Sarah Bare and James Huber. Photo by the author.

30 Encounters with 30 Americans is a ten week blog series showcasing the perspectives of thirty visitors to the Milwaukee Art Museum’s 30 Americans exhibition (June 14 – September 8, 2013).

Read about the experiences of these visitors–from couples to families, from students to scholars–and see how their thoughts compare to your own. What are visitors saying about this dynamic exhibition of paintings, sculptures, installations, photographs, video, and more made by African American artists since 1970?

Conversations XXV-XXVII discuss how art, whether it is walked over or walked around, and history can intertwine to portray influential messages about society.

Conversation XXV: Sherri Rogers and Linda Ranson

Sherri Rogers and Linda Ranson visit the Museum on August 30, 2013. Photo by the author.

Sherri Rogers and Linda Ransom have such an immense joy of art that they decided to keep their introductions brief in order to discuss 3o Americans straight away.  Linda is a business owner from Wisconsin.  Her companion, Sherri Rogers is an educator for Milwaukee Public Schools.  When not educating her pupils, she spends her time traveling with her family.

#1 What did you think of the exhibition?

Sherri: I thought the exhibition brought through a lot of emotions – some happy, some kind of confusing.  I think that one of the most interesting things are the contradictions. It is like, sometimes, you would look at one painting and it would represent something positive.  And then, right around the corner there was something that was totally opposite, representing something like poverty.

Linda: I thought the exhibition was very well presented.  I did feel that the first part of it exuded a lot of pain.  I guess as an African American looking at the exhibition, you see a lot of the sorrow and the pain that was expressed in the pictures as you head towards the middle.  It lines up a bit, I guess.  To me, 30 Americans depicted more of the past.  I was familiar with the history.  I have lived the history.  It reminded me of some of my parents’ history to some degree.  At the same time, there seemed to be a theme of struggle and, for me, it is a part of it, but it is not everything… Rather, I am usually more of a futuristic type person, modern, more contemporary.

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Sherri: I think a lot of times when you see art museums you always feel as though you have to be a lover of art, a lover of paintings, but I feel that this exhibition just kind of represented more history, and more of the good and the bad.  I think in order for us to achieve any type of success we need to know where we came from: some of our struggles [and] some of the things we really strove to overcome.

Linda: I think a person being culturally well-rounded is something that everyone should strive to do and I think 30 Americans is a small avenue of the bigger picture as far as art is concerned.  So, if you are not familiar with visiting museums or artwork in general, this will be a good place to start to educate yourself.  Then, you can move on from here into the bigger picture.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts? 

Sherri: The painting of the two portraits of the African American women One day and Back Then (Seated and Standing) [by Xaviera Simmons]. I’m not sure if it is a minstrel, but it was just had a lot of emotion in there.  There is the representation of black power.  There is a representation of slavery.  There is the representation of movement, maybe even a black power movement.

Linda: The artwork with the circular young space, with the world of cities [Untitled by Purvis Young].  I like that one because as soon as I saw it, I automatically thought of the world and how city life – being a city girl – means seeing the high rises, which is significant to a city as far as production businesses money a city thriving, growing, etc. Then, at the same time, you could have all of this going on in the city and in another part of the city, it can appear upside down, sideways, not experiencing the growth, the thriving that is taking place and not even having some of the funds that are going to help the high rises go up.  It is almost like they are being taken from the part of the city where the city is being deprived… I am not sure what this [motioning to part of the painting] was supposed to represent, but, to me, it represented the dove, which is the symbol for the Holy Spirit.  In the midst of and despite the poverty and segregation that you can see here.  To me, just seeing that dove there was just a symbol that God is still in the midst of it and that he always knows what is going on. And that he is looking over all of us.  Also, this painting is round because it represents how the world is and how God is everywhere.

Conversation XXVI: Sarah Bare and James Huber

Sarah Bare and James Huber visit the Museum on August 28, 2013. Photo by the author.

Charming local couple Sarah Bare and James Huber exhibit their dynamic discussion about 30 Americans for the readers of 30 Encounters with 30 Americans.  Sarah has lived in Milwaukee since 2001.  Kind as well as nimble, Sarah works with her hands as a student, artist, and massage therapist.  Meanwhile, James, a Wisconsin native, likewise works with his hands as a bicycle mechanic at Cory, The Bike Fixer in Milwaukee.

#1 What did you think of the exhibition?

Sarah: The exhibition was great.  I was surprised at how many different mediums were shown… I knew it was a contemporary exhibit, but it felt really young, new, colorful and full of life.

James: 30 Americans was pretty cool.  Definitely – I will go along with Sarah. I thought the exhibition was really good… I like all the different mediums.

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Sarah: I would say, “Definitely come.” The exhibition is interesting and provocative. It is fun to come with another person and sparks a lot of conversations about sexuality, race relations and freedom of speech… Also, The Post-it notes were really fun.  Being able to part of the exhibit and getting to see other people’s thoughts of it, like what provoked them.  You even hear the chatter in each room.  We [motioning to James] were thinking about what they [the fellow visitors] are going to say.

James: I really like the mix of classical and contemporary styles in a lot of the artwork.  There is so much attention to detail… It was a really good exhibit.  I liked it a lot – so many different styles.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts?

Sarah: Well, I mean we [motioning to James] talked about a lot of the pieces as we were walking through… I think I spent the most time in front of [Non je ne regrette rien by Wangechi Mutu], looking at it from end to end.  All of her work and just the watercolor and the use of mixed media, but I think we spoke the most about that piece of carpet [Untitled by Rodney McMillan].  It was like you imagined the room.

James: You can definitely tell it was well-used in the house. Like lots of stuff had happened there over a long period of time… A lot of stuff happened on the carpet.

Sarah: [It looks] kind of like sadness and despair for me. It was like someone left it this way and it took a period of time to go from some white pristine room to this.  It was kind of sad, you know. You never heard that.  I imagined what were in the walls and where the furniture was, and you could see the hallway and where the doorways and everything were.  You kind of imagined the room and things that went on inside of that room. I think we spoke a lot on that room.

James: I have one specific artist [Kehinde Wiley] that I really liked looking at… I like the style a lot.  I like the look of classical and modern mash-up.  It was good: super colorful, super defined, like almost semi-realistic.  It is very classical looking.

Sarah: I really like seeing the branding, the clothing and the reference to the major leagues.

James: Also the cell phones and Nike shoes.

Sarah: The Nike shoes, yes, and the nylon pants… Tattoos, specific facial hair styles, etc… Even the very serious facial expressions, there is something curious about them.  It makes you wonder what sort of mode [the portrait sitter] was in thought and where the present day person was.  Like you knew where the inspiration came from, but what was he [the artist] talking about with the person sitting for this painting?

Conversation XXVII: Shawn Gulyas

Shawn Gulyas visit the Museum on August 30, 2013. Photo by the author.

Shawn Gulyas has lived in Milwaukee for over twenty-five years.  A professional in the human resources sector, his primary tasks include executive coaching and training.  Actively benefiting from his Membership to the Milwaukee Art Museum, Shawn attends as many of the Museum’s events and exhibitions as possible.  Shawn’s visit on August 30^th marks his third and final opportunity to visit 30 Americans as well as a record among the participants of the 30 Encounters with 30 Americans blog series.

#1 What did you think of the exhibition?

Shawn:  I like the exhibition. I think it is challenging for Milwaukee.  That is why I, personally, think the exhibition is important. There is a challenge posed to the city.  The first time [I came was] just to see 30 Americans.  The second and third time was bringing other people to see the exhibition.  So, that is what brought me back.  Although, I would have come back at least one other time either way.

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Shawn: I think it is important for everyone to see the exhibition because, again, I think it will challenge them with artists doing different kinds of art… Plus, I think [coming] from a different cultural/race perspective, it is important to just open your eyes to what is out there in the artistic world; a different view on what is art.  An example, well, I think Nick Cave’s pieces are sculptural, but they also have a costume feel to them at the same time… The works are sort of like reverse performance art, actually… You could walk around the artwork and see different viewpoints. Plus, I think that design element with all the sequins, beading, cloth and textile is so cool… I think they [are artworks people] can really get involved with and that could be one thing that would draw people in.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts?

Shawn: I have a couple artworks that are my favorites.  I love the cotton bales [Untitled #25 by Leonardo Drew]. That is probably the most striking thing to see.  Again, I like the sculptural  [aspect].  You can interact with or walk around that art.  I think of cotton as light. It just seems so heavy, so massive and it gets you thinking of all the right things… The cotton bales made me look at periods of history and how you look at people.  That makes you sad and it really starts your mind to work on going through history.  It makes you think of history… I think that the cotton bales is great and the other piece that I loved is the carpet from the grandmother’s house [Untitled by Rodney McMillan].  Whereas, [with] the carpet work, I thought about what was my own imagination.  It takes advantage of your imagination, making up stories in your head.  Also, I think it takes me back to memories of my grandmother’s house.  I wonder, “What did her carpet look like and should I have put deeper thought into carpeting, you know?” Did it have a story to tell that I was missing and having it up there made it sort of like, “Oh!”  It brought back memories and takes me back… because I think you can look at it forever and make up stories.  I think it also challenges what is art, too.  Is carpet from my house really art?  It can be depending on how it is displayed and how it is contextualized…

- – – – – -

Check back next week for 30 Encounters with 30 Americans: Conversations XVI – XVIII. 30 Americans is at the Milwaukee Art Museum from June 14 through September 8, 2013. For more information, please click here.

30 Encounters with 30 Americans: Conversations XXII – XXIV

30 Encounters with 30 Americans: Conversations XIX – XXI

30 Encounters with 30 Americans: Conversations XVI – XVIII

30 Encounters with 30 Americans: Conversations XIII – XV

30 Encounters with 30 Americans: Conversations X – XII

30 Encounters with 30 Americans: Conversations VII – IX

30 Encounters with 30 Americans: Conversations IV – VI

30 Encounters with 30 Americans: Conversations I – III

Sarah Rabinowe is a summer Curatorial Intern at the Museum.  Sarah is a recent graduate of the University of Michigan, and this autumn she will be moving to England to complete her Masters degree in History of Art and Visual Culture at the University of Oxford.

Karin Ormson and Valerie Curry. Photo by the author.

