Facet Spring 2021

SPRING 2021

table of CONTENTS

From the Director p.3

Exhibitions p.4

The Art of Giving p.12

New Acquisitions p.14

p.4

Supporting Our Decorative Arts Students p.18

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Museum Notes p.19

Gifts p.19

In the Shop p.19

on the covers: Brian Connelly (American, 1926 – 1963), "A Night Garden," 1955. Oil and casein on panel, 18 × 30 inches. The Schoen Collection: Magic Realism. Image courtesy of Debra Force Fine Art.

(top) Charles Rain (American, 1911 – 1985), “The Eclipse,” 1946. Oil on panel, 18 × 24 inches. The Schoen Collection: Magic Realism.

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(left) Sophie Taeuber-Arp (Swiss, 1889 – 1943), "Composition verticale-horizontale à cercles et demi-cercles," from an untitled portfolio of 10 prints after original works by Sophie Taueber-Arp, 1957. Color serigraph on heavy paper, 10 15/16 × 6 15/16 inches (image). Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Martha R. Daura. GMOA 2020.44.4.

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Thursday: 10 a.m.–9 p.m. Friday: 10 a.m.–5 p.m. Sunday: 1–5 p.m. Closed Monday – Wednesday Museum Shop closes 15 minutes prior. Free timed tickets required.

Hours

706.542.4662 Fax: 706.542.1051

Hillary Brown

Department of Publications

Interns

Emma Emery, Jean Hong and Rebecca Moon

Design

Noelle Shuck

board of ADVISORS

Ibby Mills David Mulkey

B. Heyward Allen Jr. * Rinne Allen Amalia K. Amaki ** June M. Ball Linda N. Beard Karen L. Benson ** Richard E. Berkowitz Sally Bradley Jeanne L. Berry Devereux C. Burch * Robert E. Burton ** Debra C. Callaway ** Shannon I. Candler *

Carl. W. Mullis III * Betty R. Myrtle ** Gloria B. Norris *** Deborah L. O’Kain Randall S. Ott Gordhan L. Patel, chair Janet W. Patterson Christopher R. Peterson Kathy B. Prescott Rowland A. Radford Jr. * Annemarie S. Reynolds *** Margaret A. Rolando * Julie M. Roth Alan F. Rothschild * Jan E. Roush Bert Russo Sarah P. Sams **

As you all know, 2020 was a year of social strife, of a deadly plague and of acrimony among our elected officials. At times I thought I was living in the 14th century, ca. 1353, in fact. But in spite of the numerous pandemics of that century, some historians and commentators see those years as the real beginning of the Renaissance, our era that begins with Giotto, even Cimabue before him and has yet to end; that in the history of aesthetics, it never ended. It continues through renascences of ideas, of theories, of techniques, in short, of aesthetic metamorphosis — a constant, centuries-old refashioning, if you will, of the beautiful. Today, the provocative, the edgy, the charged, even at times the incendiary take on a certain worth and distinction; the word most dreaded if not despised by contemporary theorists, comes to mind: quality. So, let’s put aside for a minute the truly bad things that happened to us all and to the museum, in particular, our having to close for so long, and concentrate on our achievements during the past 10 or so months: with our programming we rapidly adapted to multiple realities, pri- marily virtual, but also we very occasionally held controlled tours of our exhibitions and collections; we offered programs of well-being, such as yoga classes and mindfulness in our galleries, and happily, we were able to open our auditorium, even our parking lot, to classes of students, who needed contact with each other as well as with graphite and charcoal, with oil and pastel. Our auditorium we offered to the School of Music for classes in vocal performance. Those of us in the lobby occasionally could hear “La Donna è mobile,” “Nessun dorma,” or most appropriately of all, “Vissi d’arte.” To help us deal with the financial exigencies of COVID-19, our donors, our Friends, our patrons stepped into the breach and helped us with funds for general operating support. Thank God for them and for their helping us to reopen and to remain with free entry. We have since begun a campaign, our Fund for the Future, to assure that we remain open even in times of financial exigency — and equally im- portant, that we have gratis entry for all to the state museum of art. During the annus horribilis of the escalating pandemic, the University of Georgia “stepped in and up,” allowed us to keep our staff intact and sal- aried and demonstrated real leadership and generosity in fighting COVID on campus. So, in spite of the complications or difficulties of 2020, I want to thank the university as it allowed us, as a primary resource in visual-arts ed- ucation, to continue our work, to engage our community and to prepare for this year, with its varied exhibitions. These exhibitions, publications and others to come are evidence that our curators, educators, designers/ preparators, gallery attendants, editors, registrars, etc. all may have had to work remotely, but work we did, for now and for the future of the Georgia Museum of Art.

