Saint Louis Art Museum Magazine Spring 2016 by Saint Louis Art Museum

Spring 2016

Board of Commissioners John R. Musgrave, President Gary Wolff, Vice-President Freida L. Wheaton, Secretary W. Randolph Baker, Treasurer Jeffrey T. Fort Charles A. Lowenhaupt Linda M. Martinez Kent Q. Kreh* Anabeth Weil* Bradford K. Werner Advisory Commissioners John R. Fox Judith Weiss Levy Barbara W. Roberts Donald M. Suggs Board of Trustees Adrienne D. Davis, President John M. Horseman, Vice-President Dr. Benjamin Ola. Akande Garrett A. Balke Mary-Randolph Ballinger Martha W. Bickel Dwyer P. Brown Katherine Button Bell Paul R. Cahn Thomas S. Carnahan S. Bryan Cook Stephen P. Cortinovis Holly A. Cousins Mary Beth Daniels Yvette Drury Dubinsky Barbara S. Eagleton Hope R. Edison Lelia J. Farr Melanie M. Fathman Eva Frazer Richard Frimel Signa M. Hermann Vicki D. Hill Malaika B. Horne Richard C. Jensen David Kemper Helen Kornblum Nancy Kranzberg James A. Krekeler Linda Langsdorf Seth M. Leadbeater Joseph D. Lehrer Brand Meyer Noémi K. Neidorff David S. Obedin James N. Probstein Marsha J. Rusnack Thomas F. Schlafly Curtis Searcy Dale L. Sharon Barbara Spector Thelma E. Steward Sissy Thomas Pam Trapp *Pending approval of the Mayor and County Executive.

Honorary Trustees John W. Bachmann Joseph E. Birk Camilla T. Brauer Donald L. Bryant Jr. Steven N. Cousins Joan C. Crancer Arnold W. Donald Julian I. Edison David C. Farrell Katherine M. Fernandez Roxanne H. Frank Richard T. Fisher The Honorable Sam Fox The Honorable Jean C. Hamilton Diane D. Jacobsen Bettie S. Johnson Richard A. Liddy John Peters MacCarthy J. Patrick Mulcahy Emily Rauh Pulitzer Peggy Ritter James A. Rivers Elizabeth Gentry Sayad Joseph F. Shaughnessy Jerome J. Sincoff Rex A. Sinquefield Alvin J. Siteman Barbara B. Taylor Kenneth F. Teasdale John D. Weil Mark S. Weil Friends Board Carol Ann Jones, President Carolyn G. Farrell, Vice-President Thriess Britton Susan Block Mico Barkofske Catherine Berges Debbie S. Capps Lisa R. Carnahan Mary W. Carnal Karen Castellano Ann Corrigan Molly Danforth Ann D. Desloge Kim Eberlein Dede Farquhar Linda Finerty Ann Fosheim Cheri Fromm Jean Daniel Gentry Janis G. Goldstein Marcia J. Hart Meredith O. Holbrook Janet Horlacher Susan Horseman Suzanne Johnson Anjali Kamra Pauline M. Keinath Ashley Kemper Dorothy L. Kreh Julie LeBlanc Retta J. Leritz Susan R. Ludeman Jane S. Mackey Melissa Marglous Merlin Isabelle Montupet Mary B. Moog Judy A. Navarre Rachel H. Oliver Carrie Polk Jeana Reisinger Allison W. Roberts Marlene Schumm Lisa Easton Silverberg Suzanne Sincoff Susan H. Sivewright Wendi Sock Mary Ann Srenco Elizabeth Mulcahy Telthorst Marjorie H. Tomaso Judith A. Toombs Lynne Pounds Turley Lisa Trulaske Ellen Watt Stacey Weddle as of January 1, 2016

From the Director

Dear Friends, Our current exhibition of the James F. Ballard Collection of Oriental Rugs, The Carpet and the Connoisseur, through May 8, has occasioned remarkable enthusiasm, as well as reflection on the part of Museum visitors. Many have marveled to me that such spectacular works of art have been hidden in storage. And although selections from the collection were rotated for decades in the former Islamic gallery and continue to be shown in the new Islamic gallery (Gallery 120), that focused and changing presentation is indeed very different than the overwhelming impact of displaying the full extent of the collection in the Main Exhibition Galleries. It has been a revelation to experience both the breadth of the Ballard collection, and its qualitatively greatest objects, including the show-stopping pleasure tents, at such scale. Ballard’s 1929 and 1930 gifts to the Museum, and his daughter Nellie Ballard White’s subsequent donations of works she inherited from her father, were formative moments in the development of the Museum’s collection. They serve as a reminder that the Saint Louis Art Museum, like virtually every American art museum, in many ways reflects the tastes and passions of generations of devoted collectors. The Museum’s collection demonstrates, as well, an extraordinary history of generosity, as collectors who care deeply for St. Louis and for this Art Museum become donors. In doing so, they create enduring legacies in which each of us share. They also impact significantly the character of the Museum’s collection as a whole. It may come as a surprise to St. Louisans to learn that the Ballard Collection is one of the aspects of our holdings for which we are best known nationally and internationally. It’s consequently no surprise that the exhibition has attracted enthusiasts from the across the nation and abroad. The Museum balances its dual responsibilities of preservation and access by displaying these materials on a rotating basis, as keeping the light levels prudently low limits damage by exposure to light, as many readers know. If you have not yet seen the exhibition, I encourage you to experience this once-in-a-generation opportunity. I look forward to seeing you in the galleries.

Brent R. Benjamin Barbara B. Taylor Director

Contents Spring 2016

EXHIBITIONS & COLLECTIONS 4 Sunday Morning Breakfast 6 Andréa Stanislav: Convergence Infinité 8 From Caravans to Courts: Textiles from the Silk Road 10 Real and Imagined Landscapes in Chinese Art 12 Self-Taught Genius: Treasures from the American Folk Art Museum MUSEUM & MEMBER NEWS 14 Museum news 19 Member events 20 Collectors Circle 21 Beaux Arts Council 22 Annual Fund 23 Tributes NEW ON VIEW 24 Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari

