The Waters Art Museum Members Magazne January–April 2012

WHAT W

ILL YOU DISCOVER?

MEM

BERS MAGAZINE

WINTER 2012

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board of trustees 2011–2012Chair andreab.laportePresident douglasw.hamilton,jr.Vice-President ellenn.bernardVice-President thomass.bozzutoVice-President nancyr.sasserVice-President dr.hervey(peter)s.stockman,jr.Vice-President marybailywielerTreasurer frankk.turner,jr.Secretary dr.garyk.vikan

—juliannee.aldermanpeterl.baincalvinh.bakerneald.bordenh.wardclassenrosaleec.davisonmichaeldehavenoncynthial.eganchristinem.espenshadejonathanm.fishmanbrucew.flemingguye.flynnmichaelb.glicksanfordm.grossthehonorablec.yvonneholt-stonestanleymazaroffneila.meyerhoffbaileymorris-eckjennifermurphycharlesj.nabitmarilyna.pedersenwilliamh.perkinslynnhomeierrauchgeorgek.reynolds,iiijohnr.rockwelledwardl.rosenbergbernardselzgaill.shawe

—ex-officio membersthehonorablestephanierawlings-blakethehonorablebernardc.youngthehonorablemartinj.o’malleythehonorablekevinkamenetzthehonorablekenulmanannen.apgarrosemaryeckmargaretz.fergusonlaural.freedlanderbarbaraguarnieriadelekasselizabethkoontzmarcok.merricktomnoonandianaulman

—trustees emeritidr.roberts.feinbergsamuelk.himmelrich,sr.cynthiar.meadwilliaml.paternotteadenaw.testajaym.wilson

—international advisory boarddr.jamesmichaelbradburnewendyceh.brodyeddiec.browndr.myrnabustaniconstancer.caplanphilipd.englishsamfogglaural.freedlanderleahganslerjoelgoldfrankbruceliviedr.jamesmarrowangelamooredwightplattgeorgerochepaulruddockthehonorablepaulsarbanesdonaldj.shepardgeorgem.shermanjohnwaters,jr.dr.danielh.weissbenjaminb.zucker

The Walters Magazine, Vol. 65, No. 1Published by the Trustees of the Walters Art Gallery, Baltimore

Editor, charlesdibbleDesigner, tonyvenneArt Photography, susantobin

[email protected]

[email protected]

our missionThe Walters Art Museum brings art and people together for enjoyment, discovery and learning. We strive to create a place where people of every background can be touched by art. We are committed to exhibitions and programs that will strengthen and sustain our community.

The Walters Art Museum is open Wednesday–Sunday, 10 a.m.–5 p.m.

above: Stucco Portrait Head / Maya, Mexico, Belize or Guatemala / Late Classic

Period / AD 550–850 / Stucco, paint

cover: Warrior Face (Incense Burner Fragment) / Teotihuacan, Mexico / Middle

Classic Period, AD 400–650 / Earthenware, post-fire pigment

10 ONE GIFT LEADS TO ANOTHER 11 MUSEUMS AND THE COMMUNITY 12 NEAR PARIS 13 WELCOME JO BRIGGS 14 PROGRAMS & EVENTS 15 FAMILY FUN 16 MUSEUM STORE 17 INTEGRATING THE ARTS 20 BEHIND THE SCENES 21 TOUCH & THE ENJOYMENT OF SCULPTURE 22 MUSEUM NEWS

EXPLORING ART OF THE ANCIENT AMERICAS: THE JOHN BOURNE COLLECTION GIFT

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LETTER FROM THE DIRECTOR

DearMembers,

Exploring Art of the Ancient Americas: The John Bourne Collection GiftwillmarkamilestoneinthehistoryoftheWaltersArtMuseum.NotsincetheopeningofHackermanHousein1991asthecenterforourcollectionsofAsianarthavewetakensuchaboldstepforwardinexpandingourofferingsforourvisitors.

WithgenerousgiftsofendowmentfundsandworksofartfromJohnBourneofSantaFeandtheZifffamilyofNewYorkCity,wewillestablishaCenterfortheStudy,DisplayandTeachingoftheArtsoftheAncientAmericas.TheCenter’sendowedstaffwillincludeacurator,aconservator,andaneducator.Endowedfundswillbedesignatedaswellforexhibitions,publications,colloquiaandsymposia,exchangefellowshipsandoccasionalartpurchases.Wewillpursueopportunitiesforlong-termloansfromU.S.museumsandcollectorsandfrominstitutionsinLatinAmerica,andwewillalsoseektoenhanceourartholdingsthroughgiftsfromexistingcollections.Plansareunderwaytocreateapermanentgalleryspacededicatedtothesenewcollections.ThroughthisCenter,theWalterswillestablishpartnershipsforresearchprojectswithU.S.andLatinAmericanmuseumsanduniversities;wewillalsoexploretrainingopportunitiesforourstaffandfellowsthroughaprogramofresidentialexchangesinLatinAmerica.

Inthedecadestocome,theWaltersArtMuseumwillbeattheforefrontinternationallyinexploringandsharingwiththepublictherichculturalheritageofthegreatcivilizationsoftheWesternHemisphere.

Gifts,acquisitionsandlong-termloanswillbesoughtinconformitywiththeWalters’acquisitionsandaccessionspolicyaspublishedonourwebsite.Thepolicyisbasedonthemuseum’scommitmenttothreeoverarchingprinciples.First,DueDiligence:theacquisitionofworksofartwillbeconductedwithfullandrigorousinvestigationanddocumen-tationoftheworks’provenanceandauthenticity.Second,Transparency:theseworks,whethergifted,purchasedorreceivedaslong-termloans

orplannedgifts,willbepromptlypublishedonourwebsiteandontheobjectregistryoftheAssociationofArtMuseumDirectors.Andthird,Good-FaithEngagement:anyplausibleclaimsforrepatriationofanyamongtheseworksfrompossiblesourcecountrieswillbepromptlyandopenlyengaged.

WeareconfidentthatthisboldmoveintotheartsoftheWesternHemispherewillnotonlyenrichourvisitors’appreciationandunderstandingofourwonderfulMediterraneanandEuropeancollectionsofcomparabledate;itwillalsoofferapointofentrytotheWaltersforourgrowingregionalpopulationswhotracetheirancestrytothoselandswheretheculturesrepresentedbytheseworksofartonceflourished.

ManyWaltersstaff,friendsandsupporterscontributedtotherealizationofthisvisionforthecreationofthenewCenterfortheArtsoftheAncientAmericas,butnonehavehadamoreprofoundimpactthanJulianneandGeorgeAlderman,long-timefriendsofthemuseum,inspiredcollectorsandtruevisionaries.

