access magazine summer 2016 by Worcester Art Museum

access wORCESTER ART MUSEUM magazine summer / fall

2016

Contents

From the Director

Meow: A cat-inspired exhibition

The Last Judgment Tapestry

KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley

Picket Fence to Picket Line

Conservation spotlight: The Jewish Wedding

Fresh Take on Medieval Collection

Beyond Knights!

New acquisition

Tours, programs, etc.

Fall events and programs

Fall Master Series

Philanthropy spotlight

Membership

Cover: Ryotai, Takebe, Tiger by Waterfall, 18th century, ink and color on silk, Stoddard Acquisition Fund, 2014.1189 Image above center: (detail) ÂŠ Ed Emberley, used with permission. Image left: Albrecht DĂźrer, Samson Rending the Lion (detail), 1497, woodcut on white laid paper, Museum Purchase, 1935.152

access magazine is a publication of the Worcester Art Museum. All rights reserved. Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Design: Kim Noonan Photography: Kate Blehar, Stephen Briggs, Norm Eggert, Erb Photography, Kim Noonan Contributing Writer: Rae Padilla Francoeur

Connect with us

fln

From the Director Making changes in an organization the size of WAM can feel like altering the course of an ocean liner. A lot of people have to be brought on board, and strategic decisions have to be articulated. Only when the ship is heading in the right direction can it move forward at full steam. That is how the past five years have felt to me. During that time, we have steered WAM towards new pathways to success, bringing every aspect of our activities in line with our Vision 2020. We made customer service and accessibility priorities, and became more welcoming to families. After much behind-the-scenes work, our “ship” is truly steaming full speed ahead. Here are just some recent examples of what that progress looks like at WAM:

Recasting our two main entrances as the Lancaster and Salisbury welcome Centers. This reflects a new attitude about the arrival at and departure from the Museum. In addition, we have changed the name of our “Visitor Services Department” to “Guest Services.” Referring to those who visit as “guests” means we are welcoming to all members of our community. Museum-wide customer service training reinforces this concept throughout the staff. Becoming more family-friendly. We now have designated parking spots for families with young children and expecting mothers, and new policies are in place to better accommodate bottle and breastfeeding throughout the galleries — thereby making visits to WAM a little easier. Coming next year, there will also be a special family room for feeding and changing children in privacy and comfort.

Becoming more accessible. In addition to the access bridge on Salisbury Street, we now have an automatic door on the café entrance towards Tuckerman. This makes it easier for families with strollers, guests with wheelchairs, and students carrying art supplies to enter. Accessibility at WAM is an ongoing process; look for more improvements in the coming year.

These initiatives dovetail with fresh, audience-building exhibitions, such as Meow this summer and KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley opening in the fall. At the same time we continue to honor the Museum's rich collection, with the magnificent Last Judgment Tapestry exhibition, on view through September 18, and the medieval galleries re-installation, opening in December. The tapestry’s transformation after cleaning is breathtaking, as will be our re-imagined medieval presentation!

Our forward momentum would not be possible without the dedication and support of our members, board of trustees, and donors. Check out the recent gift by Hester Diamond, who once again added a masterpiece to our collection -- Cornelis van Haarlem’s Paris and Oenone, now on view in our European galleries.

Please be our guest at the Museum soon and let us know if we are doing a good job and where we need to make further progress. Making you and your family feel WELCOME and connected is our goal.

Matthias Waschek The C. Jean and Myles McDonough Director

WORCESTER ART MUSEUM

Board of Trustees 2016

Joseph J. Bafaro, Jr., President Lisa Kirby Gibbs, Vice President Phyllis Pollack, Vice President John Savickas, Vice President James E. Collins, Treasurer Herbert S. Alexander Sarah G. Berry Karin I. Branscombe Catherine M. Colinvaux James C. Donnelly, Jr. Susan M. Foley Mark W. Fuller Gabriele M. Goszcz Abraham W. Haddad Rachel Kaminsky William D. Kelleher Patricia S. Lotuff Lisa H. McDonough Philip R. Morgan Marc S. Plonskier Malcolm A. Rogers Matthias Waschek (ex-officio)

Right: The “Cheshire Cat” with a family during the Meow opening party on May 20, 2016.

Learn more at worcesterart.org

Connect with us

fln

Exhibitions

EOW

A Cat-Inspired Exhibition The Captivating Cat: Felines and the Artist’s Gaze Through September 4, 2016 PDP Gallery Explore the feline as an iconic artistic muse in prints, drawings, paintings, and sculptures from WAM’s permanent collection. The exhibition features over 70 works, from Ancient Egypt to the modern day.

Cat walk Through September 4, 2016 Throughout the Museum Take a self-guided tour through WAM’s galleries to discover other amazing cats in art. Community Cat Show Through July 24, 2016 Higgins Education Wing Enjoy cat art submitted by your friends, neighbors, and fellow cat-lovers in this unique public art show.

Cats-in-Residence Program July 13 – September 4, 2016 Studio 206, Higgins Education Wing Interact with live cats in this unorthodox human/cat contemporary art installation. This exhibition is presented in partnership with the Worcester Animal Rescue League (WARL). Cats in the show will be available for adoption.

Worcester Art Museum’s new project... taps into the current, global kitty craze, but it also proves our obsession is nothing new. – Andrea Shea, WBUR Left: Haroun, Meow billboard contest winner, photographed by Andrew Martilla

It's the summer blockbuster show of our wildest, furriest dreams. – Cait Munro, Artnet News

Rob Reger’s Emily the Strange and her Four Bad Kitties Through September 25, 2016 Helmutt’s House View original paintings of beloved character Emily the Strange by artist/illustrator Rob Reger. Get to know her four cats: Mystery, Miles, NeeChee, and Sabbath. Helmutt's Dog Show Through September 4, 2016 Donnelly Gallery Take a break from WAM’s cat-mania for a canine art fix, specially curated by Helmutt the dog, including one of his favorite works of art, Head of a Dog by Abbott Handerson Thayer.

Cat Craft Classes Throughout the summer Higgins Education Wing Get paws-on with a variety of cat-related studio art classes and weekend workshops. Community Day: Meow Saturday, August 20 Free admission Enjoy cat-themed programming, artmaking, and performers all day.

sponsored by:

supporting sponsors:

media sponsors:

Connect with us

fln

Cats Take Center Stage in Contemporary Art Installation

Cats-in-Residence Program on view July 13 – September 4, 2016 Studio 206, Higgins Education Wing rtist and critic Rhonda Lieberman’s boundary-breaking installation at the Worcester Art Museum, the Cats-inResidence Program, puts kitties in starring roles. But humans have their part to play, too.

As for the role that people play? Humans, says Lieberman, are the “purr-fect” foil to this regal species and their delightful unpredictability. As for her unabashedly zany word play, it’s the first clue that something new and fun is “paw-sible.”

