access magazine fall 2019 by Worcester Art Museum

access fall / winter 2019

WOR C ESTER ART MUSEUM

contents

From the Director

With Child: Otto Dix / Carmen Winant

Photo Revolution: Andy Warhol to Cindy Sherman

John Singleton Copleyâ&#x20AC;&#x2122;s copycat portraits

Collecting the worldâ&#x20AC;&#x201D;then and now

Partnership uses art to give children their voice

Ongoing/Upcoming

Tours and programs

Seen at WAM!

Membership and giving

Cover: Cindy Sherman, Untitled Film Still #7, 1978, gelatin silver print, Charlotte E.W. Buffington Fund, 1995.65. Image courtesy of the artist and Metro Pictures, New York

Left: A young visitor tries on armor in the Medieval Gallery.

access magazine is a publication of the Worcester Art Museum and funded in large part by the Herron-Dresser Publications Fund. All rights reserved. Information subject to change. Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Design: Kim Noonan Photography: Stephen Briggs, Louie Despres, Remi Egierd, InThink Agency, Kim Noonan, Dany Pelletier, Miles Scanlon Contributing Writers: Olivia Kiers, Sarah Leveille

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from the director A vibrant arts community is part of the renaissance of Worcester and part of what makes Worcester an increasingly exciting place to live and work—an “it” city, a destination choice for an evergrowing number of people. But it is by working collaboratively with others that we truly nurture a cultural community.

A strong local art scene is vital for a lively cultural community. Artists need space to create and to show their work, and we are committed to help in several ways. This summer we partnered for the second year with the Southeast Asian Coalition of Central Massachusetts and the Indochina Arts Partnership to bring two artists—one from Vietnam and one from Singapore—to WAM for a six-week artist-in-residency program. This cross-cultural partnership enriches our own community in innumerable ways, as well as the artists’ home countries, where they return with new ideas, perspectives, and friendships. Also for the second time, we partnered with ArtsWorcester on its 18th Biennial, which was held in May 2019. As the Sally R. Bishop prize winner of the Biennial, Susan Swinand, a longtime faculty member in our studio class program, will have a solo exhibition here at WAM in 2020. In addition, our Central Massachusetts Artist Initiative (CMAI) begins its third year this fall with the installation of work by Matthew Gamber from his series This is (Still) the Golden Age. Each year CMAI showcases two artists who live or work in the greater Worcester region with a solo installation in the Sidney and Rosalie Rose Gallery.

Creating synergy between cultural organizations and businesses also contributes to building a vibrant cultural community. We have been instrumental both in forming and furthering the Salisbury Cultural District (SCD), which includes some of Worcester’s biggest cultural institutions: the American Antiquarian Society, Salisbury Mansion, Tuckerman Hall, WAM, and Worcester Polytechnic Institute. The SCD also includes many restaurants and small businesses located along Highland Street. Our newly hired SCD manager is working to build awareness and cultivate cross-pollinating relationships between the businesses and their nonprofit neighbors. We are looking forward to our first SCD-wide event in the spring of 2020, when organizations will collaborate on programming around the exhibition, Beyond Midnight: Paul Revere, organized by the American Antiquarian Society and hosted by WAM.

Finally, it is through education that we build the foundation of a lifelong appreciation for and love of arts and culture. WAM has partnered with Worcester schools for over a century—it is in our very lifeblood! This year, we began a new relationship with Head Start, a federally funded preschool program, in which each of the 35 Head Start classes in the city visited WAM to look at art in the galleries and create their own works. Their extraordinary end-ofyear exhibition in the Higgins Education Wing was a profoundly moving experience for the pupils, their families, and Museum staff.

As our cultural community grows in tandem with Worcester’s revitalization, we will attract more and more people—who will come to enjoy the cultural treasures and to eat, sleep, and shop. We will all be stronger as a result. Please enjoy this latest issue of access magazine! Matthias Waschek Jean and Myles McDonough Director

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WORCESTER ART MUSEUM

Board of Trustees 2019-2020

Lisa Kirby Gibbs, President Mark W. Fuller, Vice President Lisa H. McDonough, Vice President Thomas P. McGregor, Treasurer Susan M. Bassick Sarah G. Berry Karin I. Branscombe Dorothy Chen-Courtin Catherine M. Colinvaux James C. Donnelly, Jr. Antonella Doucette Jennifer C. Glowik Gabriele M. Goszcz Andrew T. Jay Arthur G. Kentros Dana R. Levenson Patricia S. Lotuff Philip R. Morgan Michael V. O'Brien Malcolm A. Rogers John Savickas Clifford J. Schorer Anne-Marie Soullière

Ex Officio Matthias Waschek, Jean and Myles McDonough Director

Right: Frank W. Benson (American, 1862–1951), Girl Playing Solitaire, 1909, oil on canvas, Museum Purchase, 1909.14. On view in the James Corcoran Donnelly Gallery.

exhibitions With Child: Otto Dix / Carmen Winant September 21 – December 15, 2019

entered on the Worcester Art Museum’s purchase of Otto Dix’s provocative painting, The Pregnant Woman (1931), With Child explores the subject of pregnancy and birth in Dix’s works. The exhibition and its programming reflect on women’s social, political, and medical conditions during Germany’s Weimar Republic (1918-1933), highlighting issues that are still relevant today. A commissioned, multi-media work by contemporary artist Carmen Winant, Ha Hoo...Ha Ha Hoo, gives a woman artist’s voice to this universal topic.

Community Art Exhibition: Reflections on Pregnancy and Birth

September 15 – December 15, 2019 Works of art by residents of Central Massachusetts complement With Child and add to the dialogue and perspectives about pregnancy and birth.

This exhibition is part of the Deutschlandjahr USA 2018/19-year of German-American Friendship. This initiative is funded by the German Federal Foreign Office, implemented by the GoetheInstitute, and supported by The Federation of German Industries (BDI). The exhibition is generously supported by Frank F. Herron and Sandra A. Urie, with additional support from Dr. Marshall Katzen and Ms. Bari Boyer, and Dr. and Mrs. Glenn A. Meltzer. Related exhibition programming is supported by the Amelia and Robert H. Haley Memorial Lecture Fund and the Bernard G. and Louise B. Palitz Fund.

Diary of a Curator

In my 30 years creating educational programs at WAM, I never imagined that one day I would curate an exhibition on the theme of pregnancy and birth! It all began in 2016 when I was asked to assist in the acquisition of the controversial painting The Pregnant Woman (1931) by German artist Otto Dix and then to write a personal label for it, inviting visitors to share their own reactions to the work. The overwhelming number of responses—both positive and negative—gave birth to the idea of organizing an entire exhibition around the painting. As I began to plan With Child, many questions came to mind. Why did Dix focus on pregnancy and birth so many times throughout his long artistic career? What could a modern male artist—known primarily for his work showing the realities of war— have to say about this topic?

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Curatorial work is autobiographical to one degree or another. I felt a deep affinity between what I was learning and the artist himself. Otto Dix and his biography, history, and oeuvre became a focus of an obsessive desire to know and understand him and his work. How did my own autobiography connect to his, and how could I give voice to women’s thoughts and ideas about the theme in art? Answering questions such as these became my focus.

As the checklist grew to include other Dix images of pregnancy and birth—some of which have never been shown before in this country—I longed for a female voice. I discovered it first in German artist Gussy Hippold-Ahnert, a Dix student who worked from the same model as Dix but, intriguingly, showed us her face. Then, on a trip to the Museum of Modern Art in New York City, I chanced upon the stunning work of contemporary artist Carmen Winant, whose graphic photographic depictions of pregnancy and birth were on display on both sides of a narrow room, affixed to the wall with blue tape. I found Winant’s approach to the pregnant body to be the perfect 21st-century answer to Dix’s. And, since the latter’s exploration on the theme of pregnancy took many stylistic turns from 1914 to 1966, introducing Winant’s work would enhance our understanding of the struggle to find a style to express the pregnant nude.

In bringing these two points of view and times together, I hope to provoke questions, conversations, and confessional stories. These are stories that need to be told for us to be whole, particularly for women but also for men who too experience pregnancy and birth, as Dix so movingly demonstrated. My life and work as a curator have been enriched by these two artists’ depictions of these universal human conditions, and I hope yours will be as well. Please add your own stories both in the community exhibition and in the response book in With Child. — Marcia Lagerwey, Guest Curator

Right: Carmen Winant, found images, converted to 35mm slides

Opposite page: Otto Dix (German, 1891–1969), Pregnant Woman, 1966, oil on pressed chipboard, Kunstsammlungen Chemnitz, Inv. No. 751. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Image: bpk Bildagentur / Kunstsammlungen Chemnitz / Bertram Kober (Punctum Leipzig) / Art Resource, NY

Rowland Scherman (American, born 1967), Andy Warhol aside Polaroids of Caroline Ireland, about 1979; printed 2008, digital inkjet print, 61.2 × 76.3 cm (24 1/8 × 30 1/16 in.), Gift of Howard G. Davis, III A.K.A. David Davis, 2011.162. © Rowland Sherman

Photo Revolution: Andy Warhol to Cindy Sherman

NOVEMBER 16, 2019 – FEBRUARY 16, 2020

he 1960s are often described as a tumultuous decade. Documentaries rerun television footage emphasizing polarized political voices for and against the Vietnam War, the Civil Rights movement, the triumph of the first human walking on the moon, and onset of the Women’s Liberation movement. At the same time, another revolution took place: photography emerged as a force in the American art museum. Yet, art historical surveys often leap over fine art photography in their assessments of the 1960s and ’70s, focusing their efforts instead on painting, printmaking, performance art, and film. This realization inspired the exhibition Photo Revolution: Andy Warhol to Cindy Sherman.

