCarthy.

The full-color, 310-page hardbound catalogue is now available in the Museum Shop at a cost of $65.00. The discounted Museum Member’s price is $58.50. You may also order online at www.noma.org/specialty. Shipping and handling is $11.00.

Photograph by Judy Cooper

Meet Renowned Artists in Person at the Museum Shop

M

eet a new featured artist or craftsman every month at the Museum Shop as part of a new series of events that gives visitors special access to unique art objects, as well as to the fascinating people who create them.

The Featured Artist of the Month will have a selection of new work showcased in the Museum Shop, available for purchase at great prices. On one Wednesday evening per month, during the Museum’s extended Mid-Week in Mid-City hours, visitors will be able to meet the artist at the Museum Shop to learn about the art-making process, ask questions or have work personalized. Featured artists are chosen not only for the high quality of their work, but also for their interest in educating and engaging with the public.

The series kicks off in October with the popular New Orleans-based ceramist JoAnn Greenberg, who was honored by the Museum at the 2008 Love in the Garden for her contributions to the city’s arts scene. Greenberg’s one-of-a-kind plaques, carved with fish or cavorting neoclassic nudes, grace the walls of countless New Orleans gardens. The graduate of Newcomb College and Tulane University is represented in NOMA’s permanent collection and her work has been featured at museums throughout the South, including multiple exhibitions at NOMA and the Contemporary Arts Center.

Greenberg will be on hand at the Museum Shop the evening of Wednesday, October 7.

“We are very excited to offer our visitors new opportunities to interact with these special artists,” said Museum Shop Manager Patricia Trautman. “JoAnn Greenberg has so much beautiful work and is so wellknown to New Orleans audiences that she was my first choice to kick off this new series. It will be a real treat to have her here visiting with the customers.”

November’s featured artist is Thomas Mann, the jeweler and sculptor best known for his “Techno Romantic” works that join industrial aesthetics with romantic themes and imagery. Mann will appear in person at the Museum Shop on Wednesday, November 18.

In December the focus shifts to animation and illustration with Mike Kupka, the authorized Disney artist known for his depictions of well-known villains. Kupka will be present at the Museum Shop on Wednesday, December 2.

“There really is no better gift for the holidays or special occasions than a one-of-a-kind work of art,” Trautman said. “These events will give you a chance to meet the artist and learn about what you’re buying so you’ll have stories that go with it for years to come.”

To learn more about the Featured Artists, check out their biographies on page 49. n

Photograph by Aisha Champagne

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NEW ORLEANS MUSEUM OF ART

Come to NOMA for a Unique Holiday Shopping Experience Special Members’ Pre-Holiday Shopping Event ONE DAY ONLY! Monday, October 19, 8 a.m. - 6 p.m.

All members will receive a special 20% discount on everything in the NOMA Shop! Plus a large selection of special bargains. Have your pick of the holiday season’s best gifts at substantial savings! © Disney

New Orleans Museum of Art • City Park, New Orleans

Disney Fine Art Puzzle ● $17.00

The NOMA Museum Shop

Cinderella’s castle is beautifully captured by artist Peter Ellenshaw in this 1,000-piece puzzle.

Disney Postage Stamp Collection Puzzle ● $12.00 This 500-piece puzzle commemorates The Art of Disney Postage Stamp series.

© Disney

© Disney

Disney Traditions by Jim Shore, “A Dance For Dreamers” Illuminated Figurine ● $80.00 This beautiful piece depicts Aurora and Prince Philip dancing as the adoring fairy godmothers, Flora, Fauna, and Merryweather, look on.

Disney Princess T-Shirt ● $22.00 Disney exhibition T-shirt depicting four of the princesses from Disney’s classic fairy tales.

Begin Your Holiday Shopping Today.

Stop by the NOMA Museum Shop, call us at 504-658-4133, or shop online at www.noma.org/museumshop.

We Ship in the Continental U.S.

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© Disney

© Disney

Disney Hard Cover Book ● $60.00

Mickey Mouse Figurine ● $25.00

Magnetic Disney Paper Doll Assortment ● $7.50

Disney’s beloved mouse is two-sided; his back shows his pre-color self.

Photo by Judy Cooper.

Great for travel! Just like old-fashioned paper dolls, only better. Ages 3 and over. Photo by Judy Cooper.

© Disney

Disney Magnetic Travel Tins ● $11.00 Hours of fun. Great for home and travel.