The idea for the installation emerged more than fifteen years ago From July 13 – September 4, WAM visitors can enter a grand as Lieberman, who lives in New York, began to watch “the little and intriguing cat aviary to bear witness to a world made intrigues” of a cat colony living in a vacant lot near her loft in Long expressly for cats. Their enclosed habitat sprawls like a 3Island City back in the 1990s. With a neighbor, she regularly fed dimensional Chutes and Ladders board game that has been and sought homes for them. “I really liked hanging out there with re-envisioned for ultimate cat pleasure. Lieberman, who studied the outdoor cats. It was a wonderful and has taught at Yale, matched environment, peaceful and fun, and clever wits with twenty-two artists, “ I call it a purr-formance piece, I wanted to honor the cats in a way including Gia Wolff and Freecell because we’re watching cats that would show how great they are Architecture in Brooklyn, NY, to instead of how they are typically create something fanciful and playful do their thing. It’s constantly treated as throwaways.” that joins cats and humans in a novel changing.” — Rhonda Lieberman experience. Lieberman’s aim, beyond She began to consider using art to the works of art that support this express her transformative experience in that empty industrial captivating social environment, is the adoption of homeless but lot. She realized “it could be magical. I could take this abject socialized cats. “What I really want,” she says, “is for people to situation and flip it, take out all the negatives and make it a snap them up like hotcakes.” Through a partnership with the positive appreciation of cats.” She learned, in her research, that Worcester Animal Rescue League, WAM visitors will be able to seven out of ten cats don’t make it out of shelters alive. And that do just that. the no-kill shelters are overcrowded. She took in a family of five cats and at one time had nine. “It was fun having a home zoo,” Cats — in every conceivable iteration — are all over WAM this she says. “I could be one of those people with a lot of cats if I summer. The Cats-in-Residence Program is one of several art didn’t funnel and sublimate that impulse into this project.” Mary components of Meow: a cat-inspired exhibition. Meow’s centerCatherine Gallagher, one of the cats from the original “home piece, an exhibition titled The Captivating Cat: Felines and the zoo,” now 21 years old, is still with her. Artist’s Gaze, features more than 70 works from the Museum’s collections and explores several themes, including cats not just Eventually, says Lieberman, the world caught up with her. She’d as muse but as metaphor for the modern artist. In addition, visitors been pitching the cat installation for some time when the Walker can take a self-guided Cat Walk throughout the Museum to see Art Center in Minneapolis hosted the Internet Cat Video Festival other works of feline art in the galleries and into the Higgins Wing in 2012, and the phenomenon of watching online cat videos went where the Cats-in-Residence Program is installed. viral. “Because of that, I was able to place this ever-changing installation in high-profile venues. It appeals to animal people A different kind of museum experience, Cats-in Residence works and to art people. And it can help animal people open up to because of Lieberman’s daring and sense of humor. (It has been contemporary art and art people to consider animal welfare. It’s shown previously in New York City, Hartford, and Los Angeles.) squarely in a couple of camps.” “It always touches me when you see people loving animals,” she says. “Faces light up when they see the cats. It’s not the usual By hosting the Cats-in-Residence Program, WAM is testing response in an art situation. This art has a playful vibe. The art boundaries, just as Lieberman did in her creative mixing of art, sculpts that response; it works with the existing reality.” cats, and humans. “I’m excited,” says Lieberman, about bringing her installation to Worcester. “And as curious as any cat to see Behind Lieberman’s good humor and altruism is a serious artist how it all comes together!” with serious messages. Just because Cats-in-Residence is full of cats, litter boxes, scratching apparatuses and cozy retreats — reimagined by enthusiastic artists — doesn’t discount the gravitas underlying this collaborative work of art. Just step inside to explore more than twenty feline-centric works of art.

Learn more at worcesterart.org

Adam Reed Rozan, director of audience engagement, with Cats-in-Residence Program founder, Rhonda Lieberman.

Connect with us

fln

A Masterwork Resurfaces Through September 18, 2016 Contemporary Gallery

onumental in size, The Last Judgment Tapestry was purchased by the Museum in 1935 to embellish the recently opened Renaissance Court. For five decades, WAM visitors had magical "on-off" viewing experiences, as the curtain, which protected the tapestry against natural light, was pulled aside for special occasions, such as Sunday afternoon concerts. Countless school children, scholars, museum- and art-lovers, party-goers, and staff — at one time looked up in awe at the 100 nearly life-size figures encircling Christ, in a vast array of positions and depicting the fullest range of emotion, from rapture and awe to shock and horror.

Time took its toll, however, and in 1990 the tapestry was taken off view and put into storage for safekeeping. In 2013, thanks to the efforts of Cliff Schorer, former Board president, and Thomas Leysen, a Belgian friend of WAM, the Museum received a generous grant from the Brussels-based King Baudouin Foundation and the René and Karin Jonckheere Fund to restore the tapestry to its full splendor. A nearly two-year conservation process, conducted by De Wit Royal Manufacturer of Tapestry in Belgium, followed. Now, The Last Judgment Tapestry is back on view in a special, focused exhibition that allows visitors to experience the intricate details of the tapestry up close and stand face-to-face with amazing biblical figures that previously could only be viewed from afar.

The tapestry will be on view in the Contemporary Gallery through September 18, 2016. After a short rest, it will resurface again for a two-year stay in one of the Museum’s permanent galleries.

Funding for The Last Judgment Tapestry has been provided by The Coby Foundation, with additional sponsor support from RandWhitney Container.

Reflections on The Last Judgment Tapestry

As a docent, it was always inspiring to bring a tour group for their first visit to the Renaissance Court and have the tapestry flying high over the cloister with its rich reds and elegantly dressed figures. We were reminded of the power of the Church and the deep faith of Christians in the Middle Ages. And, we were awed by the skill of the Flemish weavers, the complexity of the design, and the beauty they created. — Kim Cutler, WAM docent since 1983

When I began my work at WAM, the tapestry hung high in the Renaissance Court, almost in the realm of the angels it depicted. Far below, we mere mortals carried out our work, glancing up at it whenever we passed through. Back then, for special openings, a wooden floor was installed over the Hunt mosaic, and we twirled and danced beneath this stunning scene with its processing figures, trumpeting angels, and floral carpet. A powerful Museum touchstone for me, it is a delight to see it again—up close—in its restored glory. — Marcia Lagerwey, Curator of Education

Above left: Renaissance Court featuring The Last Judgment Tapestry (1935.2), dated 1935-1936; Above right: The Last Judgment Tapestry exhibition in the Contemporary Gallery through September 18, 2016. Right: The Last Judgment Tapestry (detail), Flemish, about 1505, Museum Purchase, 1935.2

Learn more at worcesterart.org

KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley November 16, 2016 – April 9, 2017

n November, WAM launches the first comprehensive retrospective of the work of Caldecott Medal winner Ed Emberley, one of the most prolific and respected children’s book illustrators of the last 60 years. Drawing on the artist’s personal collection of original hand-drawn sketches, woodblock prints, final proofs, and first edition books, KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley surveys his career and examines his influence on generations of readers and nascent artists. The exhibition is curated by artist, writer, and historian Caleb Neelon, in partnership with the Museum’s Audience Engagement Division. Below, in an interview with access magazine, Caleb talks about the project and how Ed Emberley influenced his own life. access: What is your first memory of Ed Emberley’s work?

CN: Somewhere early in grade school — maybe second or third grade — I had a copy of Ed Emberley’s Big Green Drawing Book, and another boy in my small class had Ed Emberley’s Big Purple Drawing Book. This was the early 1980s, and they were recent releases at the time. I still have a lot of the drawings I made as a kid, including the ones I did based on Ed’s books. access: What was it about his books that resonated with you and inspired you to become an artist?

CN: Ed’s Drawing Books are targeted right at that age when kids are the most artistically delicate — when drawing something so it ‘looks right’ is really important. There might be two kids in a class that have a natural knack for representational drawing, and the rest too often just say they are not artists. Ed’s books take you by the hand and show you ways to draw using the simple “alphabet” of a circle, squiggle, letter U, letter D, triangle, dot — things anyone can do.

Ed wanted to give kids a feeling of success and pleasure at having done something fun with their minds and bodies. If you had fun, you’d do it again. It certainly was for me.

access: KAHBAHBLOOOM is the first museum exhibition of Ed Emberley’s work. How have you approached curating the show?

CN: The tricky thing about children’s book artists is that the breadth of their work gets buried under their best sellers. Photograph of Ed Emberley by Ed has a handful of Peter Tannenbaum books that have sold more than a million copies, and those are what he is known for. But he has dozens that never sold that well and have long since faded out of print. And, the quality of the artwork had nothing to do with how well it sold! The focus of KAHBAHBLOOOM is the best of Ed’s work in all its breadth — from successful books, such as the 1968 Caldecott Medal winner Drummer Hoff and multi-million sellers like Ed Emberley’s Drawing Book of Animals, to many others that for whatever reason never took off.

access: What do you hope WAM visitors will experience and take away with them when they see KAHBAHBLOOOM?

CN: Most importantly, an appreciation for the wonderful art of Ed Emberley! In addition, Ed always made his art with the finished book as the goal, so the work on display reflects the production method that the book employed, mostly in the pre-digital era. One of my favorite parts of the show is a set of mockups that Ed would use to sell a book idea. These were essentially small stacks of paper folded in half to make a ‘book,’ on which Ed then drew the book’s rough artwork. Children will look at them and say, “Hey, we did this in school. I can do that.” And that’s exactly the point.

Ed Emberley’s Drummer Hoff, illustrated by Ed Emberley, 1967, trade book cover. © Ed Emberley, used with permission.

The Picture Book as Art The art of the picture book may just be the most important art form there is, because it is the picture book that introduces us — as children — to art. It is our first introduction to characters and narratives, to the values we carry with us in life, and to learning lessons for what to do — and what not to do. Picture books also encourage creativity through imagining what could be, envisioning our place in history, and so much more.

Over a century old, the modern picture book form was pioneered by the artist and illustrator Randolph Caldecott, whose work prioritized the image over the written word. So transformational were his works that the award for the best picture book illustrator of the year is named in his honor.

Over the years, with improvements in printing technology—as well as evolving attitudes about the importance of education for young children’s education—the picture book has gained new ground and tremendous popularity, and some of these books are among the best-selling books in the world.