The first transformative shift in photography occurred at the end of the 1950s with the publication of Robert Frank’s groundbreaking book, The Americans. Ignoring standards of fine art photography dominant at the time, such as exacting composition, framing, and detail, Frank’s works, like Ranch Market, Hollywood, 1956, present an underexposed, disorienting, and blurred perspective. This approach ran counter to the styles of America’s

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most esteemed fine photographers, like Walker Evans, Ansel Adams, and Edward Weston, who were revered by their contemporaries for their technical precision.

A few years later, Pop Art emerged as the new artistic vanguard following the Abstract Expressionist movement. Perhaps most often associated with artist Andy Warhol, Pop Art rejected the perceived narcissism associated with abstraction. Instead, Pop artists looked to everyday culture—including photographs in advertisements, newspapers and fashion magazines—as the inspiration for their art. In the wake of the Pop movement, photographer and photohistorian Arnold Gassan published A Chronology of Photography in 1972, which offers an interesting theory about why the 1960s became the moment when photography gained a foothold in the art community. Gassan cites three fundamental changes that spurred newfound interest in photography: significantly broader access to instruction; reevaluation of the quality of a photograph beyond mechanics; and the simultaneous resurrection of printmaking as a fine art medium.

exhibitions

Above: Various found vernacular photographs taken by unknown photographers, which are part of a gift to the Museum by Mr. Peter J. Cohen (2018.46.1–2014.46.87).

Until World War II, most photographers learned their craft as the quasi-apprentice of another photographer, typically supplementing their instruction with how-to manuals and independent experimentation. However, after the war, colleges and universities began offering photography courses as part of their studio arts curriculum. This coincided with a growing population of amateur photographers nationwide. The Kodak Instamatic 100 Camera, commercially available beginning in 1963, featured the first cartridge-loading film, making it easy to use even for beginners. With this proliferation of both amateur enthusiasts and newly college-trained photographers, the boundaries of photography were further explored.

Artists like Andy Warhol, Robert Heinecken, and Robert Rauschenberg, all of whom appear in Photo Revolution, recognized photography’s pervasiveness in popular culture— particularly in advertising, fashion magazines, and newspapers. Accordingly, their artwork incorporates photography, sometimes directly, but more often indirectly. For example, Warhol’s 1972 color screenprint Mao Tse-Tung was appropriated from a photograph of the ruler in Quotations from Chairman Mao Tse-Tung, more commonly known as the Little Red Book. Heinecken sourced his layered photographs and prints from photographs in magazines, and Rauschenberg often incorporated images and text he found in newspaper articles. The artists we more commonly associate with photography of the 1960s—like Diane Arbus and the early adopter of color, William Eggleston— continued to work at the same time as painters, printmakers, performers, and the like. Instead of seeing them as outliers, Photo Revolution reinserts Arbus and Eggleston back into the mainstream 1960s survey, illustrating the way their art comments on everyday American life, much like their Pop counterparts.

A reliance on photography extended beyond the 1960s into the 1970s with the emergence of conceptual art. Conceptual artists focused on the idea or concept behind a work of art more than the actual object itself. As a result, more ephemeral art production appeared in the form of performances and written instructions for artworks. Despite the desire to escape objecthood, conceptual artists still relied heavily on photography as a form of documentation. Without photo documentation, for example, temporal art performances would leave no tangible trace today. Land artists, whose work could quickly disappear given various weather and tidal shifts, also relied on photography to secure evidence of their interventions into nature. Finally, a new painting movement called Photorealism emerged. Led by artists like Richard Estes, the Photorealists created hyper-real paintings that mimicked the detail achieved by the camera.

Unlike the cultural revolution of the 1960s, the photo revolution was a quiet affair, with the rise of photography seeping into a wide range of media until it emerged triumphant in the 1980s as a dominant force in contemporary art. However, there is nothing quiet about Photo Revolution. Rather, it exuberantly reminds us of the foundational role photography played in the second half of 20th-century avant-garde art. — Nancy Kathryn Burns, Stoddard Associate Curator of Prints, Drawings and Photographs

This exhibition is presented with support from the Lunder Foundation—Peter and Paula Lunder family, Catherine M. Colinvaux, and the Schwartz Charitable Foundation. Additional support is provided by the John M. Nelson Fund, Don and Mary Melville Contemporary Art Fund, Hall and Kate Peterson Fund, Heald Curatorial Fund, and the Ruth and John Adam, Jr. Exhibition Fund. The exhibition is sponsored by Fallon Health and Skinner Auctioneers and Appraisers.

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conservation John Singleton Copley’s copycat portraits

ohn Singleton Copley’s Portrait of Lucretia Chandler, Mrs. John Murray, (1763), originally hung in the main room of one of the most fashionable homes in Rutland, Massachusetts. The subject of the painting, Lucretia Chandler Murray (then aged 31), leans against a pedestal with her arms casually crossed. The direct look in her blue eyes and faint smile on her lips give a hint of her personality, while Copley’s skill with details and textures can be seen in the rich yellow fabric of her dress, the wide lace cuffs, and the loose brown curls escaping from her pulled-back hair.

Another portrait, nearly identical, can be seen in the collection of the Museum of Fine Arts, Boston—the Portrait of Katherine Greene Amory (Mrs. John Amory) (1763), depicting Lucretia’s cousin. In the Art Institute of Chicago hangs another cousin in the Portrait of Mary Greene Hubbard (Mrs. Daniel Hubbard) (1764).

While there are differences in the portraits—each sleeve ends in a unique lace pattern, the tilts of the chins vary slightly, Lucretia wears her hair differently from the Cousins Greene—the pose and dress are identical in each, down to the folds in the fabric and the crook of the smallest finger.

“This series is interesting, because it’s where the dress and pose are copied so exactly,” says WAM’s Andrew W. Mellon Conservation Fellow, Hae Min Park, who has been conserving the portrait of Lucretia in preparation for the upcoming exhibition, Beyond Midnight: Paul Revere (on view at WAM from February 15 to June 7, 2020). The sitters likely chose the same look to reflect their close relationship (two of their husbands—John Murray and Daniel Hubbard—also have Copley portraits from 1763-64, also nearly identical to each other).

“These wealthy colonists wanted to look like the English elites,” says Park. “They commissioned portraits not of what they

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looked like, but what they could be.” They sought images of themselves in the latest fashions and surrounded by the symbols of old-world wealth, as seen in portraits and mezzotints from Europe—despite not actually owning such clothing and items themselves.

Enter John Singleton Copley, an accomplished artist and owner of a sizeable library of mezzotints (steel or copper plate prints), depicting portraits of English nobility. By age 15, Copley had learned to copy these prints on oil-painted canvas and to create a new portrait by inserting the sitter’s likeness, changing props and pose to suit them.

Copley likely kept his most popular prints arranged in a book, from which clients could select their desired pose and background; seeing the original print would have helped patrons to visualize the final product. Lucretia and her cousins all chose to base their portraits on a print of Mary Howard (née Finch), Viscountess Andover (1746) by English artist Thomas Hudson (1701–1779). The dress, pedestal, and pose are an exact match. Lucretia, however, chose to replace the Mary Howard background with a unique one, combining elements from three other mezzotints in Copley’s collection.

All three women also altered the original dress to match current fashions. “The style of dresses changed very rapidly between 1746 and 1763,” explains Park. “In 1763, the color of the yellow dress they wear was very popular—but only for a short while.”

Once the pose was selected, Copley copied and enlarged it using the grid method; he placed or drew one grid over the selected mezzotint and rendered another on his canvas in pencil. Then, slowly and meticulously, he redrew each square of the grid onto his canvas, creating a highly accurate copy. When the oil paints were applied, the original pencil lines were no longer visible, and the illusion was complete.

Hae Min Park at work

Image right: After Treatment: John Singleton Copley (American, 1738–1815), Lucretia Chandler, Mrs. John Murray, 1763, oil on canvas, Bequest of H. Daland Chandler, 1969.37.

Copley was not alone in his methods; researchers today believe many other artists used the same or similar techniques. However, Copley was by far the most successful—and most in-demand— portraitist in the colonies. During the first 20 years of his career (1753–1774), he created over 300 individual portraits, not only oil paintings, but also pastels and miniatures, the first colonial-born artist to employ either technique. What made Copley’s artwork so popular? It was likely his ability to find the right balance between depicting his clients as they truly looked, and portraying them as they wished to be seen.

“John Singleton Copley’s triumph stemmed not only from his craftsmanship, but also his ability to indulge the social, cultural, and political leanings of his affluent colonial patrons,” explains Park. “By rearranging and incorporating elements taken directly from the engravings, Copley’s embellished representations of his clients granted them—albeit fictitiously—their desired wealth and standing.”

collection

Collecting the world—then and now

n the Worcester Art Museum galleries, visitors can encounter art from around the world and across millennia. When we reflect on the origins of such “encyclopedic” collections, however, it is clear the cultural and geopolitical conditions that defined and allowed for their creation in the 19th and early 20th centuries have changed. As we develop collecting strategies for the 21st century, we must evaluate our role as stewards of these objects and question how they communicate the values of our institution and our mission: to connect people, communities, and cultures through the experience of art.

The original WAM corporators foresaw an art museum for their city that was not merely a picture gallery. Instead, they had a vision for how a collection showing the breadth of human art-making across cultures and time could enrich Worcester and its residents. By 1908—only 10 years after the Museum opened—Greek vessels, Roman sculpture, American decorative arts, European paintings, Chinese metalwork, and a superlative collection of Japanese prints counted among our holdings.

In the decades that followed, our collection expanded to include objects from ancient Egypt, the ancient Americas, South and Southeast Asia, the Middle East, Africa, and Oceania. While some of these works came as gifts and bequests, the Museum also actively acquired objects from international sources. Between 1908 and 1917—the tenure of inaugural director Philip Gentner—the Museum’s purchases included two paintings by Claude Monet, four Roman portrait busts, a Northern Wei Dynasty terracotta warrior sculpture, a full set of Edo-period samurai armor, and a collection of 3000 American prints formerly owned by antiquarian Charles E. Goodspeed.

