AUTUMN 2022
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table of CONTENTS
board of ADVISORS
David R. Mulkey Jr. Carl W. Mullis* Betty R. Myrtle*
B. Heyward Allen Jr.* Rinne Allen Amalia K. Amaki** June M. Ball Linda N. Beard Karen L. Benson** Richard E. Berkowitz
From the Director p.3
Gloria B. Norris*** Deborah L. O’Kain Randall S. Ott Sylvia Hilliard Pannell Gordhan L. Patel, immediate past chair Janet W. Patterson Christopher R. Peterson, chair-elect Kathy B. Prescott Margaret A. Rolando* Julie M. Roth Alan F. Rothschild Jr.* Jan E. Roush Bert Russo Sarah P. Sams** D. Jack Sawyer Jr.** Henry C. Schwob** Margaret R. Spalding Dudley R. Stevens Carolyn W. Tanner** Anne Wall Thomas*** Brenda A. Thompson William E. Torres C. Noel Wadsworth* Carol V. Winthrop* Gregory Ann Woodruff Ex-Officio Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner
Exhibitions p.4
Jeanne L. Berry Sally B. Bradley
New Acquisitions p.10
Devereux C. Burch* Robert E. Burton** Debra C. Callaway** Lacy Middlebrooks Camp Shannon I. Candler* Faye Smith Chambers Wes Cochran Harvey J. Coleman Rep. Sharon M. Cooper James C. Cunningham Martha Randolph Daura*** Annie Laurie Dodd*** Salley Dorsey** Judith A. Ellis Todd Emily James B. Fleece Phoebe G. Forio*** Freda Scott Giles John M. Greene** Helen C. Griffith** Judith F. Herndstadt Marion E. Jarrell** Jane Compton Johnson* George-Ann Knox* Shell H. Knox* Andrew F. Littlejohn D. Hamilton Magill III David W. Matheny, chair Mark G. McConnell Marilyn M. McMullan Marilyn D. McNeely Isobel Parker Mills
Ten Years of the Thompson Collection p.12
The 11th Henry D. Green Symposium p.13
Museum and Terra Foundation Team Up p.14
The Art of Giving p.16
Elegant Salute XVII p.18
Museum Notes p.19
Sarah Peterson Usha Rodrigues
* Lifetime member
** Emeritus member
*** Honorary member
Mission Statement: The Georgia Museum of Art shares the mission of the University of Georgia to support and to promote teaching, research and service. Specifically, as a repository and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. The W. Newton Morris Charitable Foundation Fund and the Friends of the Georgia Museum of Art support exhibitions and programs at the Georgia Museum of Art. The Georgia Council for the Arts also provides support through the appropriations of the Georgia General Assembly. GCA receives support from its part- ner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide addi- tional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is ADA compliant; the M. Smith Griffith Auditorium is equipped for deaf and hard-of-hearing visitors. The University of Georgia does not discriminate on the basis of race, sex, religion, color, national or ethnic origin, age, disability, sexual orientation, gender identity, genetic information or military service in its ad- ministrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-administered programs; or employment. Inquiries or complaints should be directed to the Equal Opportunity Office 119 Holmes-Hunter Academic Building, University of Georgia, Athens, GA 30602. Telephone 706-542-7912 (V/TDD). Fax 706-542-2822. https://eoo.uga.edu/.
Hours Tuesday and Wednesday: 10 a.m. – 5 p.m. Thursday: 10 a.m. – 9 p.m. Friday and Saturday: 10 a.m. – 5 p.m. Sunday: 1 – 5 p.m. Closed Mondays. Free timed tickets required.
706.542.4662
Department of Publications Hillary Brown and Nina Guzman
Design Noelle Shuck
Front Cover: Builder Levy (b. 1942), “Lucious Thompson with Destiny Clark and Delena Brooks, Tom Biggs Hollow, McRoberts, Letcher County, Kentucky,” 2002. Gold-tone silver gelatin print, 13 × 9 3/4 inches. The Do Good Fund, Inc., 2016–82.
Interns Maggie Dukes, Reif Evans and Josie Lipton
Back Cover: Georgia Rhodes (b. 1988), “Roadtrip” (detail), 2014. Archival inkjet print on Canson Platine Fibre rag paper, 16 × 29 inches. The Do Good Fund, Inc., 2016–45. © Georgia Rhodes.
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from the DIRECTOR
You may not all have heard the news by now, but I will retire as director of the Georgia Museum of Art at the end of March 2023, and in the spirit of learning where we have been so that we can better plan where we are going, I present to you here a little history of the Friends of the Museum. Bill Paul, the director of the museum at the time the Friends’ organization was founded in the fiscal/ academic years of 1971 – 72, related to me that the creation of the Friends was his idea, based on a pro- gram at the Nelson Gallery. It was embraced by Mel Fuller, Smitty Griffith and Edda Agee, who enthusi - astically promoted as the organization’s first event a retrospective exhibition of works by John Sloan organized by John Bullard and others at the National Gallery of Art. We have already begun preparations for our 75th anniversary, but some confusion may develop regarding the date of our opening. The Georgia Museum of Art existed conceptually in 1945, the same year in which Alfred Heber Holbrook donated the Eva Underhill Memorial Collection of American Art to the University of Georgia. But it did not open to the public (in the university’s old library) until November 8, 1948, the anniversary of Eva Underhill Holbrook’s 80th birthday, and the date we count as our birthday. Mr. Holbrook understood back in 1945 that the university would build a museum—a phys- ical presence—for his collection, and his spirit and influence pervade every part of this building.
Under the continuing influence of such directors as Holbrook and Paul, we stay busy at the museum, and we just get busier and busier. Due to the staff’s hard work we continue to receive good to excellent reviews for our exhibitions, publications and pro- grams. Our volunteers remain engaged, enthusi- astic and excited. When I think back on these last few years of pandemic, war and political and social turbulence, I am especially proud of this museum’s family, a village of patrons, donors and supporters— in short, FRIENDS , in bold letters, all upper case. That group is notable for its loyalty to and under- standing of our mission, one that includes serving all the people of Georgia. Over Fiscal Year 2022, which concluded at the end of June, we welcomed 31,349 visitors (more than dou- ble last year’s total). Our website visitation grew by 32.5 percent and our social media followers by near- ly 11 percent. We opened 12 exhibitions and hosted 109 UGA tours and classes, 70 tours for other public and private groups and 66 tours for K – 12 students. Our education team put together 52 workshops and classes that served well over 1,000 participants and 32 youth and family programs that attracted 2,615 participants. In addition they served 2,500 people at after-school programs, career days and commu- nity festivals and distributed over 3,500 to-go art kits to K-12, family and community audiences. Mr. Holbrook was ambitious, but even he could not have foreseen how thoroughly this museum has embod- ied the mission with which he founded it.