Picture books, their authors, and their illustrators are as much a part of the canon of art history and culture as photography, painting, and sculpture. This art form and these artists are recognized for their contributions to the history of art, and their place in the art museum will continue to be fixed. Adam Reed Rozan Director of Audience Engagement

Exhibitions

Jacob August Riis, First Patriotic Election in the Beach Street Industrial School, about 1888, gelatin silver print, Stoddard Acquisition Fund, 2003.46

Learn more at worcesterart.org

Picket Fence to Picket Line: Visions of American Citizenship October 15, 2016 – February 5, 2017

iding the wave of an intoxicating political year, Picket Fence to Picket Line: Visions of American Citizenship unites the Museum’s status as a dynamic community space with its world-renowned art collection and explores the fundamental nature of our identities as American citizens.

Since 2014, the Worcester Art Museum has been an official polling site, supporting the Museum’s goals of collaborating with its community and staking a presence in Worcester’s future. The stately Renaissance Court welcomes voters to a world of tremendous artifacts as they fulfill their civic duties and cast their ballots. This distinction, along with WAM’s prominent holdings in American art, makes it appropriate for the Museum to reflect more critically on the privileges of American citizenship throughout history.

Picket Fence to Picket Line explores how the American experience has continually responded to the distribution and re-distribution of fundamental civil and political rights. It investigates the daily rituals of American citizenship, which have been rooted in historic tradition yet continue to transform as “We the People” test the limits of our most basic liberties. The exhibition provides each of us an opportunity to consider how our identities as citizens develop within and in response to different spaces — whether our own cultivated spaces or the public sphere.

The narrative draws from as early as the establishment of the United States of America as an independent nation. Even prior to the adoption of the Declaration of Independence in 1776, voting rights were very much in effect. It was the right of white Protestant men to vote on legislative matters given that they met one condition: property ownership. This condition ensured that those who voted could stake a palpable claim in local political affairs.

While the stipulation of landownership only lasted until the midnineteenth century, its consequences continue to resonate in the present day. Picket Fence to Picket Line will present an

examination of the connection between residence and the rights of citizens. After the abolition of slavery and into the early part of the twentieth century, freedmen and sharecropping tenants were directly affected by the relationship between domestic ownership and civic — rather than civil — rights. Jacob Riis’ striking photograph, titled Room in a Tenement Flat (1910), provides a penetrating gaze into the association between citizen-status, class, and housing by exploring the phenomenon of urban tenements.

In addition to the domestic nature of citizenship, the exhibition examines acts of engagement, celebration, and protest which become politically charged as they play out in public. While citizens have the right to cast votes to effect change in our democratic society, mass demonstrations also give voice to the people. This fact can unmistakably be seen in the civil rights demonstrations of the 1960s, in which citizens fought for racial and civil equality. These tensions play out in public spaces in multiple works throughout the exhibition, including Andy Warhol’s Untitled (Civil Rights Demonstration) (1964). The occupation of public spaces aids in the expression of dissent and, conversely, allows communities to gather and celebrate shared heritage, thereby reinforcing collective identities.

Picket Fence to Picket Line also features the inaugural display of a new multimedia work from the Seoul-based web art group Young-Hae Chang Heavy Industries. The audiovisual work consists of a digital installation featuring the artist’s response to citizenship, democracy, and voting in today’s world.

This year’s presidential election—the first for WAM as a polling site—presents an exceptional opportunity to engage with these themes and to think frankly about the privileges of citizenship. With this exhibition we ask, what does citizenship mean to you?

Justin Brown, Luce Curatorial Assistant in American Art Lauren Szumita, Print Room Assistant

Connect with us

fln

Pierre-Auguste Renoir (French, 1841-1919), The Jewish Wedding, about 1875, oil on canvas, Museum Purchase, 1943.1

Learn more at worcesterart.org

Conservation

The Jewish Wedding by Pierre-Auguste Renoir September 24, 2016 – March 26, 2017 Jeppson Idea Lab

he Pierre-Auguste Renoir painting you’ll see in the Jeppson Idea Lab this September is not new to the Worcester Art Museum. The Jewish Wedding has been part of WAM’s permanent collection since 1943, but a recent restoration has it looking stunningly luminescent. Maja Rinck, Andrew W. Mellon Fellow in Paintings Conservation, spent ten full weeks in the Museum’s Fuller Conservation Lab meticulously restoring the Impressionist work to its original splendor. “The discolored varnish made the painting dull in appearance and not very festive in its colors,” says Rinck of the painting that depicts musicians, dancers, and beautifully attired wedding guests. Though most figures are reclining, there is movement and interaction in a room flooded with natural light from above. With the removal of the varnish came the great revelation of rich and sumptuous color.

working with paintings. In addition, working with the Museum’s Conservation Scientist Philip Klausmeyer, I conducted extensive research on The Jewish Wedding, so I was well prepared to do the work,” she says.

Technical analysis of the Renoir revealed layers of old and degraded varnish were present. “When a varnish has to be removed because it is degraded, and it is known that the artist intended the painting to be varnished, conservators will remove the old one and re-varnish it.” She says that Renoir did varnish this painting to achieve the spatial depth and saturation of color. According to Rinck, today conservators use synthetic resin varnishes as well as natural resin varnishes, which would have been used during Renoir’s life time. The research for conservation treatment approach is slow and exacting. “We carry out extensive testing on various places on the painting to determine the best material to use for the varnish removal. I used a lab-designed solvent gel and removed the yellowed varnish with selfmade cotton swabs.”

“It was a really great transformation,” says Maja Rinck works on a painting in WAM’s Fuller Rinck. The yellow cast is gone and the Conservation Lab blues, reds, and golds shimmer as if lit from within. The strong Rinck worked in one-inch squares, applying gel, gently agitating sun that pours into the hall from above reveals even the darkest it, removing it and rinsing it. “After a while, you start to get to recesses of the room and its celebrants to light and color. know the qualities of the varnish.” She placed the painting on an easel and worked without magnification, alternately standing The painting, made in 1875, marks a pivotal time in Renoir’s and sitting. Once the varnish had been removed, Rinck filled career. Thirty-four years old and reliant on painting for his and retouched small paint losses. She then applied a new livelihood, Renoir was just beginning to gain critical notice. He conservation-grade synthetic resin varnish. had received a commission to create a replica of the Eugène Delacroix painting of his choice in the Louvre. The Delacroix The transformation is remarkable. “Even the color changes we commission, one of several he had at the time, must have see within a single brushstroke are now visible,” she says of especially pleased him because he admired the painter. He Renoir’s impressionistic technique that sometimes deposited selected The Jewish Wedding in Morocco and faithfully copied three colors in a single stroke. “All of that was hidden before. the composition. However, he re-interpreted it using his own It’s much brighter now and much cooler in tonality. The varnish Impressionist style of painting. Perhaps Renoir consulted removal gave the painting more depth and dimensionality.” Delacroix’s detailed notes taken during the wedding, which were especially attentive to light and color. Among Delacroix’s After the conservation treatment was finished, The Jewish observations: “shadows full of reflections”; “strong light on the Wedding was sent to the Minneapolis Institute of Art and the nose”; and “silhouetted against the wall lit by the sun.” National Gallery London where it was featured in an exhibition about Delacroix and his influence on modern art. This fall, this Rinck says she was not overwhelmed by the job of restoring freshly conserved artwork will be revealed to WAM’s visitors in this major work of art. “Before I came to WAM, I studied the Jeppson Idea Lab. conservation in Germany and had seven years of experience

Connect with us

fln

Collection

A Fresh Take on WAM’s Medieval Collection

ince the 1950s, the medieval galleries at the Worcester Art Museum have displayed an exceptional collection of medieval art. However, the galleries, located just off the Renaissance Court, remained largely unchanged until they were closed for renovation in September 2015. When they reopen this December, the new installations will incorporate arms and armor from the Higgins Collection, several recent acquisitions, and favorites from the previous galleries — along with digital and physical interactives — to tell a more personal and tangible story about medieval society.

One new and notable work in the reinstalled galleries is the Stechzeug, a rare suit of jousting armor created in Germany around the turn of the 1500s. More sculptural than ornate, this visually striking suit features a distinctive frog-mouthed helm that offers maximal protection for what was the ultimate high-impact sport. The display will be accompanied by a variety of hands-on activities designed to bring the world of medieval knights and artisans to life. These include armor try-ons and sword hefting, as well as a series of touch stations that explore the tools and techniques for working in metal, stone, and enamel.