30 Encounters with 30 Americans is a ten week blog series showcasing the perspectives of thirty visitors to the Milwaukee Art Museum’s 30 Americans exhibition (June 14 – September 8, 2013).

Read about the experiences of these visitors–from couples to families, from students to scholars–and see how their thoughts compare to your own. What are visitors saying about this dynamic exhibition of paintings, sculptures, installations, photographs, video, and more made by African American artists since 1970?

As the 30 Americans exhibition draws to a close, so too does the 30 Encounters with 30 Americans blog series.  Since July, it has been a pleasure to engage with this project and have the opportunity to speak with a variety of visitors on their perceptions of selected artworks from the Rubell Family Collection.  Sunday, September 8th is the final day to visit 30 Americans at the Milwaukee Art Museum.  As the exhibition continues its tour at the Frist Center for Visual Arts in Nashville, Tennessee on October 11th, may all those who view 30 Americans spark further conversations.

Conversation XXVIII: Karin Ormson and Valerie Curry

Karin Ormson and Valerie Curry visit the Museum on August 28, 2013. Photo by the author.

For all their seemingly apparent differences, Karin Ormson and Valerie Curry share an important family trait.  Both women’s kin deeply appreciate art and visual culture.  Originally from Frankfurt, Germany and currently residing in Pewaukee, Wisconsin, Karin boasts several artists in her family including her daughter and aunt.  Similarly, Valerie Curry, a salesperson from Milwaukee, Wisconsin, recalls how her enjoyment of the arts stems from the influence of her mother and father.

#1 What did you think of the exhibition?

Karin: Well, I liked the exhibition.  Although, I did find it disturbing… It grasped me emotionally that people cannot get past color. [People] talk about how things are getting easier, but I know with our black President there is a lot of opposition… even though he is a great man, an intelligent man… I wish that other people would just open their hearts a bit and their minds.  And, not be so narrow-minded and only go by first impressions and what color they see.

What affected me was the Ku Klux Klan hoods [Duck, Duck, Noose by Gary Simmons].  These people are… such cowards to cover their faces.  If you want to confront someone for whatever reason show yourself and be a man, rather then to hide behind those stupid hoods.  I just saw the movie, Lee Daniel’s The Butler and I thought the two [lynched African American men] were very disturbing.  This went down even though this was supposed to be the greatest country in the world, but still so many people have such hatred, for no other reason than just color… They see somebody and right away they say when something is on TV, “Oh they have to be colored. Those are colored people.” You know, when something bad happens.  I hear that often and I say how can you and why do you come up with things like this?

My ancestors were Germans and I was born in an area which is now in the Czech Republic.  [During World War II,] my parents came from Vienna and we were taken out of our home and my parents lost everything.  Then, later, when the Russians began fighting against the Germans, my uncle was taken away and killed just because he happened to be German.  It is history that repeats itself over and over… I have always wanted for people to get along ever since I was a child because, during the war, we were refugees and had nothing when we settled in Frankfurt in 1946.  We were looked down upon too because we were refugees and heard people say, “Why are these refugees taking away our space?” It is a cruel world and I just want everybody to get along.  I always felt that way.

Valerie: I thoroughly enjoyed the exhibition.  I am a very tactile person so I just had to be reminded to stay behind the black line, and not to touch anything.  That is how I connect with things and people… Several of exhibits really touched home when it came to how the art dealt with womanhood and the way women have been treated during times of slavery and post-slavery, and still today there is a sense of loss…[For example,] the three portraits with the two black men and one black woman Descending the Throne by Carrie Mae Weems… As a black woman thinking about all the souls that have been lost because of slavery… I just have a sadness in my heart and soul, and I thank God that we are still here today.  

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Karin: I think everyone should come to 30 Americans…  I think if we open our minds to other people, to other cultures, we could just be better people… You know we learn so much from other people.  It is amazing.

Valerie: You need to make time in your day to come down to the Milwaukee Art Museum and enjoy the beautiful display of art here.  Do not necessarily [think] because the exhibition says 30 Americans… [that it] is focusing on one genre.  It is not.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts? 

Karin: Well, the painting is round and had the cityscape [Untitled by Purvis Young] like it was looking down at high rises.  As soon as you walk into the door, it is the first one on the right.  Well, it is, in a way, like you are in a plane looking down.  I went to Europe the day before 9-11.  When I got to Vienna, I wanted to call my husband, but there were no lines open and nobody told me what had happened… Since then, I have become more sensitive.  [The painting] affected me, it did… when I think of that [experience].  I think about the beauty and, also, how can people destroy something so beautiful?

Valerie: [Souvenir: Composition in Three Parts by Kerry James Marshall] is compelling too, and on a day like today of all days for us to came down.  Yes, because of the [Birmingham] bombings that happened in 1963 and since we are celebrating the 50th Anniversary of the March on Washington [For Jobs and Freedom]… And, it is funny.  I was in a funeral probably about five months ago and the casket was very similar to this one [pointing to a page in the 30 Americans: Rubell Family Collection Catalogue].  I feel that African Americans have such a tradition when it comes to funerals and things.  So a lot of things have been passed down for generations: how they are in a casket, how there are lots of flowers and the resounding songs.

Conversation XXIX: Dave Ross and Geraldine Sykes

Dave Ross and Geraldine Sykes visit the Museum on September 5, 2013. Photo by the author.

Dave Ross and Geraldine (Gerri) Sykes met in the car on the way to the Milwaukee Art Museum. Nonetheless, experiencing the 30 Americans exhibition has brought them together as friends.  Dave is a retired Air Force Lieutenant Colonel and graduate of the United States Air Force Academy (USAFA) from Oregon.  Following his retirement from the United States Air Force, Dave has since been employed as a trainer.  Dave not only exercises his body, but also his mind as a public speaker and amateur entomologist (insect researcher).  In “later years,” Dave hopes to return to university to pursue a formal degree in entomology.  Similar to Dave, Geraldine (alternatively known as Gerri) has found employment in a number of different fields in Wisconsin.  While she is currently enjoying traveling throughout the world as a retiree, she previously worked as a school educator, teaching first grade and a course in consumer education at Milwaukee Area Technical College (MATC).  Later, she changed careers and became a licensing specialist.

#1 What did you think of the exhibition?

Dave: I was both intrigued, entertained and, at some points, disappointed by the works of art… I like the images that had the Nike and the basketball [Branded Head and Get off on the Right Foot 1988/2007 by Hank Willis Thomas].  I really love those.  My middle son looks at the world as if it is basketball and then all the other stuff he is going to put up with until you can play basketball.  I think that concept is something that I have been trying to share with him for awhile.  Maybe, one day, he will get it.  And, when I say a little disappointed in some of the perspectives of the works, I am [referring to] the films. I found them to be a little ambiguous.  I also – being somewhat of a historian – would have liked more of a historical perspective in this collection in some ways, but other than that it is fascinating.

You have an interesting perspective. The art featured in the 30 Americans exhibition was produced following 1970. As such, how would you rectify your proposed need for an increased historical perspective with the fact that these are relatively recent works by contemporary artists?

Dave: It is contemporary art we are talking about from the last thirty-four years, or so.  A lot of things have happened and a lot of different perspectives have happened.  I would look for more uplifting presentations of history.  There is a lot that has happened over that time period that would have been a little more uplifting to [represent].

Geraldine: I enjoyed it. This is my second time to 30 Americans. I came once before. There is just so much to see that you can not take it in with one viewing.  I might even come back Sunday. My husband has not had an opportunity to see it yet so I think I will make sure he gets down here over the weekend to see it.  I think it is a show everybody would want to see it. It is fantastic. It has got a wide range of art that will appeal to almost anybody’s taste.  Some art will make you scratch your head and say, “um” and other art you could immediately connect with.  I think it is worth a visit by everyone.  For me, I used to do a lot of sewing.  I made my own clothes and, at one point, I headed my own design company.  So, I really [connected] with the statues [by Nick Cave]: the clothing, the intricate bead work and other things were just fascinating to me.

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Dave: I think the exhibition is definitely worth seeing, but again I think, to me, what makes art very valuable is the conversation that it inspires.  I think 30 Americans inspired dozens of conversations. Cancel what you are doing, come down here and see it.

Geraldine: I would say definitely make an effort to get down to the Milwaukee Art Museum.  Even if you have to cancel something else, make sure that you get down here to see 30 Americans. It is important because I do not think there is anything like this in Milwaukee.  I have lived here for forty-five years and I think this is probably the first time anyone has had an exhibit of this magnitude about this subject.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts?

Dave: Of course, I mentioned earlier [Branded Head and Get off on the Right Foot 1988/2007 by Hank Willis Thomas] were works that really impressed me for personal reasons.  But, the other artwork that I found really fascinating – probably from my military background – was the guy who is on the horse [Equestrian Portrait of the Court-Duke Olivares by Kehinde Wiley].  I found that just fascinating because it clearly reflected some of the ancient tapestries of medieval era, but put a contemporary picture on it in many ways.  It spurred a lot of conversation.  I found it very beautiful.  With my military background, of course, I was attracted to the fact that it payed homage to the classic military portrait of the knight on the rearing horse.  I found it entertaining and sparking a lot of conversation. Now, why is he [the portrait sitter] wearing something about the Negro Leagues on the back?  Why is this the portrayal of a knight?

Geraldine: I do not think I have one that really just stands out.

Why does none of the art individually stand out to you?

Geraldine: I guess because I… am still trying to look and take everything in.  Hmm, I like the [Jean-Michel] Basquiat works because I like graffiti.  I like this style of art. I have seen a retrospect of his art.  I always like seeing his work so that is one that appeals to me.  If I find out that he is in a show, or if there is a showing of his work, I always go… He died very, very young when he died so his work is complete.  It is here.

Conversation XXX: Mariah Vela

Mariah Vela visits the Museum on August 28, 2013. Photo by the author.

Mariah Vela is a freshman, studying business at UW – Whitewater in Whitewater, Wisconsin.  When not studying or involved in school-related extracurricular activities, Mariah enjoys reading and singing.

#1 What did you think of the exhibition?

Mariah: The exhibition was really nice.  I thought it shows interesting perspectives on people’s lives and how society feels now about them.

#2 What would you say to people who are considering coming to see the exhibition/artwork?