The desire to bring the visual expressions of human creativity under one roof was not unique to the founders of our Museum. At the turn of the century, influential residents of numerous American industrial cities, such as Cincinnati, Milwaukee, and Toledo, founded museums with rich and diverse holdings to uphold the values of culture and education. As civic institutions, their missions articulated a desire to serve the public good and benefit all, following a tradition started in Boston, New York, and Chicago only a few years earlier.

The origins of this kind of civic museum are found in Europe. In part, they can be traced to private court collections that were made public as the power of centralized monarchies became less certain in the late 18th century.

For example, the Louvre transitioned to a public picture gallery in 1793 during the early years of the French Revolution. And as society grew more secular, collections of religious art from many cathedrals and churches ended up in museums in capital cities.

In addition, some monarchs began cultivating Kunstkammer collections as early as the 16th century. These cabinets or small chambers were repositories of exotic objects and natural specimens. Such microcosms served as both powerful symbols and actual manifestations of a sovereign’s global reach. For the most part, objects from beyond Europe made their way to these collections via trade routes facilitated by the establishment of European colonies in Asia, Africa, and South America. Cabinets of curiosities remained popular in the Age of Enlightenment as gentlemen sought to collect the world in the pursuit of knowledge. One such private collection assembled by Sir Hans Sloane in the late 17th and early 18th centuries was used to establish the British Museum and Library

in 1753, the world’s first public museum with the objective of collecting universally.

From today’s perspective, the histories that undergird the modern encyclopedic museum are old-fashioned. Thankfully, building caches of art like a king, harvesting the finest souvenirs from an empire, and amassing the spoils of war are no longer collection building strategies. The ethical standards of our time reflect greater mindfulness of an object’s history of ownership and how it entered the market. Moreover, the prices commanded by global art sales prohibit most museums from making large acquisitions as they did a century ago.

When we assess WAM’s collections, we see in their encyclopedic reach the boundless scope of human creativity and the potential to realize our mission of inspiring community among our visitors through art. Thus, we assert our commitment to developing an encyclopedic museum for the 21st century by welcoming outstanding works of art that reflect our commitment to inclusivity. Within the bounds of our expertise and means, we also seek great works that may have historically eluded the canon by virtue of the artist’s nationality, race, gender, choice of medium, or other markers of identity. We are particularly interested in acquiring art that reveals how aesthetic styles, techniques, values, and subjects are conveyed across national, ethnic, and cultural lines. These intersections can serve as important links as we introduce a narrative in our galleries that emphasizes context and cultural exchange. In this manner, we build on the superb collection created by our predecessors and work toward infusing it with greater diversity. — Claire Whitner, Director of Curatorial Affairs and the James A. Welu Curator of European Art

Right: Claude Monet (French, 1840–1926), Waterlilies, 1908, oil on canvas, Museum Purchase, 1910.26.

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collection

Edward Augustus Brackett (American, 1818–1908), Shipwrecked Mother and Child, 1848–1851, white marble, Gift of Edward Augustus Brackett, 1904.64.

John Singer Sargent (American, 1856–1925), Oranges at Corfu, about 1909, oil on canvas, Theodore T. and Mary G. Ellis Collection, 1940.99.

Conservation Now:

Celebrating modernity in the Donnelly Gallery

How to rescue a shipwrecked mother and child Shipwrecked Mother and Child by Edward Augustus Brackett has been in WAM storage for decades, but this fall will once again rise from the depths to our Jeppson Idea Lab. Completed in 1851, this life-sized marble group depicts a nude mother cradling her young child, both with eyes closed and torsos twisted.

Thanks to generous funding from the Henry Luce Foundation, the sculpture will undergo a year-long restoration, after which it will go on permanent display. Beginning in December 2019, visitors will be able to watch Objects Conservator Paula ArtalIsbrand as she meticulously cleans and repairs the figures—and brings them back to their original splendor.

Largely self-trained, the Boston-based Brackett is mostly known for his portrait busts, particularly of abolitionist John Brown and painter Washington Allston. Shipwrecked Mother and Child was his masterpiece, begun in 1848 as a series of clay and marble mock-ups. Something of an eccentric, Brackett depleted his life savings to purchase an enormous block of Vermont marble for the final version. The result was praised by medical doctors for its anatomical accuracy and raised a little controversy from his choice to depict his subject nude.

Following its first exhibition in New York, the sculpture was displayed in the Boston Atheneum from 1854 until the early 1900s, then returned to the artist. In 1904, Brackett (who had retired from art to serve as the head of the Massachusetts Fish and Game Commission) gave the marble group to WAM, where it was displayed for some years before being put into storage. Now, after almost 80 years, Shipwrecked Mother and Child will once again grace the Museum’s galleries.

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The recent reinstallation of WAM’s James Corcoran Donnelly Gallery demonstrates the dialogue between American and European artists between 1890 and 1945. Styles and subjects deemed “modern” altered radically in this era, and doors began to open for new perspectives—those of women and persons of color.

Beginning in the 1890s, American painters drew inspiration from the French Impressionists. John Singer Sargent’s Oranges at Corfu (about 1909) is a prime example of that light-drenched aesthetic, here applied by an American who spent most of his career in Europe. Importing Impressionism to the United States after study in France, Childe Hassam demonstrates this style in The Breakfast Room, Winter Morning, New York (1911).

Simultaneously, women were increasingly visible as artists, many of them engaged in the avant-garde. During World War II, wealthy American expatriate Kay Sage helped several French Surrealists flee Europe and find gallery representation in New York, exposing more Americans to this enigmatic art movement. In the Donnelly Gallery, her painting I Have No Shadow (1940) is shown beside fellow Surrealist René Magritte’s mysterious The Voice of Silence (1928).

At one end of the gallery, Vassily Kandinsky’s Untitled, No. 629 (1936) shimmers with pure color and form, eschewing a representational subject altogether for what the Russian abstract artist called “inner vibrations” of the soul. Nearby, Beauford Delaney, an American painter of the Harlem Renaissance, reveals another kind of soul in Portrait of Gaylord (1944), with lively colors and brushwork reminiscent of Vincent van Gogh.

Taken together, these works show how the modern aesthetic blossomed into visually distinct yet co-existing styles, for a truly exciting period in the history of art.

curatorial news

Recent gifts support curatorial and conservation positions

We are delighted to announce that three key positions in Curatorial and Conservation have recently been named.

A $2 million gift from the New York-based Manton Foundation has endowed and named The Higgins Curator of Arms and Armor and Medieval Art at the Museum. The position was created following the 2013 acquisition of the John Woodman Higgins Armory Collection. Jeffrey Forgeng, who has held the position at WAM since 2014, was Jeffrey Forgeng previously the Paul S. Morgan Curator of Arms and Armor at Worcester’s Higgins Armory Museum. He has overseen several installations focusing on or incorporating objects from the Higgins Armory Collection, as well as supervised the renovation of WAM’s Medieval Art galleries, which reopened in 2016. Forgeng is the author of multiple books on medieval and Renaissance history, with particular expertise in arms and armor, sports and games, and daily life. Worldwide, he is one of a handful of specialists on the martial arts techniques of medieval and Renaissance Europe.

Additionally, the Stoddard Charitable Trust has endowed and named WAM’s Curator of Prints, Drawings, and Photographs position. Nancy Kathryn Burns, the new Stoddard Associate Curator of Prints, Drawings, and Photographs, has been a member of the curatorial department for 10 years. She has been responsible for some of the Museum’s most acclaimed exhibitions, including the Nancy Kathryn Burns 2016 exhibition Cyanotype: Photography’s Blue Period, the 2017 show Rediscovering an American Community of Color: The Photographs of William Bullard, and 2018’s Monet's Waterloo Bridge: Vision and Process. The exhibition catalog, Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917, co-authored by Burns and Janette Thomas Greenwood, Professor of History at Clark University, won the 2018 Historic New England Book Prize.

The Chief Conservator position will be supported through 2024 by a contribution of $500,000 from the George F. and Sybil H. Fuller Foundation. Rita Albertson, now the George F. and Sybil H. Fuller Term Chair in Conservation and Chief Conservator, oversees a conservation team of specialists in objects, paintings, works on paper, and arms Rita Albertson and armor. She also directs the Museum’s renowned Conservation Program, working from the state-of-theart Fuller Conservation Lab—named after the Fuller Foundation— and the Culpeper Paper Lab. In addition, Albertson, who joined WAM in 1999, plays a significant role in the training of emerging conservators, who ultimately apply their skills at other museums in the U.S. and abroad. In announcing the gift, Mark Fuller, George F. and Sybil H. Fuller Foundation chair, said “Our collective decision to fund the position of Chief Conservator is a natural next step in expanding our support for the Museum’s vital conservation work. We believe these funds, which, in essence, will contribute to Museum operations over the next five years, will enhance the institution’s financial well-being as well as its long-standing reputation as a leader in the field of art conservation.”

George F. and Sybil H. Fuller Foundation Trustees

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education

Head Start / WAM partnership uses art to give children their voice

dozen preschool aged children sit on the gallery floor while WAM faculty member Sally Lividini describes a painting. Then, to help them understand the concept of perspective in art, she leads them in an exercise: “Threedimensional art has height,” she explains, and she and the children raise their arms high over their heads; “width,” and arms stretch out to their sides; “and depth,” with hands reaching in front of their bodies. “But a painting can show all three, even though it only has height and width,” Lividini adds. She completes the lesson by asking the attentive children to tell her what objects in the painting are near or far away.

“Children can learn anything if it’s presented on their level,” says Christine Lindberg, atelierista (art instructor) for Worcester’s Head Start Program.