GaryVikan,Director

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fig. 1 Mother and Child / El Arenal, Jalisco, Mexico /100 BC–AD 200 / Earthenware, white slip with black and red paint

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T hecold,darkdaysofFebruary2012willbeilluminatedbytheopeningofExploring Art of the Ancient Americas: The John Bourne Collection Gift.Restassured:theyear2012isnottheendoftheworldoranapocalypticrealignmentofthecosmosandtransformationofhumanconscious-

nessassupposedlypredictedbytheancientMaya(theydidn’t,really,butthat’sanotherarticle).Instead2012willbeanauspiciousyearfortheWaltersArtMuseum.Mr.Bourne’sgenerousgiftestablishesthefoundationforthemuseum’snewfocusonthedisplayandstudyofancientAmericanartandculture.JoiningdonationsfromtheZifffamilyofNewYork,thecollectionprovidesacomprehen-siveoverviewofartfrommorethan25cultures—fromMexicotoBolivia—andspanningnearly3,000years.

ArtandarchitectureareprimarysourcesforreconstructingtheculturalhistoryoftheancientAmericas.WritingsystemswerepresentinMesoamerica(thatis,Mexico,Belize,Guatemala,andnorthernHondurasandElSalvador),andthousandsofscreen-foldbookscontainedawidevarietyofsubjects.Butthe16th-centurySpanishburnedeverybooktheycouldfind,therebydestroyingmillenniaofaccumulatedmedicalandotherscientificknowledge,includingastronomyandmathematics,aswellassocialandpoliticalhistory,economicmattersandreligioustreatises.Fewerthan35bookssurvive,andbadluckhasitthatmostaredivinatoryorgenealogicaltextsorastrological-astronomicaltables.Hieroglyphictextsalsosurviveoncarvedstonemonumentsandpaintedpotteryandwallmurals.Most,however,arerelativelyshortandchronicleanarrowrangeofpolitico-religiousmatters.Ontheotherhand,16th-centurycommentariesbynativeandSpanishauthorsofferinsightsintotheindigenouscultures,andtheirmoderndescendantscontinuetraditionswithancientrootsthathelpusunderstandthehistoricalrecord.Byandlarge,however,artworksandarchaeologicalartifactsaretheessentialsourcesforexploringtheculturesoftheancientAmericas.

Traditionally,museumsorganizeancientculturesbygeographyandperiod,whichnecessarilyorientsthevisitorinspaceandtime.Andso,too,theBourneexhibi-tionfollowsthistemplate.Yetthecollection’sbreadthexpandstheexhibition'snarrativescope,providingtheopportunitytoexploreimportantthemesofancientAmericancivilization,whichareuniversalelementsofhumanculture.Onethemeisdailylifeandthecommondomesticactivitiesandcustomaryresponsibilitiesofmenandwomentomaintainthehomeandthecommunity.ManysculpturesfromMexicoportraywomenintheirroleascreatorsoflifeandnurturersofthefamily;onesuchworkistheceramicsculptureofaJaliscomotherproudlybalancinghertoddlersononherlap(figure 1).

MesoamericanandCentralAmericansculpturesalsoportraywomeninritualposesoradornedwithsymbolsimplyingtheirstatusasshamans—thatis,asprac-titionersofspiritualtransformationforthepurposeofacquiringsacredpowerstohealthesickoraddressothersocietalneeds.AstrikingfemalefigurefromtheTlatilco-TlapacoyaareaintheValleyofMexicomayportraysuchaperson,heroverlylargehead,openmouth,blankcountenance,andritualizedposebeingtypicalfeaturesrepresentingshamanictrance(figure 2).Artworks,hieroglyphicrecordsandColonialPeriodcommentariesindicatethatbothmenandwomencouldholdreligiousandpoliticaloffice,althoughthemajorityofsurvivingportrayalsdepictmen.

Dailylifealsoincludedtheroutineresponsibilitiesoftherulingnobility,withmanyworksintheBourneCollectionillustratingthisfacetofhumanculture.InCentralAmericaandMesoamericajadeitejewelryadornedtheelite,thisstunningmineralsymbolizingsocialstatusandsacredpower.Mayarulerswerebelieved


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EXPLORING THE ART OF THE ANCIENT AMERICAS

tobeearthlyembodimentsofthemaizegod,oneofthemaingodsofCreation.Bothwerefestoonedinjadeiteadornments,someofwhichdepictrulersinconventionalposespertainingtothedeity,suchasanEarlyClassicMayapectoralfeaturedintheexhibition(figure 3).

Anessentialdutyofrulerswastomaintainuniversalbalanceforavarietyofreasons,butespeciallytoensuregoodweather,abundantcrops,successfulchild-birthandsuccessinwar.Acommonlyheldbeliefforpreservingcosmicbalancewasasacredpactofmutualnourishmentbetweenthegodsandhumanity.InMesoamerica,humansofferedtheirbloodinsacrificetosustainthegods,who,inturn,providedrainandotherpotentliquidstosustainhumanlifeonearth.Artworksportrayingindividualsdestinedforsacrificeilluminatethishallowedcontract.Oftenthosedestinedforsacrificearedepictedasvenerablepersonswhofacethemagnitudeoftheirsacrificewithdignityandpurpose.Aceramicsculp-turefromVeracruzisanoutstandingexample,representinganoblemanwholikelywascapturedinbattle,impliedbythelargeropeencirclinghisneck;suchnoblecaptivesweredeemedespeciallyefficacioussacrifices.(figure 4).

PerformanceisanotherthemeinmanyoftheobjectsintheBourneCollec-tion.ThroughouttheancientAmericasperformancewasavitalmechanismfordefiningcommunalbonds,communicatingaffairsofstateandobservingreligiousrites.Performancescouldbesmall-scaleeventsamongafewpeopleorcomplex,publicspectaclesfeaturingthousandsofparticipants,includingtrainedmusi-ciansanddancers.Religiousritesalsoincludedperformerswhodancedandplayedinstruments,suchasthemusician-performerdepictedonacastgoldpendantfromsouthernCostaRica.Itdepictsashamanwhoseritualisticmotionsandmusicassistedhistransformationintosupernaturalform(figure 5),signifiedbythetwoserpent-spiritsemanatingfromhisheadandthereptileheadsemergingfromhisshouldersandknees.

OneofthemostextraordinarytraditionsintheancientAmericasisthetextilearts,mostofwhichhavenotsurvivedduetoenvironmentalconditions,althoughrepresentationsofornatelywovenclotharepreservedinothermediasuchaspottery.Forexample,theVeracruznoblemandestinedforsacrificeillustratedinfigure 4wearsawide,stiffclothwrappedaroundhishead.Itsexuberantmotifs,modeledinclay,replicatethecloth’sintricatewoven(likelybrocade)designs.FromtherelativelywetenvironsofPeru’snorthernhighlandscomesavesselmadebytheRecuaypeople.Itsthreemodeledfigureswearhighlydecoratedtunics,theprincipalfigurebeingclothedinaparticularlylavishgarmentwhosewovendesignsarereplicatedinslippaint(figure 6).

TextilesdominatedAndeanlife.Weaversproducedallmannerofusefulitems,includingclothing,containers,boats(ofwovenreeds),andevenbridgesspanningthedeepgorgesoftheAndes.Clothingwasakeyelementofsocialidentity,one’smodeofdressanditsqualityanddecorationcommunicatingplaceoforigin,socialstatus,andpoliticalaffiliation.Clothwastheprimecommodityofwealthandstate,thequalityofyarn(eithercottonorwoolfromllamas,alpacas,vicuñas,orguanacos),theexpertiseofweavingandthecomplexityofdesigndeterminingitsvalue.Thefinestcloth,madebythemostaccomplishedweavers,wasmorepreciousthangoldandsilver,avaluesystemthatwaslostontheinvadingSpanishwhorejectedtheroyaltunicsgiftedtothembyInkaroyalty.