Faye S. Chambers Harvey J. Coleman Sharon Cooper James Cunningham Martha Randolph Daura *** Annie Laurie Dodd *** Sally Dorsey ** Howard F. Elkins Judith A. Ellis Todd Emily James B. Fleece Phoebe Forio *** John M. Greene ** Helen C. Griffith ** Barbara Guillaume Judith F. Hernstadt Marion E. Jarrell ** Jane Compton Johnson * George-Ann Knox * Shell H. Knox * Andrew Littlejohn D. Hamilton Magill David W. Matheny, chair-elect Mark G. McConnell

D. Jack Sawyer Jr. * Henry C. Schwob ** Mr. Ronald K. Shelp Margaret R. Spalding Dudley R. Stevens Carolyn Tanner **

Anne Wall Thomas *** Brenda A. Thompson, immediate past chair William E. Torres C. Noel Wadsworth * Carol V. Winthrop Gregory Ann Woodruff Ex-Officio Lacy Camp Linda C. Chesnut William Underwood Eiland S. Jack Hu Kelly Kerner Marisa Pagnatarro

Marilyn M. McMullan Marilyn D. McNeely

* 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 repos- itory and educational instrument of the visual arts, the museum exists to collect, preserve, exhibit and interpret significant works of art. Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Georgia Council for the Arts also receives support from its partner agency, the National Endowment for the Arts. Individuals, foundations and corporations provide additional 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 informa- tion or military service in its administrations of educational policies, programs or activities; its admissions policies; scholarship and loan programs; athletic or other University-admin- istered 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/

WilliamU. Eiland, Director

We thank the Landon Family Foundation for operating support.

Extra Ordinary: Magic, Mystery and Imagination in American Realism February 27 – June 13, 2021

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“Extra Ordinary” surveys a range of American artists who embraced realism, representation and classical artistic techniques in the face of the rising tide of abstraction at mid-century.

Through sharp focus, suggestive ambiguity and an uncanny assemblage of ordinary things, their works not only show that the extraordinary is possible, but also conjure the strangeness and wonder of everyday life. The exhibition is drawn primarily from two private collections with exceptional holdings in the magical realist genre, as well as major paintings in our own collection by Paul Cadmus, O. Louis Guglielmi, John Brock Lear, and others. It takes as its point of departure the 1943 show “American Realists and Magic Realists” at the Museum of Modern Art — when the term “magic realism” entered the American art histori- cal lexicon — and features a suite of paintings originally included in MoMA’s show. By bringing together significant works by Ivan Albright, Aaron Bohrod, Cadmus, Philip Evergood, Jared French, George Tooker and John Wilde, along with a number of lesser known artists, “Extra Ordinary” reveals the slippery task of categorizing this eccentric group of painters into a single style. After all, the canon of artists we now identify as “magic realists” was codified through a series of exhibitions organized by curators Alfred H. Barr, Dorothy C. Miller and Lincoln Kirstein, among others. “Extra Ordinary” also emphasizes, in critic Clement Greenberg’s words, “the extreme eclecticism now prevailing” in the American art world during this period. In so doing, it highlights a wider constellation of artists — including such women as Gertrude Abercrombie and Honoré Sharrer, such artists of color as Eldzier Cortor and Hughie Lee-Smith, and other artists from farther-flung regions such as Alexandre Hogue and Patrick Sullivan — who also turned to the mysterious, supernatu- ral and hyperreal to examine key social issues including the dignity of the working class, wartime trauma and environmental concerns. These artists embraced magic or fantasy not as a means to escape everyday reality but as a way to engage more directly with it. The museum has also published a hardcover catalogue to accompany the exhibition, edited and with an essay by curator Jeffrey Richmond- Moll, an essay by scholar Philip Eliasoph and a brief essay on each artist included, from a variety of authors.