William Underwood Eiland, Director
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Reckonings and Reconstructions: Southern Photography from the Do Good Fund
October 8, 2022 – January 8, 2023
This exhibition is the first large-scale survey of the Do Good Fund’s remarkable and sweeping collection of photography made in the South from the 1950s to the present.
Sheila Pree Bright (b. 1967) “#SayHerName,” 2016. Archival pigment print. 30 × 30 inches. The Do Good Fund, Inc., 2019–25.
Georgia Rhodes (b. 1988), “Roadtrip,” 2014. Archival inkjet print on Canson Platine Fibre rag paper, 16 × 29 inches. The Do Good Fund, Inc., 2016–45. © Georgia Rhodes. Peyton Fulford (b. 1994), “Becoming One (Annie and Trevor),” 2016. Archival pigment print, 19 × 23 1/4 inches. The Do Good Fund, Inc., 2017–138. Alex Harris (b. 1949), “Transylvania County, North Carolina,” 1972. Archival pigment print, 16 1/2 × 24 inches. The Do Good Fund, Inc., 2017–23. © Alex Harris.
Since its founding in 2012, the Do Good Fund has built a mu- seum-quality collection of photography that charts a visual narrative of the ever-changing American South. The collec- tion includes images by more than 25 Guggenheim Fellows, five Magnum Photographers and two Henri Cartier-Bresson Award winners as well as images by lesser-known or emerg- ing photographers from the region. In part a survey of the art and artists within Do Good’s holdings, the exhibition is also and more crucially a scholarly investigation of southern photography since World War II. Highlighting a wide-ranging group of photographers — di- verse in gender, race, ethnicity and region — the exhibition will feature 125 photographs by 73 artists. It unfolds within six sections that examine each of the project’s core themes: land, labor, law and protest, food, ritual and kinship. These themes are inherently expansive and internally paradox- ical. Within this thematic structure, the project raises key questions that identify and problematize fixed ideas of an “American South” and “southern photography.” How do pho- tographs navigate the interface between nature and culture in the South, as well as the ravages of extraction, settlement and sprawl? How do photographers string together histories of quotidian labor, creativity and caretaking and the region’s painful histories of enslaved and incarcerated labor? How have photographs captured the performance of southern community and identity through civic and religious rituals? How has the medium signaled exclusion and estrangement, yet also belonging and kinship in the American South? These six themes link disparate works in the fund’s collec- tion and capture southern history, culture and identity in all their complexity and contradictions. Through the instal- lation, where clusters of objects variously construct and deconstruct each thematic category, the exhibition reckons with southern-ness as a coherent category. In so doing, it re- sists notions of the South as a retrograde region and instead presents the enigmatic, “ever-changing” qualities of the place and its people: a region where despair and hope, terror and beauty, pain and joy, and indignity and dignity commin- gle; a place seeking reconciliation and restoration, captured by photographers with an ethical vision for a “Better South.” “Reckonings and Reconstructions” will be accompanied by the first comprehensive catalogue of the Do Good Fund’s photographic holdings, co-published with the University of Georgia Press. The project will also consider the role of Ath- ens, Georgia — with its vibrant community of photographers, renowned photography program at the University of Georgia and celebrated alternative art and music scene — within the history of southern photography. The exhibition will also travel to the Chrysler Museum of Art, August 11, 2023 – January 7, 2024; the Lowe Art Muse- um, University of Miami, February 8 – May 18, 2024; and the Figge Art Museum, June 15 – September 8, 2024.
Curator: Jeffrey Richmond-Moll, curator of American art Sponsors: The Wyeth Foundation for American Art, the Furthermore Foundation, the Bradley Hale Fund for Southern Studies at the University of Georgia Press, the W. Newton Morris Charitable Foundation Fund and the Friends of the Georgia Museum of Art
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exhibitions
Infinity on the Horizon September 3 – December 31, 2022
Speaking about the landscape of the American Southwest, Georgia O’Keeffe once remarked, “The unexplainable thing in nature that makes me feel the world is big far beyond my understanding – to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.”
This exhibition, inspired by O’Keeffe’s phrase, highlights modern and contemporary objects in the Georgia Museum of Art’s permanent collection by prominent and regional artists. The notion of “Infinity on the Horizon” sparks a dialogue about the use of abstraction to expand our understandings of the landscapes around us. In traditional depictions of a landscape, the motif of a horizontal line demarcates the separation of land, water and the sky — in other words, the separation of the land beneath us and the expansive “other.” By examining the infinite approaches of abstraction, this exhibition begs the question: how far can the artist abstract nature before we lose sight of the horizon? Examining this intersection of abstraction and landscape, artists with work in the exhibition build on histories of land- scape painting from the late 1960s to the present. Featured artists like O’Keeffe, Elaine de Kooning and Richard Mayhew foreground modernist and abstract expressionist approaches to the natural environment through vibrant colors and ma- nipulated planes of space. Meanwhile, contemporary artists such as Jennifer Sirey and Matthew Brandt use new mediums and techniques to challenge artistic traditions and renderings
of the landscape. Moving across various themes, the exhibition highlights how artists extrapolate identifiable elements and visual markers of landscapes to comment on political, social and ecological issues happening within and to the environments around us.
Curator: Kathryn Hill, curatorial assistant in contemporary art
Judy McWillie (American, b. 1946), “Ocean as Father,” 1982. Color photograph on paper, 9 7/8 × 6 3/4 inches. Georgia Museum of Art, University of Georgia; Transfer from the Sea Grant College Program, School of Marine Programs. GMOA 1996.92. Elaine de Kooning (American, 1918 – 1989), “Rio Grande,” 1959. Watercolor on paper, 14 3/4 × 19 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Jeanne Levie Berry in honor of Benjamin Carroll Berry Jr. GMOA 2013.474.