—doriereents-budet,consulting curator, art of the ancient americas

The arrival of the Bourne Collection

prompted a year-long, close collabora-

tion between consulting curator Dorie

Reents-Budet, Walters conservators Julie

Lauffenburger and Jessica Arista, and

conservation scientist Glenn Gates, with

assistance from curators, conservators, and

materials scientists from other institu-

tions. Together the team examined the

Bourne Collection to determine condi-

tion, especially extent of restoration, and

authenticity. Many collections of ancient

American art contain heavily restored

pieces and ones made in modern times,

the falsification of ancient artworks having

early origins in the Americas. The exhibi-

tion and catalog will document the team’s

investigative approach and research results,

following the Walters' tradition of open-

ness concerning its collections and bringing

the public into the inner workings of the

institution.

The Bourne Collection constitutes a vast

repository of information concerning

thousands of years of art and cultural

history in the ancient Americas. These

objects will continue to offer numerous

opportunities for research, discovery and

artistic appreciation for years to come. The

combined Bourne and Ziff Collections, and

the promise of additional donations, are

building the foundation of the museum’s

initiative to develop a Center for the Study

and Display of the Art of the Ancient

Americas.

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fig. 2 Female Figure / Morelos or Puebla, Mexico / Early Formative Period, 1200–900 BC / Earthenware, burnished slip paint

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ADMISSIONAdults: $10Seniors: $8Students / Young Adults (18–25): $617 and under: FreeMembers: Free

Tickets are available online or at the Box Office.

MEMBER TICKETINGWalters members are entitled to free tickets based upon membership level.

student: 1 per dayindividual: 2 per daydual: 4 per daysupporter & above: 4 per day

Members may upgrade their level to receive additional tickets. Members who exceed their number of free tickets on a given day can purchase additional guest tickets for $5.

QUESTIONS? Call: 410-547-9000, ext. 283 Email: [email protected]

fig. 3 fig. 4

figure 3 Figural Pendant / Maya, Guatemala, Belize, Mexico or Honduras / Early Classic Period, AD 250–450 CE / Jadeite

figure 4 Seated Male Figure with Incense Burner /Remojades or Nopiloa, south-central Vera-cruz, Mexico / Late Classic Period, 600–900 CE / Earthenware

figure 5 Human Effigy Pendant / Diquís, Costa Rica / Late Period IV–Period VI, 400–1500 CE / Cast gold alloy

figure 6 Effigy Bottle / Recuay, Northern Highlands, Peru / Early Intermediate Period, 200 BCE–500 CE / Earthenware, slip paint

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ANNUAL PATRON EVENTSaturday, February 116–8 p.m.The Walters celebrates the opening of Exploring Art of the Ancient Americas: The John Bourne Collection Gift. Members at the Patron level ($1000+) and above are invited for cocktails on the Sculpture Court and a first look at this significant new collection of ancient American art.

Join at the Patron level or upgrade your membership to receive an invitation. For more information, contact Julia Keller, Manager of Individual and Corporate Giving Circles, at [email protected]. Invitations will be mailed.

MEMBERS’ OPENING PARTYSaturday, February 117:30–9:30 p.m.The opening of Exploring Art of the Ancient Americas continues. Join us and be among the first to view this exciting collection, enjoy a drink with friends and listen to a talk by consulting curator Dorie Reents-Budet.

Free for members—Cash Bar—Reservations required. Two people per Individual levels; four people per Dual levels and above. RSVP by February 6 to [email protected], or call 410-547-9000, ext. 283.

fig. 5 fig. 6

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One Gift Leads to Another“WewereinspiredbythewonderfulgiftstotheWaltersfromJohnBourneandtheZifffamilythathavepermittedtheMuseumtocreateanewcuratorialdepartment:Art of the Ancient Americas,”saidGeorgiaandMichaeldeHavenonregardingtheirrecentprom-isedgiftofseventeenexamplesofancientandColonialtextilesfromsouthernPeruandBolivia.Forthem,thegiftreflectstheir

“hopethatitwillfurtherencourageotherstosupportthenewdepartment.”

Theseexquisiteworks,whichhavesurvivedduetotheregion’sdrydesertconditions,exemplifyAndeanweavers’technicalexpertiseandartisticcreativity.ThedeHavenonpromisedgiftfeaturesWaritextiles(MiddleHorizon,600–900ce),renownedfortheirvisualcomplexityandchallengingtechniquessuchasinterlockingtapestryanddiscontinuouswarpandweftweaving.Theseartistsmasteredtheperquisitesofdyeing,beingfamousforastablebluecolorantthatwasnotsurpasseduntilthediscoveryofanilinedyesinthemid-1800s.Wariwovenimagerycanbedifficulttoread;thiswaslikelyanintendedeffect,tohighlighttheweavers’expertiseandimpresstheviewer.

ThegroupincludesfourteentextilesfromPeru,BoliviaandChile.Amongthemareentiretunics,fragmentsoftunics,andafour-cor-neredhat.Alsoincludedareawoman’smantleandtwococabags,indicatingthattextiletraditionspersistedintotheColonialPeriod.

Today,textilesremainavaluedcommodityamongPeru’sandBolivia’snativepeoples,playingsimilarrolesofsocial,political,economicandspiritualidentityasinancienttimes.Intheirdecisiontomakeagiftoftheseobjects,thedeHavenonsfeltthatitwasbeneficialfortheWalterstohaveexamplesoftextileartfromSouthAmericatoincreasethescopeoftheAmericancollections.

“ThedeHavenon’sgiftprovidesasolidfoundationwithoutstand-ingexamplesfromwhichtheWalterscangivevisitorsanoverviewofthisimportantartform,”explainedDorieReents-Budet,con-sultingcuratorfortheartoftheancientAmericas.“Itisnotableforthetimedepthofthepieces,from100to1850ceandtheircul-tural,geographicandaestheticdiversity,representingsixdistinctculturesandtextilestyles.IamthrilledthatvisitorstotheBourneexhibitionthisspringwillbeabletoseeseveralofthegiftsfromGeorgiaandMichaeldeHavenon.”

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Tunic panel / Peru or Chile / 600–900 / camelid fibers

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InOctober2011,theWaltershostedits31stannualTedLowlecture,namedinhonorofthemanwhoservedasDirectorofEducationfor34

years(1946–1980).Hiswords,visionaryin1942,arefundamentaltothesurvivalofmuseumsandculturalinstitutionstoday.Now,nearly70yearslater,theDavidHirschhornCommunityOutreachCoordinator,thefirstendowedpositionintheEducationDivision,isbringingfullcircletheWalters’focusoncommunityanditsadherencetoitsmissionof“bringingartandpeopletogetherforenjoyment,discoveryandlearning.”