Mariah: I would definitely tell everyone to come check the exhibition out! Actually, I was really surprised, 30 Americans is really interesting to look at… I was not sure who all the artists were, but I liked learning about these new people a lot.

#3 Please choose a particular artist or artwork that stands out in your mind.  Comments or thoughts?

Mariah: I liked the artwork with the Klu Klux Klan hoods and the noose [Duck, Duck, Noose by Gary Simmons].  I also liked the four photographs of, I am assuming slaves?They had words on them describing who they later became Descending the Throne by Carrie Mae Weems.  It made me think about who I will become.

- – – – – -

Click below to read each of the 30 Encounters with 30 Americans. The exhibition 30 Americans is at the Milwaukee Art Museum from June 14 through September 8, 2013. For more information, please click here.

30 Encounters with 30 Americans: Conversations XXV – XXVII

30 Encounters with 30 Americans: Conversations XXII – XXIV

30 Encounters with 30 Americans: Conversations XIX – XXI

30 Encounters with 30 Americans: Conversations XVI – XVIII

30 Encounters with 30 Americans: Conversations XIII – XV

30 Encounters with 30 Americans: Conversations X – XII

30 Encounters with 30 Americans: Conversations VII – IX

30 Encounters with 30 Americans: Conversations IV – VI

30 Encounters with 30 Americans: Conversations I – III

Sarah Rabinowe is a summer Curatorial Intern at the Museum.  Sarah is a recent graduate of the University of Michigan, and this autumn she will be moving to England to complete her Masters degree in History of Art and Visual Culture at the University of Oxford.

View of Hidden Dimensions installation. Photo by Jim Wildeman

Chipstone’s galleries will be de-installed starting on September 17. For those of you that love the Chair Park and the Dave the Potter pot, these will stay up until the end of 2013. So, what does this all mean for you? It means that you should go take a walk through Chipstone’s Cabinet of Curiosities, the Hidden Dimensions Gallery, as well as sit in our round video room before September 17!

View of Loca Miraculi installation by Martha Glowacki. Photo by Jim Wildeman

You can experience the three kingdoms in Martha Glowacki’s Loca Miraculi. Try to guess what the connection between the graphite covered taxidermied animals and the Newport high chest is. Spend some time in the ceramics room, opening drawers. Can you find the little babbling grotto? Do you know how agate ware is made (hint: there is a drawer that contains a video of Michelle Erickson explaining the process)? What are some extinct ceramic objects?

View of Hidden Dimensions installation. Photo by Jim Wildeman

Next, go into Hidden Dimensions. Ask yourself questions such as: What did a tea table allow the sitters to do (yes, drink tea, but also something naughtier)? Why would an early 19th century banker have a table with Griffins in his home? Why do some 17th century chairs look like gravestones?

Finally, take a break in the round video room and watch Randy O’Donnell carve wood, Michelle Erickson throw clay, and Steve Farrell turn and make a face jug.

Thank you all for spending time in our galleries, and communicating your thoughts about objects and exhibitions with us! Come visit us at the Chipstone Foundation in Fox Point (open by appointment) or at two exhibitions we are curating at Marquette University’s Haggerty Museum of Art, which will open on January 22.

Claudia Mooney works for Chipstone, the Milwaukee-based foundation dedicated to promoting American decorative arts scholarship. She researches objects and creates relevant programming for Chipstone’s exhibitions at the Milwaukee Art Museum and in the community.

Joaquin Sorolla y Bastida (Spanish, 1863–1923). Drawing in the Sand, ca. 1911. Oil on canvas, 21 x 25 1/4 in. (53.34 x 64.14 cm). Milwaukee Art Museum, Gift of the Samuel O. Buckner Collection. Photo credit Larry Sanders

Now that’s it September, I thought we’d have one more taste of summer by exploring Drawing in the Sand by Joaquin Sorolla y Bastida (Spanish, 1863-1923), which is on view in Gallery 11.

Born and raised in Spain, Sorolla’s artistic talent was discovered early.  While still in his teens, he visited the Museo del Prado in Madrid and found much to admire in the old masters of Spain: in particular, he was fascinated by Diego Veláquez’s treatment of light and José de Ribera’s vigorous brushstrokes.  After studying in Rome and Paris, he returned to Madrid in 1890 and soon became well-known in well-to-do social circles.  Although he painted portraits of royalty and the upper class, he used every artwork as a way to explore the problem of light.

Sorolla became internationally known after he exhibited at the Exposition Universelle in Paris in 1900.  At this point he found true success–and satisfaction–by combining his exploration of light and plein-air technique in his beach scenes.  A few great examples can be found in the Metropolitan Museum of Art, the Hispanic Society of America, the Sorolla Museum, and the Prado.

Although sometimes associated with the Impressionist and Symbolists who painted at the same time, Sorolla remained independent of a specific art movement.  At the same time, he created some of the most modern paintings of the early 20th century.

Joaquin Sorolla y Bastida (Spanish, 1863–1923). Drawing in the Sand, ca. 1911. Oil on canvas, 21 x 25 1/4 in. (53.34 x 64.14 cm). Milwaukee Art Museum, Gift of the Samuel O. Buckner Collection. Photo credit Larry Sanders

A 1909 solo show in New York featured 356 of his paintings and introduced him to an American audience.  Touted as “the Spanish painter of sunlight and color” by the New York Times, 169,000 visitors attended the show in about a month.  He was soon given a commission for a series of murals celebrating traditional life in Spain for the Hispanic Society of America, which he painted between 1911 and 1919.

Milwaukee was at the forefront of Sorolla’s popularity in America. Drawing in the Sand was a gift to the Milwaukee Art Institute in 1911 from its early president, Samuel O. Buckner.  Just think of it as the contemporary art of its time!

After returning from his US tour, Sorolla built a home in Madrid (now a museum).  He spent the rest of his life capturing on canvas the bright light in both his gardens at home and the dramatic scenery of Spain.

Sorolla’s sparkling canvases make me feel like I need to squint against the glare.  The luscious use of paint seems to flow across the canvas even when dry.  There is a lack of detail  that can be associated to the abstraction of the period; he used areas of color rather than shading to depict volumes.  To me, the simplicity of the compositions is just what the summer is all about.  The sun so is bright that it blurs everything before your eyes, evoking other senses like feel, smell, and taste.

Although Drawing in the Sand seems like a modest painting, I like to think that the artist was referring to himself in the narrative.  Just as Sorolla first discovered his love of art on the Valencia coast, so does this little boy find artistic inspiration in the beach.  From modest beginnings can come greatness.

So, as the weather cools, take a moment to remember the summer with a look at Drawing in the Sand in the galleries.  It may just help you get through the winter to come!

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Group shot of the ArtXpress teens with their mural! Photo by Front Room Photography

Teens in the program were tasked with creating a collaborative public mural that addresses community issues in a positive way in a style inspired by 30 Americans. Their finished mural will be displayed on a Milwaukee County Transit bus for 8 months, inspiring the city!

The group looked past the surface to understand that there is not one answer to the above questions, nor just one identity. People are complicated–many identities, cultures and voices make up this city. These differences are all held together; there is only one Milwaukee.

Close up of the finished mural. Photo by Front Room Photography

As the program educator, it was an amazing experience to collaborate with the 16 teens who were part of the ArtXpress High School Program and with RedLine Resident Artist Johnny Kowalcyzk. Over the course of three weeks, we spent about half our time at the Museum visiting, thinking, and talking about 30 Americans and the other half of our time at RedLine making artwork in response to the show.

The program included many guests who helped us think through how the teens would create the mural. We also had the great opportunity to have Clayborn Benson, executive director of the Wisconsin Black Historical Society, talk about Milwaukee’s history to help ground our experience of the show in our local experience. Christopher McIntyre, an artist represented in Wisconsin 30, led the group through the show, offering his perspective and enhancing our dialogue. Lastly, Nina Chanel Abney, an artist represented in 30 Americans, came to talk about her experiences as an artist and provide feedback on the artwork being made for the mural.

Keep scrolling to view process photos of the program and the mural. Great job, ArtXpress teens!

Teens get an introduction at RedLine Milwaukee. Photo by Tim Abel

Teens work with portrait photos to begin the artmaking process. Photo by Tim Abel

Another group works with photos. Photo by Tim Abel

Teens get ready to transfer. Photo by Tim Abel

The result of the photo transfer. Photo by Tim Abel

The Teen Angst group. Photo by Tim Abel

ArtXpress Teens with 30 Americans artist Nina Chanel Abney. Photo by Tim Abel

ONE-MKE! Photo by Tim Abel

Installation shot of final artwork. Photo by Front Room Photography

The bus, with completed mural, pulls up to the Museum on the day of the reception! Photo by Front Room Photography

Cutting the cake… Photo by Front Room Photography

View of the ArtXpress celebratory reception. Photo by Front Room Photography

Group shot of the ArtXpress teens with their mural! Photo by Front Room Photography

–Tim Abel, ArtXpress Program Educator

Close up of a post-it note station in 30 Americans.

Within the galleries, we included three sticky note stations for folks to anonymously respond to works of art by Gary Simmons, Leonardo Drew, and Lorna Simpson. We have now archived all of the sticky notes for future study, thanks to dedicated staff and volunteers. This post will highlight just a few of the many powerful responses to works of art in photos, plus written reflections about 30 Americans from visitors and Museum staff that we received over the course of the exhibition.