Horace Pippin, American, 1888-1946; Sunday Morning Breakfast, 1943; oil on fabric; 16 x 20 inches; Saint Louis Art Museum, Museum Funds; Friends Fund; Bequest of Marie Setz Hertslet, Museum Purchase, Eliza McMillan Trust, and Gift of Mrs. Carll Tucker, by exchange 164:2015; Image courtesy Alexandre Gallery, New York Stills from Blow Away, 2008; single-channel high-definition video projection (video stills from two-channel version). Photo courtesy of the artist. © Andréa Stanislav. Cushion Cover, 18th–19th century; Caucasian; silk and cotton embroidery; 23 5/8 x 22 5/8 inches; Saint Louis Art Museum, Gift of Mrs. Frank H. Cook 177:1952 Wang Wending, Chinese, 1877–1927; Gathering of the Immortals, 1919 or 1920; set of 12 hanging scrolls mounted as a pair of six-panel folding screens: ink and color on gold paper; each six-panel folding screen: 86 3/4 x 98 5/8 inches; Saint Louis Art Museum, Funds given by Miss Helen M. Longmire, Mr. and Mrs. Stanley F. Jackes, Mrs. G. Gordon Hertslet, the Columbia Terminals Company Charitable Trust, Mrs. Clark P. Fiske, and donors to the 1983 Art Enrichment Fund 42:1984.1, .2 Untitled (Figures and Construction with Blue Border); Bill Traylor (c. 1854–1949), Montgomery, Alabama, c. 1941; Poster paint and pencil on cardboard; 15 1/2 x 8 inches; Collection American Folk Art Museum, New York, Gift of Charles and Eugenia Shannon, 1991.34.1 Photo by John Parnell, New York Piero di Cosimo, Italian, 1461/62–1521(?); Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari, c.1481–85; oil on panel; 69 3/4 x 47 x 5 inches; Saint Louis Art Museum, Museum Purchase 1:1940

American art

Museum acquires Sunday Morning Breakfast Purchase is the latest in a decades-long strategy to collect masterworks by African-American artists

Two young children sit at a central table, as a woman serves them breakfast. A man sits on the left, watching the simple moment. A kettle whistles on boil, the stove glows orange, and the children eagerly await their morning meal. The warm family scene depicted in Sunday Morning Breakfast is drawn from the childhood memories of African-American artist Horace Pippin, and it represents one of the finest examples of the domestic scenes for which the artist is best known. The Museum’s announcement in December that it had acquired the 1943 painting made headlines in the national art press and in St. Louis, where the St. Louis Public Radio dubbed the acquisition “an occasion in which all of us should find joy at this season.” The New York Observer noted that the purchase occurred at the close of a year that saw the nation’s leading museums acting quickly to acquire important works by African-American artists. While that is a priority for the Saint Louis Art Museum, it has been one for decades.

Brent R. Benjamin, the Barbara B. Taylor Director, said the work complements acquisitions beginning in the 1940s of significant works by African-American artists, including Edward Mitchell Bannister, Eldzier Cortor, Robert S. Duncanson, Norman Lewis, Kerry James Marshall, Faith Ringgold, Henry Ossawa Tanner, Kara Walker, and Charles White. “The addition of Sunday Morning Breakfast underscores the Saint Louis Art Museum’s ongoing commitment to build the collection through thoughtful and strategic acquisitions,” Benjamin said. American Art Curator M. Melissa Wolfe said Sunday Morning Breakfast will be a destination in its own right, and it will give visitors a greater understanding of the American art collection generally. “As a bridge between different artistic styles on view in the American galleries, Sunday Morning Breakfast pushes viewers to see the collection afresh,” Wolfe said.

After his work was “discovered” at a local art exhibition in 1937, four of Pippin’s works were included in the Museum of Modern Art’s 1938 exhibition Masters of Popular Painting. In just a few short years he was heralded by other major figures in American art, and he received the support of influential patrons such as collector Albert C. Barnes and Hollywood figures Edward G. Robinson, Albert Lewin, and Charles Laughton. By the time of his death from a stroke in 1946, Pippin’s work already had been included in major exhibitions and the permanent collections of several museums, including the Philadelphia Museum of Art, Pennsylvania Academy of the Fine Arts, Whitney Museum of American Art, and the Phillips Collection.

Currents 112

Andréa Stanislav: Convergence Infinité Through video and sculpture, Stanislav examines natural and social histories of St. Louis

In the latest installment of the Currents series, Andréa Stanislav has created a new body of poetic work exploring the complex natural and social histories of St. Louis—a city that has fascinated her from a young age, when she made

frequent visits from her childhood home in Chicago. To Stanislav, the 2015–16 Henry L. and Natalie E. Freund Fellow, St. Louis connects to what she calls

the “architecture of empire”—a recurring theme in her work that seeks to question mythologies surrounding ancient, medieval, and modern civilizations. Her hybrid practice incorporates sculpture, installation, video, and public art. Animals, especially horses and birds, proliferate throughout her work, sometimes reflecting notions of empire and manifest destiny, and sometimes more mythological narratives. In Convergence Infinité, Stanislav has created a complex immersive space that brings together mirrored sculpture, a four-screen multichannel video, digital printing on mirrors, and taxidermied animals. The exhibition is dominated by Converger, a four-screen video portrait of St. Louis that looks at the region from the perspective of predatory birds. The videos, shot largely from an aerial drone, capture sweeping views of the Mississippi River and document sites of historic significance from Cahokia Mounds to the Gateway Arch. Stanislav’s four films converge on Art Hill and the Apotheosis of St. Louis, the equestrian statue of Louis IX that Stanislav sees as a symbol of imperial aspirations.

Tropaion [detail], 2016; chrome-coated horse skull, dichroic film, steel rope, Mississippi River water, acrylic, and mirrored glass, Photo courtesy of the artist © Andréa Stanislav

Two large-scale mirrored sculptures, Apogee 1200 and Apogee 1969, echo and abstract the forms of a Native American mound and the Arch. Each is a half-completed structure, suggesting

Stills from Blow Away, 2008; single-channel high-definition video projection (video stills from two-channel version). Photo courtesy of the artist © Andréa Stanislav.

the underlying and transient fragility beneath the construct of empire. These reductive, geometric forms are offset by natural elements that include a taxidermied raptor and hanging, chrome-dipped horse skull. The exhibition of new work in Gallery 250 will be complemented by the artist’s earlier film, Blow Away (2008), on view in Gallery 301. The film highlights Stanislav’s sustained work in mirrored

sculpture, showing a dramatic explosion of mirrored obelisks on the Bonneville Salt Flats in Utah. Stanislav is an internationally known artist who has executed recent projects in a wide range of media. Perhaps most notable is Nightmare, a video intervention staged on the Mississippi River in Minnesota in 2011 and on the Neva River in St. Petersburg, Russia, in 2014. In Nightmare, a digital screen,

tugged by a barge at night, played an image of a galloping white horse. Reflected in the water, this ghostly illusion provided a surreal and provocative presence, underscoring Stanislav’s interrogation of the horse’s symbolism throughout history and mythology. Stanislav currently works in Minneapolis and New York. She has had several solo exhibitions, including at the Art-Center Pushkinskaya-10, St. Petersburg, Russia (2015) and the Minneapolis Institute of Arts (2008). She has been featured in group exhibitions at the Fifth Moscow Biennale of Contemporary Art, Russia (2013) and the Minneapolis College of Art and Design Gallery (2011). Curated by Simon Kelly, curator of modern and contemporary art, with Molly Moog, research assistant, Currents 112, Andréa Stanislav: Convergence Infinité will be on view in Galleries 250 and 301 through June 19, 2016. This presentation is supported by the Henry L. and Natalie E. Freund Endowment Fund.