Ages 3 and over. Photo by Judy Cooper.

© Disney

The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms by Christopher Finch. 504-page, fully illustrated, hard cover book.

© Disney

Disney Princess: The Ultimate Sticker Book ● $6.99

© Disney

Disney Books ● From $2.99 A wonderful assortment of Disney children’s books await your reading pleasure. Photo by Judy Cooper.

Meet the Disney princesses in this enchanting sticker book.

Photo by Judy Cooper.

Disney Posters ● $8.00 © Disney

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© Disney

Disney exhibition posters.

NEW ORLEANS MUSEUM OF ART

© Disney

© Disney

Princess Tiana Doll ● $15.00

Glitter Princess Doll Assortment ● $15.00

From Disney's new movie, The Princess and the Frog, Princess Tiana comes dressed in her bayou wedding dress with lots of shimmering details, tiara with veil, and matching necklace. Ages 3 and over. *Not available until December 11.*

The lovely and beloved princesses of Disney's favorite fairy tales are dressed in beautiful signature gowns with sparkling glitter detail and ombre shaded skirts.

Each sold separately. Ages 3 and over.

© Disney

Once Upon a Time: Walt Disney: Sources of Inspiration for the Disney Studios ● $75.00 Beautiful catalogue of the exhibition of the same name by the Grand Palais in Paris.

Photo by Judy Cooper.

ARTS QUARTERLY

© Disney

Disney’s Belle Musical Snow Globe ● $40.00 From Disney’s Beauty and the Beast, lovely Belle stands in a swirl of glittery snow and the base is covered with the enchanted characters from the movie. Globe plays the theme from Beauty and the Beast. Photo by Judy Cooper.

© Disney

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

by Lella Smith ● $19.95 This beautifully illustrated catalogue presents familiar fairy tales and the adaptations made by the Walt Disney Studio for the movies.

The films span 80 years—from the early Silly Symphony shorts to the 2009 release of The Princess and the Frog.

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© Disney

14K Gold Cinderella Enamel Bracelet ● $300.00 Beautiful gold chain bracelet adorned with enamel charms of Cinderella's crown, slippers and coach.

© Disney

© Disney

14K Gold, Diamond and Pink Sapphire Princess Three Heart Tiara ● $375.00

14K Gold, Diamond and Pink Sapphire Cinderella’s Pumpkin Coach ● $375.00

Lovely tiara, fit for any princess, comes on a 16” adjustable gold chain.

This beautiful little coach comes on a 16” adjustable gold chain.

© Disney

14K Gold Minnie Mouse Head Enamel Earrings ● $210.00 These lever-back gold earrings depict adorable Minnie Mouse in colorful enamel.

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NEW ORLEANS MUSEUM OF ART

Museum Shop Featured Artists Come meet and speak with our featured artists on the following dates.

OCTOBER 7, 2009 JoAnn Greenberg JoAnn Greenberg has been interested in clay since she was a child. The plastic qualities of clay, the softness, make it easy to mold into the shapes she desires. Then her pots and wall pieces are incised with nudes and other forms found in Louisiana’s nature.

The clay is used as a canvas for the underglazes and glazes. The works are raku fired or multiple fired in an electric kiln.

Greenberg was honored by the New Orleans Museum of Art at the 2008 Love in the Garden for her contributions to the city’s arts scene. Her one-of-a-kind plaques, carved with fish or cavorting neoclassic nudes, grace the walls of countless New Orleans gardens. The graduate of Newcomb College and Tulane University is represented in NOMA’s permanent collection and her work has been featured at museums throughout the south, including multiple exhibitions at NOMA and the Contemporary Arts Center.

NOVEMBER 18, 2009 Thomas Mann Thomas Mann has been an active participant in the contemporary American craft movement for the past thirty years as an artist, gallery owner, and lecturer.

He describes himself as an artist working in the medium of jewelry and sculpture. The primary design vocabulary which he employs in the making of jewelry objects combines industrial aesthetics and materials with evocative romantic themes and imagery. He calls this design system Techno Romantic. Though it is not the only design mode in which he works, it is the one for which he and his work are best known.

DECEMBER 2, 2009 Mike Kupka From rock stars like Ozzy Osbourne to classic horror characters and Disney villains, the subjects of Mike Kupka’s work reveal his affinity for the darker characters in life. Kupka began sketching comics at an early age; later, as a student at duCret School of Art in New Jersey, he was mentored by the illustrator Peter Caras.