A second object that receives attention through new interpretation is the ornately-painted Spanish ceiling. This fifteenth-century work was installed in the galleries in the 1950s by former WAM director and “Monuments Man” George Stout. Shortly after acquiring the work, Stout traveled to Spain to learn more about the palace from which the ceiling may have come. His search yielded more questions than answers, but today the ceiling allows guests a glimpse of a sumptuous medieval interior. New lighting and seating in the gallery will provide access to the ceiling’s heraldic motifs and Islamic-influenced foliate designs. Interactive iPads will feature close-up images of the ceiling, highlighting its construction, design, and the mystery of its origins.

The spirit of the reinstallation is captured most vividly by a pair of fourteenth-century paintings by Giovanni del Biondo that were given to the Museum in 2012. These panels, Communion of the Sick and Extreme Unction, illustrate the role of the church in attending to the sick and dying, and depict the convergence of an entire domestic household. In Communion of the Sick, two women somberly watch as the Communion wafer is given to the sick man in their

Learn more at worcesterart.org

midst. Around them, Giovanni emphasizes the business of the household: a woman admonishes a toddler while two men enter the room engaged in animated discussion. The secular and religious, private and public, masculine and feminine, juvenile and adult spheres all converge in this one image, reflecting the interconnectedness of these diverse but not disparate aspects of medieval daily life.

Like Giovanni’s paintings, the new medieval galleries will show us a world that was many things at once. The religious realm did not exist separate from the secular, nor the secular without the religious. Arms and armor were both equipment for warfare and artistic tour-de-force. And medieval artwork was not produced in a geographic vacuum; works like the Spanish ceiling reflect an artistic tradition that was plugged into an intercontinental network of migration, trade, and influence. Through these new interpretations and presentations, we hope visitors will enjoy a deeper understanding of medieval life and art. Katherine Werwie Kress Interpretive Fellow A Personal Note

This reinstallation project brought together a medieval curator, an education curator, and a Kress Interpretive Fellow. Together, we explored WAM’s medieval collections for new ways to present this fascinating art, focusing on making the works relevant to everyday viewers like myself. During one session, we experienced a breakthrough in our thinking. While discussing a funerary sculpture of a real woman, along with a crucifix with the Virgin Mary and St. John on either side of Jesus, we suddenly experienced a connection between these grief-expressive bodies and our own recent experiences of grief. Continuing our conversation on a more personal level, we realized that something transformative occurred as we responded to these figures and their emotions side-by-side with our own daily lives. This shared experience inspired us to look for ways to make these artworks accessible on many levels to our viewers. I wondered: was the epiphany we shared in a small office similar to the spiritual experiences of people who, centuries ago, knelt in front of works of art that gave their lives order and meaning? I’m not sure of the answer, but I’m more committed now, along with my colleagues, to bringing this remarkable artwork to our audiences in new and lifechanging ways. This is what art can do, after all. Marcia Lagerwey Curator of Education

Right: Composite Stechzeug (armor for the "German Joust"), portions by Valentin Siebenburger (German, 1510-1564), about 1480-1540, steel, iron, brass and leather, The John Woodman Higgins Armory Collection, 2014.1164

Beyond Knights! On view through November 6, 2016

Two and a half years after the Knights! exhibition opened, we are ready to begin the next chapter of integrating the Higgins Armory Museum collection fully into our own. In December of this year, the newly renovated Medieval Galleries will reopen (See article on page 18), featuring — among numerous other Higgins objects of the period — a magnificent Stechzeug, a rare 16th-century jousting armor from Germany. In addition, interactives, such as iPads, touch stations, and try-on armor, will bring the Middle Ages to life for visitors of all ages.

Next year, you will find arms and armor appearing in other galleries throughout the Museum. Imagine the conch helmet (now in Knights!) on display in the Japanese galleries, European armor standing next to paintings and sculptures of the seventeenth and eighteenth centuries, and a Corinthian helmet juxtaposed with classical works in the Greek Gallery. In 2020, we will reach the finish line in this exciting journey with the first phase of a permanent arms and armor gallery. The following year, a new open storage presentation will open, allowing more of John Woodman Higgins’s legendary collection to be on view than ever before.

Until the permanent galleries are ready, however, much scholarly work and experimentation must be done, so that we get this important integration “right.” Since Knights! opened in March 2014, thousands of visitors have come to experience the connection of arms and armor with our other holdings at WAM. Hundreds of you have shared your thoughts about the exhibition, how you hope to see the Higgins collection presented in the Museum, and what types of programming you would like. We take that feedback seriously and are incorporating it into the permanent Higgins integration plan.

Blood and Honey Through November 6, 2016

Throughout the run of Knights!, a photojournalism component has brought a contemporary interpretation of warfare and conflict to the exhibition’s overarching story of knightly glamour, conquest, and chivalry. Through arresting photographs and videos of modern-day armor and weapons in action, the human price paid by their use has been made heart-breakingly clear.

The last photojournalism exhibition, Blood and Honey, examines the Yugoslavian conflict from its start in 1991 to the hostilities in Macedonia through stark images by photographer Ron Haviv. From the front-line trenches to the refugees behind them, Haviv’s images capture both the urgency and tragedy of war. On view through November 6, Blood and Honey is a testament to the horrors that the Serbs, Croats, Bosnians, and Kosovar Albanians perpetrated against each other as a result of ancient enmities and modern political manipulation.

We are poised to dazzle you with new galleries and an increased Higgins presence throughout the Museum. In the meantime, don’t miss Knights! before it closes on November 6!

Left: Ron Haviv, Crying Soldier (detail), 1995, digital C print. © Ron Haviv, used with permission.

Connect with us f l n

All works by Cornelis van Haarlem (Dutch, 1562-1638); Left: Paris and Oenone, 1616, oil on canvas, Gift of Hester Diamond, 2015.53; Below Left: The Wedding of Peleus and Thetis, 1597, oil on panel, Charlotte E.W. Buffington Fund, 1980.14; Below Right: Venus and Cupid, 1602, oil on panel, Stoddard Acquisition Fund and the 1981 Deaccessioning of Dutch and Flemish Paintings, 1997.103

Learn more at worcesterart.org

Gift Strengthens Dutch Holdings

n October 2015, the Worcester Art Museum acquired a spectacular painting by the Dutch artist Cornelis van Haarlem (1568 – 1638). A generous gift from the New York collector Hester Diamond, whose connection to WAM has been fostered by Board member Rachel Kaminsky, Paris and Oenone debuted in March 2016 in our late Renaissance gallery, following a conservation treatment by Maja Rinck, our Andrew W. Mellon Fellow in Paintings Conservation.

Cornelis van Haarlem played a pivotal role in transmitting contemporary ideas in Italian art to the Netherlands. Part of a circle of artists in the city of Haarlem, Cornelis oriented his work around theories that called for intense study not only from nature but also of classical sculpture. In his paintings, he adopted a learned and thoughtful approach to subject matter, especially stories from antiquity.

In Paris and Oenone, Cornelis portrays a subject that in his day was wildly popular among poets, composers, and visual artists. While Paris is best known for his seizure of Helen, which sparked the Trojan War, this painting recounts an earlier phase of his life. When his mother, the queen of Troy, has a nightmare interpreted as an omen of the city’s destruction, his parents abandon the infant Paris in the wilderness. A shepherd rescues and raises the boy, who as a teenager meets and marries Oenone, the daughter of a river god.

The Heroides, a poem by the Roman author Ovid in the form of a letter by Oenone, describes how Paris, at the high point of their relationship, carved his declaration of love into a tree — the scene Cornelis portrays in Paris and Oenone. Yet the knowing looks of the dog and child (perhaps their son) suggest an awareness that Paris would eventually abandon Oenone for Helen, leading to a devastating rift and the death of both Oenone and their child.

With this gift, the Worcester Art Museum now has the deepest holdings of Cornelis van Haarlem paintings in North America, a significant collection that represents his remarkable artistic evolution. He began as a very refined mannerist artist working in an international, courtly mode, exemplified by the tiny panel Peleus and Thetis. Here Cornelis embeds the main narrative in the background, assuming a learned audience could decode the complicated story. Over time, Cornelis developed an interest in classical antiquity and earlier Renaissance art,

adopting a more restrained and monumental approach. In Venus and Cupid, Cornelis pulls the figures to the front of the picture plane and eliminates the background to focus on the extraordinary pair and their idiosyncratic, naturalistic expressions. Around 1610, an epic shift took place in his work, exemplified by Paris and Oenone. His work exploded in size and so he turned to canvas, which provides the desired scale more easily than wood. During this period, Cornelis began to paint monumental, sculptural figures — seemingly drawn more directly from life — and more naturalistic settings.