In2008,theDavidandBarbaraB.HirschhornFoundationprovidedanendowmentgiftinmemoryofDavidHirschhorn,alongtimetrustee

whohadadeepunderstandingoftheeducationalvalueofmuseums.Overthepastthreeyears,theDavidHirschhornCommunityOutreachCoor-dinatorhasbeeninstrumentaltolifewithinthemuseum.OurCommunityOutreachCoordinator,AndreaVespoint,workstobuildpartnershipsanddevelopnewprograms,ensuringthattheresourcesoftheWaltersaremeetingneedsintheBaltimorecommunity,andthatwearedoingourbesttoserveallthecitizensofBaltimore.

Theinitiativetoattractnewaudienceshasserved7,500Latinosandresultedinnewprograms,includingtheDayoftheDeadeventandThree

KingsDaycelebration.TheRefugeeYouthProgramhasserved4,138studentssinceitsinception,andourpopularLionDanceperformance,whichcelebratestheChineseNewYear,typicallygarners1,500–2,000visitorsannually.OurveryfirstArtist-in-ResidenceProgram,Portraits Re/Examined: A Dawoud Bey Project(December2008–February2009),broughttogetherDawoudBey,oneofAmerica’sleadingphotographers,andadiversegroupoflocalteens,whosearchedourstoragecollectionsforhistoricalportraitsthatwouldresonatewithphotographicportraitstakenbytheartistoverthelastthirtyyears.

TheDavidHirschhornCommunityOutreachCoordinatorischangingthewaywefunctionasamuseum.Butitisonlyoneperson.Buildingcommunityandattractingnewaudiencesistheworkofmany.TheCommunityOutreachCoordinatorisacatalyst—afacilitator—whomakesengagingunderservedaudiencesafocusofeverymemberofthestaffwhodevelopsprograms,activitiesandexhibitionsattheWalters.Andjustasthecoordinatorisacatalystforthewayweworkinsidethemuseumandoutsideinthecommunity,wehopethatthepositionwillbeacatalystforfuturecollaborationsandfundingopportunities.ThatwilltrulybethelegacyofDavidHirschhorn.

—jacquelinecopeland,director of education and public programs

MUSEUMS AND THE COMMUNITY

“Museums must realize they are public institutions and must serve more people than they are serving today and must extend the scope of their activities . . . museums must reach beyond its walls into the community.” —TheodoreLow, Museums as a Social Instrument,1942

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Rarelyshownbecauseofthedelicacyofthemedium,LéonBonvin’swatercolorsaregenerallyknownby

reputationalone.Duringthelatenineteenthcenturyanap-preciationofBonvin’sworkwassimilarlyconfinedtoasmallcircleofconnoisseursandcollectors.Intheyearsleadinguptohissuicideattheageof32in1866,Bonvincreatedaseriesofluminouswatercolorsdepictingflowers,fruitsandthecountrysidearoundhiscafé-barontheoutskirtsofParis.Withindaysofhisdeath,thepricesofhisworksdoubledascollectors,includingmostprominentlyWilliamT.Walters,soughttoacquiretheremainingworksavailableonthemar-ket.Walters’collectioneventuallynumberedover50items,todaythelargestholdingsoftheartist’sworkinapubliccollection,almostcertainlyrepresentingthevastmajorityofBonvin’stotaloutput.

WhatlittlewritingcirculatedaboutBonvininthedecadesfollowinghissuicideimaginedatragicandmisunderstoodartist,self-taughtandlaboringagainsttheoddstopursuetheartheloved.ThismythwaslargelyshapedbyWaltershimselfasthesponsorofanessaybytheFrenchcriticPhilippeBurty,whichappearedinHarper’s New Monthly Magazinein1885.Burty’sarticleremainstheauthoritativesourceonBonvin’slifeandwork,andasaconsequencehishighlyromanticizeddescriptionoftheartisthassurvivedlargelyunchallenged.

AlthoughthetruthaboutBonvin’slifecannotberecoveredfromsurvivingdocuments,newresearchsuggeststhat,farfrombeingisolated,Bonvin,throughhishalf-brother,thebetter-knownRealistpainterFrançoisBonvin,communicat-edwiththeParisianartworldsothathisworkwasrespon-sivetorecentartistictrends,inparticular,thenew-foundappreciationfortheeighteenth-centurymasterofstill-lifepainting,Jean-SiméonChardin.Bonvin’sconnectiontohispeersisalsoevidentinthelistofcontributorstothecharityauctionheldtobenefitthelateartist’sfamily,whichincludeCamilleCorot,GustaveCourbetandClaudeMonet.

Near Paris: The Watercolors of Léon Bonvinshowcases19exquisiteworksselectedfromtheleather-boundalbuminwhichWalterslovinglyenshrinedthem.ThetitleoftheexhibitionistakenfromthefrontispieceofthealbumthatWalterscommissionedfromJean-MarieReignier.Read-ing“NearParisbyLéonBonvin,”itneatlyencapsulatesthedilemmaBonvinfaced:hewascloseenoughtoParistobeinspiredandinfluencedbyitsartisticlife,butatthesametimecutofffromthesocialandeconomicsupportnetworksthecityaffordedartists.Moreresearchremainstobedone,butthissmallfocusshowinvitesustotakeacloser,morequestioninglookatBonvin’swork.

—jobriggs,assistant curator of 18th- & 19th-century art

Near Paris: The Watercolors of Léon BonvinFEBRUARY 25–MAY 20


WELCOME!

Jo Briggs, Assistant Curator of 18th-& 19th Century Art As the newly appointed Assistant Curator of 18th- and 19th-Century Art, what projects are you working on?RightnowIamworkingonafocusshowtitledNear Paris: The Watercolors of Léon Bonvin,whichwillopenonFebruary25.ThisisprovingtobeagoodintroductiontostagingexhibitionsattheWaltersandhasbeenagreatopportunitytogettoknowthemanypeopleacrossthemuseumwhoworkasateamtobringartandpeopletogether.InthenearfutureIhopetounitemyownre-searchinterestswiththeholdingsattheWaltersbycuratinganexhibitionontheFrenchgraphicartistPaulGavarnitocoincidewiththe150thanniversaryofhisdeathin2016.Curatorsalwayshavetoplanalongwayinadvance!

Aside from exhibitions and collections, what as-pects of the Walters Art Museum most excite you? Whenapplyingforthepositionofassistantcura-torIwasattractedbytheWalters’reputationforoutreachandpublicservice,reflectedinthefactthatthemuseumisfreeforallandwelcomingtoall.Oftenacademicscanendupwritingforasmallcircleoftheirpeers,butIenjoycollaborat-ingwitheducatorstomakewhatIdiscoverinthelibraryorthearchivesapartofexhibitionsandprogrammingthathasthepotentialtoreachawideraudience.

What were your recent positions before coming to the Walters? Fromautumn2010tothispastsummerIwasaresearchfellowatWolfsonCollege,OxfordintheUnitedKingdom,whereIalsotaughtandcuratedpart-timeatRoyalHollowayCollege.PriortothatIwasapostdoctoralresearchassociateattheYaleCenterforBritishArtinNewHaven,Connecticut.MyexperienceatYalewasinstrumentalinpoint-ingmetowardacareerinmuseumsandisprovingagreatgroundingformynewjob.