Head Start, a federally funded preschool program, serves 615 of the most at-risk children in Worcester. Comprehensive and community focused, the program provides more than education; it connects families to resources for everything from nutrition to mental health care to disability services. Throughout the 2019 school year, each of the 35 Head Start classrooms across the city visited the Worcester Art Museum at least once—in some cases three times. Every visit included a “tour” of two or three pieces of art, followed by sketching and a studio art project.

“Life is so fast, with today’s technology,” says Carlene Sherbourne, Ed.D., education manager for Worcester’s Head Start.

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Coming to the Museum galleries “slows the children down, makes them aware of what they’re looking at. When they slow down and focus on the details, it activates other parts of the brain.” Back in the gallery, Sally asks her students where the light in the painting comes from. “The sky!” the group answers enthusiastically. But where in the sky? “The sun!” She guides the students to notice the shadows and reflections in the painting, clues to the direction of the sun.

Next, Sally leads the class to another painting, and again asks about the source of the light—more than half the class can tell immediately which window in the painted room lets in the light. Several can recognize small details with very little prompting, noticing bundles of flowers on the floor and urns on a back shelf.

“They’re developing a critical eye, an awareness of materials and perspective,” says Lindberg. “They also develop the language to talk about it, as they listen to and answer questions.”

After their tour of the galleries, the class goes outside to paint pictures of WAM’s outdoor sculptures, using white and black paint for reflections and shadows. One girl spends almost the whole twenty minutes carefully capturing every line and detail.

“What the children learn here—critical thinking, observation—transcends art,” says Sherbourne. “They’re learning to really look, to see different perspectives. And when you allow children a voice, they learn their opinion matters.”

“It’s not just about getting the children to come to the Museum,” adds Carina RuizEsparza, WAM education coordinator, who oversaw much of the day-to-day planning for the partnership. “We’re helping to introduce kids and their families to art. It’s become bigger than just the schools and the Museum, now it’s part of the community.”

The year of visits from the Head Start classes culminated in a student exhibition, World of Provocation: Making Learning Visible. Projects designed and created by Head Start students—drawings, sculptures, model bridges—filled two hallways of the Higgins Education Wing. More than 500 children, parents, and community leaders came to the show’s opening night on May 23. Many of the attendees had never visited the Museum before. “This is exactly what our mission is,” says Jan Ewick, WAM tour program supervisor and point person in setting up the Head Start partnership. “Introducing these children to art, giving them the tools to express themselves, and bringing their families together to celebrate that. This is what a museum is for.”

Marnie Weir, the Museum’s director of education and experience, reflects on the long-term effects of the program. “When you start with children this young, you foster a community of artists, who become engaged individuals as adults, who carry it through their lives. The Museum has a history as a place of education; it’s good to see that tradition continuing in new ways, over a hundred years later!”

Find yourself at WAM

Works of art speak to us in different ways; sometimes we find ourselves returning to the same work over and over. Members of the WAM community tell us about their favorite works in the Museum’s collection.

Moroni’s Portrait of a Man is full of mystery I never visit WAM without also visiting this gentleman, the anonymous man whose portrait Giovanni Battista Moroni painted in the 1550s, in an exquisite silvery palette. Despite the difference in our ages, he feels very contemporary to me. His stately pose reads as exactly that, a conventional arrangement that Moroni can barely convince him to hold. He is a man on the move, his direction emphasized by the diagonal shadow cast on the wall behind him. Everything about him, from the activity of his hands to his cool gaze, suggests a quick and active intelligence. He coolly assesses us even as he moves right on by.

Giovanni Battista Moroni (Italian, about 1525–1578), Portrait of a Man, 1555–1560, oil on canvas, Museum Purchase, 1912.60.

even defensive. Will he be a friend, or a worthy adversary? I constantly return to look again, acknowledging that the mystery is much of the pleasure.

My own pleasure in this painting encouraged me to seek out other portraits by Moroni in other museums. If this gentleman is not a friend, he does at least part of what a great collection should: introduce us to others we might not otherwise have met. Juliet Feibel, Executive Director, ArtsWorcester

Ambiguity infuses this painting. Are we inside a courtyard or outside on the street? Is it morning or evening? His expression is not warm, and is perhaps

An intriguing interaction fascinates me

I find Bill Brandt's portrait of Francis Bacon, part of WAM’s excellent photography collection, particularly interesting. The dramatic intensity of this photo is something that we don't see much in portraits today.

Even though the subject of the photograph is the painter Francis Bacon, what sets apart this portrait for me is the importance of the environment in the composition. The extreme contrast, weird perspective, distorted dramatic tilted lines, all seem to imply a state of mental imbalance and agitation. By breaking the traditional rules of photographic composition—but somehow having everything fall in the right place— Brandt gives the image a sense of movement that pushes the figure of Bacon forward, almost out of the frame. Behind him is the bleak existential space, with the leaning lamppost and path, the dark lumps of trees, and heavy sky. Bacon’s face looking toward some place we can't see suggests more tension

ahead, out of the frame. His features, also disfigured by the photographic artifacts, merge with the environment, evoking his own paintings and his own life. This is an image that, even if taken in 1963, feels like it belongs with earlier existentialist theater or expressionist cinema, not the Pop Art of its era.

I am intrigued by this interaction between Brandt and Bacon: the photographer’s dialogue with his own ideas about Bacon and his art, as well as his questioning interpretation of Bacon's troubled persona by melding the subject and the surroundings, creating a sense of unknown and bottomless depth. Enrique Vega, Security and Guest Services Manager, Worcester Art Museum

Bill Brandt (British, 1904–1983), Francis Bacon Walking on Primrose Hill, London, 1963, gelatin silver print, Museum Purchase, 1967.9. © Estate of Bill Brandt

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ongoing/upcoming Radiance Rediscovered: Stained Glass by Tiffany and La Farge Contemporary Gallery Extended through December 1, 2019 Two resplendent sets of stained-glass windows—restored in 2018 and on view after more than 40 years in storage—invite up close comparisons of the exquisite artistry and techniques of Louis Comfort Tiffany (1848-1933) and John La Farge (18351910). Also on view after extensive conservation is La Farge’s experimental Peacock Window (1892-1908), which simulates the vibrant coloration of the magnificent, exotic bird by employing the challenging process of cloisonné glass. Radiance Rediscovered: Stained Glass by Tiffany and La Farge is generously supported by the Henry Luce Foundation. Additional support is provided by RandWhitney Container.

John La Farge (American, 1835–1910), The Pool at Bethesda, (detail), 1898, stained glass, Gift of Mount Vernon Congregational Church, 1975.100.2

Beyond Midnight: Paul Revere Contemporary Gallery February 15 – June 7, 2020 Drawing on the American Antiquarian Society's unparalleled collection of prints and books, the exhibition, Beyond Midnight: Paul Revere, will transform viewers' understanding of this iconic colonial patriot. This in-depth examination of Revere's many skills as a craftsman will illustrate the entrepreneurial spirit of an early American artisan, who stood at the intersection of social, economic, and political life during the formation of the new nation. Examples of rare prints, shown alongside elegant silver tea services and everyday objects—such as thimbles and period newspapers—will reveal new facets behind a versatile artisan best known for his “midnight ride.”

Paul Revere (American, 1735–1818), The Bloody Massacre Perpetuated in King-Street Boston on March 5th 1770, engraving with hand color, American Antiquarian Society, Gift of Nathaniel Paine. Image courtesy of the American Antiquarian Society.

Central Massachusetts Artist Initiative (CMAI) Sidney and Rosalie Rose Gallery Matthew Gamber October 9, 2019 – March 29, 2020 Matthew Gamber’s photographic practice explores the way meaning is constructed through photographic imagery, by isolating and confronting various elements of photography, such as color or light. Gamber created the works in his series This is (Still) the Golden Age by pressing light-sensitive photographic paper against a cathode-ray tube television as it was powering down. In doing so, Gamber captured a residual image as the heat and light of the television subsided. Despite the hazy quality of the images and black edges, indicating the shrinking and fading of the on-screen image, game show props and sitcom actors’ faces remain remarkably present in Gamber’s work. The photographs from This is (Still) the Golden Age create a tangible and permanent record of fleeting images from broadcast programs. Gamber is an Associate Professor in the Visual Arts Department at the College of the Holy Cross. 18

Learn more at worcesterart.org

This exhibition was organized by the American Antiquarian Society. Major support has been provided by the Richard C. von Hess Foundation and the Henry Luce Foundation. The exhibition is supported in part by The Berry Group and James and Carol Donnelly.

Matthew Gamber, The Price is Right, from This is (Still) the Golden Age, 2006, gelatin silver print, © Matthew Gamber

The Kimono in Print: 300 Years of Japanese Design Frances L. Hiatt Gallery March 28 – June 28, 2020

Keisai EISEN (Japanese, 1790–1848), Modern-Style Beauties in Snow, early-mid 1820s, published by Sanoya Kihei (Japanese), color woodblock print, John Chandler Bancroft Collection, 1901.146

The Kimono in Print is the first ever show devoted to examining the kimono as a major source of inspiration and experimentation in Japanese print culture from the Edo period (1603-1868) to the Meiji period (1868-1912). Artists during these periods, through the wide circulation of prints, documented ever-evolving trends in fashion, popularized certain styles of dress, and even designed kimonos. This intriguing dialogue between print and kimono design will be illustrated by approximately 80 Japanese prints, as well as a selection of illustrated books and paintings.

This exhibition is generously supported by the E. Rhodes and Leona B. Carpenter Foundation. Early research for this project was made possible by the Japan Foundation and the Institute for Museum and Library Services.

Kimono Couture: The Beauty of Chiso Hiatt Wing April 25 – July 26, 2020

The first ever exhibition outside Japan of historic and contemporary kimonos from the collection of Chiso— the distinguished Kyoto-based kimono house founded in 1555—will include 13 kimonos from the mid-1600s to 2000s. Also on display will be an original, handcrafted contemporary wedding kimono specially commissioned by the Worcester Art Museum with motifs inspired by the seven hills of Worcester—as well as a video documenting the contemporary creation of a kimono from start to finish. This kimono will feature new and traditional design and fabrication techniques— some of which are now practiced by only a few remaining artisans.