Paris and Oenone is not only sensational in the galleries, but also makes a hugely important contribution to the collection. Great historical and mythological pictures from this key moment in Dutch tradition are rare in North America, and the work fills out our legendary holdings of Dutch seventeenth-century painting. Moreover, its scale — more of a stately gallery picture than a cabinet painting — stands up to our major Italian paintings from around this moment. To highlight these relationships, we commissioned a new frame, appropriate for the style and period, from John Davies Framing in London, one of the most significant makers of frames in the Old Master tradition. Based on a well-known Dutch design from the late 1500s, the style is known as a backlijst or a Goltzius frame, named after Hendrik Goltzius, one of Cornelis’s colleagues in Haarlem who popularized the shape.

The painting also connects to our Venus and Cupid by Veronese — the monumental, sculptural nude acquired in 2012 — as both paintings are gifts from Hester Diamond. Diamond is a legendary force in the art world, beginning as a major collector of modern art, then moving into Old Master painting, now developing a significant collection of Old Master paintings and sculpture, combined with a few twenty-first-century works that relate to them. She is also a founder of VISTAS (vistasonline.org), a ground-breaking publishing initiative supporting new scholarship on European sculpture from 1250 to 1780, with an online component of each book, including high-resolution, completely zoomable photography. We are enormously grateful to her for both gifts, which have transformed the Museum’s holdings of European painting. Jon L. Seydl Director of Curatorial Affairs and Curator of European Art

Connect with us

fln

Tours and Programs Drop-in Tours

Tours of the Month* First and third Saturday, 2pm Get an in-depth look at the Museum’s collection in these special docent-led tours. Man’s Best Friend: The Cat June 18 Find cats in all corners of the Museum and learn how felines have been depicted in art for centuries. The Evolution of Modern Art July 2 and 16 Trace the major developments in art, starting with Classical Art, through Modern Art movements, and ending with Postmodern Art.

The Last Judgment Tapestry and other Museum Treasures August 6 and 20 Explore the tapestry and other Hapsburgrelated artwork as lenses to understand Western European culture and history in the 15th and 16th centuries. Profiling Egyptian Art September 3 and 17 Learn about the importance of the Pharaoh, cats, the afterlife, and other facets of Ancient Egypt by exploring the hallmark of that civilization: its art.

Renoir’s Jewish Wedding October 1 and 15 Explore The Jewish Wedding by PierreAuguste Renoir, including its recent conservation and how the artist created this novel work of art. The Art of Citizenship November 5 and 19 Examine the idea of citizenship in relation to the spaces and places that American citizens have historically held the right to occupy and possess. Celebrations December 3 and 17 Join us to discover different kinds of celebrations — from holidays, to courtship, to celebratory gatherings — depicted throughout the Museum.

Learn more at worcesterart.org

Zip Tours Saturdays, noon Delve into one artist or work of art in these fast-paced, 20-minute tours.

Sunday Tours Sundays, 1-2pm Join one of our docents for an overview of the Museum collection. All tours meet at the Lancaster Street entrance.

* Includes Museum admission

Group Tours

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. Guided by trained volunteer docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5 per student for prearranged school tour groups on either docent-led or self-guided tours.* Chaperones are free. 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

Summer Community Events

Free Fun Friday Friday, June 24, 11am-5pm FREE admission all day. Sponsored by Free August Free admission through August. Sponsored by

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. WAM’s Art Carts are filled with fun, informative activities suitable for all ages. Check for schedule when you visit. Family Tour* Saturdays 10:30-11am Explore the museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories and enjoy sharing observations and time together.

* Family Tours take place First Saturdays only.

Families @ wAM Make Art* Saturdays 11-11:30am Stay after your family tour or drop in for this fun intergenerational time in the galleries or studios. Get inspired by our art and try making something uniquely yours. Materials will be provided. July: Clay Pets

August: The Cat Days of Summer September: Autumn Art

October: Monster Madness

December: Winter Wonderland

* Make Art takes place First Saturdays only.

Adult Programs

Nude Drawing Thursdays, 2-5pm Try your hand at drawing a live nude model with the guidance of our expert faculty among masterworks by Veronese, El Greco and Rembrandt.

Programs for All Ages

Arms + Armor Demonstrations Saturdays and Sundays Join us for this fun interactive program, and learn all about different kinds of arms and armor used by knights and soldiers, including Roman soldiers, Medieval knights, and beyond! Visit our website for weekly schedule.

Homeschool wednesdays** Complement your child’s home-based learning with our special Homeschool Wednesdays. Choose from the following themes: the Ancient World, Middle Ages and Renaissance, Early American, or Museum Highlights. Programs for ages 5 and up include tours and a gallery studio workshop. Cost: 1-12 students $225, 1324 students $245; Knights!: 1-12 students $255, 13-24 students $265. Visit our website for schedule.

Art + Market Saturdays, August 6 – September 24, 10am-1pm Salisbury Street Lawn Get all your locally grown produce with our perennial favorite, Dick’s Market Garden. Community Day: Meow Saturday, August 20, 10am-5pm Free admission Enjoy cat-themed programming, artmaking, and performers all day. Media partner:

Scout Programs** Scout programs include tours and gallery studio workshops designed to complement Merit Badges and interests. Programs are available during Museum hours; sword classes are offered on Saturdays.

** Contact Jan Ewick at 508.793.4338 or JanEwick@worcesterart.org, or Jesse Rives at 508.793.4335 or JesseRives@worcesterart.org to schedule your Home-school Wednesday or Scout program today! Please schedule at least three weeks in advance. All programs listed are free with Museum admission, unless otherwise noted.

Admission is free from 10am to12pm on the first Saturday of each month.

Connect with us

fln

Events & Programs Fall 2016 Senior September WAM celebrates our senior visitors each Wednesday in September with free admission! Each Senior September Wednesday features docent-guided tours at 11:30am. As an added bonus, everything in the Museum Shop will be discounted 10% on Wednesdays, just for seniors. Sponsored by worcester Revolution of 1774 Sunday, October 2 Join institutions throughout the Salisbury Cultural District to celebrate the history and pivotal role of Worcester County in the American Revolution, in particular the remarkable events of September 6, 1774. For more information, visit revolution1774.org. Community Day: Diwali “Festival of Lights” Saturday, November 5, 10am-5pm Diwali is an ancient Hindu festival celebrated in autumn every year. The festival spiritually signifies the victory of light over darkness or good over evil, knowledge over ignorance, and hope over despair. Enjoy cultural programming, including artists, artmaking, and performers. Election Day Tuesday, November 8, 7am-8pm Working in collaboration with the City of Worcester, the Worcester Art Museum is the official polling location for Ward 3 Precinct 2.

Ed Emberley's ABC, written and illustrated by Ed Emberley, 1978, trade book cover. © Ed Emberley used with permission.

Ed Emberley Family weekend Saturday and Sunday, November 19 and 20 Join us for two days of artmaking, art-cart activities, tours, and more, as we celebrate the opening of with KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley.

Ed Emberley Open Studio Opens Wednesday, November 16 Higgins Education Wing Visit our exciting, new Open Studio, offered in conjunction with KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley. Try your hand at some of the techniques Ed uses to create his colorful picture books. Open hours: WednesdaysFridays, 11am-12noon and 1-3pm, Sundays, 2-5pm. Suitable for all ages, Open Studio is available on a first come, first served basis.

Holidays @ wAM Sundays, December 11 and 18, 2pm Revel in WAM’s holiday festivities with live music and performances!

Gingerbread Castle Competition December 11 – 18 Don’t miss the third annual Gingerbread Castle Competition. View and vote for your favorite castles in our professional, amateur, and youth categories. Castle submissions are welcome! Visit worcesterart.org for more information.

Medieval Family weekend Saturday and Sunday, December 17 and 18 Join us for two days of performances, artmaking, activities, tours, and more, as we celebrate the reopening of our Medieval galleries.

All programs listed are free with Museum admission, unless otherwise noted.

Ando Hiroshige III, The Second Exhibition at the Tokyo National Museum in Ueno Park (detail), colored woodblock print, oban triptych, Harriet B. Bancroft Fund, 1989.136

Facing the World: Modernization and Splendor in Meiji Japan September 3, 2016 - April 16, 2017 Japanese Gallery

During Japan’s rapid modernization in the Meiji (“enlightened rule”) period (1868 – 1912), power was restored back to the emperor from the samurai class. Though the Meiji period is best known for its dramatic domestic reforms, presenting the nation on the international stage also became important, especially through the beauty of its arts. Facing the World features historic lacquerware that represented Japan at international expositions in Paris and San Francisco, as well as prints reflecting Japan's accelerated growth at home and abroad.