What do you do on your days off? Any hobbies? AtthemomentIamenjoyingexploringmynewhome-citywithmypartner,Dan.Baltimoreisanexcitingplaceforsomeoneinterestedinallthingsnineteenthcentury!AsEdgarAllanPoefans,wearelookingforwardtovisitingtheBal-timorePoeHouseandMuseum,aswellasotherhistorichousesinthearea.


DR. MARTIN LUTHER KING, JR: THE MAN & HIS MONUMENT Sunday, January 152–3 p.m.Congressman Elijah Cummings (D-MD), who represents Maryland’s 7th District in the U.S. House of Representatives, will talk about the importance of the life and work of Dr. Martin Luther King, Jr. and the significance of his newly installed memorial on the National Mall in Wash-ington, DC.

opening day talkEXPLORING ART OF THE ANCIENT AMERICASSunday, February 122–3 p.m.In this opening-day talk, curator Dorie Reents-Budet will provide an overview of the exhibition. She will examine key objects with origins ranging from ancient Mexico to Bolivia and discuss John Bourne’s early years exploring the jungles of southern Mexico in search of ancient Maya archaeological sites.

PLEASURESunday, March 42–3 p.m.Pleasure has made us who we are today! We wouldn’t have survived as a species if the circuitry in our brains didn’t make activities like eating food and having sex pleasurable. But what about other activities? How does the brain react to “tactile” stimuli when enjoying art? Join David Linden, Ph.D., as he talks about how we activate pleasure circuits through a range of activities like exer-cising, caring for others, and enjoying art. What do they have in common?

ANCIENT AMERICAS FORUMSaturday, March 1712 noon–4:30 p.m.This forum discussion will explore topics tied to the special exhibition Exploring Art of the Ancient Americas presented by a panel of experts from several disciplines. Panel-ists include Julie Lauffenburger, Senior Objects Conservator; anthropologist Allen Christenson; and archaeast-ronomer Anthony Aveni, best known for his theories on the prophesized end of the world in December of 2012. Curator Dorie Reents-Budet will moderate.

the john & berthe ford annual lectureshipANCIENT INDIAN TALES OF MAGIC RINGS & EXTRAORDINARY NECKLACESSunday, April 13–4 p.m.Exploring some of the lore that surrounds Indian jewelry, Wendy Doniger from the University of Chicago will examine ancient Indian stories of magic rings in which men accuse women of unchaste behavior only to have the ring prove that it was in fact the man who was unchaste.

A GOOD FRIDAY LECTUREFriday, April 61–2 p.m.Bring your light lunch to this richly illustrated talk in which Gary Vikan explores the emergence of the

“canonical” face of Christ in the early medieval period. For nearly 1,500 years, illustrators of the story of Jesus of all backgrounds—from Byzantine mosa-icists to Hollywood filmmakers—have remained true to this image.

AFTERHOURS AT THE WALTERSThursday, April 266–9 p.m.Celebrate the opening of our new special exhibition Exploring Art of the Ancient Americas: The John Bourne Collection Gift with a special AfterHours event. Enjoy music, food, a cash bar, a discussion about “authentic” Mexican food and free entry to the exhibition.

PROGRAMS & EVENTS

top: Congressman Elijah Cummings

center: Standing Female Figure / Lagunillas

“C” type, Nayarit, Mexico / 300 BC–AD 200 /

Burnished, slip-painted earthenware

bottom: Icon of Christ / Early Byzantine

/ around AD 600 / Saint Catherine’s

Monastery, Sinai


DROP-IN ART ACTIVITIESSaturdays & Sundays10 a.m.–3 p.m.FreeDrop-in, make and take a fantastic piece of art home with you! Create innovative and artistic projects as a family. Check out our monthly themes! January: Dragon Scales & Tails February: Patterns & Prints March: ¡Animales! April: From the Jungle to the Mountains

SPRING BREAK ACTIVITIESApril 4–610 a.m.–3 p.m.Give yourself a break and make some art with us! Come in for special ArtCart appearances and spring-inspired art activities all week long.

MARTIN LUTHER KING JR. FAMILY FESTIVALMonday, January 1610 a.m.–4 p.m.Don’t miss one of the most popular festivals of the season! All ages come together to celebrate the life and triumphs of one of the nation’s greatest heroes, Dr. Martin Luther King Jr. Special guests will pay tribute through theatrical performances and stories, and all ages will share their dreams, personal heroes, and peaceful testimonies through art projects and collaborative community activities!

AFRICAN AMERICAN FAMILY FESTIVAL: CARNIVALE OF CULTURESSaturday, February 2510 a.m.–4 p.m.Celebrate the African influence on cultures from Cuba to Brazil and beyond! Join us as we explore the rich diversity of art, music and culture of African Latin Americans. Learn about poets, artists and heroes of Latin American and African American history. Discover local Afro-Latin communities. Create your own colorful artwork, learn a few new dance steps and be amazed by exciting performances all day!

ANCIENT AMERICA FAMILY FESTIVALSaturday, April 2110 a.m.–4 p.m.Travel back in time to explore the magnificence of ancient American civi-lizations. Experience the flavors, sounds and colors of Meso, Central and South America. Unlock the secrets of ancient writings and ingenious calendars. Join us as we build a monumental Mayan temple in the Sculpture Court, make your own Inka-inspired artwork, and be thrilled by vibrant performances of traditional music and dance. Enjoy free admission to the special exhibition, Exploring Art of the Ancient Americas: The John Bourne Collection Gift.

NEW! MINI CAMP: ARCHAEOLOGIST FOR A DAYTuesday, April 39 a.m.–4:30 p.m.Member’s child $80 / Non-member’s child $100Ages 5–10No school today? Mini Camps at the Walters offers creative kids a unique and fun-filled way to spend the day! Put on a pith helmet and join us as we explore the ancient Americas and unearth clues about glorious civiliza-tions of the past! All camps are taught by professional artists and museum educators. Healthy snacks will be provided; campers should bring a lunch with them.

FAMILY FUNMEMBERS’ EVENTS

MEMBERS’ MONTHLY CURATOURS & CONSERVATOURSJoin a Walters expert for an intimate tour on a Wednesday afternoon. Please meet in the first floor lobby at 2 p.m.

Exploring the Appeal of Renaissance Statuettes Wednesday, February 8Joaneath Spicer, James A. Murnaghan Curator of Renaissance and Baroque Art

Bonvin’s WatercolorsWednesday, March 7Jo Briggs, Assistant Curator of 18th- and 19th-Century Art

Exploring Art of the Ancient Americas: The John Bourne Collection GiftWednesday, April 25Dorie Reents-Budet, Consulting Curator for the Art of Ancient Americas

Hashiguchi Goyo, Beautiful WomenWednesday, May 30Rob Mintz, Mr. and Mrs. Thomas Quincy Scott Curator of Asian Art

MEMBERS’ ART OF READING BOOK CLUBMembers free / Non-members $5Join us for intimate discussions of new and exciting books. Members receive a 10% discount on books purchased in the museum store. For more information or to register, call (410) 547-9000, ext. 335.