(top) Colleen Browning, “Mother and Child, Ibiza, Spain,” ca. 1951. Casein and tempera on canvas board, 18 1/4 × 30 1/2 inches. Collection of Philip and Yael Eliasoph. Photo by Jennifer Prat. (left) O. Louis Guglielmi, “Tenements,” 1939. Oil on canvas, 35 1/2 × 25 1/2 inches. Georgia Museum of Art, University of Georgia; Eva Underhill Holbrook Memorial Collection of American Art,University purchase. GMOA 1948.197 (right) William Lester, “The Three Crosses,” 1935 – 36. Oil on Masonite, 30 1/4 × 24 1/2 inches. Dallas Museum of Art, gift of the New York World’s Fair Department of Contemporary Art, 1937.24. © Estate of the artist

Curator: Jeffrey Richmond-Moll, curator of American art Sponsors: Jason Schoen, Michael T. Ricker, the W. Newton Morris Charitable Foundation and the Friends of the Georgia Museum of Art

exhibitions

During their lifetimes, Thornton Dial Sr. (1928 – 2016) and Ronald Lockett (1965 – 1998) were artistic contemporaries who produced rich bodies of work that transformed discarded materials into objects of wonder and complexity.

In Dialogue: Artists, Mentors, Friends: Ronald Lockett and Thornton Dial Sr. May 29 – October 3, 2021

Their deep friendship was forged through both bonds of family, friendship and visual expression. This comparison of works by them from the permanent collection places the two artists in conversation with one another, highlighting their creativity and their mutual exchange of knowledge and experience. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around a single work of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with works of art by influential peers, related sketches and studies or even objects from later periods.

Ronald Lockett (American, 1965 – 1998), "Undiscovered," 1993. Rusted tin and colored pencil mounted on wood, 46 1/2 × 45 1/2 × 5 1/2 inches. Georgia Museum of Art, University of Georgia; Gift of Ron and June Shelp. GMOA 2019.309.

Curator: Shawnya L. Harris, Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art

Whitman, Alabama May 8 – December 12, 2021

“I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.”

So begins “Song of Myself,” one of American poet Walt Whitman’s most famous poems. Originally published in 1855 as part of his work “Leaves of Grass,” the poem is a joyful celebration of the diversity of America and a meditation on our connectedness to one another. “Whitman, Alabama,” an ongoing documentary project by filmmaker Jennifer Crandall, brings Whitman’s words to life through the voices of modern-day Alabama residents. For two years, Crandall traveled through the state, inviting every- day people to recite verses from Whitman’s poem on camera. The outcome is a collection of captivating portraits, and a compelling reflection on American and southern identity. As the people in “Whitman, Alabama” recite lines of Whitman’s poem, they also share intimate glimpses of their lives on video. The juxtaposition of poetry against the backdrop of everyday, human experiences — sitting with family on front steps, doing chores around a farm, attending football practice — results in a series of videos that are both unexpected and mesmerizing. Crandall, who previously worked for the Washington Post and Salon as a video producer and journalist, began working on “Whitman, Alabama” while she was artist in residence for the Ala- bama Media Group. She said, “I came up with the idea of making a

series of portraits hoping to show off Alabama’s people – but instead of using a traditional interview format, I wanted to use a poem as the common thread. And beyond that, let people speak for themselves.” To learn more about the project, visit www.whitmanalabama.com.