Apogee 1969, 2016; mirror-polished stainless steel and raptor taxidermy mount. Photo courtesy of the artist © Andréa Stanislav

Asian art

From Caravans to Courts: Textiles from the Silk Road Carpets and other textiles from Asia have long captured the interest of the Western world. By the 15th century Oriental carpets made in major carpet-weaving centers in Anatolia were were being exported, first to Europe, then to America. However, it was not until the 20th century that collectors turned their eyes to a broader range of traditional textiles made by nomadic, village, and workshop weavers throughout Asia. From Caravans to Courts: Textiles from the Silk Road celebrates these purposeful textiles which were made for daily use but reached high levels of complexity and beauty. They encompassed knotted and flat woven rugs, carrying bags, horse trappings, and a variety of embroidered covers. Traditional and sacred patterns were incorporated into these works, making them part of the very fabric of life and identity. Scholars often utilize several categories to classify carpet and textile production from these regions. They include tribal weaving, where the weaver copied traditional patterns in pieces made for home use; cottage-industry weaving, where the weaver freely interpreted traditional patterns and colors to produce marketable textiles for sale or trade; urban or city workshops that often employed patterns from court designs for the market; and also textiles made for royalty and the nobility, which were drawn by designers and executed by weavers using precise color and pattern instructions.

Door Cover (ensi), c. 1875; Central Asian, Turkoman tribe, Tekke group; wool; 46 x 61 inches; Saint Louis Art Museum, Gift of Mr. and Mrs. Irvin Dagen 185:1984

The 10 textiles in this exhibition demonstrate this diversity while complementing The Carpet and the Connoisseur: The James F. Ballard Collection of Oriental Rugs. Many of the works were donated by Ballard and provide both an opportunity to view more of his gift and to underscore the unique and diverse manner in which he collected. Textiles from his collection include Chinese rugs and bedcovers dating from the early 18th to 19th centuries and two Persian horse blankets.

Additional pieces include a Turkmen prayer rug, a main carpet used to cover the floor of a yurt (tent), an ensi (tent door cover), an embroidered cushion cover, and a saddlebag used for transporting goods on horseback. From Caravans to Courts: Textiles from the Silk Road is curated by Zoe Perkins, textile conservator, in collaboration with Philip Hu, associate curator-in-charge of Asian art. The exhibition will be on view in Gallery 100 through August 21, 2016.

Cushion Cover, 18th -19th century; Caucasian; silk and cotton embroidery; 23 5/8 x 22 5/8 inches; Saint Louis Art Museum, Gift of Mrs. Frank H. Cook 177:1952

Asian art

Real and Imagined Landscapes in Chinese Art

Chinese art is filled with images of landscapes and landscape settings. Some are depictions of imaginary locations and others may represent actual sites while still others combine real and imagined landscape elements.

Real and Imagined Landscapes in Chinese Art explores how landscapes are seen within Chinese paintings as well as three-dimensional objects. Two of the hanging scrolls bear titles that refer to actual places. The Taibo Wine Pavilion at Caishi Rock by Miao Song shows a famous site in southeastern China located 10

in present-day Yushan district of Maâ&#x20AC;&#x2122;anshan, Anhui Province. Elegant Gathering at the Poetry Niche, a collaborative work by Fa Shishan and some of his friends, was made at, and depicts, Faâ&#x20AC;&#x2122;s residence on the shores of Jingye Lake, the northernmost of the Three Rear Lakes (Shicha Lakes) in Beijing, the capital of the Qing dynasty located in northern China.

The hanging scroll by Wan Shanglin depicts a landscape typically seen in Chinese literati paintings, where the intent is not to represent any particular location but to evoke a sense of tranquil removal from the stresses and strains of urban life. The screens take visual imagination to yet another level. The artist, Wang Wending, based his painting on the

story of the legendary Queen Mother of the West, who is seen in a garden landscape receiving the Eight Immortals of Daoism and celebrating her birthday, said to be commemorated once every 3,000 years when peaches of immortality ripen. While the screen painting has many realistic elements, the entire narrative is taken from ancient Chinese mythology. The other objects in this installation— two porcelain garden seats and two carved jades—also engage viewers with designs and motifs that hover between real and imagined aspects found in Chinese landscapes. Curated by Philip Hu, associate curatorin-charge of Asian art, Real and Imagined Landscapes in Chinese Art will be on view in Gallery 225 through August 14, 2016.

Opposite page: Wang Wending, Chinese, 1877 -1927; Gathering of the Immortals, 1919 or 1920; set of 12 hanging scrolls mounted as a pair of six-panel folding screens: ink and color on gold paper; each six-panel folding screen: 86 3/4 x 98 5/8 inches; Saint Louis Art Museum, Funds given by Miss Helen M. Longmire, Mr. and Mrs. Stanley F. Jackes, Mrs. G. Gordon Hertslet, the Columbia Terminals Company Charitable Trust, Mrs. Clark P. Fiske, and donors to the 1983 Art Enrichment Fund 42:1984.1, .2 Above: Wan Shanglin, Chinese, 1739–1813; Landscape, 1797; hanging scroll: ink on paper; image: 70 15/16 × 20 1/4 inches; Saint Louis Art Museum, Gift of Professor and Mrs. Nelson I. Wu 120:1990 Left: Boulder with Design of Mountainous Landscape with Pavilions and Figures, early 18th century; Chinese, Qing dynasty (1644 -1911), Kangxi period (1662 -1722); jade (nephrite), bronze with gilding; 14 x 10 3/4 x 5 3/8 inches; Saint Louis Art Museum, Spink Asian Art Collection, Bequest of Edith J. and C. C. Johnson Spink 96:2014

Main Exhibition

Bird of Paradise Quilt Top, Vicinity of Albany, New York 1858â&#x20AC;&#x201C;1863; Artist unidentified; cotton, wool, and silk with ink and silk embroidery; 84 1/2 x 69 5/8 inches; Collection American Folk Art Museum, New York, Gift of the Trustees of the American Folk Art Museum, 1979.7.1; photo by Gavin Ashworth