“What struck me is that we had small, designated areas for the sticky notes, and it became obvious in the first weekend that they would not contain all of Milwaukee. We decided to let it grow as big as it needed to be.” — Brigid Globensky, Milwaukee Art Museum Barbara Brown Lee Senior Director of Education and Programs

“This was a fascinating, revealing, disturbing, memorable show.” — Visitor Comment

“It was a joy to watch the voices of our entire community materialize on the wall in lively, emotional and provocative conversation throughout the summer. But after three months of reading so many remarkable statements and questions, in the end, it was a wordless post-it response that moved me most deeply. On the second to last day of the exhibition, a man who had been crying in front of Gary Simmons’s Duck, Duck, Noose reached for a post-it. After politely declining the pencil I handed to him, he pressed the blank yellow note first to one eye and then to the other to blot his tears. He then silently pressed the tear-soaked post-it to the wall. In that single, wordless gesture, I was reminded that sometimes a work of art can be so powerful, so personal, and affect someone so deeply… there are no words.” –Amy Kirschke, Director of Adult, Docent, and School Programs

“I was excited to see so many people having a desire to share their voice through a small yellow note, dare I say be empowered to do so. As the exhibition continued, the post-it notes really became a reflection of the community who viewed the art in the space and in some ways became a work of art in itself. Personally, I was most moved by the conversations that took place between notes, the different languages listed, and the overarching reminder of forgiveness, love, and the importance of teaching the next generation.” — Laci Coppins, Milwaukee Art Museum Manager of School and Teacher Programs

“What an amazing exhibit. My eyes never stopped looking.” — Visitor Comment

“30 Americans was profound. I cried.” — Visitor Comment

“By bringing awesome and stimulating artwork, as well as opening up avenues for discussion, Simpson made the entire gallery poignant and meaningful.” — Visitor Comment

“I’ve been three times already, bittersweet that it’s leaving soon. I loved all of it.” — Visitor Comment

You can find more reactions to 30 Americans by reading through our 30 Encounters with 30 Americans” blog post series, by browsing our Flickr page, or by exploring the minisite.

Chelsea Emelie Kelly is the Museum’s Manager of Digital Learning. In addition to working on educational technology initiatives like the Kohl’s Art Generation Lab or this very blog, she oversees and teaches teen programs. Say hello on Twitter @MAM_Chelsea.

Brigid balancing on the vine. Photo courtesy Brigid Globensky

This past week, I went into the gallery and was shocked at what a mess it seemed. As in any construction project, after all the careful work of planning, it actually looks awful before it comes together. Right now, it’s starting to come together into the final gallery you’ll see next week.

View of the in-progress Illusions gallery. Photo by Brigid Globensky

Exhibition Designer David Russick planning out an area of the exhibition. Photo by Brigid Globensky

On Wednesday, the staff from Sign-O-Rama finished putting the opening illusion on the title wall and floor. There is a giant vine growing out of the floor. An artist from Madison, Michael Russick, created the illusion. We were crossing our fingers that it would work in the space—that if you stood on it, it would seem as if you were climbing the vine or teetering over open space. It worked!

Exhibition Designer David Russick “climbs” a vine. Photo by Brigid Globensky

Illusions: Near and Far opens Saturday, October 26, 2013 at 10:00 a.m. You can snap a photo climbing the vine like we did—and that’s only the beginning: wait until you see what’s inside!

—Brigid Globensky, Barbara Brown Lee Sr. Director of Education and Public Programs

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

In one of the two cases in the installation are three prints designed by the Flemish artist Joris Hoefnagel (1542-1601) and engraved by his son Jacob (1575-ca. 1630).  They give us an amazing way to understand art and science in 16th century Europe.

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

These prints all came from a book called Archetypa studiaque patris Georgii Hoefnagelii.  Published in 1592, the engravings illustrate an important transition in art production.

Joris Hoefnagel was one of the last important Flemish manuscript illuminators.  This means that he would decorate books by hand for the extremely wealthy.  By the late 16th century, the technique of printmaking had established itself as a way to spread images quickly and less expensively.  When Joris’s son Jacob engraved his designs and published them as a book, it was a perfect example of this transitional period in the art market.

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

Joris Hoefnagel was more than just a talented illuminator.  He was also a highly intelligent, well-educated man who was fascinated with the natural world.  Perfectly at home in the Renaissance’s scientific inquiry, Hoefnagel carefully studied plants, animals, and insects, and then rendered them in detail.  Many of them were rendered here for the first time.  Other artists used his book as a source for designs in their own paintings and decorative arts.

A closer look shows that Hoefnagel has offered inspiration in another way.  Each page includes an epigram that invites the viewer to reflect upon the image and contemplate his or her place in the universe.  For instance, Plate 3 reads in Latin “Virum improbum vel mures mordeant” which translates to “May a Wicked Man at Least Be Bitten by Mice”.

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

The Renaissance’s interest in the natural world gives rise to centuries of artists who explore the subject.  Still life painting in northern Europe flourished in the early 17th century.  Botanical illustrators sought to discover, categorize, and document plants and animals worldwide in the quest of knowledge.  The best-known wildlife illustrator, John James Audubon (American, b. Santo Domingo [now Haiti], 1785-1851), traveled for years to document the birds and mammals of the United States.

Contemporary artists are also interested in depicting and honoring nature.   The display on the mezzanine includes works by Milwaukee artist JoAnna Poehlmann.

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

The tradition set forth by Joris Hoefnagel is alive and well in Poehlmann’s artwork.  She draws her amazingly detailed images from an extensive collection of specimens.  Her meticulous technique is obvious when looking at works such as Going Dutch I and Going Dutch IV.

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

But Poehlmann does not just celebrated the natural world in her artwork.  Her playful works display her droll sense of humor, combing her knowledge of art history and literature.  The Stamp Collection, a set of cards in a beautifully constructed envelope, juxtaposes illustrations postage stamps featuring art in order to create clever statements: a stamp of a crab with a lovingly rendered petit four makes a “crab cake” and a stamp with a tree above a perky little frog results in “tree frog.”

Installation views of the “Rembrandt and the Natural World” Mezzanine rotation. Photo by the author

JoAnna Poehlmann’s creations are always best seen in person, so make sure you stop by the Mezzanine soon!  (And stop by the Museum store to take home a little of her art.)

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Nardo di Cione (Italian, ca. 1320–1365 or 1366), Madonna and Child, ca. 1350. Tempera and gold leaf on panel. 29 1/2 x 19 in. (74.93 x 48.26 cm). Milwaukee Art Museum, Purchase, Myron and Elizabeth P. Laskin Fund, Marjorie Tiefenthaler Bequest, Friends of Art, and Fine Arts Society; and funds from Helen Peter Love, Chapman Foundation, Mr. and Mrs. James K. Heller, Joseph Johnson Charitable Trust, the A. D. Robertson Family, Mr. and Mrs. Donald S. Buzard, the Frederick F. Hansen Family, Dr. and Mrs. Richard Fritz, and June Burke Hansen; with additional support from Dr. and Mrs. Alfred Bader, Dr. Warren Gilson, Mrs. Edward T. Tal, Mr. and Mrs. Richard B. Flagg, Mr. and Mrs. William D. Vogel, Mrs. William D. Kyle, Sr., L. B. Smith, Mrs. Malcolm K. Whyte, Bequest of Catherine Jean Quirk, Mrs. Charles E. Sorenson, Mr. William Stiefel, and Mrs. Adelaide Ott Hayes, by exchange.

Nardo was one of three artist brothers with a workshop in Florence in the mid 14th century. They were well-known not only for church frescos, such as those in the Santa Maria Novella, but also their free-standing panel paintings.

In the years before Nardo and his brothers opened their workshop, the Italian artist Giotto (1267-1337) had become known for the revolutionary style that developed into the hallmark of the Renaissance. Giotto attempted to depict the world more realistically, using gentle shading in his figures to show depth of space, making them interact and show emotion while in recognizable settings. A perfect example is the Lamentation of Christ in the Arena Chapel in Padua dated to 1305-1306.

This was in direct contrast the Byzantine style which had been used during the middle ages: stiff, flat figures were shown frontally and arranged in a strict hierarchy within an amorphous space, such as this example at the Metropolitan Museum of Art.

Because Giotto worked in the same city as Nardo, we would expect to see his influence in Virgin and Child. And we do, in the delicately modeled head and hands of the figures, the thoughtful expression of the virgin, and the loving exchange between mother and child. In particular, Jesus is shown as a real baby, focused on his mother with his finger in his mouth, not as the all-knowing mini-adult of earlier art.

Nardo di Cione (Italian, ca. 1320–1365 or 1366), Madonna and Child, ca. 1350. Tempera and gold leaf on panel. 29 1/2 x 19 in. (74.93 x 48.26 cm). Milwaukee Art Museum, Purchase, Myron and Elizabeth P. Laskin Fund, Marjorie Tiefenthaler Bequest, Friends of Art, and Fine Arts Society; and funds from Helen Peter Love, Chapman Foundation, Mr. and Mrs. James K. Heller, Joseph Johnson Charitable Trust, the A. D. Robertson Family, Mr. and Mrs. Donald S. Buzard, the Frederick F. Hansen Family, Dr. and Mrs. Richard Fritz, and June Burke Hansen; with additional support from Dr. and Mrs. Alfred Bader, Dr. Warren Gilson, Mrs. Edward T. Tal, Mr. and Mrs. Richard B. Flagg, Mr. and Mrs. William D. Vogel, Mrs. William D. Kyle, Sr., L. B. Smith, Mrs. Malcolm K. Whyte, Bequest of Catherine Jean Quirk, Mrs. Charles E. Sorenson, Mr. William Stiefel, and Mrs. Adelaide Ott Hayes, by exchange.

But at the same time, there is also a reversion to the Byzantine style. The decorative banding of the figures’ drapery and the overall pattern of Jesus’s fabric flatten the bodies, while the gold background shimmers without a hint of location or context. In fact, their halos are not separate from the background, but are part of it, suggesting that they are in a heavenly realm.

Why is Nardo looking back to earlier artistic styles instead of forward to the developments of the Renaissance?

The answer becomes clear when you find out what was happening in Florence around 1350, when Nardo painted this work. In 1348, the bubonic plague which had been ravaging Europe swept into Florence, killing as much as half of the population in less than a year. The citizens, reeling from the horror, saw it as a judgment upon the recent changes in social, economic, and artistic ideas. To find comfort and stabilization, they returned to what had come before.

Nardo di Cione’s career was at its height during this resurgence in traditionalism, and so Virgin and Child reflects that historical reality. In this unique historical setting, Nardo produced a panel that combines the rich colors and magical world of the Byzantine style with three-dimensional figures that are imbued with humanity.

The quiet yet imposing beauty of the painting, which was most likely made as the center panel of a small folding altarpiece, and would have been used for private devotion by a wealthy 14th century Italian patron.

The patron spared no expense with rich materials, which also reflect glory upon virgin and child. The virgin is shown as the Queen of Heaven in her blue robe of expensive pigment made from lapis lazuli, a rare stone imported from Afghanistan, which was reserved for royalty. All of the gold in the painting is real gold leaf. The indentations in the panel that form the halos were originally studded with jewels, now lost to the passage of time.