Curator: Callan Steinman, curator of education

Still from Jennifer Crandall’s “Whitman, Alabama.” Jennifer Crandall at work.

exhibitions Hands and Earth: Perspectives on Contemporary Japanese Ceramics May 22 — August 15, 2021

Drawn from the Carol and Jeffrey Horvitz Collection of Japanese Ceramics, “Hands and Earth” features works by some of 20th- and 21st-century Japan’s most important artists.

The exhibition traces the history of Japanese ceramics, beginning in the 1930s when the mingei (“folk craft”) movement sparked a newfound appreciation for the utilitarian pottery made by groups of artisans across the country. Today, the artform is simultaneously rooted in history and radically innovative. “Hands and Earth” illuminates how artists balance these often-contradictory impulses. Many of the contempo- rary ceramicists represented in the exhibition create sculptures that are experimental in both material and method. Inspired by mingei, others fashion functional objects using local clays and techniques passed down through generations. In an increasingly globalized world — and at a time when much of daily life has been relocated to “virtual” space — these works re- mind us of the enduring importance of place, tradition and community. Sponsors: The Jeffrey Horvitz Foundation Galleries: Lamar Dodd, Charles B. Presley Family and Alfred Heber Holbrook Galleries KONDÖ Takahiro (Japanese, b. 1958), “Jishinha” (Seismic wave), 2016. Marbleized porcelain with metallic glaze and cast glass, 43 5/16 × 6 5/16 × 4 11/16 inches. Collection of Carol and Jeffrey Horvitz, JC2016.042. TAKIGUCHI KAZUO (Japanese, b. 1953), Mudai series, untitled, 2016. Marbleized stoneware, 9 1/2 × 14 × 11 3/4 inches. Collection of Carol and Jeffrey Horvitz, JC2017.017. SAKIYAMA TAKAYUKI (Japanese, b. 1958), "Choto; Listening to Waves," 2016. Sand-glazed stoneware, 14 1/2 × 19 3/4 × 19 1/2 inches. Collection of Carol and Jeffrey Horvitz, JC2017.007.

Rediscovering the Art of Victoria Hutson Huntley May 22 – August 15, 2021

This exhibition represents all three. It also shows her different areas of interest: landscape, human figures and close-up views of the nat- ural world. Nature, especially the Everglades, was a common theme during her time in Florida, where she created many lithographs of bird life. The exhibition is accompanied by an issue of the museum’s Bulletin, with essays on Huntley’s life and work by the two curators, for purchase in the Museum Shop.

During the 1930s and 1940s, Victoria Hutson Huntley (1900 – 1971) was one of America’s leading lithographers.

Delayed a year due to the COVID-19 pandemic, this exhibition is avail- able online, too. Huntley produced more than 100 lithographs and a small number of intaglio prints from 1930 until her death. Major mu- seums across the country purchased her work, as did many collectors. Her work can be divided into three periods, based on her earlier life in the North, her residence in Florida (1946 – 53) and her return North.

Curators: Stephen J. Goldfarb, independent scholar, and Lynn Barstis Williams Katz, librarian emerita for art and special collections at Auburn University

Victoria Hutson Huntley (American, 1900 – 1971), “Lake Cuthbert Rookery, the Everglades,” 1948. Lithograph, 11 1/2 × 15 inches. Private collection.

exhibitions Echoes from Abroad: American Art from the Collection of Barbara Guillaume May 22 – August 15, 2021

These paintings from the collec- tion of Georgia Museum of Art board member and art collector Barbara Guillaume span the period from 1878 to 1940.