Claude & Camille: A Novel of Monet by Stephanie CowellSunday, February 5, 3 p.m.Cowell’s novel gives a detailed portrait of a complex couple and an insight as to how masterpieces are created, all against the backdrop of the lush demi-monde of 19th-century Paris.

The Devil’s Queen: A Novel of Catherine de Mediciby Jeanne KalogridisSunday, April 29, 3 p.m.Was Catherine de Medici really one of the most maligned monarchs in history? Or did her great love for her husband and sons just cloud her judgment?

Spring 2012 RegistrationMembers can register early for our popular family programs. All regis-tration takes place online.Member registration: January 3 Public registration: January 9

Waltee illustration by Brian Ralph


SUPPORT THE WALTERS

Ifyouareinterestedintakingyourloveofarttothenextlevel,werec-

ommend joining one of our threespecial-interestgroups:theBannisterLewisTannerCircle,theFriendsoftheAsianCollectionortheFriendsoftheAncientCollection.YoursupporthelpstheWalterspreserveandshowcaseitsstunninganddiverseart;inreturn,yougainspecialaccesstocuratorsandotherexperts,artworkfromtheWaltersandothermuseums,socialgatheringswithpeople who share your passion andmuchmore.

the bannister lewis tanner circleTheBannisterLewisTannerCircleisan advisory committee of the Wal-ters’BoardofTrusteesnamedtohonorrecentadditionstotheWaltersperma-nentcollectionofworksbytheAfricanAmericanartistsEdwardMitchellBan-nister,MaryEdmoniaLewisandHenryOssawaTanner.Establishedmorethan20 years ago, the committee seeksto strengthen communication andinvolvementbetweentheWaltersandallfacetsofthecommunity.Oneofitsprimarygoalsistoenhancetheenjoy-ment,discoveryandknowledgeofartcreatedbyAfricanAmericanartistsandartistsoftheAfricandiaspora.Overtheyears,thecommitteehasbeenactivelyinvolvedineffortstoengagethecom-munityinWalters’exhibitions,most

recentlyGee’s Bend: The Architecture of the Quilt (2007),andThe Saint John’s Bible: A Modern Vision through Medieval Methods(2009).

In2005,thecommitteesuccessfullyraised over $25,000 for the BrownChallenge,afundestablishedbyBalti-morephilanthropistsEddieandSylviaBrown for the purchase of histori-calworksbyAfricanAmericanartists.Membership in the Bannister LewisTannerCircleisopentoallmembersoftheWaltersArtMuseum.Formoreinformation,contactJacquelineCope-land,DirectorofEducationandPublicPrograms,at(410)547-9000,ext.231,[email protected].

friends of the asian collectionTheFriendsoftheAsianCollectionwasfoundedbyJohnGilmoreFordin1983.MembershipisopentoallmembersoftheWaltersArtMuseum.TheFriends’annualprogramhasconsistedoflectures,viewingsanddiscussionsintheparlorortheGrahamAuditorium(aboutseveneventsayear),visitstothehomesofcol-lectors,andtripstoothercollectionsorexhibitions.ThepurposeoftheFriendsistospreadknowledgeofAsianart,espe-ciallytheholdingsoftheWalters,tosupporttheactivitiesoftheWaltersintheareaofAsianartandtoencourageinformedcollecting.

ThecuratorofAsianArtandanexecutiveboardofgroupmemberscooperativelymanagethisorganization,planyearlyevents,andmaintaincommunicationsamongthemembership.Formoreinfor-mation,contactRobMintz,CuratorofAsianArt,at410-547-9000,ext.612,[email protected].

friends of the ancient collectionIn2004,theDepartmentofAncientArtattheWaltersMuseumfoundedaspecial-interestgroupformuseummemberscalledFriendsoftheAncientCollection.Modeledafterthesuccess-fulFriendsoftheAsianCollection,thisinterest group supports theWalters’effortstopreserveandshowcasethecollectionofancientart,aswellasraisemoneyforacquisitionsandexhibitionsinthisarea.Italsoprovidesanopportu-nityformemberswhoshareamutualinterestintheancientworldtomeetonaregularbasis.

Benefits include special lectures onancientcultures,exclusivecurator-ledtoursoftheWalters’holdings(onviewandinstorage),andtripstoviewotherancientcollectionsorspecialexhibi-tions.Formoreinformation,contactMardenNichols,AssistantCuratorofAncientArtat410-547-9000,ext.255,[email protected].

Support the Walters by joining one of our special-interest groups.

—THE BANNISTER LEWIS

TANNER CIRCLE—

•••FRIENDS OF THE

ASIAN COLLECTION•••

××FRIENDS OF THE

ANCIENT COLLECTION××

SECTION HEADER


IN THE MUSEUM STORE

Twoolies →$20–$80 (Members receive 10% off) DesignedbyarchitectSindyPossoandMayanartistJulioMendez,Twooliesarehandmade,woolanimalscombiningmodernandstylishconceptswithancestralnativedesigns.EachTwoolieiscarefullycraftedbyskillfulTzotzilweaversusing100%woolonmanuallooms.TheTzotzilisanethnicsubgroupoftheMayathatliveinthehighlandsofSouthMexico.Thewordtzotzmeans“wool”intheirlanguage.VisitourMuseumStoretochooseyourveryowntwoolie—auniquecombinationofcolorsandpatterns—notwoarealike!

Mayas, Aztecs and Incas 3D book ↘$16.95 / Members $15.25Ournewshapebooksforkidsarethecoolest!OpentheboxtorevealabookwithpagesintheshapeofanAztecpyramid.Asthechildturnsthepages,brightcolorillustrationsandconcisetextbringanancientworldtolife.ThethreemostimportantcivilizationsinAncientAmericaaredescribedwithinterestingfactsonlanguage,personaldecoration,diet,architec-ture,citylife,weaponryandmore.Ages7+

Exploring Art of the Ancient Americas: The John Bourne Collection ↑Hardcover $60.00 / Softcover $30.00Members $54.00 / $27.00Thisillustratedcatalogueprovidesdetailedinfor-mationonnearly300worksfromthecollectionofJohnG.Bourneandincludesanessayontheau-thenticationofartfromtheancientAmericas.AnintroductionbythecollectorprovidesafascinatingaccountofhisexpeditiontoChiapasandthesiteofBonampakin1945–46.

SECTION HEADER


LastfalltheWalterslaunchedIntegrating the Arts: Islam,thenewestadditiontoitsonlinek–12educationalresource,which

integratestheartswithnon-artsdisciplines.TenobjectsfromtheWalters’collectionofIslamicartjoinworksfromourancient,medieval,RenaissanceandChinesecollectionsinthisinterdis-ciplinaryresource.Theobjectsonthesiteincludemanuscripts,jewelry,anearlyIslamicglassweightandpainted-glassbeakers.Developedasateachingandlearningtool,thesiteisinstrumentalinpositioningthemuseumasaneducationalpartnerinartsinte-grationeffortsthroughoutMaryland’sk–12schoolcommunity.Allactivitiesinvitestudentstousethe21st-centuryskillsofcriticalthinking,communication,creativityandcollaboration.Withthecompletionofthissite,teachershavemorethanfiftyartsintegra-tionactivitiesavailabletothemthroughteachers.thewalters.org.