In contrast to the luxurious details, however, the simple composition of the painting–with the virgin looking out at the viewer, touching her son’s chest with a gentle gesture of blessing, to show that her baby son is the way to salvation–certainly would have been a reassuring spiritual reminder to the painting’s owner.

Knowing the historical context of this important and beautiful painting of the early Renaissance, the viewer can be reminded that we should not take love, health, and comfort for granted. Best wishes for the holiday season!

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Work in progress: Supplies for installing the 2014 Scholastic Art Awards. Photo by Chelsea Emelie Kelly

But ever wonder what happens to your work while you’re waiting? Let’s take a look at the behind-the-scenes portion of the whole process.

Art Preparator Kelli Busch affixes one of the labels to the gallery wall. Photo by Chelsea Emelie Kelly

First, all of the artwork that has been juried in to the show is organized into categories and given a label code. These codes help the installers identify two things: the category it falls into (example J = jewelry), and the number of pieces in each category. The entire code assigned to each piece (for example J15) helps identify which artist it belongs to, so that a proper label can be placed next to it after it has been installed.

After the coding is finished, it’s time to distribute the art. I’m the installer, who carefully chooses places that the artwork will fit well, not only in spacial dimensions but alongside whatever will be seen next to it. There has been between 350 and 400 artworks to arrange in previous years–and all of it needs a place in the galleries!

Art Preparator Kelli Busch prepares labels for the gallery walls. Photo by Chelsea Emelie Kelly

Each piece is laid out, measured, and spaced accordingly on the wall or on a pedestal. Then, and only then, all of the labels are placed next to each piece. All of this happens in a matter of about a week.

At the end of that week, all of the artists, their family, friends, and teachers, show up for the Awards Ceremony to see their art on the walls of the Milwaukee Art Museum.

It’s not done yet! Lighting and labels still need to be added to this gallery wall before the opening on February 8. Photo by Chelsea Emelie Kelly

Editor’s Note: Join us for this year’s 2014 Scholastic Art Awards Celebration on February 8, 2014, at the Museum–view the finished installation as well as celebrate young artists from all over the state of Wisconsin! We hope to see you there.

–Kelli Busch, Art Preparator

View of the Prototyping Pedestal. Photo by the author

So what exactly is it?

As a museum educator with an interest in participation at museums, this spot is especially exciting and important to me, because it’s a place where visitors can take part in something a bit interactive and tell us what you think about the Museum experience.

View of the Prototyping Pedestal. Photo by the author

What brought this on? We are in the process of planning for our permanent collection reinstallation during 2014-15. The Museum will be open, and the permanent collection will be off view while we reimagine what artwork we share and what stories we tell in the Museum. We want to make sure we bring in the visitor voice as we plan.

View of the Prototyping Pedestal. Photo by the author

To that end, we’ve taken an “experience matrix” that we developed with the design firm IDEO to help guide us in thinking about the many different types of things people can do at the Museum. At the prototyping pedestal, you can take the matrix with you into the galleries, circle your three favorite experiences to have, and note where you’d like to see these experiences happen (or keep happening) at the Museum. Some folks are even describing details about what they’d like to do, not just where, which is great!

View of the Prototyping Pedestal. Photo by the author

We’ve amassed a lot of data so far and are looking forward to seeing what patterns arise. Until then, please come visit and share your thoughts with us! The Pedestal will be up until the permanent collection galleries go off view in early fall 2014, but the sooner you share your thoughts, the more we can use them as we plan.

View of the Prototyping Pedestal. Photo by the author

Chelsea Emelie Kelly is the Museum’s Manager of Digital Learning. In addition to working on educational technology initiatives like the Kohl’s Art Generation Lab or this very blog, she oversees and teaches teen programs. Say hello on Twitter @MAM_Chelsea.

View of “Winter in Color” Mezzanine Installation. Photo by Chelsea Kelly

Until the Renaissance, winter scenes in Western art were few and far between. Not only was there a lack of interest in landscape as a subject, but also, during winter, much of Europe struggled to find food and warmth, let alone create art.

Today, even though groceries are well stocked and buildings have central heating, winter is often seen as bleak, forbidding, and colorless. But there is a hidden beauty in the cold and snow, one that, with a closer look, is alive with all sorts of hues.

View of “Winter in Color” Mezzanine Installation. Photo by Chelsea Kelly

The rotation on view on the Mezzanine, a selection from the Museum’s collection, shows how six different artists of the 20th century have interpreted winter in color. In this post, we’ll take a look at two of them.

Emil Nolde (German, 1867–1956), Cottage on the North Sea in Winter, 1930s. Watercolor on paper. Milwaukee Art Museum, gift of Cynthia Davis Weix, M1999.10. Photo credit Larry Sanders. © Nolde Stiftung Seebüll

Emil Nolde’s independent personality and interest in color made him one of the most important Expressionist artists. Associated briefly with the avant-garde groups known as Die Brücke and the Berlin Secession, he was continuously pushing the boundaries of art. He was particularly interested in printmaking in the first two decades of the 20th century. We are lucky enough to have a significant collection of prints by Nolde, including the woodcut <a href="http://collection.mam.org/details.php?id=8799&quot; target="blank">Dancers and the color lithograph Music Hall III.

After a trip to the South Seas, Nolde became distrustful with the policies of colonialism and stopped using the urban, modern subjects of his earlier work, and in 1927, he returned to his homeland in the northernmost part of German near the Black Sea. His love of this area is obvious; as early as 1902, he had changed his name from Hansen to Nolde in honor of the village of his birth.

The 1930s saw Nolde and his wife settle into a farmhouse in Seebüll. Interested in watercolor for its transparent hues and serendipitous possibilities, he explored the dramatic and emotional aspects of both landscapes and flowers in this medium.

In Cottage on the North Sea in Winter, Nolde has captured the emotionality of the winter landscape. The masterful watercolor is a view from Nolde’s home towards the neighboring farm at Hülltoft.

Nolde left the white of the paper as the snow, and used a violent slash of blue and yellow for the edge of the Black Sea that breaks through the clean, cold ground cover. Meanwhile, the low-slung cottage holds its own against the vibrant sky, which is weighty yet comforting in its power. Nolde wet the paper, allowing the vibrant watercolors to pool and merge, almost out of his control. Both his technique and subject matter are a comment upon the union of man, landscape, and the elements.

Nolde’s long career spans the years of Nazi-controlled Germany. Initially supportive of the idea of a strong Germanic identity, he was a member of the Party in 1933 and 1934. Soon, however, much of his art was removed from German museums as “degenerate”; a total of 1,052 works were confiscated, the most of any artist. From 1941, he was prohibited from creating art but secretly continued to work in watercolor. After the war, he continued to work and received recognition for his career.

Keiji Shinohara (Japanese, b. 1955), Winter Garden, 1998. Color woodcut. Milwaukee Art Museum, gift of Print Forum, M2005.1. Photo credit John R. Glembin

Born, raised, and trained in Japan, printmaker Keiji Shinohara now teaches at Wesleyan University in Middletown, Connecticut. His work combines a contemporary subject matter, usually abstracted landscapes, with the traditional Japanese woodblock technique of Ukiyo-e prints.

Ukiyo-e, meaning “pictures of the floating world”, developed in the 17th century in Edo (now Tokyo) and was popular into the 19th century. The name comes from a Buddhist concept related to the sadness of life, but it became associated with the worldly pleasures of middle class Japan.

According to the Japan’s social hierarchy, the merchant class was the lowest; with the increase in trade, however, the merchants amassed great wealth. This discrepancy between social and economic status led them to spend their money to commission artwork of their own, mainly in the form of color woodblock prints. The prints ranged in subject from high-culture literary and visual themes to contemporary topics such as courtesans and kabuki actors.

Ukiyo-e creates a multicolored print through the use of multiple woodblocks, one for each color. This working method was developed in Japan in 1765 and eliminated the need to hand-color black and white prints.

For centuries, Japanese artists have been interested in depicting the seasons, and that is no different in Ukiyo-e prints. Japan’s indigenous religion, Shinto, encourages the contemplation of earthly cycles in order to connect the present to the past. In a society based upon agriculture, understanding and appreciating the seasons is important for survival. In addition, Buddhist beliefs, which are often conflated with Shinto ideas, emphasize the inevitability of change.

Sometimes, all four seasons are shown in one work, illustrating the gentle progress from one to the other. One of the most familiar subjects of Japanese art, the cherry blossom, is a perfect example of appreciation of the temporary beauty of nature.

Since more than half of the country receives significant snowfall each year, winter has always been of particular interest. Keiji Shinohara’s Winter Garden explores winter through his masterful woodblock technique: he studied Ukiyo-e for ten years.

In this print, there is balance between calm and activity. The stark, dark trees at the bottom counter the light, almost transparent leaves that float in the sky. The delicate blues of the print may seem cold at first, but the warm purple undertones invite contemplation.

Shinohara’s composed work is very different from the emotional color of Nolde’s, but each shows his appreciation of a season that might otherwise be overlooked.

View of “Winter in Color” Mezzanine Installation. Photo by Chelsea Kelly

Besides these two works on paper, you will find a lithograph by Harold Altman (American, 1924-2003); a pastel by F. Usher De Voll (American, 1873-1941); a woodcut by Danny Pierce (American, b. 1920); and a watercolor by Lee Weiss (American, b. 1928). Many of these artists have Wisconsin connections.

And if you are looking forward to warmer weather, don’t give up hope! I suggest that after you take the stairs up from the Mezzanine to the Bradley Collection, head to the left, and on the first wall will be Emil Nolde’s Roses on Path–a beautiful painting of his farm in Seebüll during the summer.

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Kornelius Erb (German, Augsburg, ca. 1560-1618). The Erb Tankard, 1580/85. Silver. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.85. Photo credit John Nienhuis

Terminology

First, a bit about the terminology.

The drinking vessel most associated with Germany is the tankard. A tankard is a beaker with a handle and lid. Without the lid, we’d call it a mug.

In the US, tankards are usually called steins. The word stein in German means “rock”. It comes from the shortening of a German phrase, the most common suggestions being Stein Krug, meaning stone jug or tankard, or Steingut, meaning stone goods.