Using soft lines and a rustic palate, Kupka creates villains that show a vivid range of emotions. Whether it’s Captain Hook’s penetrating eyes, sizing you up, or Cruella de Vil, dreaming about the newest batch of puppies for her next fur coat, it’s clear the characters he renders are glad to be bad.

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PROGRAM SPONSORS A

nnual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classes, and numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to these friends for their continued commitment. If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 658-4100. ■

BECOME A NOMA SPONSOR

$99,999 – $50,000 CHEVRON: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support Handbook of School Programs Teachers’ Packets CITY OF NEW ORLEANS, EDWARD WISNER DONATION: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support LOUISIANA DIVISION OF THE ARTS: Institution Stabilization Arts in Education General Operating Support

$100,000 + THE AZBY FUND: General Operating Support Besthoff Sculpture Garden Operating Support Security Equipment FORD FOUNDATION: Planning and Exploration of New Orleans Audiences GETTY FOUNDATION: Conservation of the Besthoff Sculpture Garden THE HELIS FOUNDATION: Free Admission for Louisiana Residents THE PATRICK F. TAYLOR FOUNDATION: Taylor NOMA Scholars Program Education Department Support

THE LUPIN FOUNDATION: General Operating Support Art in Bloom 2009 LOVE in the Garden 2009 SELLEY FOUNDATION: General Operating Support Art Storage Building Renovation SHERATON NEW ORLEANS HOTEL: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support WALT DISNEY STUDIO: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

$34,999 - $20,000 GAIL AND JOHN BERTUZZI: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support CAPITAL ONE BANK: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support ELIZABETH HEEBE-RUSSO: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Sponsor D. LEE HODGES SHERRI S. LOGAN: Objects of Desire: Fabergé from the Hodges Family Collection Exhibition Catalogue Support LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATION: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support THE ROSAMARY FOUNDATION: Family Workshops Handbook of School Programs Annual Support LUTHER AND ZITA TEMPLEMAN FUND: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

ZEMURRAY FOUNDATION: General Operating Support

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NEW ORLEANS MUSEUM OF ART

$19,999 - $10,000

$9,999 - $5,000

DOWNMAN FAMILY FOUNDATION: NOMA Exhibitions

ENTERGY LOUISIANA: Educational Programs

FRIEND OF ART IN BLOOM: Art in Bloom 2009

THE JOHN BURTON HARTER CHARITABLE FOUNDATION: Gentlemen Callers Exhibition Support

FRISCHHERTZ ELECTRIC COMPANY: Odyssey Ball 2009

MACY’S: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support MRS. JOHN MASCARO: Odyssey Ball 2009

MRS. JEAN R. HEID: Art Acquisition Fund

MRS. ELLIS MINTZ: Odyssey Ball 2009

IBERIABANK: Art in Bloom 2009

MR. AND MRS. FRANK NORMAN: P. R. Norman Fund Art Acquisition REILY FOODS: Art in Bloom 2009

MORRIS G. AND PAULA L. MAHER FOUNDATION: Odyssey Ball 2009

J. ARON AND COMPANY, INC.: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio Exhibition Support

NATIONAL ENDOWMENT FOR THE ARTS: Curatorial Support

MRS. LESTER KABACOFF: Love in the Garden 2009

SAKS FIFTH AVENUE: Art in Bloom 2009

THE LUPIN FOUNDATION: Art in Bloom 2009

MR. AND MRS. ROBERT SHELTON: Odyssey Ball 2009

LUZIANNE: Art in Bloom 2009

THE GPOA FOUNDATION: Educational Pre-Visit Video of African Art Collection EUGENIE AND JOSEPH JONES FAMILY FOUNDATION: Art in Bloom 2009

SUPERIOR ENERGY SERVICES, INC.: Art in Bloom 2009 MR. AND MRS. HUGHES P. WALMSLEY, JR.: Love in the Garden 2009

RUBY K. WORNER CHARITABLE TRUST: Mid-Week in Mid-City

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MUSEUM NEWS MUSEUM NEWS MUSEUM BOARD OF TRUSTEES BOARD MEETING SCHEDULE NOMA’s board of trustees will meet Wednesday, October 21 (joint meeting with Advisory Council), November 18, and December 16 (followed by NOMA Holiday Party) at 4 p.m.