Flag Gate; Artist unidentified, Jefferson County, New York c. 1876; Paint on wood with iron and brass; 39 1/2 x 57 x 3 3/4 inches; Collection American Folk Art Museum, New York, Gift of Herbert Waide Hemphill Jr. in honor of Neal A. Prince, 1962.1.1 Photo by John Parnell, New York Untitled (Figures and Construction with Blue Border); Bill Traylor (c. 1854 -1949), Montgomery, Alabama, c. 1941; Poster paint and pencil on cardboard; 15 1/2 x 8 inches; Collection American Folk Art Museum, New York, Gift of Charles and Eugenia Shannon, 1991.34.1 Photo by John Parnell, New York

Celebrate the opening of Self-Taught Genius at the Members Picnic This summer Museum Members can celebrate the opening of Self-Taught Genius: Treasures from the American Folk Art with free lectures and the annual Members Picnic. More than 100 works of art— including paintings, works on paper, textiles, decorative arts, and sculpture— Self-Taught Genius considers the shifting implications of a self-taught ideology in the United States, from a widely endorsed and deeply entrenched movement of self-education to its current usage to describe artists creating outside traditional frames of reference and canonical art history. When Self-Taught Genius premiered at the American Folk Art Museum in 2014, the New York Times called it “enthralling” and “an intellectually provocative effort to rethink the nature of artistic creativity.” Organized by the American Folk Art Museum, the exhibition and its national tour are made possible by generous funding from the Henry Luce Foundation, as part of its 75th anniversary initiative.

Opening events for Members Members are invited to explore Self-Taught Genius during a special opening weekend, which includes two days of exclusive exhibition previews on Friday, June 17, and Saturday, June 18, from 10:00 am until 7:00 pm. In addition, Melissa Wolfe, curator of American art, will deliver a special opening lecture on Self-Taught Genius at 2:00 pm on Saturday, June 18. Immediately following the lecture, Members are invited to stay for the Annual Members Picnic, which this year moves to the Grace Taylor Broughton Sculpture Garden. Enjoy live music by The Root Diggers, folk-inspired games and art activities for children, and festive summertime refreshments at this free event from 3:00 to 7:00 pm.

Members receive free tickets Regular Members receive two free tickets per visit; Members at higher levels are eligible for more. Advance tickets are not required, but recommended for best availability. Admission for the general public is $12 for adults, $10 for students and seniors, and $6 for children. Tickets are available in person at the Museum’s Information Centers or through MetroTix at 314.534.1111 or metrotix.com. For more information, please visit slam.org or call 314.655.5335.

Lecture celebrates folk art To complement the exhibition, the Museum is pleased to welcome art historian Alvia J. Wardlaw, who will discuss African American folk-art traditions at a free lecture in the Museum’s Farrell Auditorium. A professor of art history and curator of the University Museum at Texas Southern University, Wardlaw curated the groundbreaking exhibitions The Quilts of Gee’s Bend and Hard Truths: The Art of Thorton Dial. The free lecture—tiled African American Expressions in Folk Art—begins at 10:30 am on Saturday, June 25.

Museum news Museum appoints Kress Interpretive Fellow The Museum is pleased to welcome Lindsey Schifko as the Kress Interpretive Fellow, a new one-year position in the Museum’s Learning and Engagement Department. Schifko started the fellowship in January, but she joined the staff in 2013 as Learning and Engagement Assistant after serving as a volunteer. As a Kress Fellow, Schifko will contribute to interpretation for the planned reinstallation of the Museum’s Egyptian collection and the development

of interactive Connect Labs. This fellowship has been supported by a grant from the Samuel H. Kress Foundation. Schifko earned a master’s degree in art history with an emphasis in ancient Egyptian art and archaeology from the University of Memphis, and a bachelor’s degree in art history and criticism from Webster University. In 2010, she volunteered at the Egyptian Museum in Cairo on behalf of the American Research Center in Egypt.

Sign up now for summer classes at the Museum Looking for way to keep children active and creative this summer? It’s not too late to register for one-day and week-long youth classes at the Museum. From one-hour activities for prekindergarteners and their parents to four-day courses for older children, summer classes give young learners the opportunity to explore different cultures, time periods, and, of course, art!

Wee Wednesdays Free Wee Wednesday classes allow children 3 to 5 to use their imaginations during a gallery tour, story time, and a hands-on art project. Children must be accompanied by a parent or guardian. The one-hour classes are held from 10:30 to 11:30 am on the third Wednesday of the month. 14

Summer classes Summer art classes are held from July 12 through July 28. Each of the half-day courses run from Tuesday through Friday, and morning and afternoon courses can be combined for a full day of hands-on art education. The four-day classes cost $100 for Members and $125 for the general public. Classes for children 6 to 8 this year include Mummies vs. Knights, Paint Studio, Heroes and Heroines, Monster Mingle, Art Any Wear, and Color Collision. Classes for children 9 to 12 include Full S.T.E.A.M. Ahead,

Claymation, Flipbook Animation, The Art of Adornment, African Art in Motion, Origami Sculpture. For more information about any of these classes, see the Museum Calendar in this Magazine or visit slam.org/classes. Registration is required for all classes, including free Wee Wednesdays. Students are encouraged to bring a bottle of water and a snack each day. Students staying for a full day of classes should pack a lunch that does not require refrigeration or heating.

Museum news Renovated Study Room celebrates 10 years of connecting visitors with works on paper The Museum’s collection includes more than 14,000 works on paper— prints, drawings, and photographs spanning the history of art in Europe, the Americas, and Asia. Although these light-sensitive works can be installed in the galleries for only short periods, visitors to the Museum still can experience them in person in the Study Room for Prints, Drawings, and Photographs, which this year celebrates 10 years in its current space. The Study Room has welcomed more than 13,000 visitors since 2006, when it re-opened in a renovated space in the Museum’s Main Building. Scholars, students, and the general public are encouraged to make an appointment. The collection of works on paper includes significant holdings by Max Beckmann, George Caleb Bingham, Louise Bourgeois, Edward Curtis, Albrecht Dürer, Nicholas Nixon, Sigmar Polke, Gerhardt Richter, and Rembrandt van Rijn. Important works in the collection include Ansel Adams’ nature study, Pine Forest in Snow,

A student studies works in the Print Study Room

Yosemite National Park (1933), Lazlo Moholy-Nagy’s unique photogram, Abstraction (1925), Tina Barney’s environmental portrait, Father and Sons (1996) and Andreas Gursky’s monumental Library (1999). The Study Room is open by appointment Wednesday through Friday, from 10:00 am to noon and from 2:00 pm to 4:00 pm. Evening appointments are available on the first Friday of each month. Individuals and groups are welcome. For more information or to make an appointment, call 314.655.5402 or email paper@slam.org.