In German, the word used for a covered mug is Krug.

Tankard is the more general term used by English-speaking scholars, particularly for objects dating from before the end of the nineteenth century. But in general use, stein and tankard are used interchangeably.

And what’s the story behind the cover? The lids on tankards have their roots in health safety. In the 14th century, the Black Death swept through Europe, killing up to half of the population in a few short years. Although the cause of the disease was not understood, attempts to stop the horror led to innovations in sanitation. To keep foreign matter out of beverages, including flying insects, laws were passed in German lands that required a cover for all drinking vessels. A thumb lift was devised in order to make drinking with one hand still possible, and by the time that the laws were no longer necessary and were not enforced, the lid had became an integral part of the design.

The Erb Tankard

This month, we’ll be looking at one of the earliest tankards in the collection. It is called The Erb Tankard because it was made by a famous goldsmith named Kornelius Erb (German, ca. 1560-1618).

Kornelius Erb (German, Augsburg, ca. 1560-1618). The Erb Tankard, 1580/85. Silver. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.85. Photo credit John Nienhuis

Erb worked in Augsburg, which was an important center for fine decorative arts from the 13th century until almost the end of the 18th century. Augburg’s proximity to gold and silver mines meant that there was money to be made—and the town became an economic powerhouse known for its extremely high-quality gold and silver wares. It was the best of the best. Other examples of tankards made at Augsburg can be found at the Metropolitan Museum of Art, the V&A in London, and the Museum of Fine Arts, Boston.

The The Erb Tankard is not your everyday drinking vessel. It was made for a very wealthy patron to keep in his Wunderkammer (cabinet of curiosities) or his Kunstkammer (collection of fine art). Although it may have been used, most of the time it would have been proudly on display.

What else does The Erb Tankard tell us about the owner? First of all, he was German. In the 16th century, tankards were made in German-speaking lands in central and northern Europe for drinking beer—ordinary ones would be made in wood, pewter, or stoneware. Whoever owned this was proud of that heritage.

The decoration shows that he was a man of current tastes. Renaissance in style, every surface is ornately decorated, encouraging the viewer to explore it all. It also brings together three important stylistic elements of the period: classical, historical, and religious.

The classical past was a significant influence on the art of the Renaissance. The barrel of The Erb Tankard is covered with an all-over geometric pattern similar to those used in ancient Rome. There’s mythology, too: The handle is made from the body of a griffin, a creature from Greek mythology, and the thumb-lift is a little Bacchus (the god of wine) sitting on a barrel—appropriate for a container for an alcoholic beverage!

Kornelius Erb (German, Augsburg, ca. 1560-1618). The Erb Tankard, 1580/85. Silver. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.85. Photo credit John Nienhuis

In two registers around the tankard are eight portrait heads encircled with laurel wreaths. They depict important rulers of central and northern Europe: Holy Roman Emperor Charles V and his wife; the King and Queen of Denmark; the King and Queen of Sweden; and the King and Queen of Poland. This not only proudly displays the owner’s cultural pride, but it also illustrates his knowledge of European history.

As if all of this wasn’t enough, a religious theme was used for the lid. On the top is a plaque that shows Adam and Eve hiding themselves after eating the forbidden fruit; the underside shows their expulsion from Paradise. This tankard warns against the pleasures of earth, even as it celebrates it.

Kornelius Erb (German, Augsburg, ca. 1560-1618). The Erb Tankard, 1580/85. Silver. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.85. Photo credit John Nienhuis

Kornelius Erb pulled much of his imagery from printed sources available in 16th century Germany. We’ve come across one of them before on a blog post about the work of artist Virgil Solis of Nuremberg, Germany, who produced over 2,000 prints and drawings. He is best known for his ornament designs that were published in books for other craftsmen to use in decorative arts and architecture. You can see from this print in the collection of the British Museum how Erb used Solis for the portraits (compare Charles V at the left to his medallion on the tankard). The Adam and Eve scenes came from another German printmaker named Heinrich Aldegrever.

How’s that for luxury in both material and visual interest? Next month we’ll see how the art collecting market, international trade, and technical innovations are nothing new—the same thing happened in Europe during the age of the ceramic known as tin-glaze earthenware!

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Chatting in the studio. Photo by Megan Yanz Photography

While her children are at school during the day, Beth shapes her clay pieces in the studio behind the house. Then, when the family is home together in the evenings, she brings the works inside to her dining table to paint—although now that the kids are older, she says, “It’s nice to know that I can run out, then come back to it, too” while the kids have friends over or are busy with other activities.

View of the Studio. Photo by Megan Yanz Photography

Beth’s artistic trajectory is a lovely example of how the universe will smooth the way for us when we put ourselves on the right path. She acknowledges many signs throughout her life indicating that “this is what I am supposed to be doing.” While at UW-Milwaukee studying to become an art teacher, Beth became friendly with a customer at her university job named Nancy. Seeking permission to take a class in ceramics without the necessary pre-requisites, Beth made an appointment with the professor–who turned out to be the same Nancy! During the very first class, Beth knew that ceramics was the path for her. She remembers thinking, “That’s it, this is what I’m doing. It’s all I wanted to do. I knew right away… this is endless for me.”

Wisconsin Bike Fed Mugs. Photo by Megan Yanz Photography

Beth has started to do more custom work for businesses in Milwaukee, such as the pieces she is making for the Wisconsin Bike Fed pictured above, which she says “comes naturally for me, too, because when I was [a little girl] making pottery, I always made it with somebody in mind. I like working that way–knowing a business, appreciating a business, and then creating something that feels like that business.”

Charlie and Hedy’s plates. Photo by Megan Yanz Photography

Finished pieces. Photo by Megan Yanz Photography

See Beth’s work in the Art Museum’s exhibition store when you visit Uncommon Folk: Traditions in American Art through May 4, 2014. You can take home pieces from Beth’s Camp collection, like an adorable stamped ceramic plate or mini dish. Show some love for our home state and the great outdoors with the Wisconsin Woods plate and Beth’s Yeti platter. There’s plenty more to see, so don’t miss this colorful and engaging exhibition!

Scroll down for more photos of Beth’s studio as well as a giveaway especially for Under the Wings readers!

Beth Eaton in her studio. Photo by Megan Yanz Photography

Studio and Kiln. Photo by Megan Yanz Photography

Photo by Megan Yanz Photography

Mugs in the making. Photo by Megan Yanz Photography

Glazing table. Photo by Megan Yanz Photography

Glaze shelf. Photo by Megan Yanz Photography

Color samples. Photo by Megan Yanz Photography

You could win these mugs in this blog post giveaway! Photo by the author

Never miss a drawing or a sale–be sure to sign up to receive eNews from Art Museum Store!

Donele Pettit-Mieding organizes events, promotions and communications specific to the Milwaukee Art Museum Store and loves to introduce art and design objects for visitors to take home and enjoy in their daily lives.

Stack of books. Photo by Megan Yanz Photography

Our senses were first enticed by the lovely scent of fresh, natural flowers as we approached Lois Ehlert’s apartment in a beautiful old downtown building on an otherwise blustery day.

Ehlert welcomed me and Megan Yanz so Megan could photograph her remarkable collection of folk art while I learned more about Ehlert’s newest publication for children, The Scraps Book: Notes from a Colorful Life (a limited quantity of copies signed by the author are available to buy online). With the feature exhibition Uncommon Folk: Traditions in American Art now on view at the Art Museum, the timing was perfect to visit Ehlert’s cozy, artful and welcoming home.

Scraps by Lois Ehlert

“I really wrote it for [aspiring young artists] who are in a classroom, wanting to hurry up so they can draw a little bit or something and wondering: when I grow up, how am I going to make a living? But it’s interesting, because big people like it, too! … It’s interesting to make books by creating both the words and the art. I put a lot of stuff in there for the kids to find.”

Shelves, as seen in the Scraps Book. Photo by Megan Yanz Photography

Ehlert counts herself fortunate to have been brought up by parents who were entirely supportive of her artistic interests as a child and her desire to become a working artist as an adult. She admits that “you have to be pretty tolerant as a parent” to accept the messiness inherent in the creation of young children’s artworks. Although, she notes that kids who are engrossed in art can be relatively self-sufficient for a time:

“You’ll notice at the workshop [in the Kohl’s Art Generation Studio] at Art in Bloom, that it is not a noisy room. [The kids] are busy working, they are focused. When they visit [me], my grandnieces… will race to get to my drawing table. They’ll sit quietly or they’ll hum songs. They have a nice time working by themselves.”

Ehlert’s Drawing Board. Photo by Megan Yanz Photography

The author reflects that while growing up, “I didn’t know how I was going to [make a living as an artist], but I knew that’s what I wanted to do. It’s interesting, in Beaver Dam, there isn’t a museum or very much art in a way, but there is the natural world.” Nature was an important part of her life growing up and a clear inspiration to her as an artist. She tended vegetable gardens with her parents as a child and she and a friend kept a community garden plot when she was an adult living in a Milwaukee apartment.

Desk Supplies. Photo by Megan Yanz Photography

Photo by Megan Yanz Photography

Stay tuned for Part Two of this blog, when we go into more detail about Ehlert’s inspiring gallery-like home, studio, and personal art collection. But in the meantime…

Lois Ehlert Inspired Art in Bloom Studio Project. Photo by Donele Pettit-Mieding.

Bring the whole family to the Kohl’s Art Generation Studio this weekend, March 29 and 30, during Art in Bloom (which goes from Thursday, March 27 to Sunday, March 30). In the Studio, make art projects like the one pictured here, inspired by Lois Ehlert’s The Scraps Book: Notes from a Colorful Life and the exhibition Uncommon Folk: Traditions in American Art. The Studio will be open from 10 AM to 4 PM on Saturday and Sunday, and Lois Ehlert will be present and signing books from 1 PM to 4 PM each day. Join us!

Stay in-the-know about artist studio visits, sales, drawings and special offers when you sign up for the Museum Store eNews!

Donele Pettit-Mieding organizes events, promotions and communications specific to the Milwaukee Art Museum Store and loves to introduce art and design objects for visitors to take home and enjoy in their daily lives.