Connect with us

fln

T H I R D â&#x20AC;&#x2C6; T H U R S D AY S

MASTER SERIES hosted by worcester art museum

Indian, Punjab Hills, The Storm (A lady taking shelter from the monsoon wind and rain), about 1760-1770, watercolor on paper, Gift of Alexander H. Bullock, 1956.3

members council

The Storm (A lady taking shelter from the monsoon wind and rain), Indian, Punjab Hills

Program: September 15, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court

Learn more at worcesterart.org

As portrayed here, the popular narrative subject of abhisarika nayika, or a heroine rushing to meet her lover, has appeared in Indian court painting, literature, and dance over several centuries. Learn about the depiction of such narratives and epics in Indian court painting, as well as their continued reimaginings in contemporary art.

Speaker: Vishakha N. Desai, PhD, Special Advisor for Global Affairs to the President of Columbia University and Professor of Professional Practice at the School of International and Public Affairs

The Fall MASTER SERIES Exhibitions and Programs Programs hosted by the WAM Members Council

he Worcester Art Museum's Master Series offers a new season of highlight exhibitions, focused on ways to look closely at works by signature artists. Exhibited in different galleries throughout the Museum, these intimate displays allow for contemplation and study of some of the world’s most celebrated artists.

Each mini-exhibition is accompanied by a special Master Series Third Thursday event, hosted by the WAM Members Council, allowing you to learn even more about these artists and works. Enjoy an art talk related to one of the featured artists, plus music, cash bar, cheese and crackers – and the company of other art enthusiasts! Free with Museum admission. Free for college students with current / valid I.D. Events include ASL Interpretation

The 1920's...The Migrants Cast Their Ballots, by Jacob Lawrence October 15, 2016 - February 5, 2017

Program: October 20, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court Prompted by the hope of social and political freedom, hundreds of thousands of African Americans abandoned the South to gain basic civil liberties, including the right to vote. Explore Jacob Lawrence’s impassioned reflection on this journey, which began as early as 1940 and remained at the core of his artistic career. Left: © 2016 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

The Jewish Wedding, by Pierre-Auguste Renoir September 24, 2016 - March 26, 2017

Program: November 17, 6-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court The Jewish Wedding, painted by Renoir in 1875, is a commissioned replica of French Romantic Eugène Delacroix’s 1839 painting The Jewish Wedding in Morocco. Discover how Renoir adapted his impressionist manner to the painting, thereby creating a distinguished artwork unto itself.

Speaker: Judith Dolkart, Director of the Addison Gallery of American Art

MASTER SER IES SPON SOR :

MED IA PARTN ER :

Connect with us

fln

Meet Joe Bafaro, President of the Board of Trustees

oseph J. Bafaro, Jr. is serving a one-year term as president of the WAM Board of Trustees, after over 7 years as Treasurer. access asked Matthias Waschek, C. Jean and Myles McDonough Director of the Worcester Art Museum, to interview Joe about his role as head of the Board and his thoughts on museum leadership. Mw: You are part of WAM's history for many reasons: you are our youngest serving Board president (although we won’t reveal your age, your two sons are 12 and 13), and you have been one of our longest serving treasurers (from 2007 to 2015). In addition, you may qualify as one of the fastest officers on an art museum board; you have run marathons in 35 states and are training for the Leadville Trail 100 in Colorado! Can you tell us a bit about your relationship with this museum?

Board members, ranging in age from 40s to early 70's. We are slowly becoming more culturally and socio-economically diverse. With Malcolm Rogers we have our first Board member from outside the country, and I hope in the future we will have at least one artist. Additionally – and most importantly – we have been able to grow Board giving substantially. What has never changed is the dedication of the individual Board members to the institution, the community and the collections, which are, as we all know, incredible.

Mw: The Museum’s Vision Statement emphasizes relevance and sustainability. How does the Board play into this vision for the future?

JB: Non-profits only thrive when their boards are engaged and supportive. The fiduciary role of every board is to make sure the institution is sustainable and can fulfill its mission. This is a moving target, as museum financial situations are always adjusting to economic and demographic shifts. While it is the director's job to analyze trends and bring them to the Board's attention, it is important that the Board buys into the director’s vision and considers it as an enhancement for the community. Change of vision and priorities often happens out of necessity, not out of choice.

JB: Growing up in the Worcester area, I always admired the Museum and its stately presence on Salisbury Street. It wasn’t until I moved back to the city, after some years away, that WAM became an important part of my life — including studio art classes for my children, events in which my family took part, exhibitions that opened my horizons, and friends that I met at the Museum. One of those friends invited me to become involved with the Joseph J. Bafaro, Jr. Business Partners committee. Eventually, I was asked to join the Museum Board. I became the treasurer Mw: How do Corporators strengthen the Museum? shortly thereafter. JB: We currently have 160 Corporators, who have the highest Mw: Which accomplishment during your time as Board level of fiduciary responsibility for the Museum. At our annual president are you the most proud of? meetings, they vote in new Board members, the officers and the president, as well as new Corporators, who are identified JB: I am proud that I was President when we voted on our first and proposed by our Nominating Committee. Corporators long range plan — the fulfillment of the 2020 vision, according constitute the recruitment ground for future Board members. to which this museum will not only attract 200,000 visitors in They are stakeholders, support the institution financially, 2020 but also reach financial sustainability at a much higher sometimes serve on committees, and always act as level of operating. I am also most excited about the Campus ambassadors. Like all the other stakeholders, they enjoy the Master Plan, which is evolving and will lay the groundwork for Museum as part of their lives. a capital campaign. As a former treasurer, I am extremely pleased that we were able to vote on a sustainable budget in Mw: Is there anything you would like to say in conclusion? June. JB: Since its inception, WAM has been a museum for all Mw: How has the Board changed in the time you served? people, and the team takes that very seriously as we strive to make it increasingly relevant. I’m humbled and honored to be JB: Actually, a lot! Although the Museum is still grounded in a small part of the larger effort to build a vibrant and thriving Worcester, our Board has a growing regional presence, institution that is open and accessible to people across our city, including Worcester County, MetroWest, Boston, New York City, region, and world. This is an exciting time in the life of WAM! and England. We now have roughly as many male as female

Learn more at worcesterart.org

r e m m Su

N FaU t WAM

Explore

Engaging Exhibitions

Create

Summer Art Classes

Get up close to The Last Judgment Tapestry, recently returned to WAM after conservation, and discover felines throughout the Museum in Meow: a cat-inspired exhibition. Don’t miss the Cats-in-Residence Program, opening on July 13.

Make something great this summer! Choose from our extensive course offerings in all mediums and for all ages. WAM art classes for youth and teens are a creative alternative to traditional summer camp — all the fun, without the bugs and sunburn! Learn more and register at worcesterart.org/classes. Summer Youth Classes are sponsored by

Experience Family-Friendly Fun Taste

Get hands-on at one of the art carts, try some armor on for size, and “tour” the Museum with Helmutt, the dog. Meow Community Day: Saturday, August 20, 10am – 5pm

Café and Sip

Enjoy a delicious lunch in WAM’s beautiful outdoor café, or buy a sandwich or snack at the Sip cart in the Lancaster Welcome Center. (The Café will be closed August 20.)

Visit

Learn more at worcesterart.org

Art + Market: Saturdays, August 6 – September 24, 10am-1pm

For Free!

Admission is FREE throughout the month of August, thanks to a generous gift from The Kirby Foundation.

Connect with us

fln

We are grateful to the following foundations for their generous support of the Worcester Art Museum Fletcher Foundation – Higgins Integration George I. Alden Trust – Culture LEAP Programming Stoddard Charitable Trust – Modern Art and Culture LEAP Programming The Patrick and Aimee Butler Family Foundation – Unrestricted General Operating Support Sherman Fairchild Foundation – Small Museum Conservation Program Hoche-Scofield Foundation – Higgins Armory Collection Integration LLH/LHM Foundation – Families at WAM The Manton Foundation – Capacity Building Initiatives The Rockwell Foundation – Higgins Armory Collection Integration E. Rhodes and Leona B. Carpenter Foundation – Samurai and Uncanny Japan Exhibitions Fred H. Daniels Foundation – Higgins Integration Christian A. Johnson Endeavor Foundation – Exhibition, Education, and Outreach Programming Greater worcester Community Foundation for various Exhibition and Education Outreach Programs

Institute of Museum and Library Services Museums for America: American and European Painting Digitization