Kimono Couture gives a rare and up-close look at the intricacy, character, and artistry of kimono design and fabrication in one of Japan’s most exclusive kimono houses. Following its run in Worcester, Kimono Couture will travel to the Crow Museum of Asian Art of the University of Texas at Dallas.

This exhibition is organized by the Worcester Art Museum in partnership with CHISO, the revered 460-year-old kimono design and production house based in Kyoto, Japan. Support is provided by the Michie Family Curatorial Fund. Research for this project was made possible by the Japan-United States Friendship Commission and the Northeast Asia Council of the Association for Asian Studies.

CHISO, Furisode, 1938, Yuzen dyeingMonet, and embroidery, Collection CHISO © CHISO Claude Waterloo Bridge,of1903, oilCo. onLtd canvas, 1910.37

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tours and programs

Programs for teens

Drop-in tours

Public tours begin in the Lancaster Lobby

Tours of the Month First and third Saturday of the month, 2pm Get an in-depth look at the Museum’s collection in these docent-led tours September 7 and 21 American Landscapes: Transitions in Style Journey through centuries of American landscape painting and learn about the changes in style that rendered our country’s beauty. October 5 and 19 Modern German Art: “The Quartet” Explore the world and the work of four German Expressionists: Otto Dix, Max Slevogt, Lovis Corinth, and Gabriele Münter. November 2 and 16 Haarlem Art of the Dutch Golden Age Learn about some of the events that led to the Dutch Golden Age and artists who contributed to its growth. December 7 and 21 Coming Together: Parties & Celebrations from Around the World Look for themes of fellowship and celebration in this tour focused on merry making. January 4 and 18 Images of Women in Art and Photography Consider images of women in art from the collection. Then explore how photographic images in Photo Revolution: Andy Warhol to Cindy Sherman both inform and contrast those representations. February 1 and 15 WAM’s Fantastic Beasts and Where to Find Them Look at how creatures both real and thought-to-be-real were used as metaphors of the human condition in both Eastern and Western cultures. Please check our website for Tour of the Month topics for the rest of the year.

Zip Tours Saturdays, 1pm Delve into one artist or work of art in these fast-paced, 20-minute tours. Sunday Tours Sundays, 1pm Join one of our docents for an overview of the Museum collection.

Learn more at worcesterart.org

Group tours

All tours meet in the Lancaster Lobby

Adult Group Tours Private docent-led group tours for 10 or more can be arranged by calling 508.793.4338. Adult tour groups pay Museum admission and a $2 service fee per person.

Youth/Student Group Tours WAM special exhibitions and permanent collections can be used to support your curriculum through tours, hands-on workshops, teacher resources, and other events. Led by trained docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5 per student for prearranged school groups on either docent-led or self-guided tours.* Admission is free for Worcester Public School students and their chaperones. For more information and to book a tour, call 508.793.4338 or visit worcesterart.org/events/group_tours. * Includes Museum admission

Family programs

Art Carts: Family Fun in the Galleries Get hands-on with a stop at one of our interactive Art Carts, located throughout the Museum. Touch materials, draw, create mosaics, and discover the answers to your questions and more. Check our website for schedule.

Artful Play First and Third Wednesdays, and Third Saturdays, 10:30-11:15am Our special gallery experience engages caretakers and their young children (ages 0-5) with art and stories focused on different themes. Stay for snacks and socializing.

Teen Nights Third Thursdays, September – November, 5:30-8pm Teens ages 14+ enjoy demonstrations, gallery visits, and time to work on individual art projects, plus instructor feedback and portfolio reviews upon request. Refreshments served. Space is limited; register online at portal.worcesterart.org or call 508.793.4333.

Programs for all ages

Arms + Armor Demonstrations Free First Sundays and most Saturdays, 11:30am and 2pm Join us for these fun interactive programs, and learn about different kinds of arms and armor used by Roman soldiers, medieval knights, and beyond! Before visiting, check our website for weekly schedule.

Homeschool Programs WAM welcomes homeschool groups with tours and gallery studio workshops designed to complement home-based learning for ages 5 and up. Call or email Jan Ewick at 508.793.4338 or janewick@worcesterart.org to schedule your homeschool visit today! Please schedule at least three weeks in advance.

Earn your Girl Scout Badge at WAM One-and-a-half hour workshops are led by teaching artists, include all materials, a WAM gallery tour, and the badges. Private workshops must be scheduled at least three weeks in advance. Call Elizabeth Buck at 508.793.4462 to discuss cost and schedule your troop’s private workshop!

All programs listed are free with Museum admission, unless otherwise noted. Admission is free on the first Sunday of each month. Information subject to change; please visit worcesterart.org before visiting.

Community events

Fall Community Day: Travel the Silk Road Sunday, November 3, 10am-4pm Discover stories and cultural traditions of the Silk Road by traveling through the centuries of our Asian Art galleries. Enjoy art-making, music, performances, and food throughout the day. Free admission. Deck the Halls! WAM gets merry for the holidays with all new decorations and expanded concert schedule. Sundays at 2pm: December 1, Wachusett Jazz December 8, Assumption College Chorale December 15, Merrimack Valley Ringers December 22, Glen Hillard December 1-24: Members enjoy a double discount in the Museum Shop.

MASTeR SeRieS THiRD THuRSDAyS 2019 – 2020

Exhibitions and Programs The Worcester Art Museum's Master Series highlights selected works of art in galleries throughout the Museum. Each work or group of works is also the focus of a Third Thursday art talk presented by a scholar in the field, allowing for more indepth appreciation of the piece and artist. Hosted by the WAM Members Council

Learn more about this year’s Master Series works by joining the WAM Member’s Council and other art enthusiasts for an illustrated art talk, followed by a reception with cash bar. Free with Museum admission. The Master Series is presented with support from the Bernard G. and Louise B. Palitz Fund and the Amelia and Robert H. Haley Memorial Lecture Fund. MASTER SERIES SPONSOR

Images top to bottom: The Pregnant Woman, detail, 2016.11, © 2019 Artists Rights Society (ARS), New York/ VG BildKunst, Bonn; Untitled [Are You Rea], detail, 1975.12, © Estate of Robert Heinecken, courtesy of Cherry and Martin Gallery; Paul Revere, detail, photograph © 2019 Museum of Fine Arts, Boston, 30.781; Francisco de Goya, Boy on a Ram, 1786/87, oil on canvas, the Art Institute of Chicago, Gift of Mr. and Mrs. Brooks McCormick, 1979.479; Holy Family, detail, 2019.46, © 2019 Estate of Reginald Gammon / Licensed by VAGA at Artists Rights Society (ARS), New York; Uchikake, detail, © CHISO

Member Event: Champagne, Chocolate & Shopping Friday, December 6, 5-7:30 pm Enjoy a festive evening at WAM and get a head start on your holiday shopping! Sample chocolate desserts, sip a glass of champagne (Members receive one complimentary glass), take a docent guided candlelight tour of the European galleries, and browse unique gifts in the Museum Shop. Free gift wrapping, sponsored by the WAM Members Council. Members: Free, Guests: $20. Cash Bar.

Flora in Winter January 23-26, 2020 Get a welcome taste of spring during WAM’s annual floral extravaganza when the Museum is filled with flower arrangements inspired by works of art and created by the area’s leading floral designers. Demonstrations, lectures, guided tours, and more will take place throughout Flora. For the complete schedule, please visit worcesterart.org/flora. Nonmember admission is $25 for adults, $8 for youth. Free for WAM Members, except for Flora Euphoria.

Flora Euphoria: Friday, January 24, 5:30-8pm Exclusive evening celebration of Flora in Winter. Separate ticket prices apply; tickets go on sale January 1, 2020. Visit worcesterart.org/flora.

Flora in Winter is supported in part by the the Bernard G. and Louise B. Palitz Fund and the Spear Fund for Public Programs.

Thursday, October 17, 6pm Speakers: Ute Tellini, author of Images of Women During the Weimar Republic in Germany, and Michelle Vangen, Art History Professor, Kingsborough Community College, CUNY Art Talk: Images of Women during the Weimar Republic, and Images of Maternity in Otto Dix. Thursday, November 21, 6pm Speaker: Diana Tuite, Curator of Modern & Contemporary Art, Colby College Museum of Art Art Talk: Paraphotography: Doing Things with Images

Thursday, February 20, 6pm Speaker: Ethan Lasser, Chair, Art of the Americas, Museum of Fine Arts, Boston Art Talk: Paul Revere and John Singleton Copley: Making an American Icon

Thursday, March 19, 6pm Speaker: Janis A. Tomlinson, Director of Special Collections and Museums, University of Delaware Art Talk: “The Boy on a Ram” in Context Thursday, April 16, 6pm Speaker: Kimberly Bobier, PhD, Assistant Visiting Professor in the Department of the History of Art and Design at Pratt Institute Art Talk: Reginald Gammon: Notes on Assembly Thursday, May 21, 6pm Speaker: Monika Bincsik, Diane and Arthur Abbey Assistant Curator for Japanese Decorative Arts, The Metropolitan Museum of Art Art Talk: Kimono Fashion in Kyoto

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Seen at WAM!

Learn more at worcesterart.org

From exhibition openings and community days to VIP tours and our annual Gala, WAM is the scene of art-full and memorable moments.

philanthropy A Tribute to Jean McDonough

In late July, we announced the largest single donation in the Worcester Art Museum’s history: a gift of $10 million from the C. Jean & Myles McDonough Charitable Foundation. This extraordinarily generous donation reflects Jean McDonough’s lifelong devotion to this Museum and our city. While raising her family and working with her husband, Myles, to build their family business (FLEXcon), Jean found inspiration and respite at the Museum. In fact, she describes it as her second home.