Lois and Donele. Photo by Megan Yanz Photography

As Ehlert told us, creating a home “is like kind of like creating the books, too—it’s a collage. You get something, you add it to something, you rearrange it and you make a little composition.” And while her apartment is creatively filled with a Museum-worthy collection of global folk-art, and includes her drawing board workspace, it still feels like a home–a place to relax, enjoy life and welcome friends and family.

Breakfast Nook. Photo by Megan Yanz Photography

Entering Ehlert’s apartment, we were immediately greeted by the aroma of fresh flowers, and the sight of books, plants, and art. In short: much of what is good in this world is right at your fingertips the moment you step over the threshold. And the first object that caught my eye is the folk-art tree pictured here, which Ehlert found at a now-closed global arts shop in Milwaukee and which immediately called to my mind Chicka Chicka Boom Boom, of course.

Chicka Chicka Boom Boom-like Tree. Photo by Megan Yanz Photography

Ehlert is an established artist with friends in the art and museum worlds who have taught her a trick or two about keeping her folk-art collection organized. Ehlert enjoys a beautifully integrated life, where the scrap material of her own creations becomes the backbone of “curating” her art collection. “I have a 3×5 card for each thing and I make a sketch on the back side,” she says. “I write down how much I paid for it, when I bought it, the year and I describe it in words as to color or whatever. I learned that from a chief curator. I make the postcards out of left-over color Xeroxes from when I’m working on a book. A lot of time when I’m working on a book, I’ll go to Kinko’s and make color copies… I think the color Xerox is better color [than a computer], because I buy a special paper from them, it’s a little heavier weight and I can work around the composition.”

Collection in Living Room. Photo by Megan Yanz Photography

Folk Art Rooster. Photo by Megan Yanz Photography

Living Room. Photo by Megan Yanz Photography

The colors, shapes and textures of growing vegetables and flowers are the heroes of many of her brilliantly illustrated books, like Growing Vegetable Soup, Planting a Rainbow, and Eating the Alphabet (all three are available together as the Growing Garden box set). Having been a gardener for much of her life, Ehlert is now an aficionado of southeastern Wisconsin’s farmer’s markets in all seasons and can tell you where to find the widest selection of different colored potatoes (the Winter Farmer’s Market at the Mitchell Park Domes, if you were wondering). The flowery perfume that welcomed us to her apartment was from a collection of blooming hyacinths, and her home boasts an enviable indoor garden of potted plants. Since it’s mid-winter–oops, I mean April–I can only assume the large garden plots below her windows to be quite lovely in the summer, too!

View of the window. Photo by Megan Yanz Photography

Folk Art Bird and Chair. Photo by Megan Yanz Photography

In Ehlert’s home, I was reminded of my impression when visiting Beth Eaton (see the blog post about her Studio here) of an admirably integrated lifestyle. So many of us go from home to work and back again, but there is not a such a distinction is these artists’ lives, especially when their studios are part of their homes. But it isn’t just about physical proximity. Ehlert’s appreciation for the beauty of nature informs her art; the art she collects informs the art she creates; and the art she creates informs the art she collects. Art is life, and life is art.

Costume Display. Photo by Megan Yanz Photography

Lure Collection. Photo by Megan Yanz Photography

Lois and Donele. Photo by Megan Yanz Photography

For more beautiful, intimate photos of Lois Ehlert’s art-filled home, visit Megan Yanz Photography’s blog.

Giveaway: Each Under the Wings reader who shares a comment on this post will be entered into a drawing to win a signed copy of The Scraps Book: Notes from a Colorful Life by Lois Ehlert! Fine print: No purchase necessary. Must be 18 years old to enter; winner to pick up in store or pay minimum shipping fee. Winner will be drawn on April 30, 2014, and will be notified via email, so be sure to enter your email in the correct field when you make a comment. Museum employees not eligible to win.

Stay in-the-know about artist studio visits, sales, drawings and special offers when you sign up for the Museum Store eNews!

Donele Pettit-Mieding organizes events, promotions and communications specific to the Milwaukee Art Museum Store and loves to introduce art and design objects for visitors to take home and enjoy in their daily lives.

Sara shares her thoughts on Jean Joseph Benjamin Constant’s “Evening on the Seashore—Tangiers.” Photo by Nate Pyper

In summer 2012, a group of fourteen teen interns teamed up with ten docents to delve deep into what can make a school tour successful and engaging. They worked to jointly share ideas and troubleshoot concerns. The session was such a hit for both groups that we decided to bring back five of those students in the fall to share their thoughts with our full docent corps–all 100+ of them!

We taped the dialogue so that we could share the teens’ ideas as faithfully as possible. The video below shows the five summer teen interns in dialogue with our docents. The teens quickly do a check-in/icebreaker with the docents, describe the summer program, and facilitate a Q&A session.

What I found particularly powerful about the teens’ suggestions is that they are not just relevant to teen audiences, but can also be used for younger and older visitors, too. In the spirit of continuing the conversation begun by these young people and our docents, I’d like to offer some of my own take-aways:

• Take the time to get to know each other (even if the tour is only an hour). Over the summer, I began our sessions with a “check in” activity, inspired by the Milwaukee Writing Project, as a way for us to get to know each other. If you know your audience, you can tailor your tour to their interests from the get-go. As Rosehaydee said in the video, it can bring the group together and set a friendly tone.
• Be aware of your group–and do what they want to do. Be in tune with your group and their reactions: if something’s not working, move on rather than pressing it.
• Be yourself. Share your passion, and be friendly and relaxed. As Sensei said, if you are enthusiastic about what you’re discussing, chances are good that your group will respond to your enthusiasm.
• Museum tours can be intimidating. Teens are aware that docents and educators are extremely knowledgeable; and it’s scary to offer your thoughts in front of not just a docent but also your peers. To support conversation, Steven suggested using clear, simple language (without being patronizing), and Rosehaydee encouraged us to acknowledge student voices, even if they’re not the “right” answer, so teens know they’re being heard.
• Technology is a tool, not a goal. When asked if museums should use more technology to engage teens, responses were mixed. Yes, technology is cool and lots of teens use it–but not all teens have access, and technology is not always successful or necessary. If the activity can be done equally as well or better in analogue format, it’s probably not worth it to try to use a gadget. But if it’s something that can only be done with technology–like Skyping with an artist or out-of-town group–then take the time to give it a try.
• Remember that we all learn differently. To combat teen boredom, Rosehaydee suggested calling on specific individuals to get them to pay attention, but Sensei noted that sometimes it can be just as effective to try a pair-share or solitary writing activity. This reminded me that museum educators and docents have a responsibility to provide many different kinds of learning opportunities for our students. We need to know when to support and when to gently challenge them.
• Respect the group; think of them as family. One of my favorite suggestions from the teens over the summer was for docents to think of the teens as their children or grandchildren. To me, this gets to the heart of working with any visitor that comes into our space: respect them! I believe we staff and docents learn just as much from visitors as visitors learn from us.

I’m glad these young people have reminded us of the steps we can take to achieve that “bigger picture”: a museum experience that is supportive, interesting, and fun. Such experiences help teens–and all visitors–know that museums are places where they can be themselves, connect with peers who also love art, enrich their thinking, or simply take a break from a busy day of school.

Helena discusses Fragonard’s “The Shepherdess” in the Milwaukee Art Museum galleries. Photo by Nate Pyper

Since this talk, docents and education staff often refer back to this experience with the teens. We regularly use check-ins on tours and try to find ways to connect with students and visitors to understand why they’re here at the Museum. It’s inspiring to see how the thoughts of these youth have lived on years later!

Editor’s Note: This post is an adapted version of an essay that originally appeared on ArtMuseumTeaching.com.

Chelsea Emelie Kelly is the Museum’s Manager of Digital Learning. In addition to working on educational technology initiatives like the Kohl’s Art Generation Lab or this very blog, she oversees and teaches teen programs. Say hello on Twitter @MAM_Chelsea.

Probably Raeren, Rhineland, Germany. Jug, ca. 1583. Salt-glazed stoneware with later silver mount. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.86. Photo credit John Nienhuis

Imagine yourself back in the late middle ages. And you’re thirsty. You don’t get yourself a drink of water, because most likely the only water available to you is polluted and will probably make you sick. So, instead you get some fermented beverage, such as beer or ale. The fermentation process kills off the bad things in the water and lets you drink with relative safety.

But being an everyday person with little money, your cup is not made out of silver, glass, or leather, or even glazed ceramic. It is made out of unglazed earthenware, which is clay baked hard at a low temperature. Unfortunately, because it is clay, it absorbs some of your ale or beer each time you use it–and eventually, that absorbed liquid will go foul, making anything you drink from the cup taste and smell bad. (The same thing happened with common wood tankards.)

But innovation found a solution to this problem.

In the 1200s, German ceramic producers discovered ways to bring their kilns to a high enough temperature to cause vitrificiation. Vitrificiaton is when the minerals in clay melt together. This means that the porous material becomes nonporous. Not only did this new material not absorb liquid or smells, it was also extremely hard. It was, in fact, as hard as rock. Consequently, it became known as stoneware.

Stoneware does not need a glaze–a mix of materials covering the clay, that melt in the kiln to form a glassy surface–to keep itself non porous. Ceramicists, however, found out that introducing salt into the kiln during the firing of stoneware produced a beautiful shiny surface. Mostly this surface is decorative, although it does help in keeping the vessel clean.

Stoneware became so important for storage and drinking vessels that by the 16th century German stoneware was being exported all over continental Europe, England, and colonial America.

Possibly because stoneware were more expensive than earthenware, the German potters took advantage of the properties of stoneware to make their vessels into art objects. Now, certain types of decorations help identify the origin of the ceramic.

Westerwald, Germany. Krug, 1672. Salt-glazed stoneware. Milwaukee Art Museum, Layton Art Collection, L2000.3. Photo credit Larry Sanders

For instance, in the Westerwald area, gray clay is decorated through molds and incising. The areas of relief are accentuated by contrasting areas of gray clay with a dark blue glaze formed from cobalt oxide. The Milwaukee Art museum has two nice examples of Westerwald stoneware in the form of Krugs (German for a handled drinking vessel). One in the Collection, seen above, emphasizes the floral decoration in the color of the clay with a background of deep blue; the front sports a cartouche for an unidentified family or city. The other, seen below, combines a band of blue and gray checkerboard with organic ornamentation, and features a cartouche with the letters “GR”, standing for George Rex, the king of England. The decoration of both Krugs masterfully takes advantage of the bulbous shape of the vessel.