Work from the Ladds’ Scrollathon is on view now at the Airport This winter, St. Louis-born brothers Steven and William Ladd returned to the Museum during the closing weeks of their Currents 111 exhibition to work as artists-in-residence on a collaborative art project involving more than 500 students and community members. The project, which the Ladd brothers call a “Scrollathon,” is an educational initiative rooted in the artist’s three core values—“Spend your Life Doing What you Love, Be Focused and

Disciplined, Collaborate.” Over 10 days of workshops in the Museum and sites around St. Louis, the Ladds guided participants as they each made two scrolls—one to keep, and one that would be joined with others to create a collaborative work of art titled Crème de la Crème Because It’s the Best of the Best. In February, the work was on view in Museum’s Education Center. In March, it was installed on the lower level of Terminal 1 at Lambert–St. Louis International Airport, at the entrance to the A Concourse. The temporary exhibition is the latest installation on behalf of the Lambert Art and Culture Program, and it will be on view through September 8. The Scrollathon is supported by a grant from the Trio Foundation of St. Louis. “This exciting collaboration between the airport’s Art and Culture Program and the Museum creates a lively visual impression of St. Louis for travelers,” said Dwyer Brown, a Museum trustee and consultant to the Lambert Art and Culture Program. “It also illustrates the local partnerships that are vital to both organizations in making artwork accessible to broader and more diverse audiences within the region.”

Steven and William Ladd explain their process of a Scrollathon workshop with area students.

Museum news

Jeanette Fausz named Director of Exhibitions & Collections

Curator David Conradsen promoted

Cortinovis appointed assistant curator

Jeanette Fausz recently was promoted to Director of Exhibitions & Collections, a new position at the Saint Louis Art Museum overseeing registration, publications, conservation, exhibitions, and design staffs.

David Conradsen recently was promoted to the Grace L. Brumbaugh and Richard E. Brumbaugh Curator of Decorative Arts and Design.

Genevieve Cortinovis has been promoted to assistant curator of decorative arts and design.

In her 25-year career at the Art Museum, Fausz has served as assistant registrar, exhibitions coordinator, and registrar, and—mostly recently— director of collections. During the construction and installation of the Museum’s David Chipperfield-designed East Building, Fausz served as the museum’s project administrator. Fausz continues to lead the management of the collection but she has assumed the additional roles of planning and supervising all aspects of the Museum’s robust exhibition schedule.

“The success of St. Louis Modern as a work of art historical scholarship and as an exhibition with popular appeal demonstrates David’s commitments to advancing research and providing visitors with a remarkable experience,” said Brent R. Benjamin, the Barbara B. Taylor Director. Since joining the museum in 1994, Conradsen has curated several important exhibitions, including Useful Beauty: Early American Decorative Arts from St. Louis Collections (1999) and University City Ceramics: Art Pottery of the American Woman’s League (2004). His most recent accomplishment is the conceptualization and organization of St. Louis Modern, the groundbreaking exhibition cocurated with Genevieve Cortinovis.

“Genny’s expertise in textiles and modern and contemporary design will bring fresh perspectives to these areas of the collection,” said David Conradsen, the Grace L. Brumbaugh and Richard E. Brumbaugh Curator of Decorative Arts and Design, who co-curated with Cortinovis the 2015 exhibition St. Louis Modern. Cortinovis wrote extensively in the St. Louis Modern catalogue about the city’s contributions to modernism, particularly in areas of sculpture, stained glass and textiles. She also curated the complementary exhibition Blow-Up: Graphic Abstraction in 1960s Design. She holds a master’s degree in the history of decorative arts, design, and material culture from the Bard Graduate Center and a bachelor’s degree in art history from Barnard College, both in New York City. She joined the Museum as a research assistant in 2012, after working with traditional weavers, dyers, and printers in Cambodia.

In Memoriam Marlyn Essman The Museum and the St. Louis community mourn the passing of Marlyn Essman, who died on January 17, 2016. Along with her husband Alyn Essman, Marlyn had been a long-time supporter of the Museum, which included membership in the Museum’s Beaux Arts Council for nearly 20 years and serving on the Board of Trustees for more than 15 years. Additionally, she committed much of her time to many other philanthropic organizations in St. Louis, including the Jewish Community Center, the Saint Louis Zoo, the University of Missouri-St. Louis and the Mathews-Dickey Boys & Girls Club.

Fitting for her many achievements, Marlyn had been recognized with several prestigious awards, including the St. Louis Woman of Achievement Award; an honorary doctorate from the University of Missouri-St. Louis; the Jewish Community Center’s President’s Award; and the Mathews-Dickey Boys’ & Girls’ Club Woman of the Year Award. The Saint Louis Art Museum family is deeply grateful for Marlyn’s generosity and commitment over the years.

Donald E. Lasater Donald “Don” E. Lasater, a long-time Museum supporter, passed away on February 5, 2016. In addition to being a leader in the corporate world as chairman and chief executive of Mercantile Bank for 18 years, Don also served on the boards of Washington University and the Muny. He and his wife Mary, who passed away in 2010, each served on the Museum’s Board of Trustees; Mary in 1978 and from 1984 to 1987, and Don from 1988 to 1991, serving as Board chair during 1989-1990. In addition to being generous supporters of the Museum’s recent capital campaign,

the Lasaters had also been long-time members of the Museum’s Beaux Arts Council, first joining in 1985. The Museum also benefited significantly through the ongoing support of the Interco Charitable Trust where Don served as a co-trustee. The Museum greatly appreciates the Lasaters’ longtime support and mourns Don’s recent passing.

Museum news Fair St. Louis and the Art Hill Film Series return

Frank Lloyd Wright’s Darwin D. Martin House Complex. Biff Henrich / IMG_INK, courtesy Martin House Restoration Corporation.

Lecture will examine impact of Wright house restoration This spring the Frank Lloyd Wright House in Ebsworth Park Annual Lecture will explore how the successful restoration of a Wright-designed house in Buffalo, N.Y. triggers a new spirit of preservation there.

Service Professor Emeritus at the University at Buffalo (S.U.N.Y.), will discuss efforts to stabilize and restore the house, as well as the impact the project had on preservation consciousness in Buffalo.

The Martin House, now recognized as one of Wright’s greatest early works, fell into disrepair and was partially demolished between 1937 and 1967. Jack Quinan, Distinguished

The lecture—tiled Saving a House, Saving a City—begins at 7:00 pm on May 3 in The Farrell Auditorium. Although the event is free, advance tickets are recommended.