ThismoduleisthefirstonlineeducationaltoolfocusedonourIslamiccollection.ItsdevelopmentwasmadepossiblebyanexcitingpartnershipwiththeQatarFoundationInternational(QFI),whichfundedallaspectsofthemodule’sdevelopment,includingitsdesign,interactiveelements,betatesting,promo-tionaladvertising,aswellasteachertrainingworkshops.QFI’smissiontoconnectculturesandadvanceglobalcitizenshipthrougheducationalignswiththeWalters’focusonusingourcollectionsasateachingtoolforstudentsandteachers.

Likepriormodules,Integrating the Arts: IslamusesobjectsintheWalters’collectiontoteachconceptsoflanguagearts,science,mathandsocialstudies.InlanguageartsstudentslearnhowtowritetheirnameinArabic;insciencetheymeasuretherefrac-tionoflightinordertoselectthebestmaterialforrepairingglassbeakers;inthemathactivityPattern Play,studentslearnaboutthedifferentpatternsfoundinIslamicart.Integrating the Arts: Islamisauniqueandfunwayforstudentstouseanonlineartsintegrationresourcetoteachkeyconceptsinthemiddleschoolcurriculum.

Soonceit’slaunched,thenwhat?Wetrainteachershowtousethesite.Eachyearweofferworkshopsthatguideinterdisciplinarypairsofteachersthroughthesiteandteachthemhowtowritearts-integrationlessonplansbasedonthewebsite.Additionally,wewillpresentthesitetoteachersatbothlocalandnationallevels.

Checkoutteachers.thewalters.orgtoseeIntegrating the Arts: Islam.

Integrating the Arts: IslamismadepossiblebyagenerousgrantfromtheQatarFoundationInternational(QFI),LLC.

—amandakodeck,manager of school programs

INTEGRATING THE ARTS: ISLAM

TEACHERS.THEWALTERS.ORG

SECTION HEADER


Be an Arts AdvocateMarylandofficialswanttohearfromtheirconstituentsandtoknowwhatisimportantfortheircommunities.YouradvocacywithelectedofficialscanhavearealimpactontheWalterswhenyouletthemknowwhysupportingtheartsissoimportant.

Howcanyouhelp?Learnaboutart-relatedissuesbybecomingane-advocateatMarylandCitizensfortheArts(mdarts.org)andpartici-pateinArtsDayinAnnapolisonFebruary8,2012.Sendanemail,makeatelephonecallorwritealettertoyourrepresentativesandsharewiththemanyorallofthefollowing:Whyisthemuseumimportanttoyou?WhyisitimportanttoMaryland?WhateducationalbenefitshaveyoureceivedfromtheWalters?Haveyourchildrenparticipatedinapre-Kprogramorschooltour?Howhaveyoubenefitedfromaninformativelectureoradocent-ledtour?Doyouattendthemuseummorefrequentlynowthatadmissionisfree?Howdoesthemuseumcontributetothewell-beingofyourcommunity?

TheWaltersisastatewideinstitution.WeservecitizensfromeveryMarylandcounty;23outofMaryland’s24countiesparticipateinourschoolprograms.

Tofindyourelectedofficial,pleasevisitmdelect.netorcontactSarahWalton,ManagerofFoundationandGovernmentRelations,at(410)547-9000,ext.614,[email protected]!

THE WILLIAM T. WALTERS ASSOCIATIONAnenthusiasticandtirelessgroupofvolunteers,theWilliamT.WaltersAssociationisdedicatedtohelpingtheWaltersraisefundsfortheAnnualGivingCampaign.Theirworkisessentialtothesuccessofthemuseum.Infiscalyear2011(July1,2010–June30,2011),theassociationhelpedraisenearly$500,000.InadditiontoassistingwiththeAnnualGivingCampaign,membersoftheassociationserveasmuseumambassadors,carryingthemessageofourmissionoutsidetheWaltersandhelpingtoraisefundsforplannedexhibitionsandongoingprograms.Acontribu-tionandmembershipintheWaltersarerequiredfrommembers.

IfyouareinterestedinjoiningtheWilliamT.WaltersAssociation,pleasecontactJuliaKeller,ManagerofIndividualandCorporateGivingCircles,at(410)547-9000,ext.314,[email protected].

WethanktheindividualslistedbelowfortheirworkonbehalfoftheWaltersoverthelastyear.

RosemaryEck,ChairColleenPleasantKline,Co-ChairDorothyAlevizatosJoanneBelgradEllenBernardAdamBordenMeredithBordenRosaleeC.DavisonLynneDurbinChristineEspenshadeElaineK.FreemanMichaelB.GlickChristineW.HanleyStephenJ.HomzaClaireSmithInayatullahAndreaB.LaporteWilliamH.MartinStanleyMazaroffAnnaZ.PappasWilliamH.PerkinsGeorgeK.ReynoldsIIIJeffreyA.SchoenherrStevenB.SchwartzmanKevinSheth,M.D.JamesA.SneadClareH.StewartRonaldW.TaylorJanThormanThérèseE.UlmerJudyVanDyke

Photo by Edward Winter


BEHIND THE SCENES

Will Murray, Lead Maintenance Technicianwhat do you do at the walters? Ihandleset-upsforeventsandprograms,museumrentalsandmeetings.IamthepointpersoninourdepartmentforourAnnualGalaandeventsliketheJewelryFairandArtBlooms.I’mfortu-natebecausemyinteractionwithstaffmembersacrossdivisionsisprettymuchunlimited,givingmetheopportunitytoexperiencethediversitythatexemplifiestheWalters.

what type of training do you need for this position? WhenItookthepositionin1998,ahighschooldiplomawasrequired.Myskillshavebeenfleshedoutovertime;Iwasn’tcomputerliteratewhenIstarted.Iknowthat’shardtobelieveinthisdayandage!Whatwedonowintermsofspecialeventsandrentalsisafarcryfromyearsago,whenthiswasnearlynonexistent.Theintensitylevelhasdefinitelyrisen.

what is the biggest challenge in your job? Wehavealotofthingsgoingonsimultaneously,andit’schallengingtomakesureeverythingrunssmoothly.Iworkwithsomestrongpersonalitiesandtrytomakefolksfeelatease.IwantthemtoknowI’mgoingtogivethem110%,andI’mprettygoodatwhatIdo,justastheyare.

what is the most interesting project you’ve worked on at the walters? TheGee’s Bendquiltexhibition.Iresearchedthisexhibitionalittlebeforeitarrivedandwaspleasantlysurprisedtolearnitwasgoingtobeshownhere.Thediversity,andfactthatitwasrunningduringoursummermonths,wasabitofarisk.I’mnotsureweknewwhattoexpect,butIthoughtitwoulddowell.Theexhibitionwasoffthecharts:wellattendedandgreatlyappreciated!

what is your favorite art in the walters’ collection?MyfavoritesarethecompanionpiecesKing Said AbdullahandtheAfrican Venus,inthenineteenth-centurygalleries.Thestrengthandnobilityintheirfacesmakemeproud.

what is your favorite story involving the walters? Isemi-auditionedforthevoiceofGod(foramuseumvideo)duringastaffmeeting.Ihadaremotemicrophone,andIspokedirectlytoastaffmemberasthevoiceofGod.Wehadthunderandlightningsoundeffects,nooneknewwherethevoicewascomingfrom,andmostpeopledidn’tknowitwasme.Itworked,Igotthepart!

when people ask you about your work, what do they most often want to know? Howcantheygetajobhere!

what is the most unusual experience you have at the walters? WedidaskitintheauditoriumafewyearsbackaspartofourFirstFridayprogram.ThevoiceofHenryWalters,oneofthemuseumfounders,spokethroughme!I’dsaythat’sprettyunusual;Iaskedfolksbeforewestartedifthey’dclearedthiswithHenryfirst!