NVC NVC ELECTS NEW OFFICERS The NVC held its final general meeting of the year on September 14. The nominating committee, chaired by Brenda Moffitt, presented the 2010 slate of officers, which was approved by the membership. The talented new team, who will assume office on January 1, will be led by ChairElect Anne Gauthier. Others elected are: Chair-Elect, Kimberly Zibilich; Odyssey Ball Chairs, Adrea Heebe and Dominic Russo; Recording Secretary, Mimi Schlesinger; Corresponding Secretary, Dana Hansel; Treasurer, Cammie Mayer; Vice-Chair of Activities, Elizabeth Ryan; ViceChair of Membership, Glendy Forster; Vice-Chair of Fundraising, Joni Diaz; At-Large, Kay McArdle; At-Large, Jean Taylor; Parliamentarian, Pam Rogers.

Penny Duet Francis, an interior design consultant and owner of a design store located on newly refurbished Oak Street, addressed the members attending. Ms. Francis, who has been featured in Gambit and Southern Living magazine, shared her philosophy of design: that good design need not be limited to the style of a particular historic period.

Knowledge of the history of art and architecture and a focus on individual needs allow the designer and her client to achieve a stylish, eclectic look. After Ms. Francis’s talk, the members mingled over light refreshments.

CALLING ALL GARDEN CLUBS The ever-changing floral arrangements that grace NOMA’s Great Hall are a gift of NVC’s volunteer Flower Teams. Each team commits to arranging flowers once or twice a year. Although individuals are welcome to volunteer, garden clubs particularly

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find that this affords a delightful opportunity to make a civic contribution and enjoy a club team activity. Chairs Carol Hall and Jerrye St. Martin are looking for garden clubs to join in this creative endeavor. For more information, call Carol at (504) 887-6094.

NVC MEMBERSHIP Membership in the NOMA Volunteer Committee is open to all NOMA members. Through its many functions throughout the year, the NVC plays a vital fund-raising role within NOMA. Lectures, studio visits, home tours, galas, and children’s events are offered through an NVC membership. Three general meetings a year plus a myriad of other activities and volunteer efforts keep the NVC calendar busy. From stuffing Odyssey Ball invitations and assisting in Art in Bloom setup to gallery visits and out of town trips, the NVC has a spot for you in its family. Dues are nominal.

Friendships are free. For more information, contact the NVC office at (504) 658-4121, or go to www.noma.org/membership.

SENIOR STAFF E. John Bullard, The Montine McDaniel Freeman Director Jacqueline L. Sullivan, Deputy Director Marilyn Dittmann, Director of Development Lisa Rotondo-McCord, Assistant Director for Art/Curator of Asian Art Alice Rae Yelen, Assistant Director for Education Gail Asprodites, Controller Pamela Buckman, Sculpture Garden Manager Aisha Champagne, Director of Publications and Design Sheila Cork, Librarian Diego Cortez, The Freeman Family Curator of Photography John D’Addario, Associate Curator of Education Sarah Davidson, Coordinator of Special Events William A. Fagaly, The Françoise Billion Richardson Curator of African Art Julie Galstad, Grants Officer Caroline Goyette, Editor of Museum Publications Susan Hayne, Human Resources Manager Jennifer Ickes, Assistant Registrar Kristin Jochem, Development Associate for NVC John W. Keefe, The RosaMary Foundation Curator of The Decorative Arts Miranda Lash, Curator of Modern and Contemporary Art Elizabeth Levy, Membership Assistant Katherine Marquette, Education Assistant Bernard Mitchell, Chief of Security James Mulvihill, Director of Communications and Marketing Karl Oelkers, Facilities Manager George Roland, The Doris Zemurray Stone Curator of Prints and Drawings Paul Tarver, Registrar/Curator of Native American and Pre-Columbian Art Steve Thompson, Computer Coordinator Patricia Trautman, Museum Shop Manager Laura Wallis, Development Associate for Membership and Annual Appeal Holly M. Wherry, Art Therapist, Katrina Initiative NOMA BOARD OF TRUSTEES

STAFF Two important staff positions have been filled. The Museum welcomes John D'Addario as the Associate Curator of Education for Docent Training and School Programs and Bernard Mitchell as Chief of Security.

NOMA Deputy Director Jacqueline L. Sullivan has been selected as one of the 2009 Ten Outstanding Persons by Family Service of New Orleans. She and the other recepients will be honored at a gala dinner on Wednesday, October 21 at the Pavilion of the Two Sisters in City Park.