Fair St. Louis will return to Forest Park this summer as Art Hill welcomes the 36th annual Independence Day festival from Saturday, July 2, through Monday, July 4. The fair is expected to return to the grounds of the Gateway Arch after construction there is complete. Traditional highlights of the fair, including concerts and fireworks, will be centered on Art Hill. The Museum will be open during the fair, but visitors during the Fourth of July weekend should expect large crowds and limited parking. To accommodate the fair, the Art Hill Film Series will start July 8 and continue on Friday evenings through July 29 with the theme Celebrating Our American Spirit. The summer Magazine will include more details about the popular summer tradition, including this year’s movie lineup.

Hearts for Art On Valentine’s Day weekend, visitors to the Saint Louis Art Museum were able to show their love for works in the collection by leaving a heart-shaped Valentine next to their favorite works of art. Many visitors then shared their crushes on social media using the hashtag #heartsforart. Degas’s Little Dancer of Fourteen Years received 28 Valentines, more than any other work. The Hearts for Art project started four years ago at the Oakland Museum of California and the Columbus Museum of Art, and now includes several participating institutions.

Member events Family-level Members will celebrate Earth Day at the Museum

Anderson on his tour of Ottoman Turkey. Join the conversation in the Education Center on Saturday, April 30 at 10:30 am.

Members at the Family level and above are invited to an amazing afternoon of children’s activities in celebration of Earth Day on Sunday, April 24, from noon to 3:00 pm. Sample free healthy snacks, make art projects using recycled materials, take a nature-themed scavenger hunt through the galleries, and enjoy music and tours in the Grace Taylor Broughton Sculpture Garden. For more information, please call 314.655.5335 or visit members.slam.org/events.

All Museum Members are invited to join the Members Book Club to participate in lively discussions on exciting literature related to the art world. Each session of the Members Book Club is $10 per person, and registration is required. For more information or to view the entire 2016 lineup, please visit members.slam.org/bookclub.

Spring Members Shop Sale returns

Novelist will discuss mystery set in old Istanbul In April, the Members Book Club will welcome author Andrew Bynom for a discussion of his debut novel, The Executioner’s Race (2015), an intriguing mystery set in 19th Istanbul that features the plight of a female calligrapher condemned to death and the character of Hans Christian

Treat yourself to something new or find the perfect gift for Mother’s Day during the Museum’s Spring Members Shop Sale. On Friday, April 29, from 10:00 am to 9:00 pm, Members save an extra 10 percent (20 percent total) on all purchases in the Museum Shops. Make sure to bring your current membership card. For more information, please call 314.655.5335 or email members@slam.org.

Meet fellow Members and learn more about the Museum’s collection during this popular tour series on select Tuesdays and Saturdays. All Member Mornings begin at 9:30 am with complimentary coffee in the Cafe followed by a lively docent-led tour or presentation at 10:00 am.

Members may attend one Member Morning per month, as each month offers a new theme for exploration. Reservations are required, and space is limited. Visit members.slam.org/ events or call 314.655.5380 to secure your spot.

May 3, May 10, May 14, May 17, May 24: Risky Business June 7, June 11: Bringing Art to Life: Behind the Scenes with Learning and Engagement (Please note: the June program will be a presentation in The Farrell Auditorium, not a tour.)

Collectors Circle

CONTEMPORARY ART SOCIETY FRIENDS OF AFRICAN AMERICAN ART FRIENDS OF AMERICAN ART AND DESIGN FRIENDS OF PHOTOGRAPHY

Whether you are indulging a new passion or deepening your understanding of an old one, Collectors Circle groups give you behind-the-scenes access to the Museum’s collection and its curators. With unique opportunities throughout the year, the Collectors Circle program fosters an appreciation for collecting and encourages ongoing study of works of art across time and cultures.

Barbara Probst

Lee Glazer

Gavin Delahunty

Collectors Circle members enjoy special events and opportunities throughout the year, including conversations with artists, expert lectures, and tours both inside the Museum and throughout the region. Upcoming programs include a presentation by artist Barbara Probst on her use of multiple perspectives to push the conventional boundaries of photography; art historian Lee Glazer on James McNeil Whistler’s remarkable Peacock Room; a detailed look at the Museum’s newly-acquired Horace Pippin painting Sunday Morning Breakfast with curator Melissa Wolfe; and curator Gavin Delahunty on the Dallas Art Museum’s recent exhibition, Jackson Pollock: Blind Spots.

Call 314.655.5390 to join the Collectors Circle today! $250 Supporting Level – Choose 1 group $500 Associate Level – Choose 2 groups $1,500 Beaux Arts Council – Choose 4 groups

Upcoming Collectors Circle Events Visit members.slam.org/events or call 314.655.5390 for additional program details. CONTEMPORARY ART SOCIETY Reception and lecture by Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art Tuesday, June 17 FRIENDS OF AFRICAN AMERICAN ART & FRIENDS OF AMERICAN ART AND DESIGN Reception and lecture by Melissa Wolfe, curator of American art at the Saint Louis Art Museum (please note that this presentation is offered twice) Saturday, May 21 Tuesday, May 24 FRIENDS OF AMERICAN ART AND DESIGN Reception and lecture by Lee Glazer, associate curator of American art at the Freer Gallery of Art Tuesday, May 10

FRIENDS OF PHOTOGRAPHY Reception and lecture by artist Barbara Probst Tuesday, May 17

Beaux Arts Council The Beaux Arts Council is a dedicated group of philanthropists who continue a St. Louis tradition established more than 30 years ago. Their generous gifts provide essential unrestricted annual support that enables us to preserve our magnificent collection, sustain and expand education and outreach programs, present diverse exhibitions, and maintain our home on Art Hill. For more information or to join, please contact the Beaux Arts Council office at 314.655.5124 or bac@slam.org.

BEAUX ARTS COUNCIL MEMBERSHIP BEGINS AT THE $1,500 MEMBER LEVEL. MEMBERS ENJOY EXCLUSIVE BENEFITS, INCLUDING: • Dedicated Beaux Arts Council direct phone line for personal service • Unlimited free admission to featured exhibitions (includes audio guide) • Invitation to exclusive exhibition preview events

left to right: Russell and Ann Perry, Suzanne Besnia and Vick Richey

Self-Taught Genius: Treasures from the American Folk Art Museum

• Recognition in Museum publications and Sculpture Hall • Invitation to Artful Learning luncheon series • Beaux Arts Council Annual Celebration • Participation in Collectors Circle group(s) of your choice • Complimentary garage parking during Museum hours (subject to availability) • 10% discount in the Museum Shop, Cafe, and Panorama • Subscription to the Museum Magazine and the monthly Members e-News • Reciprocal membership privileges at more than 700 museums • Discounts on art classes and workshops

Richard and Louise Jensen

Upcoming Events BAC and CPP Preview Reception Self-Taught Genius: Treasures from the American Folk Art Museum Thursday, June 16, 6:00–8:00 pm Taylor Hall and Main Exhibition Galleries Be amongst the first to view Self-Taught Genius before it opens to the public, and enjoy cocktails and hors d’oeuvres with fellow Beaux Arts Council members and corporate sponsors.