Shirley Gewin (Cherokee, b. 1936), basket, 1994 – 2008. Honeysuckle. Georgia Museum of Art, University of Georgia; Gift of Dr. Janice Simon. GMOA 2018.339.
Allison Janae Hamilton September 3, 2022 – February 5, 2023
Allison Janae Hamilton was born in Kentucky and grew up in Florida; her maternal family’s farmland is in western Tennessee.
She uses her intimate knowledge of southern land to examine relationships between life and landscape. Her film and photography look to the folklore, rituals and traditions of communities that have long faced land loss, pollu- tion and other forms of environmental displacement. Hamilton’s works often include spectral figures to convey the role of nature in Black experience as beautiful and fragile, hopeful and haunted. “A Pale Horse” is both meditative and slightly disturbing as buzzing flies disrupt the serenity of rippling water. In these tensions we find connections to con - temporary life. Storms and floodwaters increasingly ravage this region of abundant natural beauty. Her dreamlike “Floridawater” photographs show Hamilton’s body submerged in the murky waterways of North Florida. In the nineteenth century, enslaved labor excavated this canal to carry cotton from Georgia through the Florida Panhandle to ships in the Gulf of Mexico. Young girls in “Wakulla Cathedral” wander through a sabal palm tree forest, re-grounding our relationship with the trees that have become so iconic to Florida’s organized landscapes and tourism industry. These bodies clad in white garments suggest another way of being with the land: as respite, ref- uge and hiding place.
(top) Allison Janae Hamilton (American, b. 1984), “Floridawater I,” 2019. Archival pigment print, 24 x 36 inches. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton. (bottom) Allison Janae Hamilton (American, b. 1984), still from “Wakulla Cathedral,” 2019. Single-channel video on monitor (8mm film), total runtime 3:25 minutes. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Allison Janae Hamilton.
Curator: Jeffrey Richmond-Moll, curator of American art
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exhibitions
In Dialogue: Henry Ossawa Tanner, Mentor and Muse
September 3, 2022 – June 18, 2023
The African American painter Henry Ossawa Tanner (1859 – 1937) left the United States in 1891 for Europe to escape prejudice and continue his training as an artist.
Settling in Paris and later on the French coast, he won international fame for his genre scenes, his depictions of the French landscape and, most of all, his religious pictures. He also became a mentor and role model for a new generation of Black artists, who traveled to France in the 1910s and 1920s to seek his professional guidance and found similar artistic transcendence in Europe. This focused exhi- bition highlights Tanner’s impact on several younger artists: Palmer C. Hayden, William H. Johnson, William Edouard Scott and Hale Woodruff. It is anchored by an important Parisian cityscape by Tan - ner on extended loan from the Terra Foundation of American Art. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around works of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with objects by influential peers, related sketches and studies or even objects from later periods.
Henry Ossawa Tanner (American, 1859 – 1937), “Disciples See Christ Walking on the Water,” ca. 1907. Etching on paper, 10 7/8 × 13 1/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Lucy Minogue Rowland. GMOA 2022.276.
Curator: Jeffrey Richmond-Moll, curator of American art Sponsor: Terra Foundation for American Art
Kristin Leachman: Longleaf Lines July 23, 2022 – February 12, 2023
In June 2020, artist Kristin Leachman traveled to an old- growth longleaf pine forest in southwest Georgia.
Longleaf forests are one of the most biologically rich ecosystems in the world, second only to tropical rainforests; however, today these forests primarily grow on private lands and are largely unfamiliar to the general public. Through their scale and intimacy, Leachman’s paintings collapse this sense of distance and offer viewers a physi - cally immersive experience. Focused on the longleaf’s bark forma- tions, her works enlarge these patterns into monumentally scaled biomorphic abstractions. Longleaf once spanned 90 million acres across the southern United States but declined to just 3 million acres after centuries of har- vesting for ship masts, railroad ties and turpentine farming. These forests would have been cleared entirely for development had it not been for quail hunting, which became popular in the 1800s. “Long- leaf Lines” represents part two of Leachman’s “Fifty Forests” proj- ect, which she began in 2010 in her adopted home state of California to document the self-organizing patterns in trees. The project is taking Leachman to various forested and deforested sites, protected
Kristin Leachman, “Longleaf 3,” 2021. Oil on canvas on panel, 54 × 72 inches. Courtesy of Kristin Leachman.
and unprotected lands, in each of the 50 U.S. states. By transcribing the unspoken language of trees’ structural integrity and biological resilience, Leachman explores the intersection of painting and the natural world. “Fifty Forests” also reflects upon the relationship between humans and trees. What is at stake, Leachman’s paintings ask, as our country continually struggles to reconcile its connection to nature with its extractive use of natural resources?
Curator: Jeffrey Richmond-Moll, curator of American art
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Jane Manus, Undaunted August 20, 2022 — February 12, 2023
Jane Manus has been making bold abstract sculptural statements throughout an extraordinarily productive five-decade career.
This exhibition consists of five of her sculptures, ranging in height from 6 feet to 24 feet, all made of welded aluminum and on display in the Jane and Harry Willson Sculpture Garden. Manus’ vocabulary is reminiscent of geometric sculptors such as Mark di Suvero, Tony Smith and Joel Shapiro, but her inter- pretations feel lighter on their feet. Her work was on display at the Georgia Museum of Art in 1996 as part of the celebra- tions surrounding the opening of the University of Georgia’s Performing and Visual Arts Complex, and her wall sculpture greets visitors to the museum, but these works are all more recent. A selection of maquettes shows the artist’s process and enables the viewer to grasp the entirety of her work in a way that can be difficult at full scale.
Curators: Annelies Mondi, deputy director, and William U. Eiland, director
Jane Manus, “Not Yet,” 2021. Welded painted aluminum, 88 1/2 × 46 × 27 inches. Collection of the artist.
Jane Manus, “Bravo,” 2015. Welded and painted aluminum, 72 × 48 × 24 inches. Collection of the artist.
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ACQUISITIONS
HEATHER MCMORDIE
Heather McMordie (American, b. 1989), “Below, Above (41° 42’ 40.57” N, 71° 17’ 27.55” W, Limonium carolinianum),” 2020. Print from etched and naturally corroded steel, 11 1/4 × 15 inches. Georgia Museum of Art, University of Georgia; Museum purchase in memory of Barbara Hartman Orkin. GMOA 2022.31.