Although the works vary in subject, genre and style, they share similar origins, particularly an exposure to international artistic movements and a growing rejection of academ- ic standards. In Europe, American artists learned new techniques and styles, some of which helped shape modern movements in the United States. Works by Charles Courtney Curran and Alice Schille demonstrate the impact of Asian and Latin Amer- ican aesthetics on American artists during the first decades of the 1900s. These artists also found a sense of belonging and open-mindedness in foreign artistic circles and indepen- dent academies, which reshaped the artistic networks, systems of artistic training and exhibitions in the US for the following century.

Curator: Jeffrey Richmond-Moll, curator of American art

Charles Courtney Curran (American, 1861 – 1942), “Oriental Still Life,” 1940. Oil on Masonite. Collection of Barbara Guillaume.

George Thompson Hobbs (American, 1846 – 1929), “Still Life with Pomegranates and Chippendale Bowl,” 1908. Oil on canvas. Extended loan from the Collection of Barbara Guillaume.

Don’t Miss

Emma Amos: Color Odyssey Through April 25

In Dialogue: Look, Paint, Repeat: Variations in the Art of Pierre Daura Through May 23 Contemporary Japanese Ceramics from the Horvitz Collection Through September 21 Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt Through September 26

Power and Piety in 17th-Century Spanish Art Through November 28

the art of giving FUND FOR THE FUTURE

This January, the Georgia Museum of Art was set to host its 17th biennial gala, Elegant Salute.

s INCE M. SMITH “SMITTY” GRIFFITH CREATED THAT EVENT, it has served as our major fundrais- er, with a year (or more) of robust fundraising and planning by dozens of faithful volunteers. The presence and patronage of those who support, attend and volunteer for the event are testaments to the museum’s mission of teaching, research and service that mirrors the University of Georgia’s. For decades, the proceeds from the evening have provided vital funding to support the museum’s programs, but the global pandemic that hit Georgia in March 2020 obvious- ly meant that it couldn’t go ahead as planned. Instead, museum staff focused on how to reallocate funds to acquire hand sanitizer, antibacterial wipes, webinar-enabled Zoom capabilities, urgent technological upgrades, supplies for Art at Home kits and more so that we could safely reopen to the public while remaining committed to our mission. Arts organizations have and will continue to struggle. Our museum is among them, despite the fact that we are fortunate to benefit from the support of the citizens of the state of Georgia, and its flagship university, as the offi- cial state museum of art. For years, we have discussed the

possibility of an endowment designed specifically to help support the everyday operations of the museum and its programs. The most recent budget reduction we are navigating, which is likely not to be the last, makes this conversation more relevant than ever in order to pre- serve our standing as one of the most important univer- sity museums in the country. We have and will always need private support for exhi- bitions, catalogues, outreach, year-round educational programs and acquisitions to complement our per- manent collection. But now, more than ever, we need a source of funding for postage, telephones, printing and other less exciting but no less vital necessities that enable us to continue to provide free inspiration to all. So, this year, instead of a gala and the fundraising effort typically associated with the evening, we ask you to join us in a very different, but no less urgent, legacy effort. In two years, the museum will celebrate its 75th anni- versary or “diamond” anniversary, a fitting one given that diamonds can withstand tremendous pressure.

As we draw near this milestone 75th anniversary, we urge you to join us in perhaps our most important initiative with your commitment to the Georgia Museum of Art: Fund for the Future Endowment .