NOMA Director E. John Bullard has been promoted to Commander of the Order of Arts and Letters of France. He was first made a chevalier of the Order in 1994 in recognition of his services to French culture and was made an officer in 2006. n

Stephen A. Hansel, President Leonard Davis, Vice-President Mrs. James J. Frischhertz, Vice-President Mrs. Charles B. Mayer, Vice-President William D. Aaron, Jr., Treasurer Mrs. Françoise Billion Richardson, Assistant Treasurer David F. Edwards, Secretary Mrs. John Bertuzzi Sydney J. Besthoff III Mrs. Mark Carey Edgar L. Chase III Isidore Cohn, Jr., M.D. S. Stewart Farnet H. Mortimer Favrot, Jr. Mrs. Ludovico Feoli Timothy Francis Roy A. Glapion Lee Hampton Ms. Adrea Heebe Ms. Allison Kendrick

HONORARY LIFE TRUSTEES H. Russell Albright, M.D. Mrs. Jack R. Aron Mrs. Edgar L. Chase, Jr. Prescott N. Dunbar Sandra Draughn Freeman Kurt A. Gitter, M.D. Mrs. H. Lloyd Hawkins Mrs. Killian L. Huger Mrs. Erik Johnsen Richard W. Levy, M.D. J. Thomas Lewis Mrs. Paula L. Maher Mrs. J. Frederick Muller, Jr. Mrs. Jeri Nims Mrs. Charles S. Reily, Jr. Mrs. Françoise Billion Richardson R. Randolph Richmond, Jr. Mrs. Frederick M. Stafford Harry C. Stahel Mr. and Mrs. Moise S. Steeg, Jr. Mrs. Harold H. Stream Mrs. James Lyle Taylor Mrs. John N. Weinstock

Subhash V. Kulkarni Henry Lambert Paul J. Leaman, Jr. Paul Masinter Edward C. Mathes Kay McArdle Alvin Merlin, M.D. Councilmember Shelly Midura Mrs. R. King Milling Michael Moffitt Mayor C. Ray Nagin Howard Osofsky, M.D. Mrs. Robert J. Patrick Thomas Reese, Ph.D. Mrs. James J. Reiss, Jr. Mrs. George Rodrigue Bryan Schneider Mrs. Lynes R. Sloss Charles A. Snyder Mrs. Richard L. Strub Mrs. Patrick F. Taylor Mrs. Hughes P. Walmsley, Jr. Louis A. Wilson, Jr.

NATIONAL TRUSTEES Joseph Baillio Mrs. Carmel Cohen Mrs. Mason Granger Jerry Heymann Herbert Kaufman, M.D. Mrs. James Pierce Mrs. Benjamin Rosen Mrs. Robert Shelton Ms. Debra Shriever Mrs. Henry H. Weldon

NEW ORLEANS MUSEUM OF ART

NOMA Exhibition Schedule

The Art of Caring: A Look at Life through Photography EWF Galleries Through October 11, 2009

© Disney

The Mind’s Eye: Without Subject Matter, What Does the Artist See?

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

Templeman Galleries Through October 11, 2009

EWF Galleries November 15, 2009 - March 14, 2010

With a Little Help from Our Friends: Recent Accessions in the Decorative Arts Lupin Cameo Gallery Through October 18, 2009

Skylar Fein: Youth Manifesto

Dreams Come True showcases original artwork from legendary Disney animated films, including Snow White, Cinderella, Sleeping Beauty, The Little Mermaid and Beauty and the Beast. The artworks, on loan from the Walt Disney Studio Animation Research Library, will be accompanied by film clips to demonstrate how individual sketches and paintings lead to a finished celluloid masterpiece. Organized by the Walt Disney Animation Research Library and the New Orleans Museum of Art, this once-in-a-lifetime exhibition is set to coincide with the premiere of Disney’s upcoming animated feature, The Princess and the Frog, set in New Orleans during the 1920s Jazz Age.