Heather McMordie (American, b. 1989 ), “Below, Above (41° 42’ 41.73” N, 71° 17’ 14.11” W, Phragmites),” 2020. Print from etched and naturally corroded steel, 11 1/4 × 15 inches. Georgia Museum of Art, University of Georgia; Museum purchase in memory of Barbara Hartman Orkin. GMOA 2022.32.
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PIERRE DAURA
Pierre Daura (American, b. Spain, 1896 – 1976), “View of Buildings by the Water,” ca. 1919. Oil on canvas, 14 1/8 × 11 3/4 inches. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by the Daura Foundation. GMOA 2022.266. h eather McMordie creates prints, puzzles and instal- lations informed by on-site research, site-specific experiences and field observations. Her work balances artistic and scientific exploration. McMordie’s “Below, Above” series highlights the dichotomy and interrelation of soil science and our evolving ecosystems. “Below, Above” is a series consist- ing of seven diptychs. Each work includes an impression from a naturally corroded plate buried in the soil at Jacob’s Point, Warren, Rhode Island, and a figurative etching depicting dominant plant species at the same location (six with native plants and one with invasive species). Jacob’s Point is home to threatened plant and animal species including the salt marsh sparrow and was the site of major salt marsh restorative project in 2009 and 2010. Using corrosion to make visible the hydrology of a salt marsh, these prints capture water movement through high and low areas of the marsh. The soil and salt marsh environments collaborate to help create the prints. Soil is the foundation of the landscape and one of the key contributors to flourishing (or declining) ecosystems. McMordie developed the series while studying with restoration scientists and ecologists who focused on salt marshes and their importance to coastal environments. The series creates a map of the salt marsh illustrating the impact of the underground soil hydrology and tidal levels. “Below, Above (41° 42’ 40.57” N, 71° 17’ 27.55” W, Limonium carolinianum)” features flora known colloquially as Carolina Sea Lavender, which is native to eastern U.S. shores, connecting Rhode Island to the Georgia coast. The abstract print created by the soil on the left mimics the seed pods of the flowering stems in the illustration on the right. Visually, it illuminates how closely our surface landscapes mirror or reflect subsurface environments, revealing both thriving and threatened ecosystems. “Below, Above (41° 42’ 41.73” N, 71° 17’ 14.11” W, Phragmites)” de- picts a non-native perennial reed grass that grows predominantly in wetland areas. On the New Jersey and New York coasts, these grasses filter out pollutants but grow so rapidly that they crowd out native species. Removing the invasive species would unset- tle large portions of the coasts and disrupt important pollutant removal efforts, but leaving them unmanaged risks losing native flora that foster high species diversity. The acquisition of these two works underscores concerns over the climate crisis and changing landscapes. Appearing in the exhibi- tion “Infinity on the Horizon,” they visualize the impact of land stewardship and colonial systems and highlight how contem- porary artists are revitalizing traditional media and the artistic rendering of landscapes through new approaches.
t he museum recently acquired a landscape by Pierre Daura through the generous support of his daughter, Martha Randolph Daura. When we ex- amine paintings, they can sometimes reveal clues about their provenance, as was the case when we unframed this work. On the back, an inscription reads: “Obsequi del pintor Daura a Enriqueta Benigani” (“Gift of the painter Daura to Enriqueta Benigani”) followed by what appears to be “Paris X-9-19.” After initial research, we discovered that Enriqueta was an artist living in Paris with her husband Lluis Bracons, also an artist. Looking in our Daura Archive, we found that Bracons and Daura corresponded in the 1920s. Further research will tell us how the painting reached the art market, but its inscrip- tion confirms that artists often exchanged their work as gifts. We have reached out to international colleagues and Daura scholars to understand better all the players connected to this painting, and so our work continues. Aside from its fascinating history, this landscape is a striking composition dominated by hues of yellow and drenched in sunlight. Horizontal bands of color are offset by the vertical shape of the buildings, which are reflected in the water through bold brushstrokes.
Nelda Damiano , Pierre Daura Curator of European Art, and Ashlyn Davis , Pierre Daura Curatorial Research Assistant
Kathryn Hill, curatorial assistant in contemporary art
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Larry and Brenda Thompson with University of Georgia President Jere W. Morehead.
TEN YEARS of the THOMPSON COLLECTION
2011 traveling exhibition “Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art,” which preceded the gift, as well as works added to the collection since the gift in 2012. Traditionally, museums excluded works by African American artists, and the Thompsons have often characterized their col- lecting as a means of overcoming that practice. They found it important not only to donate art to the museum but to create a curatorial position dedicated to studying it. The output of curators, such as exhibitions, scholarship and programming, gives rise to shepherded collections that prevent works of art from becoming “orphaned” and forgotten about. Harris shares that her role “is to establish that process of stewardship that will make inclusivity possible. As the years go on, we can broaden the museum’s collection while promot- ing a sense of equity in the way we highlight art traditions.” In creating this display, she took the liberty of pulling out some of her favorite works that have not been on view at the museum in several years, at all or others that the museum has acquired since the gift. Harris plans to have future rotations that may focus on specific themes or artists from the collection. Creating a dedicated gallery for works by African American art- ists allows us to give them the sustained attention they deserve. At the same time, we continue to incorporate more works by Black artists throughout the permanent collection galleries.
Their gift has resulted in major change in both exhibitions and acquisitions. In addition, our museum has become a resource for students and the general public interested in works by these artists. To celebrate this decade of change, Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art, has assembled the permanent collection installation “Decade of Tradition: Highlights from the Larry D. and Brenda A. Thompson Collection,” now on view in the Boone and George-Ann Knox II Gallery at the museum. “Decade of Tradition” focuses on the expansion of the muse- um’s permanent collection through this transformative gift of works by African American artists. It includes works from the Ten years ago, Larry and Brenda Thompson donated 100 works to the museum from their prominent collection of works by African American artists and funded an endowment to support a new curatorial position at the museum for African American and African Diasporic art.
Louis Delsarte (American, 1944 – 2020), “The Gift,” 1999. Acrylic on canvas, 17 1/2 × 23 1/2 inches. Georgia Museum of Art, University of Georgia; The Larry D. and Brenda A. Thompson Collection of African American Art. GMOA 2012.120.