J. Irving and Jane L. England Charitable Trust – Unrestricted General Operating Support Bank of America – Museums On Us Mildred H. McEvoy Foundation – Higgins Armory Collection Integration Francis A. and Jacquelyn H. Harrington Foundation – Higgins Armory Collection Integration Bradley C. Higgins Foundation – Higgins Armory Collection Integration Ruth H. and warren A. Ellsworth Foundation – Higgins Armory Collection Integration The Samuel H. Kress Foundation – Kress Interpretive Fellow John & Kelley Joseph Family Foundation – Arts Alternative Programming The Schwartz Charitable Foundation – Higgins Curatorial Support Stockmen Family Foundation Trust – Conservation Equipment Goerge F. and Sybil H. Fuller Foundation – Higgins Integration

Highland Street Foundation Free Fun Fridays

National Endowment for the Arts Artworks; Teen Happenings at WAM

René & Karin Jonckheere Fund Conservation of The Last Judgment Tapestry

The European Fine Art Foundation Conservation of Hogarth Portrait Pair

The Henry Luce Foundation American Art Curatorial Assistant

The Kirby Foundation Free August

Massachusetts Cultural Council Cultural Investment Portfolio: Partner; Cultural Facilities Fund; UP-ILN Partner

The Andrew w. Mellon Foundation Curator of American Art

Terra Foundation Curatorial Research

The Coby Foundation Last Judgment Exhibition

SALUTE TO SPONSORS

National Endowment for the Humanities Sustaining Cultural Heritage Collections; Collection Sustainable Storage Initiative TJX Foundation Free First Saturday mornings 10am-noon The Hanover Foundation Education Programming

The Worcester Art Museum is grateful to our corporate sponsors for understanding the value of making the Museum’s exhibitions, projects, and programs possible.

AUCTIONEERS AND APPRAISERS OF OBJECTS OF VALUE

For more information about how your company can co-brand with WAM through a business partnership or sponsorship, contact Karmen Bogdesic at 508.793.4326 or karmenbogdesic@worcesterart.org. 32

Learn more at worcesterart.org

THANK YOU SO VERY MUCH to all who participated in the Second Annual Corporators Ball: La Grande Fête on June 11, 2016. The fabulously French and festive evening featured live and silent auctions, sumptuous dining, and unique entertainment throughout the Museum and under the stars — all to celebrate and support the Worcester Art Museum’s mission to connect art and community.

Merci Beaucoup! We extend our gratitude to the following who worked tirelessly to make this event a success:

HONORARY CHAIR

C. Jean McDonough EVENT CO-CHAIRS

Lisa H. McDonough Susan M. Palatucci

APRÈS FÊTE CO-CHAIRS

Jennifer C. Glowik Luke M. Vaillancourt

CORPORATOR COUNCIL

Barbara T. Athy, Co-Chair Susan M. Palatucci, Co-Chair John B. Anderson Susan M. Bassick Tracy A. Craig Jyoti Datta Justin L. Fletcher Maureen L. Glowik Luke M. Vaillancourt

We also wish to express a special note of appreciation to the Board of Trustees, the Salisbury Society Program Committee, WAM’s Business Partners, and our Members Council for their creative collaboration. Please visit www.worcesterart.org/ball for photos from the Corporators Ball.

A complete listing of donors will appear in the next issue of access. WAM is especially grateful to the following corporate sponsors who value our cultural significance in Worcester:

AUCTIONEERS AND APPRAISERS OF OBJECTS OF VALUE

Additional support was provided by Bowditch and Dewey, LLP.

Connect with us

fln

Philanthropy spotlight

In Memoriam*

wE wANT TO RECOGNIZE AND HONOR the following Trustees, Corporators, and Legacy Society Members who are no longer with us, but who contributed their time, energy and support to ensure that the Worcester Art Museum is a vibrant institution today and for future generations. We are so grateful for their decades of commitment and dedication. They are missed, but their influence and impact lives on.

Karl L. Briel ~ Former Corporator, Legacy Society william T. Carleton, M.D. ~ Legacy Society william R. Carrick ~ Current Corporator, Legacy Society Henry J. Ciborowski ~ Trustee Emeritus, Former Corporator John A. Duggan, M.D. ~ Former Corporator Howard J. Freeman ~ Trustee Emeritus, Former Corporator Robert Dudley Harrington, Jr. ~ Legacy Society Augusta H. Kressler, M.D. ~ Former Corporator Aaron Lazare, M.D. ~ Former Corporator Judith H. McCann ~ Former Corporator, Former Docent Margery B. Morgan ~ Trustee Emerita, Former Corporator, Former Docent

Robert Dudley Harrington, Jr.

* Since January 1, 2015

If you are interested in leaving a legacy or in naming the Worcester Art Museum in your will or other estate plans, please call the Development Office at 508.793.4325 or email us at plannedgiving@worcesterart.org.

Robert Dudley Harrington, Jr.

obert Dudley Harrington, Jr., only lived in Worcester as a

Dressed as a female samurai warrior Sarah Leveille poses with Neal child, but the city — where his family has been prominent Bourbeau, who is dressed as a Viking warrior. Both are Museum forassociated generations —Knights! remained close to his heart throughout Educators with the exhibition.

his life. When he passed away in 2014 at the age of 82, he remembered the Worcester Art Museum with a generous bequest, continuing a long Harrington family tradition of supporting the Museum.

The son of the late Robert Dudley Harrington and Ann Harrington, Dudley (as he was called) grew up on Denison Road with his sister, Sarah. He attended the Bancroft School until the ninth grade, when he transferred to Manlius School in New York. That was followed by an undergraduate degree from Brown University, an MBA from Columbia University, and a variety of roles in the business world. His great love, however, was the environment and the sea. He was a longtime benefactor of the Woods Hole Oceanographic Institution, an avid sailor, and active member and Commodore of the Edgartown Yacht Club. Believing that being on the water was the only way to live, Dudley spent as much time as he could at the helm of his boats, according to his widow, Clare Gesualdo Harrington, who shared her husband’s love of sailing.

While Dudley was most at home on the sea, he never lost sight of his roots in Worcester and remained faithful to organizations that were important to the Harrington family. We are immensely grateful for Dudley’s gift, which continues a legacy of philanthropy to the Museum.

Learn more at worcesterart.org

DONATE TO THE wAM ANNUAL FUND

Charitable contributions to the Worcester Art Museum support exhibitions, our collection, conservation, events, education and outreach, facilities, and every activity leading to the accomplishment of our vision to connect art and community. When you make a gift to WAM, you demonstrate YOUR commitment to bringing art and culture into the living room of Worcester and beyond.

Contact the Development Office at 508.793.4325 or visit www.worcesterart.org/give/ to make your gift today!

Salisbury Society

we thank the following Annual Fund donors who have made wAM a priority in their charitable giving. Their unrestricted gifts qualify them for the Salisbury Society and provide essential support for all areas of the Museum. Society members are treated to a Salisbury Art Series, sneak previews, regional museum trips and an annual Salisbury Evening. Under the leadership of Lisa Bernat and Chris Collins, the Society has welcomed 23 new members this fiscal year. (as of 5/25/2016)

President's Circle $10,000+ Karin I. Branscombe Mary and Warner Fletcher Lisa Kirby Gibbs and Peter Gibbs John* and Marianne Jeppson Mr. and Mrs. B. Anthony King Philip and Gale Morgan John and Ellen Savickas Mr. and Mrs. Theodore E. Shasta

Director's Circle $5,000 - $9,999 Herbert and Maura Alexander Kristin and Joseph Bafaro, Jr. Jack and Susan Bassick Allen and Sarah Berry William R. Bush Catherine M. Colinvaux and Phillip D. Zamore Mr. and Mrs. J. Christopher Collins James E. and Margaret F. Collins Maria and John Dirlam Mr. and Mrs. James C. Donnelly, Jr. Antonella and Roger Doucette Mark and Jan Fuller Dr. Gabriele Goszcz and Douglas Crawford Dr. Abraham and Linda Haddad Maureen and William Kelleher Mr. and Mrs. Joseph P. Lotuff C. Jean McDonough Mr. and Mrs. Neil McDonough Marc S. Plonskier Drs. Phyllis Pollack and Peter Metz Clifford J. Schorer Matthias Waschek and Steve Taviner Patron $2,500 - $4,999 Marie and Mike Angelini Mr. and Mrs. H. Paul Buckingham III Mr. and Mrs. Vernon Caforio Christos* and Mary T. Cocaine Pablo and Paula Collins Charles H. N. de Végvár Dr. and Mrs. Herbert M. Dean Margery and Richard Dearborn Allen W. Fletcher Patricia A. Fletcher Roberta Goldman Mr. and Mrs. James N. Heald 2nd Andrew and Irene Jay Margaret Keith Stephen and Valerie Loring Katharine and Henry Michie Thomas Michie Mahroo and Barrett Morgan Nydia and Charles Moser Martha R. Pappas and Arthur M. Pappas, M.D.* Marlene and David Persky Sarah and Joe Ribeiro Michael and Carol Sleeper George and Lynne Tonna Mr. and Mrs. Leif N. Uptegrove Mark and Barb Wetzel Member $1,250 - $2,499 Mr. and Mrs. William J. Abodeely John B. and Mary Lou Anderson Drs. Julia D. Andrieni and Robert A. Phillips