In 1971, she became a docent—a role she loved—and for many years introduced thousands of Worcester schoolchildren to the joy of art. In addition, she served as a steadfast trustee for 18 years and as a volunteer in many other capacities. This donation, which follows the Foundation’s $4 million endowment gift and naming of WAM’s directorship in 2015, will continue Jean’s forward-thinking leadership for years to come. “On behalf of the WAM family, I would like to thank Jean and the McDonough family for this exceptional gift, which benefits both the Museum and the community we serve,” said Matthias Waschek, the Museum’s Jean and Myles McDonough Director. “With this donation, we have an opportunity to plan strategically and thoughtfully to ensure a future for the Museum that honors Jean’s legacy of generosity.”

Jean McDonough

Legacy Society

The Legacy Society was formed to recognize those individuals who have included the Worcester Art Museum in their will or estate plans. These generous and visionary members ensure that the Museum is a vibrant institution that will deliver transformative experiences for future generations. We are grateful to the following who have either left a legacy gift to WAM or have included the Museum in their estate plans, thereby making WAM a priority during their lifetime and beyond:

Mrs. Margery A. Adams Mr.* and Mrs. William C. Arthur. Jr. Ms. Ann Baumann* Elaine W. Beals* Sarah and Allen Berry Mr. and Mrs. Howard M. Booth* Philip H. Brewer Karl and Dorothy Briel* Dr. Elaine and Mr. Robert Bukowiecki Elizabeth Burguet* Douglas P. Butler* Estate of Dr. and Mrs. William T. Carleton William R. Carrick* Alexandra Cleworth and Gary Staab Paula H. Connolly Susan C. Courtemanche Mrs. Fairman C. Cowan* Jeanne Y. Curtis* Mary S. Cushman* Janet B. Daniels* Dix and Sarah Davis

Robert A. DeLuca Patricia and Richard Desplaines, Jr. Henry B. and Jane K. Dewey Maria and John Dirlam Andrea N. Driscoll Estate of Shirley Look Dunbar Mr. and Mrs. I. R. Freelander* Esther and Howard Freeman* Estate of Judith S. Gerrish Lisa Kirby Gibbs and Peter Gibbs Daniel Grim and Irene Browne-Grim Robert D. Harrington, Jr.* Mrs. Milton P. Higgins* Dr. James and Mrs. Kathleen Hogan Prof. Louis J. Iandoli Frances and Howard Jacobson Peter Jefts John and Marianne Jeppson* Joan Peterson Klimann Sarah Bramson Kupchik* Claude M. Lee III Irving and Marie Lepore*

Dr. Paul J. Mahon Patricia F. Mallard* Carl A. Mangano* Jodie and David Martinson Mr.* and Mrs. Robert K. Massey Myles* and Jean McDonough Ellen E. McGrail* Dr. and Mrs. Glenn A. Meltzer Don and Mary Melville* Estate of Jean H. Miles Mrs. David J. Milliken* Mrs. Anne (Nancy) Morgan Ileana Muniz Linda and John* Nelson Viola M. Niemi* Douglas Cox and Edward Osowski Fund for Photography Mrs. Mae I. Palmgren* Richard Prouty* Sarah and Joe Ribeiro Mr.* and Mrs. Chapin Riley Estate of Blake Robinson

Mrs. Elijah B. Romanoff* Mr. and Mrs. Henry B. Rose Mr.* and Mrs. Sidney Rose Estate of Edith Safford The Estate of Leonard B. Safford Mr. Norman L. Sharfman* Dr. Shirley S. Siff and Robert M. Siff Mary Skousgaard Ivan and Virginia Spear* Helen M. and Thomas B. Stinson* Helen E. Stoddard* Estate of Madeline Tear Richard S. Teitz* Mr. and Ms. Jack Tobin* Grace Van Tassel* Hester N. Wetherell* Margaret Ray Whitney* Irving N. Wolfson, M.D.* Mrs. Ledlie L. Woolsey* Elton Yasuna* *Deceased

If you are interested in naming the Worcester Art Museum in your will or estate plans, please contact the Development Office by calling 508.793.4404 or emailing us at marillynearley@worcesterart.org.

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philanthropy

50 for 50 Challenge WAM ANNUAL GIVING

FROM THE KIRBY FOUNDATION

If you make a new gift of $50 or more, or increase your support by $50 or more, The Kirby Foundation will match it up to $50,000! The Kirby Foundation offered this generous challenge as an expression of its support of WAM and with the hope of inspiring all those who believe in the value of a meaningful art experience.

PLEASE GIVE BEFORE DECEMBER 31 to the WAM FUND and DOUBLE YOUR IMPACT on the Museum, our community, and all those who visit, take classes, and participate in inspiring programs. Contact the Development Office at 508.793.4325 or visit www.worcesterart.org/give to make and double your gift today. Thank you!

Computer lab gets an upgrade

Generous support from the Arthur M. and Martha R. Pappas Foundation has made possible much-needed infrastructure improvements to the Museum’s Mac Lab. Located on the second floor of the Higgins Education Wing, the lab now has 15 new iMac computers, each equipped with Adobe Creative Cloud software. The state-of-the-art hardware and software will allow our Studio Class Program to expand its offerings of digital design, videography, and photography classes for adults, teens and preteens. New classes will include Introduction to 3D Rendering, Graphic Design, and Claymation, among others.

“Our old computers were so out-of-date, we were very limited in what we could offer for programming,” said Elizabeth Buck, studio classes manager. “Thanks to the Pappas Foundation grant, we can now provide instruction in a variety of digital design applications that our teen and adult audiences are looking for.”

Learn more at worcesterart.org

Jusepe de Ribera, The Astronomer, 1638, oil on canvas, 1925.116

Thank you to our Institutional Members Anna Maria College Assumption College Bancroft School Becker College Clark University College of the Holy Cross Eagle Hill School

Fay School MCPHS University Saint John’s High School The T.E.C. Schools Worcester Academy Worcester Polytechnic Institute Worcester State University

To learn more about Institutional Membership, contact Marleen Kilcoyne at 508.793.4323 or MarleenKilcoyne@worcesterart.org.

membership Members are vital to WAM’s success in connecting art and community! TL: How frequently do you visit the Worcester Art Museum? CH: I enjoy bringing my family to the Worcester Art Museum as much as our schedules allow. I have three children. We visit the Museum when there are new exhibitions and Member events. I love the easy access to WAM. Knowing that we only have to drive five minutes to experience the world of art is the best feeling.

WA M

MEMBER

WAM member Cori Henri

Membership Manager Tara Leahy recently asked Cori Henri why she and her family are members of the Worcester Art Museum. Cori is a teacher at Worcester Adult Learning Center and lives in Worcester with her husband, Kris Billiar, and their three children, Lucy (13), Simone (12) and Naziah (9).

What is the value of WAM Membership? • Free visits all year!

• Special discounts in the Café, Museum Shop, and on studio classes. Members enjoy discounts all year – and 20% off in the Museum Shop during December.

• Member-only privileges: These include Members-only hours, discounted tickets, and “Skip the Line” admission at major events. • Satisfaction in supporting one of the region’s most treasured cultural destinations.

Purchase your Worcester Art Museum membership online at portal.worcesterart.org/join, email membership@worcesterart.org, call 508.793.4300, or stop by one of the Guest Services desks. For Salisbury or Benefactor level membership, call 508.793.4325.

TL: What made you decide to become a Member of WAM? CH: I am from Cleveland where I grew up going to museums. When I moved to Worcester, a friend told me that one of the highlights of living in Worcester was the Worcester Art Museum. She was right! I love knowing that in my own way, I’m helping to support the Museum and the arts in general. Arts are a high priority in our family. The Worcester Art Museum never disappoints.

TL: What benefits of Membership do you appreciate the most and why? CH: The benefits that my family and I appreciate are access to events, special exhibitions, and notifications on WAM happenings. And of course, I enjoy using my Member discount in the Museum Shop and Café. We have also enjoyed discounts for my children in art classes and art camps. My family and I most recently enjoyed the Member Only Candlelight tour of the European gallery.

TL: Why do you feel art is important – for individuals, families, communities? CH: Surrounding myself with art makes me happy. Through art, one can make new discoveries about oneself. Art is a way to make connections with history. TL: Do you have a favorite memory of visits to WAM? CH: I still remember how much I loved Hassan Hajjaj: My Rock Stars. I completely enjoyed the immersive experience of that exhibition. The colors and the energy of the marketplace environment was amazing. I loved the combination of both videos and photographs.

TL: Are there particular artworks or galleries that are special to you? Which ones and why? CH: I enjoy visiting the “Art Since the mid-20th Century” gallery. I think Contemporary Art is interesting, often quite colorful and shocking; this gallery keeps me thinking and opens my mind.

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Salisbury Society members make WAM and art and culture a priority. Their unrestricted gifts provide essential support to the Museum. Under the leadership of Lisa Bernat and Chris Collins, the Society has grown to over 225 members from around the country and welcomed 29 new and returning members this past fiscal year. Thank you to our new Salisbury members: Kim and David Adler Andrew Athy Brad Barker and Judy Pugh Joan T. Barry Dorothy Chen-Courtin Stephen D. Chubb Michael Czech and Silvia Corvera Nina Chapin de Rochefort Emily Gowdey-Backus and Joshua Tucker J. Michael and Brittany Grenon Frank Herron and Sandy Urie Jay S. Himmelstein, M.D. and Ellen M. Ruell Katherine Burton Jones Christine Keller and Walt Talbot Dr. and Mrs. Baltej S. Maini

Dr. Sohail and Mona Masood Kevin and Martha McKenna Dorothy Nanchu Judith and Thoru Pederson Patricia L. Pelletier Emily Rauh Pulitzer Dr. Richard L. and Marla M. Pyle Drs. Camille Roberts and Benjamin Nwosu Kate Shamon Rushford Kent and Aisling Russell Kristin and Roger Servison Martha Simmons Ed.M., M.S., Ed.M. Robin and Christopher Starr Karen Gottschang Turner and Thomas Gottschang

We asked Martha Simmons of Greater Boston why she joined as a Salisbury Member.