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11th Henry D. Green SYMPOSIUM OF THE DECORATIVE ARTS
Thank you to all who attended, sponsored or otherwise made possible the 11th Henry D. Green Symposium of the Decorative Arts, “Georgia in Our Times: Modern Design and Contemporary Lens,” held August 5 and 6 at the University of Georgia Center for Continuing Education & Hotel.
As usual, the symposium included stimulating speakers, plenty of events, wonderful conversation, great food and a healthy exchange of ideas.
sponsors
Leading Sponsor Richard C. Owens Charitable Foundation
Foundation for Northern Virginia Marian & Carl W. Mullis Gloria Bryant Norris Dudley Stevens $1,800 Kathryn & Henry D. Green Jr. Mitzi S. Hagan Jennifer & Gregory Holcomb Shell & Wyck Knox Julie G. Jenkins Claire & Boone Smith III Margaret R. Spalding William Dunn Wansley in memory of Louise Dunn Gibson Wansley and in honor of Stevi Smith Wansley and Elizabeth Dunn Wansley John C. Waters Other Betty Alice Fowler in memory of Milton Leathers and Ed Neal John Knowlton & Bob Davis Tish & Rowland Radford Frances & James Sommerville
Presenting Sponsor Forward Arts Foundation
$5,000 Brunk Auctions Linda & David C. Chesnut Jane Compton Johnson Marilyn & John McMullan Ibby & Jimmy Mills Anne & William R. Newton
$2,500 Linda N. Beard Devereux & Dave Burch
Lee Epting Peggy Galis Georgia Humanities Council Hedgerow Farm Christopher Howard & Carey Pickard
Marilyn & Lowry Weyman Hunt Jr. Material Culture & Arts Foundation
Jackie & Anthony Montag MOTSTA Fund/Community
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MUSEUM AND TERRA FOUNDATION team up
The museum is excited to work with the Terra Foundation in its efforts to center marginalized and underrepresented perspectives in American art by pairing these paintings with works from its own collection that resonate with these narratives. Founded by Daniel J. Terra in 1978, the Terra Foundation houses a collection of more than 750 paintings by 242 artists, which it generously loans to an international variety of organizations for the expansion of scholarship on and appreciation of American art. The four paintings on loan to the museum are “Portrait of a Lady in a Blue Dress,” by John Singleton Copley (1763); “Old Time Letter Rack,” by John F. Peto (1894), “Les Invalides, Paris” by Henry Ossawa Tanner (1896) and “Bucks County Barn,” by Charles Sheeler (1940), with “Telegraph Poles with Buildings,” by Joseph Stella (1917), to arrive in 2023. These works have been incorporated into the muse- um’s permanent collection galleries. Copley’s por- trait is fostering conversations between northern and southern colonial portraiture. Programming in spring 2023 will examine it in light of the links among colonial portraiture, whiteness, the economy of slavery and the ecology of commodities like indigo in the Americas. Sheeler’s painting hangs alongside our red barn painting by Georgia O’Keeffe, raising the question of how rural subjects served the cause of American modernism, which is often understood as an urban phenomenon. They will also serve as a catalyst for the museum’s “In Dialogue” series of focused exhibitions, which analyze a single work from the permanent collection in the context of an assortment of related works. Tanner’s On June 1, the Georgia Museum of Art received four of five oil paintings it will be borrowing for four years from the Terra Foundation for American Art as well as a grant for $25,000 each year of the loan to fund exhibitions including these works.
John Singleton Copley (American, 1738 – 1815), “Portrait of a Lady in a Blue Dress,” 1763. Oil on canvas, 50 1/4 × 39 3/4 inches. Terra Foundation for American Art, Daniel J. Terra Collection, 1992.28. Photography © Terra Foundation for American Art, Chicago.
Henry Ossawa Tanner (American, 1859 – 1937), “Les Invalides, Paris,” 1896. Oil on canvas, 13 1/8 × 16 1/8 inches. Terra Foundation for American Art, Daniel J. Terra Collection, 1999.140. Photography © Terra Foundation for American Art, Chicago.
John Frederick Peto (American, 1854 – 1907), “Old Time Letter Rack,” 1894. Oil on canvas, 30 1/8 × 25 1/4 inches. Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2015.5. Photography © Terra Foundation for American Art, Chicago.
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painting will be the first Terra Foundation object to engage in these conversations, displayed alongside William Edouard Scott’s “Harbor Scene” and Palmer Hayden’s “Boats at the Dock” (on loan from Larry and Brenda Thompson). Tanner, a Black artist who found artistic freedom in France, mentored and encouraged successive generations of Black artists, including Scott, Hayden and William H. Johnson, whose painting will hang nearby. Beyond their physical display in the galleries, the paintings on loan will play an active role in the mu- seum’s educational and scholarly engagements. The museum will hold public lectures by Nika Elder and Katherine Jentleson, as well as symposia and class- room tours that feature the works, and will incorpo- rate them into interactive elements of the visitor ex- perience. A partnership with UGA’s Historic Clothing and Textile Collection at the College of Family and Consumer Sciences has also allowed the museum to put clothing from various eras into conversation with both the Terra paintings and our collection. We are excited to reexamine works that may have grown familiar to us in the new contexts that these loans and their associated funding afford us.
Reif Evans, communications intern
the art OF GIVING
We thank these donors to the Georgia Museum of Art from July 1, 2021, to June 30, 2022.
$5,000 – $9,999
Lucy & B. Heyward Allen Jr. Audrey Love Charitable Foundation Robert Bairstow Lacy Middlebrooks Camp & Thomas G. Camp Bree A. & Richard L. Hayes
$10,000 & Above
Anonymous Jeanne L. Berry Faye Smith Chambers
Elizabeth & Andrew Littlejohn Brenda & D. Hamilton Magill III Virginia & Gordhan Patel Margaret A. Rolando
Daura Foundation Patricia M. Deitz+ Todd Emily
Fraser-Parker Foundation The Goizueta Foundation George-Ann Knox
$2,500 – $4,999
Becky & David Matheny Marilyn & John McMullan Isobel P. & James T. Mills Jr. C. L. Morehead Jr.+ Anne & William Newton Gloria Bryant Norris The Richard C. Owens Charitable Foundation Betsy & Lee Robinson Lucy M. Rowland Sara & John Shlesinger Robert A. Siegel Brenda A. & Larry D. Thompson D. Jack Sawyer Jr. & William E. Torres The Turner Family Foundation, Inc. Carol & Robert Winthrop II W. Newton Morris Charitable Foundation Wyeth Foundation for American Art
Anonymous Linda Nicholson Beard Karen L. Benson Lynn & Richard Berkowitz Blaine Bostelman Everett C. Bryant Jr. Devereux & E. Davison Burch Karen & James Fleece Ann F. & Joseph C. Frierson Jr.
