Cleveland only (2) Young Monet’s realism The exhibition ‘Painting the Modern Garden, Monet to Matisse’ was first organised by the Cleveland Museum of Art, before it moved to the Royal Academy in London. I would have loved to see this one in the RA too, but it was only shown in Cleveland…
Claude Monet, Le jardin de la princesse (The Graden of the Princess), 1867. Oil on canvas, 91,8 x 61,9 cm. Allen Memorial Art Museum, Oberlin, Ohio
First-years and their parents have arrived on campus (some of them toured the museum and Wright house today), and classes start next week. So it seems appropriate to post this picture of Oberlin art students working on a project on the front lawn of the AMAM, circa the 1920s.
Have you ever visited a museum only to see a painting or sculpture that looked very familiar already, and wondered why? Or pondered how many times an artist labored over their creation before getting it “right”? In a small selection of works on display in the AMAM’s Education hallway, we explore these questions through familiar objects from our permanent collection by five different artists.
Historically, artists created self-portraits not only to display their prowess at capturing likenesses, but also to promote themselves and their work. Michiel Sweerts created this print after making the painting now hanging in our Willard-Newell Gallery. Both works show Sweerts with the tools of his trade (a palette, paint, and brush), which was traditional in Netherlandish art. Sweerts also created portrait prints like this to be used as teaching aids at his academy of drawing.
Michiel Sweerts (Flemish, 1618–1664) Self-Portrait, ca. 1656–58 Etching Gift of M. Knoedler and Co.
Then and Now: two views of the musuem’s Willard-Newell Gallery. On the left, before the renovation project, and on the right, as it is today. Especially noticeable is the updated lighting system, which has been installed in three of the museum’s galleries. The museum would like to thank donors Merrill and Pat Shanks (OC 1961 and OC 1963) and Mrs. Fay Stern for supporting this project.
This year, the museum is most thankful to be back open to the public, and to see visitors from the public, from Oberlin College classes, and from local school groups in the galleries, including these first grade students from Eastwood Elementary in Oberlin. First, second, and fourth grade classrooms visit the museum every month, and middle and high school groups visit regularly.
When the museum reopened on September 6, over 200 objects were newly on view compared to the installation when the museum closed in December 2009. Many of these objects are on view for the first time in decades. Over the coming weeks, we’ll take a closer look at some of these works.
Today’s work is a bronze “Padmapani” sculpture from India (Kashmir) from the 11th century AD. The Padmapani (meaning ‘lotus bearer’) is also known as the Bodhisattva of Infinite Compassion. In his left hand, he holds the stem of a lotus and his right hand forms the gesture known as abyhaya, meaning fearlessness. The figure is draped in elaborate dress and ornate jewelry, a typical representation for bodhisattvas, meant to distinguish them from Buddha himself.
This beautiful sculpture is on view in the museum’s South Ambulatory Gallery.
As a follow-up to yesterday’s image of the current installation in the King Sculpture Court, we present this classic view from yesteryear of the KSC. Notice the plaster casts of Classical frieze reliefs, some of which are now displayed in the staircase leading up to the Art Library.
Today, we’re starting the reinstallation of the Asian ambulatory gallery. This is a unique view of our Chinese (Tang Dynasty) ‘Tomb Figurine of an Equestrian Hunter.’ The wonderful colors of the ceramic glaze are typical of the era.