Frederick R. Weisman Gallery Through January 3, 2010

Käthe Kollwitz: Graphics from the Stein Collection

Feathers, Fur and Flowers: The Natural World in Edoperiod Painting

Templeman Galleries November 15, 2009 March 14, 2010

Japanese Galleries Through February 21, 2010 For further information on upcoming exhibitions and events at the New Orleans Museum of Art, call 504-658-4100, or visit our website at www.noma.org. n

William Woodward, 18591939: American Impressionist in New Orleans A collaboration between THNOC and NOMA Louisiana Galleries October 21, 2009 - February 28, 2010

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NOMA Calendar of Events LEGEND: ✐ Art-Making Activity ✣ Art of Caring Community Partners Day

4 Education

¶ Exhibitions ■ Films/Music ❃ Lectures and Walk-Throughs ❂ Library Events ❁ Members-Only Programs ❖ Mid-Week in Mid-City (Museum Hours on Wednesdays: 12 - 8 p.m.)

❂ NOMA Trustees Meeting

Monday

OCTOBER 2009

Sunday

4

❁

5

❁

12

Thursday

Friday

1

2

6

❃❖

7

8

6 p.m.

Six Shooters (Stern Auditorium)

4

9

Teen Advisory Board applications due

13

■❖

14

15

6 p.m.

New Orleans Film Festival Screening (Stern Auditorium)

¶

4

16

Docent Program applications due

19

20

11 a.m., 1 p.m., & 3 p.m.

The Little Mermaid screening (Stern Auditorium)

21

22

23

❁

❁

17

11 a.m., 1 p.m., & 3 p.m.

Sleeping Beauty screening (Stern Auditorium)

❁

24

11 a.m., 1 p.m., & 3 p.m.

The Little Mermaid screening (Stern Auditorium)

❖ ¶❖

5:30 p.m.

Opening: William Woodward, 18591939: American Impressionist in New Orleans (Louisiana Galleries)

11 a.m., 1 p.m., & 3 p.m.

Sleeping Beauty screening (Stern Auditorium)

26

❂

4 p.m.

NOMA Trustees meeting

❁

❁

10

All Day Louisiana Book Festival in Baton Rouge, LA.

10:30 a.m.-1 p.m.

Field Trip to the Williams Research Center

25

✣

The Art of Caring All Partners Day

❂

Last Day: The Art of Caring: A Look at Life through Photography & The Mind’s Eye: Without Subject Matter, What Does the Artist See?

❂

3

❁

11 a.m., 1 p.m., & 3 p.m.

Cinderella screening (Stern Auditorium)

11 a.m., 1 p.m., & 3 p.m.

Cinderella screening (Stern Auditorium)

18

Saturday

11 a.m., 1 p.m., & 3 p.m.

Snow White and the Seven Dwarfs screening (Stern Auditorium)

11 a.m., 1 p.m., & 3 p.m.

Snow White and the Seven Dwarfs screening (Stern Auditorium)

11

Wednesday

Tuesday

27

❂

28

12 - 1 p.m.

Book Discussion Group

❃❖

6 p.m.

William Woodward, 1859-1939: American Impressionist in New Orleans (Louisiana Galleries)

■❖ 6 p.m.

Journey Into Darkness (Stern Auditorium)

29

30

31

Monday

Tuesday

1

2

3

NOVEMBER 2009

Sunday

9

8

15

¶

16

23

29

30

Sunday

Monday

Thursday

4

5

6 p.m.

Director’s Choice (Great Hall)

10

❃❖

Saturday

Friday ❁

6

5 p.m. & 7 p.m.

Beauty and the Beast screening (Stern Auditorium)

❁

7

11 a.m., 1p.m., & 3 p.m.

Beauty and the Beast screening (Stern Auditorium)

12

13

14

19

20

21

26

27

28

Wednesday

Thursday

Friday

Saturday

2

3

4

5

10

11

12

17

18

19

25

26

11

6 p.m.

Ned Sublette: The Year Before the Flood (Stern Auditorium)

17

6 p.m.

Opening: Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio & Kathe Kollwitz: Graphics from the Jean Stein Collection

22

❃❖

Wednesday

❂

18

12 - 1 p.m.

Book Discussion Group

❂ 4 p.m.

NOMA Trustees meeting

❖ 6 p.m.

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

24

❖

25

6 p.m.

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio

Tuesday 1

✐❖

DECEMBER 2009

6 p.m.

Find Your Inner King, Queen, Prince or Princess at NOMA (Great Hall)

6

13

7

14

8

■❖

9

6 p.m.

Music Inspired by the Walt Disney Studios

16

15 ❂

4 p.m.

NOMA Trustees meeting

20

21

22

23

24

27

28

29

30

31

Post Office Box 19123 New Orleans, Louisiana 70179-0123

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