John M. Greene Judy & John Hill Robyn H. & John C. Horn M. Elizabeth McGhee Dan Minor
Jackie & Anthony Montag Deborah & Dennis O’Kain Sherrie & Stephen Olejnik Sylvia Hillyard Pannell & Clifton W. Pannell
Janet & Alex Patterson Margaret R. Spalding
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$1,000 – $2,499
Gifts of Art
Anonymous June M. Ball
Anonymous Ara Arslanian
Jeanne L. Berry Sara B. Bradley
Virginia F. Blechman Joseph J. Disponzio
Joan Bland Cravey Rosanna Damiano Elizabeth P. & Anthony L. DeMarco Kathy K. & David N. Dorough Judith A. Ellis Ashley D. & Alexander R. Hodson Margaret K. & Eugene H. Howard Jr. Martha T. & Neil R. Hughes+ Nancy & Leston Juneau Jane & Bruce King Shell & Wyck Knox Mary L. & William C. Koch Jr. Erika G. Lewis Anne & Paul Lings Sue W. Mann Marilyn Delong McNeely Sandra G. Menendez Parker & Kent Middleton Libby & Van Morris Marissa A. Pagnattaro & John F. Beasley Sarah K. & Chris R. Peterson Judy Powell Amburn H. & William L. Power+ Wyndham Robertson Margo N. & Arthur S. Rosenbaum+ Julie M. & Ira G. Roth Jewett W. & Alan F. Rothschild Jr. Sarah P. & Walter A. Sams III Lauren K. & Matthew M. Schlesinger Kendell & Tony Turner III Cecelia & David Warner W. Thomas Wilfong Elizabeth & Chris Willett
William Underwood Eiland Teresa & Charlie Friedlander Susan Buekes & Stephen Goldfarb Juanita & Phillip Greenspan Barbara Guillaume Art Hazelwood Jennifer & Gregory Holcomb Hunter Museum of American Art Hunter Museum of Art Jane C. Johnson Michael E. Joyce Rocio A. Rodriguez & Lawrence A. Karp Kathryn Keller Henry Korn Raymond Learsy Bebe B. & Earl T. Leonard Jr. Yuichi Levinson Jorma & Dennis Loss Duane Michals Jackie & Anthony Montag Lane & James Norton
Sheila & Randy Ott Thomas Paquette Michael T. Ricker Nancy & William Rollnick
Sandy Rupp Lee Shearer Janice C. Simon
Dinna Stein Lou Stovall Carla & Cleophus Thomas Joseph B. Thompson Kathy Prescott & H. Grady Thrasher III Kenneth H. Weaver John A. Welsh III Frances H. Westbrook James M. Wood
+Deceased
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save the date save the
FEBRUARY 4, 2Ó23 and the legacy of our director, william underwood eiland celebrating 75 years of the georgia museum of art followed by the Dripping in Diamonds dance party FEBRUARY 4, 2Ó23 and the legacy of our director, william underwood eiland celebrating 75 years of the georgia museum of art followed by the Dripping in Diamonds dance party Every other year since 1980 (with a few exceptions brought on by renovations or the rise of COVID-19), the Georgia Museum of Art has hosted Elegant Salute.
The biennial gala is distinguished by its imaginative themes and by its success in raising support for the museum’s programing, endowments and capital proj- ects. The 17th Elegant Salute will be held February 4, 2023, and promises to continue the tradition. Elegant Salute XVII takes as its theme a dual celebra- tion: the past 75 years of the museum’s history as it has provided free inspiration for audiences across the state and beyond and the achievements of our direc- tor, William Underwood “Bill” Eiland, who will retire in March 2023. Bill has led the museum for over three decades as an advocate of visual art accessibility, scholarship, preservation and education. He has written, edited and contributed to more than 60 publications; served on the boards of national and international profes- sional organizations; and somehow found the time to organize exhibitions. He is known and appreciated far and wide for his ambitious vision, his boundless energy and his seemingly endless store of jokes and funny stories.
It is impossible to imagine the Georgia Museum of Art without Bill Eiland. We are profoundly grateful for his devotion, leadership and vision and are confident that the foundation he has laid will serve the museum in the decades to come, just as Alfred Holbrook’s did in our earliest days. We can think of no better way to celebrate the museum’s 75th anniversary than to toast the decades of service Bill has steadfastly dedicated to the Georgia Museum of Art. This year’s committee chairs are Isobel Parker Mills (chair) and Mary Lillie Watson (co-chair). No tick- ets will be sold for Elegant Salute XVII. Instead, event sponsors will receive benefits and recognition, including admission to the event and a tax-deduct- ible charitable donation. The goal of Elegant Salute XVII is to raise $275,000. If you are interested in becoming a sponsor please visit bit.ly/es-2023, email jointhemuseum@uga.edu or contact Michele Turner at 706.542.0830 or the museum’s director of develop- ment, Heather Malcom, at hmalcom@uga.edu.
MUSEUM NOTES
staff notes
Nina Guzman, assistant editor
Ashaé Burgess, assistant curator of education
Adam Clark, Museum Shop manager
Ashaé Burgess joined the museum as assistant curator of education in September. She has several years of experience as a gallery teacher at the Cleveland Museum of Art and the Museum of Contemporary Art in Cleveland, Ohio, and holds bachelor’s degrees from Miami University, where she studied classical humanities, Black world studies and women’s studies. LeAnne Hilliard , from our business office, left the museum at the beginning of September to move to Portland, Oregon.