Westerwald, Germany. Krug, 1725–50. Salt-glazed stoneware. Milwaukee Art Museum, Layton Art Collection, L2000.4. Photo credit Larry Sanders

In Raeren, the clay is usually covered with an iron-stained slip (watered down clay) which creates a reddish-brown surface. Our lovely late 16th century jug, below, balances tiers of incised lines with a lively scene of peasants dancing around the widest bulge. The frieze is made by a mold, and there are other jugs that used the same mold: the Ma href=”http://www.philamuseum.org/collections/permanent/50731.html?mulR=5915#&#8221; target=”blank”>Philadelphia Museum of Art has one, and two other examples have recently been sold at auction here and here.

Probably Raeren, Rhineland, Germany. Jug, ca. 1583. Salt-glazed stoneware with later silver mount. Milwaukee Art Museum, Gift of Richard and Erna Flagg, M1991.86. Photo credit John Nienhuis

The scene is based upon the prints of The Peasant Festival by Hans Sebald Beham (German, 1500-1550). The easiest one to match up is the man who holds the hand of a woman and has his other arm raised, seen here (but reversed, because the mold would flip the design when impressing on the clay). At the very far left, you can just make out the two musicians also seen in the print.

So, you can see that the development of stoneware was revolutionary, both in technology and in art. Next month, we’ll take a look at another example of another type of ceramic that shows the power of international trade and technology: tin-glazed earthenware.

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

Milwaukee Art Museum Satellite Program group, 2013-14

First, a little bit about our program. The Satellite High School Program is an art history focused weekly gallery program at the Milwaukee Art Museum for sixteen arts-interested teens from the Milwaukee area to connect with works of art and each other. As part of the program, teens choose a work of art in the Museum collection to study and interpret, and share their ideas in a final project. Over the past year, we’ve experimented with how they share using video in two very different ways.

In the spring 2013 program, teens had one semester to choose a work, study it, and make a creative response to it, in visual art, writing, music, or other media of their choice. I wanted to be sure their work was shared with a wider audience, so I used my own personal DSLR camera to film them with their artwork and creative responses. I had them write their own voiceover explaining their piece, their connection to it, and their response project, making sure that the video was just about one minute long for quick, easy consumption. Here’s just one of their videos, featuring Joel:

That project was successful, but I wanted to turn much more of the creation over to the teens themselves. I knew I had a chance to do just that when we received funding to buy a set of iPads for the Education Department.

This fall, as part of a school year-long program, a new group of teens had a different task: they shared their personal connections to their work of art through a video they created on an iPad. Over the course of the semester, they created video blogs (vlogs) reflecting on their changing thoughts about their work of art. They also received “readers” with basic information on their work of art or artist, and led a group discussion with all the Satellite students about their piece to get others’ opinions and thoughts. At the end of the semester, they created midterm videos piecing together with their reflection vlogs to show their evolution of thought. Here is ZouaPang’s video:

Teens continually asked themselves what they were still wondering about, and much changed over the course of the semester. When asked what she learned after an early session, Alana responded: “I learned how to better analyze paintings.” Her answer to the same question at the last session of the semester was much richer: “I learned a lot more about how to analyze art and research which I think is really cool because now instead of just looking at a piece and saying ‘pretty picture’ I notice more things about the pieces I see.” Alana’s video—and her extensive research and analysis!—is below.

One-to-one iPads come with their own set of challenges. Instead of solo weekend troubleshooting with DSLRs and iMovie, I found myself with a wonderfully excited group who wanted to use the iPad for much longer than I’d anticipated! In fact, I learned that students about doubled the time I usually allotted to use the iPad comfortably and feel good about their work.

This semester, the same group of students are continuing to explore their artwork and are, as I type, creating more formal videos for a wider visitor audience about their work of art. Teens will premiere their videos to family and friends in late May, when we’ll also put them up on YouTube. Stay tuned to this blog to see their final work!

Editor’s Note: This post is an adapted version of an essay that originally appeared on ArtMuseumTeaching.com.

Chelsea Emelie Kelly is the Museum’s Manager of Digital Learning. In addition to working on educational technology initiatives like the Kohl’s Art Generation Lab or this very blog, she oversees and teaches teen programs. Say hello on Twitter @MAM_Chelsea.

Probably Thuringia, Germany, Tankard, before 1754. Tin-glazed earthenware with polychrome decoration and pewter. Milwaukee Art Museum, Gift of Mrs. Albert Finkler M1937.26. Photo credit: John R. Glembin

My post this month is about tin-glazed earthenware. Wait! Don’t run! I know that this is one kind of ceramic that makes the study of decorative arts confusing. So many names, so much technical jargon—it’s a headache! But stick with me for a moment, because I hope to explain it in a way that this not too complicated. The reward is another glimpse into the history art, trade, and technology.

First of all, tin-glazed earthenware has two main parts:

1. Clay. The important thing to remember is that this type of clay is porous even after it is fired. It is called earthenware.

2. Glaze. You need this because it covers the porous earthenware so that it becomes NON-porous. In tin-glazed earthenware, the glaze is made of tin-oxide, powdered glass, and a flux (often lead). In general, here’s what each ingredient does: tin-oxide makes the glaze opaque white; powdered glass makes it smooth and shiny; and flux lowers the melting point of the other materials so that everything flows nicely across the surface (the word flux comes from a form of the Latin verb fluere, meaning “to flow”). The glaze fuses together when fired.

Remember last month when we explored how non-porous stoneware revolutionized ceramic vessels? Well, tin-glazed earthenware is also a non-porous material, but it is one that isn’t quite so sturdy. Since it’s not vitrified, it can chip and break (you can see such damage on the handle of the tankard from Mainz—the glazing has warn away and what you see if the bare ceramic).

But tin-glazed earthenware offers something that stoneware doesn’t: a smooth, white surface that can be decorated with bright colors created by firing a range of pigments made from oxides.

Probably Thuringia, Germany, Tankard, before 1754. Tin-glazed earthenware with polychrome decoration and pewter. Milwaukee Art Museum, Gift of Mrs. Albert Finkler M1937.26. Photo credit: John R. Glembin

As far back as the 6th century B.C., the Babylonians produced earthenware with opaque glazes (like those seen in these tiles at the Metropolitan Museum of Art). The technique was kept alive in Egypt until, by the 9th century, it was raised to prominence in Mesopotamia once again.

Then tin-glazed earthenware spread throughout the Islamic world during the middle ages. This, of course, included Moorish Spain. This time period was also when it started to get all of those names.

The Italians learned of tin-glazed earthenware from examples imported from the island of Marjorca, which was controlled by Spain. Consequently, in Italy it is called maiolica.

The French named the material after Faenza, a town in Italy known for producing it; hence, the French called it faience.

In northern Europe, the technique was brought by Spanish and Italian potters looking for more markets. By the 17th century, the Dutch town of Delft became so well-known for blue and white tin-glazed earthenware, that the ceramic was known just as delft.

The Dutch exported delft to England, where it was called delftware.

Dutch businessmen saw Germany as an untapped market for tin-glazed wares. They convinced German landowners to support opening potteries. The first opened at Hanau in 1661, followed by Frankfurt in 1666. In Germany, the ceramics became known as fayence from the French term. (This is also the term used in Scandinavia and Spain.)

Probably Mainz, Germany, Tankard, ca. 1754. Tin-glazed earthenware with polychrome decoration and pewter. Milwaukee Art Museum, Gift of Mrs. Adolf Finkler M1937.15. Photo credit: John R. Glembin

Finally, we’ve gotten to Germany! This is a post about German steins and tankards, after all.

The spread of tin-glazed earthenware shows that there was a great demand for beautifully decorated and brightly colored ceramics. There is another aspect of the popularity, however.

It is no mistake that tin-glazed earthenware mimics the look of porcelain.

Introduced to Europe in the 14th century from China, porcelain was the most elegant and fascinating of materials. It was pristine white, yet translucent, and although it was thin and light-weight, it was amazingly strong and durable.

Nobles across Europe would buy Chinese porcelain and mount it in elaborate metal fittings. It was considered so precious that it was called “White Gold.” They hungered for more, however, and so began a search for the secrets to making porcelain.

But more on that next month.

So, until porcelain could be made in Europe, there was a demand for something that looked like it.

Much of the tin-glazed earthenware from Holland was painted in blue and white to reproduce the look of porcelain. The Dutch were importing the real thing from China, so they knew what people wanted.

German, Covered Pitcher, 1700–40. Tin-glazed earthenware and pewter. Milwaukee Art Museum, Gift of Gabriele Flagg Pfeiffer M1997.226. Photo credit: John R. Glembin

The early tin-glazed earthenware produced in German was also blue and white. But even though it is reminiscent of porcelain, there are stylistic elements that are definitely European, such as the use of brushwork and banding. You can see it on this covered pitcher, left.

Later German faience tended to feature multi-colored decorations. Just a few of the examples in the Milwaukee Art Museum’s collection are: figures with landscape elements (including what looks to be palm trees) on a tankard probably from Thuringia, Germany (first object image, top of post); intricate patterns on a tankard that could have a crest related to the town of Mainz (second object image, top of post); and the special effects from applying color with a sponge seen on a tankard probably from Schrezheim (below left).

Probably Schrezheim, Germany Tankard, second half of 18th century. Tin‑glazed earthenware with polychrome decoration, pewter, and coin silver. Milwaukee Art Museum, Bequest of Dorothy Trommel in memory of her parents, Eunice and Howard Wertenberg M2013.42. Photo by John Glembin

German faience tankards were often decorated by Hausmalers, who were artisans that worked in other fields such as engraving, metalworking, or glass painting. The craftsmen would buy blank white wares that had gone through a first firing and paint them decorations with oxides that would given a second firing at a lower temperature in a home kiln. Then they would sell these tankards in order to make extra money.

Tin-glazed earthenware is just another example of how studying art shows us not only the creative side of the past, but the economic side as well. As I hinted earlier in this post, next month we’ll look at the allure of porcelain and where it fits in to the history of technology and trade in early modern Europe.

Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.