Drs. Seta and Diran Apelian Anthony and Barbara Trayers Athy Sharon K. and Richard M. Avis John and Jeri Baker Janet and Brian Barlow Thomas J. and Lynora S. Bartholomew Dr. and Mrs. Frederick L. Bayon Elaine W. Beals Whitney Beals and Pamela Esty Lisa and Rod Beittel Barbara and George Bernardin Eleanor C. Bernat Mr. and Mrs. Eugene N. Bernat Lisa M. Bernat and Abram Rosenfeld Richard and Sande Bishop Randolph and Edla Ann Bloom Michael and Cathleen Bollus Mr. and Mrs. A. Shepard Boote Raymond J. Boylan, Jr. Eric Brose and Jan Seymour Dawn and John Budd Vivian Budnik, Ph.D. George and Tammy Butler Thomas W. Caldwell Jay E. Cantor William R. Carrick* Mr. and Mrs. Robert R. Charles Henry J. Ciborowski* Michael F. Collins, M.D. Paula H. Connolly Mrs. Fairman C. Cowan* Tracy A. Craig and Dr. James J. Convery Chris and Betsy Crowley Dix and Sarah Davis Howard G. Davis III Phil and Laurie Davis Henry B. and Jane K. Dewey David DiPasquale and Candace Okuno Tom and Joan Dolan Dr.* and Mrs. John A. Duggan David and Sandy Ekberg Cathleen C. Esleeck Birgit Faber-Morse Paul and Judith Falcigno Bargo Fargo Andy and Robin Feldman Marianne E. Felice, M.D. Allen and Yda Filiberti Mrs. John E. Flagg* Justin and Laine Fletcher Kathleen H. Gadbois Paul Giorgio Dr. Wayne and Laura Glazier Maureen L. Glowik and Jennifer C. Glowik Stephen and Elaine Gordon John and Geri Graham Maureen and Bob Gray Drs. Ivan and Noreen Green Joel P. Greene and Ann T. Lisi David R. and Rosalie A. Grenon Dr. Thomas and Mrs. Patricia Halpin Dr. and Mrs. James B. Hanshaw Amy Harmon and Robert Stefanic Phyllis Harrington Dr. N. Alan Harris and Dr. Diane Lebel

George Hecker Frank Herron and Sandy Urie Jock Herron and Julia Moore Dr. Janice Hitzhusen and Dr. James Pease James E. Hogan III Dr. James and Kathleen Hogan Emily and James Holdstein Margaret Hunter Frances and Howard Jacobson Mrs. Tay Ann Jay Jesuit Community at Holy Cross and Thomas Worcester David and Kathleen Jordan Matthew Kamins and Laurian Banciulescu Rachel Kaminsky Mr. and Mrs. Amar V. Kapur Dr. Marshall Katzen and Ms. Bari Boyer Shubjeet Kaur John F. and Rayna Keenan Daniel Y. Kim, M.D. Dr. Jean King and Dr. Carl Fulwiler David and Barbara Krashes Mr. and Mrs. Warren C. Lane Jr. Albert and Anna LaValley Claude M. Lee III Mary Beth Leonard Christine and Dana Levenson Thomas J. Logan Ronald and Angela Lombard David Lucht and Susannah Baker Ingrid Jeppson Mach and Dany Pelletier Robert and Minh Mailloux Thomas Manning and Nadine Manning Moira and Charlie Manoog Tom and Elizabeth McGregor Daniel R. McLean and Jon L. Seydl Dr. and Mrs. Glenn A. Meltzer Katie and Louis Messina Dr. Satya and Mrs. Supriya Mitra Mr. and Mrs. Andres Jaime Molina Mrs. Anne (Nancy) Morgan Michelle Morneau Jim and Patty Moynihan Jim Mullen and Nola Anderson Frederic and Victoria Mulligan Charlene Nemeth Dr. and Mrs. Joseph C. Oakley Edward J. Osowski Susan and Chris Palatucci Donald and Susan Pegg Deborah Penta Mrs. William O. Pettit, Jr.* Mr. and Mrs. N. William Pioppi Cynthia and Stephen Pitcher The Plourde Family Charitable Trust George Rand Patricia Lin Reedy and Charles L. Joyce Arthur and Debra Remillard Luanne Remillard Dr. Ruthann P. Rizzi and Edwin Barr Linda and Ted Robbins Dr. Malcolm A. Rogers

Mr. and Mrs. Henry B. Rose Stuart H. Sadick and James Bryant Peter and Anne Schneider Carol L. Seager Linda J. and Robert G. Seega Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff and Robert M. Siff Dr. and Mrs. Jang Singh Richard and Glena Sisson John J. and Kristina M. Spillane Mark Spuria Mr. and Mrs. John C. Stimpson Katy and Peter Sullivan John J. Szlyk Anne Tardanico George and Sheila Tetler Tony and Martha Tilton Lee and Owen Todd Judith and Gary Vaillancourt Luke and Anna Vaillancourt Judith Vander Salm Mr. and Mrs. Herbert M. Varnum Anthony T. Vaver and Martha P. Heller Kristin Waters Roger and Elise Wellington James A. Welu Judy and Steve Wentzell Barbara Wheaton Peter and Shirley Williams Joanne and Douglas Wise Susan and David Woodbury Ken and Dorothy Woodcock John Worcester Dr. Edward C. Yasuna

* Deceased

SALISBURY SOCIETY MEMBERS wILL ENJOY THE FOLLOwING UPCOMING PROGRAMS Salisbury Art Series July 21, 2016 Meow: Family Fun at WAM

Trip to PEM September 21, 2016 American Impressionist: Childe Hassam and the Isles of Shoals

Salisbury members will enjoy an exclusive tour of the Peabody Essex Museum with Betsy Athens, WAM’s Curator of American Art, and Austen Barron Bailly, the Hassam exhibition curator. To join the Salisbury Society, please contact Nancy Jeppson at 508.793.4325 or Nancy Jeppson@worcesterart.org. Connect with us

fln

join or

today renew

What’s the value of WAM membership? •Free visits all year!

That’s a value of $3,360 per individual across the entire year.

•Special discounts in the Café, Museum Shop, and for 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 for major events.

•Satisfaction in supporting one of the region’s most treasured cultural jewels Value: PRICELESS!

Purchase your Worcester Art Museum membership online at worcesterart.org/Membership,

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.

Learn more at worcesterart.org

f e at u r

wa m membe

Harvey Fenigsohn

Member spotlight: Harvey Members are vital to the Museum’s success in connecting art and community. Here, Membership Coordinator Madeline Grim asks Harvey Fenigsohn about his involvement with WAM.

MG: People become Museum members for many different reasons. What were yours when you joined Worcester Art Museum?

HF: I long ago felt compelled to become a WAM member to lend my support to such a worthy institution and to visit any time I need to refresh my creative imagination. MG: What has it been like being a member of WAM?

HF: As a lifelong devotee of the fine arts, I find WAM a delightful place to indulge my aesthetic cravings — a perfect way to experience inspiring works of art ranging from ancient civilizations to today’s avant garde. MG: What’s been your favorite event at the Museum?

HF: My favorite event(s) include the many guided tours WAM offers as well as the courses offered at the Museum by The Worcester Institute for Senior Education (WISE).

Fenigsohn

I am especially impressed with the innovative outreach and the new programs which have come with the new director. One of the finest museums of its size in the nation, WAM continually improves — an outstanding asset to our city.

MG: Most of us have a work of art or gallery at WAM that we return to again and again. What is that special piece or place in the Museum for you — and why?

HF: As an avid fan of classical mythology, I repeatedly savor all the many art works involving Greek and Roman antiquity, for example, the Worcester Hunt Floor Mosaic and the remastered “Venus Disarming Cupid.” I also return again and again to unforgettable paintings by Matisse and Gauguin, and, of course, Rembrandt’s “Saint Bartholomew.” All remind me of how, despite our limitations, humankind remains capable of magnificent achievements.

MG: If you could ask one question of any artist – from the past or present — who would you choose, and what would you ask?

HF: I would ask Leonardo da Vinci if it is true, as has been suggested, that the Giaconda (Mona Lisa) is smiling because she is pregnant. Connect with us

fln

Thank You

Business Partners! Together we make a difference for Worcester.