Join Melissa Wolfe, curator and Head of the Department of American Art, for an exclusive Beaux Arts Council tour of the main exhibition galleries. The exhibition includes over 100 works from the American Folk Art Museum, which is widely acknowledged as having one of the premier collections of early American folk art and works by contemporary self-taught artists. Wednesday, July 20, 3:30 pm Tuesday, August 9, 10:30 am Thursday, August 30, 10:30 am

Sponsorship of the Beaux Arts Council provided by:

Annual Fund Above and beyond membership support, the Annual Fund provides important unrestricted operating resources for our educational programs, exhibitions, and conservation of the collection. With gratitude for their Annual Fund support, the Saint Louis Art Museum gratefully recognizes the following donors. A. Bommarito Wines Ms. Susan Ahl Miss Emogene Alexander Mark and Marie Artim Mr. Hendrick B. Barner Patti J. Bauer Mr. Clarence Berndt Mr. Jerald Bonifield Susan and Larry Boxerman William Bright and Joan Dietrich Mr. and Mrs. Carlo J. Bruno Mr. and Mrs. Billy L. Bruns Lee and Tom Bryant Mr. and Mrs. Charles A. Buescher Jr. Ms. Jane E. Burton Ms. Loretta Casey Mrs. Elizabeth S. Concannon Ms. Bre Cosseboom Mrs. Mary Ann Coulter Mrs. Mary Coxe Mr. and Mrs. David M. Culver Mr. and Mrs. Dale B. Dendtler Ms. Mary Ruth Donnelly Mrs. Thomas A. Dooley Mr. and Mrs. Billy Dunehew Ms. Joan M. Elkin Mr. and Mrs. Kevin R. Farrell Mrs. Catherine A. Faught Mr. William H. Ford Hazel Forster and Rachel Forster Mr. Mark E. Foster Dr. and Mrs. M. W. Friedlander Bill and Joan Geekie Mr. Gregory Gettle Ms. Florence M. Glass Mr. Thomas Gorman Judy and Edward Graves in honor of John and Anabeth Weil Mr. and Mrs. Donald J. Green Ms. Sandra Greenberg Michael and Kathryn Haggans John Hall and Michael Tompkins Mr. Ron Hamel Mr. and Mrs. Kenneth E. Hand Mrs. Claiborne P. Handleman Dr. and Mrs. Fred P. Handler Oren and Bonnie Hargrove Ms. Pauline Hawkins Mr. Howard R. Hearsh

Mr. and Mrs. William D. Heaton Jr. Mrs. Elizabeth Hentchel Ms. Nellie I. Hohnsen Mr. Barry M. Hollander in memory of Stuart Hollander Dr. Malaika Horne and Mr. Prince Wells Mr. and Mrs. Benjamin Hulsey Ms. Marlene M. Hunter Dr. and Mrs. Ernest G. Jaworski Ms. Audrey R. Johnson Kenneth O. and Mary Rose Jones Paul Jorjorian and Stacey Wehe Robert and Marianne Karsh Valerie Keener Mrs. Ruth Kiem in honor of Noma Simon Ken Klaus and Gert Glover Mrs. Ann Lee Konneker Mr. Paul Krieger Mr. David V. Kromm Mr. and Mrs. Richard J. Laitman Mr. Leslie J. Laskey Mrs. Kelly Layton Bruce and Lia Lowrie Mr. and Mrs. Robert M. Lucy in memory of Patricia Redfearn Bush Mr. and Mrs. Kenneth A. Marshall John and Clemencia Mazuski Betty McGarry and Janet Wray Dr. Eugenia V. McKee in memory of Virginia Keutzer Mr. and Mrs. James M. McKelvey Sr. Ms. Susan Meiners Gordon and Dona Midgley Sharon Moran and Richard Moran Mr. Bill Moriarity in memory of Diane Moriarity Mr. and Mrs. John C. Morris Ms. Cheryl Morrow Jeanne Nerbonne and Andreas Burkhalter Mike and Olga Nogin Margaret Nugent and Denny McDonough Dr. F. Thomas Ott in memory of Patricia Redfearn Bush Mr. and Mrs. Richard L. Pearce Ms. Katrina Pfeiffer Mr. Guy Phillips in memory of Jacqueline S. Phillips Rev. Msgr. Sal E. Polizzi Ms. Anna Marie Porter John Pyle and Laura Shaw-Pyle John and Diane Rabenau Jay Reiter and Richard Charow Mrs. Shelley Spies Ripplinger

Mr. and Mrs. James C. Roberts Ray and Ginny Ruzicka Samuel and Justina Halley Charitable Foundation Mr. John R. Sares Donald and Donna Sartor Randy and Sara Seagrist Jane Seelig and Mark Corman Mr. Jeffrey S. Senter in memory of Mrs. Ethel Sherman Mr. and Mrs. Stuart Slavin Adam and Katrina Sommer Gloria and Sanford J. Spitzer Mrs. Margaret Sullivan Jyll and Kirk Swearingen Dr. Robert E. Thach Arlene and Buddy Thomason in memory of Daniel Mark Kohler Laurent and Betty Torno in memory of Virginia Keutzer Gail and Gerald Tullman Dick and Zabelle Vartanian Mr. John Veidt Andrew Vesselinovitch John and Mary Ann Virant Mr. and Mrs. Gerald Wagner Ms. Joan E. Walsh Mr. and Mrs. Paul W. Wentzien Mrs. Carol Wetzel Mr. and Mrs. Robert D. Willis Mr. Joseph E. Wuller Mr. and Mrs. Glynn Young Anonymous Gifts received August 1, 2015 through February 1, 2016

Tributes

Planning Your Visit 314.721.0072 • slam.org

The Tribute Fund provides a unique way to support the Museum while honoring family and friends. Donations can be made by mail to: The St. Louis Art Museum Foundation at the Development Office, Saint Louis Art Museum, One Fine Arts Drive, Forest Park, St. Louis, Missouri 63110-1380; by phone, 314.655.5335; or online at members.slam.org/tributes.