Nina Guzman joined the museum as assistant editor August 1. Guzman previously worked at the Lamar Dodd School of Art as its art library coordinator and at the New Georgia Encyclopedia. She studied creative writing in college and has contributed to many magazines, including BUST and LitHub. Adam Clark is our new Museum Shop manager. He comes to us from the UGA Bookstore, which he co-managed. He’s excited to take the reins of the shop and for his son to participate in museum events like Family Day.
gifts
Smitty Award
The Georgia Museum of Art received the following gifts between April 1 and June 30, 2022.
This year’s recipient of the M. Smith Griffith Volunteer of the Year Award (known as the “Smitty” for short) was Freda Scott Giles , who received the honor at the Friends Annual Meeting on August 16. Dr. Giles is a former professor of theater at the University of Georgia and an active member of the Athens-area Links, Inc., a group that partners with the museum on the Lillian C. Lynch Citation at our annual Black History Awards Celebration. She has been very involved with the board of the Friends of the Museum and has chaired the committee for the Black History Awards Celebration, contributing hours of her time and being a pleasure for the staff to work with. She also joined the museum’s Board of Advisors in July.
In honor of Nelda Damiano by Ann & Joseph Frierson Jr.
In memory of Mary Arnold Erlanger by Samuel Carleton, Suzanne & Allen King Jr., and Wyndham Robertson
In memory of Matthew Wade by Brenda & Michael Wade and Lucy Rowland
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CALENDAR Program is free but registration is required; email gmoa-tours@uga.edu to reserve a spot. Part of UGA’s 2022 Spotlight on the Arts (visit arts.uga.edu for a full list of programs across campus)
RECKONINGS AND RECONSTRUC- TIONS: SOUTHERN PHOTOGRAPHY’S PAST AND FUTURES Saturday, October 22, 10:15 a.m. – 9:30 p.m. Join the Georgia Museum of Art, the Willson Center for Humanities and Arts and the University of Georgia Press for a day-long symposium in conjunction with the exhibition “Reckonings and Reconstructions: Southern Photography from the Do Good Fund.” Two panels will be held at the museum in the morning, followed by afternoon and evening events focusing on the rich history of music and alternative culture in Athens; collaborations with the Bitter Southerner and The Humid, an ambitious photography incubator and education space in Athens with a global reach; and opportunities for community building around savory southern food. Free, but registration is required. More information at georgiamuseum.org/reckonings- symposium.
TOURS AND GALLERY TALKS
SPECIAL EVENTS
ARTIST TALK: KEVIN COLE Thursday, October 6, 5:30 p.m.
ARTFUL CONVERSATION Artful Conversation programs are 30 minutes long, focus on just one or two works of art and provide opportunities for close looking, open- ended dialogue and discovery. • Wednesday, October 5, 2 p.m. A work from “Infinity on the Horizon,” with Callan Stein - mann, curator of education • Wednesday, November 16, 2 p.m. Louis Delsarte’s “The Gift,” with Sage Kincaid, associate curator of education • Wednesday, December 7, 2 p.m. Marco Basaiti’s “Madonna and Child,” with Callan Steinmann GALLERY TALK: “UNDRESSED: AN INTIMATE LOOK AT FASHION IN ART” Wednesday, October 12, 3 p.m. Join fashion historian and UGA doctoral stu - dent Sara Idacavage for a special interactive gallery program focused on how clothing is represented in art. Using historic garments, this drop-in program will take a closer look at art and fashion through visual and tactile exploration, enriching our understanding of how clothing impacts our lives.
Atlanta-based artist Kevin Cole will discuss his current working artist project for MOCA GA, “Kevin Cole: Where do we go from here?” and his work related to gerrymandering and the power of the vote.
MUSEUM MIX Thursday, October 6, 8 – 11 p.m.
The museum’s thrice-annual late-night art party features DJ Goth Dad, free refreshments and galleries open until 11 p.m. THIRD THURSDAY Thursday, October 20, November 17 and December 15, 6 – 9 p.m. Athens’ established venues for visual art hold this event devoted to art in the evening hours on the third Thursday of every month to showcase their visual-arts programming. Full schedules and participants are posted at 3Thurs.org.
LECTURE: JANISSE RAY “THE ART OF A PLACE CALLED LONGLEAF” Thursday, November 17, 5:30 p.m.
Longleaf pine’s most ardent supporter, author and environmentalist Janisse Ray, will be at the Georgia Museum of Art in person to cele - brate the exhibition “Kristin Leachman: Long - leaf Lines.” In her heart-centered way, Janisse will lay out what we had in this inspiring but endangered ecosystem, what happened to it, and what we’re doing to fix it. Longleaf hap - pens to be her place, but we all have places, and she will talk about many different ways to lean down and kiss the ground — how to find art wherever you are and how to use those visions to transform our world. Co-sponsored by the Oconee River Land Trust. STUDENT NIGHT Thursday, November 17, 6:30 – 8:30 p.m. Join the Georgia Museum of Art Student Asso - ciation for a night of music, fun and themed activities to celebrate the latest exhibitions, including “Reckonings and Reconstructions: Southern Photography from the Do Good Fund.” Student Night is generously sponsored by the UGA Parents Leadership Council. BOOK SALE Tuesday – Sunday, December 6 – 11, during Museum Shop hours Come shop for your loved ones at the muse - um’s annual holiday book sale, featuring new and used publications in all genres.
90 CARLTON: AUTUMN Friday, October 21, 6:30 – 8:30 p.m.
Join the Friends of the Georgia Museum of Art for a reception featuring the exhibition “Reckonings and Reconstructions: Southern Photography from the Do Good Fund.” Light refreshments, door prizes and more. Event Partners: Athens Printing Company, Barron’s Rental, Epting Events, Guide 2 Ath - ens and Perryander Studio. Not Yet Friends $15 per person Friends of the Museum and Friend + Annual Fund Members (Supporter level) $10 per person Friend + Annual Fund Members (Reciprocal level and above) complimentary Space is limited and advance registration is strongly recommended. So, don’t delay! Visit https://bit.ly/90c-Oct-22 to register. Not yet a Friend? Visit jointhemuseum.com to join today.
SUNDAY SPOTLIGHT TOUR Sunday, October 16, November 13 and December 11, 3 p.m.