“I visited the museum about 20 years ago with my mother, and we thoroughly enjoyed our visit. Long Martha Simmons story short, I wanted to do something different this weekend, but couldn’t travel far, so I decided to go to the WAM. I went on the Dionysus tour and then explored the Museum for the rest of the afternoon. I was thoroughly impressed by the dedication and professionalism of all the staff. I had such a great time that I stayed overnight in Worcester and went back the next day for the stained-glass windows tour and the armor presentation. Day 2 was equally as wonderful. At the beginning of Day 2, I had already decided that I wanted to support the WAM and visit more frequently.”

Join us in welcoming Martha to the Salisbury Society!

Because of their philanthropy and commitment, Salisbury members will be treated to an exciting array of exclusive programs this fall and early winter: Salisbury Art Series September October November

• Tour With Child: Otto Dix / Carmen Winant with Carmen Winant, Leander Dix, grandson of Otto Dix, and Exhibition Curator (9/20)

• Behind-the-Scenes Tour of Fuller Conservation Lab with Chief Conservator (9/25) • Salisbury Art Travel to Currier Museum and Zimmerman House (10/16) • Behind the Scenes Tour of works on paper with Curator (10/17)

• Salisbury and Benefactor Evening: George Stout—Monuments Man, WAM Director Emeritus and the Father of Modern Conservation (10/29)

• Annual Meeting Invitation (11/14)

• Salisbury private opening preview of Photo Revolution: Andy Warhol to Cindy Sherman (11/15)

December/January • Salisbury tours with Curator of Photo Revolution January

• Flora in Winter Chairman’s Tour and Reception (1/24)

To join the Salisbury Society, contact nancyjeppson@worcesterart.org or 508.793.4325.

Learn more at worcesterart.org

Join as a Benefactor or Salisbury Society Member

If you love coming to WAM, visiting other museums, and experiencing unique art moments throughout the year—consider upgrading to a Benefactor or Salisbury membership.

BEN EFAC TOR /SAL ISBU RY BEN EFITS

Free admission to WAM galleries 10% discount in the Museum Café and Shop (20% holidays) Discounts on WAM classes and workshops Free admission to Third Thursday Master Series programs Free admission and member benefits at 44 Museums Single-use guest admission passes Invitation to the annual Salisbury and Benefactor Evening Annual Report recognition Free admission and member benefits at 375+ museums Free admission and member benefits at 1,000+ museums Complimentary double gift membership in December 10% discount on facility rentals (excluding Ren. Court) Invitation to Salisbury Art Series Invitation to Salisbury Museum Travel Program Invitation to Salisbury Evening with renowned speaker Invitation to Behind-the-Scenes Tours Invitation to Sneak Previews with access to Director/Curators Invitation to Annual Meeting

FRIEND

$250 - $349

4/4 ● ● ● ● 2 ● ●

SPONSOR

$350 - $649

4/4 ● ● ● ● 4 ● ● ●

FELLOW

$650 - $1,499

4/4 ● ● ● ● 6 ● ● ● ● ●

SALISBURY SOCIETY

$1,500 +

4/8 ● ● ● ● 8 ● ● ● ● ● ● ● ● ● ● ● ●

Other benefits include: members-only hour and discounted pricing at major exhibition openings and special events; free docent-led tours; members express line and free access to Flora in Winter plus discounts on opening night; access to family friendly weekend activities including Community Days; invitation to holiday social; subscription to access magazine, and course catalogues. Taxable benefits: $50 of Fellow gifts and $185 of Salisbury donations.

To join or upgrade to the Benefactor or Salisbury level, donate online at worcesterart.org/join, contact nancyjeppson@worcesterart.org or call 508.793.4325.

THE ANNUAL

WAM Gala Saturday, June 6, 2020 / 5:30–11PM Join us for a fun, fashionable evening with cocktails, auction, dinner and dancing, inspired by Kimono Couture: e Beauty of Chiso. Tickets will be available at worcesterart.org/events/wam-gala/

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Thank You

Business Partners!

Together we make a difference for our community SPONSORS

$10,000+ AbbVie Cornerstone Bank Fallon Health FLEXcon The Hanover Insurance Group Foundation Saint-Gobain Skinner Auctioneers UMass Memorial Health Care United Bank Foundation Massachusetts Unum WinnCompanies $5,000+ The BHR Life Companies Bowditch and Dewey, LLP Cole Contracting, Inc. Fidelity Bank Imperial Distributors, Inc. Interstate Specialty Products, Inc. Rand-Whitney Container Reliant Medical Group UniBank Webster Five Worcester Business Journal

DONORS $2,500+ J.J. Bafaro, Inc. Herbert E. Berg Florist, Inc. The Boston Globe CCR Wealth Management, LLC Christie's Commerce Bank Country Bank Fletcher Tilton PC Foley Incorporated Harvard Pilgrim Health Care iHeart Radio, 961 SRS & WTAG Lamoureux Pagano Associates | Architects Mirick O’Connell Spectrum Health Systems, Inc. TD Bank WBUR

MEMBERS $1,000+ AAFCPAs Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank The Berry Group of Wells Fargo Advisors Biomere Blue Cross Blue Shield of Massachusetts Blue Hive Strategic Environments Central One Federal Credit Union Columbia Tech Cutler Capital Management, LLC Data Source, Inc. Davis Publications, Inc. Fiduciary Investment Advisors, LLC Green Leaf Construction Greenberg, Rosenblatt, Kull & Bitsoli, P.C. Greenwood Industries InThink Agency Kelleher and Sadowsky Associates, Inc.

Leadership Transitions, LLC L.E.I. Corporation Lock 50 / Russo Mercier Electric Co., Inc. Merrill Lynch / The O'Brien Group Miles Press, Inc. Morgan Stanley, Mark Cote, Financial Advisor Russell Morin Catering and Events J.S. Mortimer, Inc. New England Disposal Technologies, Inc. Niche Hospitality Group Nitsch Engineering North Pointe Wealth Management Penta Communications, Inc. Peppers Artful Events Perfect Focus Eyecare / Goswick Eye Phoenix Communications Polar Beverages Portland Group / Spritzo Provo Wealth Management Group Quaker Special Risk Risk Strategies Company Rollstone Bank and Trust Carol Seager Associates Seder and Chandler, LLP Sentinel Benefits & Financial Group Seven Hills Foundation Southgate at Shrewsbury St. Mary's Credit Union Sullivan Benefits Sunshine Sign Company, Inc. Table Talk Pies Stephen F. Wentzell, CPA Thomas J. Woods Insurance Agency, Inc. Wings Over Worcester

FRIENDS $500+ Akuity Technologies Applied Interactive Burr Insurance Agency, Inc. Butler-Dearden Callahan Fay Caswell Funeral Home Coghlin Electrical Contractors, Inc. Cryogenic Institute of New England, Inc. Erland Construction Erskine & Erskine LLC Franklin Realty Advisors, Inc. F.W. Madigan Company, Inc. George's Coney Island Grimes & Company Integrated Financial Partners Janice G. Marsh, LLC JM Coull, Inc. Longden Company Marsh & McLennan Agency, LLC MSW Financial Partners NAI Glickman, Kovago & Jacobs Nypro, Inc. Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. The Willows at Worcester Tufts Health Plan As of August 27, 2019

Image Left: Paul Revere (American, 1735–1818), Westerly View of the Colledges in Cambridge, detail, about 1767, American Antiquarian Society, Gift of Mrs. Henry E. Warner, 1950

business partner spotlight

The art of business

We’re proud to be celebrating 100+ Business Partners!

These companies know that supporting the arts means good business. We thank them for their support and feature three of our Business Partners: Merrill Lynch Wealth Management, Mirick O’Connell, and Spectrum Health Systems.

“ The O’Brien Group at Merrill is committed not only to the financial well-being of our clients but also for making a positive difference in our clients’ lives and our community. The O’Brien Group is proud to be a longtime supporter of the Worcester Art Museum, which shares our philosophy and promotes cultural enrichment through art and history.”

WA M

– Terence J O’Brien, Senior Vice President, Merrill Lynch Wealth Management

Busin E pA R t n s s ER

Neil and Jean McDonough accepting the annual Business Partner appreciation award. Pictured with Matthias Waschek, Jean and Myles McDonough Director

“ In an era fraught with cultural misunderstanding, the Worcester Art Museum connects people across boundaries with human experience that is simultaneously diverse and shared. That mission is essential for our community, and even more important to its future than it has been to its past. Mirick O’Connell is proud to support the Worcester Art Museum.”

“ Supporting another non-profit in Worcester County is good business in that a strong arts community makes this an attractive region for recruiting and retaining high quality staff and adds to the cultural diversity of Central – Kurt Isaacson, CEO, Massachusetts.” Spectrum Health Systems

– James C. Donnelly, Jr., Mirick O’Connell

Join us!

BECOME A BUSINESS PARTNER portal.worcesterart.org/join

Business Partners enjoy the twice annual opportunity to network, drink festive cocktails, and enjoy the Museum after hours

For information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne, Corporate Relations Manager, at 508.793.4323 or MarleenKilcoyne@worcesterart.org. Connect with us

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SALUTE TO FOUNDATIONS

The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal years 2018 and 2019 as of 7/31/19.