ADMISSION TO THE MUSEUM IS FREE EVERY DAY

November 17, 2015 to February 1, 2016

In Honor Of________________________________________________________________ Margery Fort Armstrong Jeffrey T. Fort

Genny Cortinovis Keith and Ann Fischer

Carolyn J. Schmidt Jeffrey T. Fort

Brent R. Benjamin John W. Mackey

Hope R. Edison Billy and Dorothy Firestone Laura Kipnis and Sid Goldstein

Martin Schweig Robert W. Duffy and Martin R. Kaplan

Emerson Sloan Katz Susan and Lonnie Grosman

Leilah Shabazaz Conner Ash P.C.

Dr. Jerome F. and Judith Weiss Levy Sam Weiss

Barbara B. Taylor Jeffrey T. Fort Barbara and Andy Taylor Laura Kipnis and Sid Goldstein

Paul Cahn Eugene Kornblum

Talbot MacCarthy Betty and David Farrell Bettie S. Johnson Mr. and Mrs. Sanford W. Weiss

Kitty Cannon Tom and Dede Farquhar

Cathie Mullins Lisa McMullin

David J. Coleman Chris and Colleen Lester

Dave and Stacy Rolfe Susan and Lonnie Grosman

Ravi Bhoothanath, Shya, and Sasha Angie Zaun Mr. and Mrs. Stephen F. Brauer Howard and Jane Busse Elizabeth and Chris Clark Margaret and Tim Hanser

Mr. and Mrs. W. David Wells Matter Family Office Elizabeth Wyckoff John W. Mackey Betsy Zimbalist Anonymous

In Memory Of_______________________________________________________________ Charles W. Becker Lynn Friedman Hamilton

Carol Princell Drennan Jeffrey T. Fort

Patricia Redfearn Bush Carol Robert Armstrong Mr. and Mrs. Gilbert Bickel David A. Blanton III Mr. and Mrs. Stephen F. Brauer Lois McAdam Cook Virginia B. Cornelius Kathryn Cox Mr. and Mrs. Andrew B. Craig III Martha Lang Delmez N. Timothy and Jeannette Ewing Stephanie and Lawrence Flinn Jr. Mr. and Mrs. Joseph Gazzoli George Bush Presidential Library Foundation Kathy and Fred Hanser Pamela Dana Hudson Laura Kipnis and Sid Goldstein DeDe and Don Lambert Janet and Christopher Larsen Sally and Tom Neff Rosemary Oliver Mr. and Mrs. John R. Roberts John H. Stevenson III Beverly A. Wagner Mr. and Mrs. Hal Wellford

Leatrice Furfine Susan Boxerman Dale Sharon Betsy Zimbalist

Satsuko “Sue” Doi Louise M. Campbell

Virginia Keutzer The Catherine McAuley School of Nursing at Maryville University Mary Beth Farrell Ronald and Paula Hoffmann Tom and Paula Hubbard Laurent and Betty Torno Byron Lapin Lynn Friedman Hamilton Opal Meyer Francis H. Snyder Marjorie Lou Richardson Robert Stover Chester E. Roemer Ann Bauer Daniel Reich Dale Sharon Sissy Thomas Betsy Zimbalist

Dr. Joyce K. Schiller Judith Ciampoli Sid Goldstein Mrs. Cecile K. Lowenhaupt Mr. and Mrs. Charles A. Lowenhaupt Stephanie Sigala Naomi Mazur Silvermintz Susan and Larry Boxerman Martha Lang Delmez Billy and Dorothy Firestone Elaine Gernstein Laura Kipnis and Sid Goldstein Kenneth and Nancy Kranzberg Lauren Markow Ray Mulligan and Bob Risk Judy and Michael Ogilvie Saint Louis Art Museum Docents Joy Sandweiss Dale Sharon Stephanie Sigala Howard Silvermintz Marshall Silvermintz Betsy Zimbalist Jeanne Stolar Jacob Stolar May Weiss Sam Weiss

MUSEUM HOURS Tuesday–Sunday, 10:00 am–5:00 pm Friday, 10:00 am–9:00 pm Closed Monday PARKING Visitor parking is to the north of the Museum or in the paid underground garage off Fine Arts Drive. MEMBERSHIP OFFICE 314.655.5335 or members@slam.org RICHARDSON MEMORIAL LIBRARY Tuesday–Friday, 10:00 am–5:00 pm 314.655.5252, fax 314.721.4911, or email library@slam.org. DINING Panorama Tuesday–Thursday, 11:00 am–2:00 pm Friday, 11:00 am–2:00 pm and 5:00–9:00 pm Saturday and Sunday Brunch, 10:00 am–3:00 pm Cafe Tuesday–Sunday, 10:00 am–4:00 pm Friday, 10:00 am–8:00 pm SCHOOL & GROUP TOURS 314.655.5469 ACCESSIBILITY All areas of the Museum are accessible. Complimentary wheelchairs are available at the Information Centers. PROTECTING THE WORKS OF ART Help us protect the art by not touching. To avoid accidents, keep a safe distance from the art (floor tape indicates a safe distance). Stay with your children; hold hands with the younger ones. Backpacks, food and drink, large bags, and umbrellas can damage works of art. Please leave them at the free coat check.

The Museum Magazine is published quarterly by the Saint Louis Art Museum. © Copyright 2016 Saint Louis Art Museum Saint Louis Art Museum is a subdistrict of the Metropolitan Zoological Park and Museum District established in 1971 by an act of the Missouri State Legislature. It is supported by property tax revenues from the City of St. Louis and St. Louis County and by private contributions.

Forestsustainable paper certification provided by printer

The Saint Louis Art Museum Magazine is printed on FSC-certified paper. The Program Guide is printed on acid-free archival paper.

One Fine Arts Drive, Forest Park St. Louis, Missouri 63110–1380

DEDICATED TO ART AND FREE TO ALL

New on View: Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari Piero di Cosimo’s Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari has been reinstalled in Gallery 222 after being on loan to the National Gallery of Art for Piero di Cosimo: The Poetry of Painting in Renaissance Florence, the first-ever retrospective of the Florentine painter and an exhibition that the Los Angeles Times dubbed “a coming-out party for Piero.” In the Museum’s lifelike rendering, a large panel portrays a sacra conversazione (holy conversation) where saints surround the Madonna and Child in a unified pictorial space. The three smaller panels depict scenes from the lives of Saints Dominic, John, and Nicholas. The Pugliese coat of arms adorns the frame, identifying the Florentine family who commissioned the work for its private chapel. The three smaller panels—called a predella—depict scenes from the lives of Saints Dominic, John, and Nicholas. After Piero di Cosimo closed in Washington, the Museum loaned these panels to the Uffizi Gallery in Florence for a second presentation of the exhibition. Piero di Cosimo, Italian, 1461/62–1521(?); Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and Nicholas of Bari, c.1481–85; oil on panel; 69 3/4 x 47 x 5 inches; Saint Louis Art Museum, Museum Purchase 1:1940

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