Drop-in public tours featuring highlights of the permanent collection, led by museum docents TOUR AT TWO Wednesday, October 19 and 26, November 9 and 30 and December 14 and 21, 2 p.m. Drop-in public tours featuring highlights of the permanent collection, led by museum docents. CURATOR TALK: “IN DIALOGUE: HENRY OSSAWA TANNER, MENTOR AND MUSE” Wednesday, November 2, 2 p.m. Jeffrey Richmond-Moll, curator of American art, will give a gallery talk on the latest “In Dialogue” installation.
FAMILY DAY: THE SOUTH IN PHOTOGRAPHY
DRAWING IN THE GALLERIES
YOUTH AND FAMILY PROGRAMS
Sunday, November 6, 2 – 4 p.m. Experience the pleasure of drawing in the museum’s galleries. This workshop is led by a teaching artist and provides drawing instruction, art supplies and enough space to spread out. EKPHRASTIC POETRY WORKSHOP WITH JANISSE RAY Friday, November 18, 11 a.m. Ekphrastic poems explore a work of visual art, diving more deeply into its themes. The exhibition “Kristin Leachman: Longleaf Lines” will inspire us to write. No experience as a poet or writer is needed. Janisse Ray will talk about this poetic form, read a few ekphrastic poems, and give us a quick lesson on how to approach the art so that it speaks to us. Then she’ll turn us loose to listen (and report on paper) what a painting says to us. We will reconvene to discuss the process. BOTANICAL PRINTING WORKSHOP WITH BEA BROWN Saturday, December 3, 10 a.m. – 5 p.m. Capture nature on silk! In this workshop you will learn how to create stunning botanical prints on silk using local flowers, plants, colorful leaves and evergreens. This wildly popular technique will allow you to produce a one-of-a-kind luxury fashion accessory to add to your wardrobe or to give as a gift that will be cherished. Step-by-step instructions will be facilitated by Beatrice Brown, textile artist, in a one-day, fun-filled workshop. $35 registration fee. Space is limited and registra - tion is required; email gmoa-tours@uga.edu to reserve a spot.
Saturday, November 12, 10 a.m. – noon The exhibition “Reckonings and Recon - structions: Southern Photography from the Do Good Fund” features images of an ever-changing American South. Join us for fun Art Cart activities about family, food and home and make art in the Michael and Mary Erlanger Studio Classroom.
Family Day is sponsored by Lucy and Buddy Allen and the Friends of the Georgia Museum of Art.
TODDLER TUESDAY Enjoy looking at art and storytime together in the galleries, then complete an art activity just for the little ones. This free program is designed for families with children ages 18 months to 3+ years. • Tuesday, October 11, 10 a.m. Magic Pumpkins • Tuesday, November 8, 10 a.m. No Place Like Home • Tuesday, December 13, 10 a.m. Winter Wonderland FAMILY DAY: LONGLEAF LINES AND PINES Saturday, October 29, 10 a.m. – noon Longleaf pine forests are one of the most bio - logically rich ecosystems in the world, second only to tropical rainforests. Artist Kristin Leachman captures the tree’s marvelously scaly and fire-resistant surface in her large- scale paintings. Explore these, then make a tree bark–inspired collage in the Michael and Mary Erlanger Studio Classroom. HOMESCHOOL DAY: THE EVER- CHANGING AMERICAN SOUTH Friday, November 4, 10:30 a.m. – 12:30 p.m. The exhibition “Reckonings and Recon - structions: Southern Photography from the Do Good Fund” explores a remarkable and sweeping collection of photography made in the South from the 1950s to the present. Families can engage with southern history and culture by completing fun Art Cart activ- ities, watching a demonstration and creat - ing their own art in the Michael and Mary Erlanger Studio Classroom. Individuals and groups welcome. For more information email gmoa-tours@uga.edu TEEN STUDIO: ABSTRACT LANDSCAPES Thursday, November 10, 5:30 – 8 p.m. Teens ages 13 – 18 are invited to this stu - dio-based workshop led by local artist and educator Kristen Bach. Visit the exhibition “Infinity on the Horizon” and then create your own landscape-inspired art. This program is free and includes a pizza dinner from Depal - ma’s Italian Cafe.
FAMILY DAY: FESTIVE FUN Saturday, December 10, 10 a.m. – noon
Celebrate the winter holidays at this special Family Day. Sing along with your favorite carols, enjoy holiday treats and make a win - ter-inspired work of art in the Michael and Mary Erlanger Studio Classroom. BACKPACK TOURS Check out a Backpack Tour of the permanent collection at the front desk. Available in both English and Spanish, they include gallery ac - tivities, art supplies and looking prompts that can be completed at your own pace. These self-guided tours are free and perfect for a family visit. Recommended for ages 5 – 14.
WORKSHOPS AND CLASSES
MORNING MINDFULNESS Friday, October 7 and 21, November 4 and 18 and December 2, 9:30 a.m. The Georgia Museum of Art invites you into the galleries to participate in free guided mindfulness meditation, held every other Fri - day in person and on Zoom. Included is a va- riety of instructor-led meditation, movement and mindfulness techniques. No experience necessary. CREATIVE AGING SEATED YOGA Thursday, October 27, 10:30 a.m. Join us in the galleries for gentle seated yoga. This class will include restorative stretching, deep breathing and mindfulness. All levels and abilities are welcome. YOGA IN THE GALLERIES Thursday, October 20, November 17 and December 15, 6 p.m. Join us for a free yoga class surrounded by works of art in the galleries. Led by instruc - tors from Five Points Yoga, this program is open to both beginner and experienced yogis. Sanitized mats are provided. This program is available both in-person and via Zoom. Space is limited for in-person attendees and spots are only available on a first-come, first- served basis; tickets are available at the front desk starting at 5:15.
FILMS
“ZURBARÁN AND HIS TWELVE SONS” Thursday, October 13, 7 p.m. This documentary explores the meaning of “Jacob and His Twelve Sons,” a series of 13 canvases painted by Francisco de Zurbarán in Seville around 1640. Traveling with them to the Meadows Museum, the Frick and the Israel Museum in Jerusalem, we learn how the canvases disappeared for a century until they were acquired at auction by the London merchant James Mendez. Presented in conjunction with the exhibition “Power and Piety in 17th- Century Spanish Art.” 2020, 72 min.
CLOSED November 24 and 25 December 24 and 25 and 31 January 1
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