SECTION HEADEREXHIBITIONS

JANUARY 21–APRIL 15

Please do not touchisthemessagethatweareallusedtoseeingonlittlesignsnearworksofartintheWalters’galleries(andindeedinthoseofmostmuseums).Thisisnecessarytopreservetheart,butweallwanttotouch!ThefocusshowopeninginJanuaryinvitesyoutotouch...andhold,andstrokeandtothinkaboutwhyandhowphysicalcontactwithworksofartcanbesosatisfying.AsafurtherstepintheWalters’cooperativeventureswiththeBrainScienceInstituteattheJohnsHopkinsUniversity,thisinstallationmeldstheresearchinterestsofSteveHsaio,aneuroscientistspecializingintouchinitsmanyfacets,withmyownresearchontheimportanceoftouchintheRenais-sanceforthepopularityofcollectingstatuettesandotherobjects,aswellasthedevelopmentofhand-heldtechnology.

Visitorswilllearnaboutthenewinterestthatdevelopedaround1500inartthatwaspleasurabletohold—suchasastatuetteofVenus,theancientgoddessoflove,thatnestlesintoyourlefthand—andobjectsapparentlymadetofitthehand—suchastheearliestwatchesortheevolvingshapeofthepersonalfirearm.However,thespecialappealofthisinstallationwillsurelybetheopportunitytolearnabouttheunderlyingneuroscienceandthentoparticipateinourresearchbyjoiningincomparativeexperimentswithstatuettesorreplicasandotherthought-provokinghands-ontouchcomparisons.

Whattypesofsurfacesdoyouprefer?Doesknowledgeofthesubjectofasculptureinfluencehowyoureacttoit?Whathappenstooursatisfactioninapieceifsome-thingaboutitchanges?Whatistheimpactofsightonthesenseoftouch?Visitorswillregistertheirpreferencesthrough—whatelse?—touchpads.Toextendanawarenessoftouchandhowpaintersaswellhavetakenadvantageofoursensitivitytotouch,photographicdetailsofpaintingsandsculpturethroughoutthemuseumwillprovidevisitorswithincentivestoexplorethetopicfurtherontheirown.WiththeassistanceoftheMarylandStateLibraryfortheBlindandPhysicallyHandicapped,wearepleasedthatalltextmaterialwillbeavailableinBrailleandthatvisitsbythevisuallychallengedcanbescheduled.

—joneathspicer, james a. murnaghan curator of renaissance & baroque art

Touch & the Enjoyment of Sculpture: Exploring the Appeal of Renaissance Statuettes


Modest Venus (Venus Pudica) / Anonymous / Italian / ca.1500 / bronze with dark brown lacquer patina, silver


¡A FLORAL FIESTA!April 12–15TheWomen’sCommitteeoftheWalterspresentsArt Blooms 2012: A Floral Fiesta!Thisannualeventwillincludeanot-to-be-missedfestiveThursdaynightopeningparty,andaFridaymorningspeakerandluncheon.Floralinterpretationswillbeondisplaythroughouttheweekend.

Formoreinformation,visitwamwc.org.

A CELEBRATION OF SCIENCE & ARTMembers of the Annual Giving Circles at the Curators Circle level and above gath-

ered on the Sculpture Court on September 20 to celebrate the Intersection of Art and

Science at the annual Curators Choice Reception. The evening began in the Sculp-

ture Court and guests embarked on tours throughout the museum. Guests learned

about the exhibitions, technical research and outreach that bring science and the arts

together at the Walters every day.

The Curators Choice Reception is a benefit of membership in the Annual Giving Circles at

the Curators Circle level ($1,500–2,499). For more information about becoming a Cura-

tors Circle member, please contact Julia Keller by emailing [email protected].

EUREKA! JEWELRY FAIR AT THE WALTERSTwentyofthecountry’sfinestjewelersgatheredforthe8thannualJew-elryFairattheWaltersfromNovember4to7,2011.Speciallecturesandeventswerescheduledthroughouttheweek-end.ThankyoutotheWomen’sCommitteeforpresentingasuccessfulandfuneventtobenefitthemuseum’sprograms.

MUSEUM NEWS


A GALA WITH A PURPOSEA capacity crowd partied with a purpose on the Sculp-

ture Court at the Walters Annual Gala, A Gala with a

Purpose, on October 15, 2011. A portion of the proceeds

from table and ticket sales was allocated to the

museum's Education Endowment. More than $80,000

was raised for this crucial program and an additional

$230,000 for the museum's operations.

As guests moved to the galleries for dinner, festivities

were just beginning on the Court with the Party at

the Walters. The evening culminated with dancing on

the Court with local DJ Kempton Ingersol. A wonderful

time was had by all!

❶ChairEmeritusBillPaternotteandConnieFitzpatrick.

❷GodfreyandMariaJacobs.❸GalaCo-chairFrancisTurnerandguestsinthe

galleriesbeforedinner.❹SenatorPaulSarbaneswithsonCongressman

JohnSarbanesanddaughter-in-lawDina.❺GinaandDanHirschhornwithAdamandParty

Co-chairMeredithBorden.

❶

❷

❸

❹

❺

MUSEUM NEWS

nonprofit orgu.s. postage

paidbaltimore, mdpermit no. 1102

600 n. charles st.baltimore, md 21201-5185thewalters.org / 410-547-9000

Peer One Video Tour OPENING SATURDAY, JANUARY 21

Peer One is a video tour curated by staff member and artist Kari Altmann using the museum’s new works of art database as a starting point. A group of peers, including artists and bloggers, will respond to objects in the museum’s permanent collection with videos, injecting contemporary perspectives. The videos will be available as a tour of clips correlating with specific museum objects or galleries. The results will range in form from experimental video art to critical audiovisual essays.

Visitors are encouraged take the Peer Onetour on Saturday, January 21 and attend a 2 p.m. presentation in the Graham Auditorium. A reception with light refreshments will follow. The tour will be available at thewalters.org for download starting Friday, January 20. A limited quantity of handheld devices with preloaded video tours will be available at the museum.

This project was made possible by the Apgar Award, a fund established in 2001 by Anne and Sandy Apgar to support Walters’ junior staff who make a significant and innovative contribution to the use of technology to further the museum’s mission.

The Waters Art Museum Members Magazne January–April 2012

Documents

missionthe walters art

museum newsexploring

walters art gallery

museum store

myrnab walters magazine

ancient americas

mexico middle classic

sasservicepresident