We are grateful to the many local, regional, national, and international foundations that make our work possible and sustain the Museum’s innovative exhibitions, public programs, and educational and community endeavors, as well as maintain and improve our exceptional facilities. To learn more about WAM’s institutional priorities and ways that foundations and government agencies might assist, please contact Christine Proffitt, Grants Manager, at 508.793.4322 or christineproffitt@worcesterart.org. The Andrew W. Mellon Foundation Bank of America – Museums on Us Barr Foundation Bassick Family Foundation Bradley C. Higgins Foundation C. Jean and Myles McDonough Charitable Foundation Carl Lesnor Family Foundation Dirlam Charitable Trust E. Rhodes and Leona B. Carpenter Foundation Fidelity Charitable Gift Fund The Fletcher Foundation George F. and Sybil H. Fuller Foundation Francis A. and Jacquelyn H. Harrington Foundation The Gladys Krieble Delmas Foundation

Goulder Family Foundation Greater Worcester Community Foundation The Hanover Insurance Group Foundation, Inc. Heald Foundation Henry Luce Foundation Highland Street Foundation Hoche-Scofield Foundation Institute of Museum and Library Services J. Irving England & Jane L. England Charitable Trust Jeanne Y. Curtis Foundation The Kirby Foundation The Klarman Family Foundation Lunder Foundation The Manton Foundation

Mass Cultural / Facilities Fund Mass Cultural Council – Cultural Investment Portfolio Mass Cultural Council – Cultural Districts Initiative MassDevelopment Mass Humanities Jean and Myles McDonough Charitable Foundation The Mildred H. McEvoy Foundation Ministry of Culture, Taiwan (R.O.C.) The Nathaniel Wheeler Trust National Endowment for the Arts National Endowment for the Humanities Paine Charitable Trust Arthur M. and Martha R. Pappas Foundation

Patrick and Aimee Butler Family Foundation Regan Remillard Foundation The Richard and Ann J. Prouty Foundation Rockwell Foundation Ruth H. and Warren A. Ellsworth Foundation The Schwartz Charitable Foundation Sherman Fairchild Foundation The Stoddard Charitable Trust Taipei Cultural Center in New York TIAA Charitable Gift Fund Worcester Arts Council Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation

TRIBUTE TO ENDOWED FUNDS

Endowed funds at the Worcester Art Museum and designated funds in perpetuity at other institutions provide the Museum with vital long-term resources to advance the institution’s mission to “connect people, communities, and cultures through the experience of art.” Interest income generated from these important named funds with the Museum’s general unrestricted endowment underwrite approximately half of the Worcester Art Museum’s annual operating budget. The Museum is grateful for this enduring legacy of support from the following: Ruth and John Adam, Jr. Exhibition Fund Alden Trust Assistant Director of Education Fund Harriet B. Bancroft Fund S.N. Behrman Library Fund Sally Riley Bishop Fund Barbara A. Booth Flower Fund Karl L. and Dorothy M. Briel Library Fund Alexander H. Bullock Fund Burrow Movie Fund Isabel Carleton Memorial Fund Abbie S. and Mildred L. Cather Fund Dorothy Frances Cruikshank Education Fund Charles E. Culpeper Conservation Laboratory Fund Dwight A. Davis Fund Alexander and Caroline Murdock DeWitt Fund Docent Education Fund Loring Holmes Dodd Fund Frank F. Dresser Fund Theodore T. and Mary G. Ellis Fund J. Irving England & Jane L. England Charitable Trust David Freelander Memorial Education Fund

Hiatt FAME Fund Arthur J. Remillard, Jr. Youth Education David J. Freelander Scholarship Fund Fund George F. and Sybil H. Fuller Conservation Jacob Hiatt Scholarship Fund Higgins Armory General Endowment Fund Romanoff Education and Library Fund Fund The Higgins Curator of Arms and Armor Marion Olch Ruhman Education Fund Thomas Hovey Gage Memorial Fund and Medieval Art Endowment Fund William S. Sargent Fund Austin S. Garver Fund Hoche-Scofield Foundation Norman and Dorothy Sharfman Education Sarah C. Garver Fund Christian A. Johnson Discovery Fund Fund Edward F. Goggin Fund Christian A. Johnson Endeavor Foundation Helen Sagoff Slosberg Fund Nehemias Gorin Foundation Fund Exhibition Fund Ethel M. Smith Education Fund Greater Worcester Community Foundation Frances A. Kinnicutt Fund Spear Fund for Public Programs Booth Family Fund for Education and Philip Klausmeyer Conservation Fund Stoddard Acquisition Fund Outreach Macomber Conservation Fund Stoddard Charitable Trust Directors Fund Jeppson Memorial Fund Jean and Myles McDonough Director Stoddard Curator of Prints, Drawings, and Marvin Richmond Fund Endowment Fund Photographs Endowment Fund Chapin Riley Fund Andrew W. Mellon Foundation Stoddard Discovery Fund Helen M. and Thomas B. Stinson Fund Conservation Fund St. Wulstan Society Fund Nathan and Barbara Greenberg Discovery Don and Mary Melville Contemporary Art Sudbury Foundation Scholarship Fund Fund Fund Alice Eliza Waite Memorial Fund Nathan and Barbara Greenberg Education Michie Family Curatorial Fund Miriam Washburn Trust Fund Fund John M. Nelson Fund Karl B. A. Wass/Lundquist Family Amelia and Robert H. Haley Memorial Paine Charitable Trust Scholarship Fund Lecture Fund Eliza S. Paine Fund James A. Welu Curator of European Art Charles A. Hamilton Fund Bernard G. and Louise B. Palitz Fund Fund Heald Curatorial Fund The Worcester Art Museum is grateful to our corporate sponsors for understanding and Kate Peterson Fund A. Wheelock Fund Edith Florence Hendricks Scholarship the value ofHall making the Museum’s exhibitions, projects,Jerome and programs possible. Mary E. and Irene L. Piper Scholarship Fund Herron-Dresser Publications Fund Fund Chester D. Heywood Scholarship Fund Susan Ella Reed-Lawton Fund

SALUTE TO SPONSORS

For more information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne at 508.793.4323 or MarleenKilcoyne@worcesterart.org.

Café

Flora Winter

The Museum

JANUARY 23 – 26, 2020 Four days only! Tickets go on sale January 1, 2020

worcesterart.org/Flora

Lunch with us.

From soups and salads to sandwiches and entrees, we’re sure to enchant you with our seasonal specials. Peruse our menus at worcesterart.org.

Include MATISSE, REMBRANDT & MONET on your

Guest List For more information visit worcesterart.org/weddings or call 508.793.4327 Erika Sidor Photography

WOR C E S TE R A RT MU SEU M / w o rc e ste r a r t.o r g

Shane Godfrey Photography

IMMERSE YOURSELF IN ART

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Explore the Beechwoodâ&#x20AC;&#x2122;s private art collection and experience all the best we have to offer in world-class hospitality and dining. 363 Plantation Street / Worcester Massachusetts / 508.754.5789 / beechwoodhotel.com

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for artfully unique gifts

Featuring items inspired by art in the Museumâ&#x20AC;&#x2122;s collection and current exhibitions

W it h s p e cia l t h a n k s to a l l o f o u r c l i e n t s , p ar t n e rs , an d c ol le a g u e s f or y o ur s up p or t a n d t r u s t o v e r t h e y e ars . Voted Best Adver tising Agency & B e s t Wo m a n - O w n e d B u s i n e s s 2019 Recipient of the Public/Private Par tnership Award

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The PEN TA Building / 208 Turnpike Road Westborough, M A 01581 / 508.616.99 0 0

In our dynamic city setting, we instill a lifelong passion for learning and a foundation of core values that enable students to achieve the honorable as leaders and world citizens. Learn more at: WorcesterAcademy.today/Info

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Did you know? Groups have mor m e fun and save between $10-$14 pe er ticket!

New shows added all the time. Check our website fo or current off fferings erings.

87 77.571.SHOW (7469) â&#x20AC;˘ TheHanove erTheatre.org 2 Southbridge Street â&#x20AC;˘ Worcester Worcester Center for Performing Arts is a registered not-for-profit 501(c)(3) organization, which ownns and operates The Hanover Theaatre and Conservatory for the Performing Arts. All donations are tax deductible to the fullest exteent allowed by law.

WORCESTER ART M U SEU M fifty-five salisbury street worcester, massachusetts 01 6 0 9 WORCESTERART. ORG

GALLERY HOURS Wednesday – Sunday, 10am-4pm 3rd Thursday 10am-8pm Closed Mondays, Tuesdays, and Holidays THE MUSEUM CAFÉ 508.793.4357 Wednesday-Saturday 11am-3pm

THE MUSEUM SHOP 508.793.4355 Open during gallery hours

ADMISSION Members: Free / Adults: $18 Seniors and Students: $14 Youth 4-17: $8 / Children under 4: Free First Sundays 10am-4pm: Free (The first Sunday of each month.) Sponsored in part by Saint-Gobain EBT card holders: Free We partner with

SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 specialevents@worcesterart.org

LIBRARY 508.793.4382 library@worcesterart.org Wednesday–Friday 12pm-4pm, Saturday 10am-4pm, and by appointment

CLASSES Higgins Education Wing transactions@worcesterart.org Registration: 508.793.4333

GROUP TOURS 508.793.4338 JanEwick@worcesterart.org

MEMBERSHIP 508.793.4300 membership@worcesterart.org

SALISBURY SOCIETY & BENEFACTOR MEMBERSHIP / ANNUAL FUND 508.793.4325 NancyJeppson@worcesterart.org

BUSINESS PARTNERS / SPONSORSHIPS INSTITUTIONAL MEMBERS / ACCESS ADS 508.793.4323 MarleenKilcoyne@worcesterart.org GUEST SERVICES 508.793.4362 guestservices@worcesterart.org

ACCESSIBILITY For barrier-free access to the Museum, please park in the Tuckerman Street lot and enter via the Stoddard Garden Court or park in the Salisbury Street lot and enter via the access bridge. The Garden entrance is open during Museum hours and while classes are in session. The Salisbury Street access bridge is open during Museum hours only. Wheelchairs and walkers are available on a first-come, first-serve basis for loan. Please request upon arrival. p 508.799.4406 / f 508.798.5646

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