DONORS

Marilyn & Dick Berkowitz Jeanne Berry Cassie and David Bryant Clay Bryant Lacy Middlebrooks Camp & Tom Camp Betty Jo & Andy Currie Kathy & David Dorough Betsy & Mark Ellison Todd Emily & Brandon Reinhart Kira Epstein & Ben Brainard Teresa & Charlie Friedlander Peggy & Denny Galis Kent D. Garbee Karen & Andrew Ghertner Susan & Claiborne Glover Barbara Guillaume

Cyndy Harbold & Charles Kauderer

Agnes Robertson Jan Roush Sally & Corky Sams Lauren & Matthew Schlesinger

Bree & Richard Hayes Jane and Bruce King Liz and Andrew Littlejohn Virginia Macagnoni Brenda & Ham Magill Becky & David Matheny Marilyn & John McMullan Ibby & Jimmy Mills Gloria Norris Deborah & Dennis O’Kain Sherrie & Steve Olejnik

Gail & Henry Smith Margaret Spalding Dudley Stevens Gloria Ricks Taylor Anne Wall Thomas

Brenda & Larry Thompson Trina Johnson von Waldner Cece and David Warner Mary Lillie & Ray Watson Tom Wilfong Geri Williams Peg & Norm Wood Gregory Ann & Buck Woodruff

Sylvia & Clif Pannell Jinx & Gordhan Patel Sarah & Chris Peterson Jean & Red Petrovs Kathy Prescott & Grady Thrasher

Our director’s vision for our next 75 years, and beyond, is a museum that is capable of providing groundbreaking exhibitions, producing relevant scholarship in the visual arts, serving as a teaching resource for our campus and community and, equally important, continuing to be a place of enjoyment and inspiration, regardless of the pressures under which we find ourselves. We also must be able to continue with the everyday operation of the museum and continue to expand our offerings to a new and quickly expanding virtual audience so that we remain relevant in an ever-changing world. As we draw near this milestone 75th anniversary, we urge you to join us in perhaps our most important initiative with your commitment to the Georgia Museum of Art: Fund for the Future Endowment. This multi-year endow- ment campaign’s initial goal of $1 million will ensure that the annual interest can provide much needed stability and immediate support for the daily operations of the museum.

It also provides a fitting legacy for our director, William Underwood Eiland, who has spent three decades leading the museum to national and international prominence. We are grateful to the board of directors of the Friends of the Museum and for a bequest from the estate of Martha T. Dinos. These combined gifts totaling $250,000 enabled us to begin fundraising immediately. Our 2021 Elegant Salute co-chairs Isobel Parker Mills and Mary Lillie Watson also generously agreed to shift their efforts and serve as co-chairs of the endowment campaign, with Ham Magill, David Matheny and Gordhan Patel serving as fundraising co-chairs. As a result of their efforts, we have reached a total of $500,000 toward the initial goal of $1 million, with gifts continuing to arrive. We congratulate them on their success so far and have every confidence that they will surpass our goal with your help.

To contribute to the Fund for the Future, you can either visit https://bit.ly/fundforthefuture or mail a check to: Georgia Museum of Art, Fund for the Future, 90 Carlton St., Athens GA 30602. Checks made payable to UGA Foundation.

A portfolio of 10 serigraphs after original works by Sophie Taeuber-Arp are the first works by the artist to enter the museum’s collection.

SOPHIE TAEUBER-ARP

This major acquisition was made possible by the generous support of the Daura Foundation. It adds to our understanding of Cercle et Carré, a group of artists and writers active in Paris in the 1930s, which included Pierre Daura and Taeuber-Arp among others. Her participation in this short-lived but significant group is one of the many highlights of her career. She was also a member of the group Abstraction- Création and the founder and editor of the periodical “Plastique/Plastic.” Taeuber-Arp was born in Switzerland and was a multidisciplinary artist, dancer and performer. She began her training as a textile designer and expanded her interest to paint- ing, sculpting, architecture, furniture making and more. She was married to and somewhat eclipsed by the artist Jean Arp, who acknowl- edged his wife’s talent and her influence on his work. Taeuber-Arp became a key figure of European abstraction, embracing pure com- positions of color, line and geometric forms. Our newly acquired serigraphs, based on works created in the 1930s, illustrate the core of her practice. Forced to exile during World War II, the Arps fled Nazi-occupied Paris for the South of France in 1940. They returned to Zurich in 1942; soon after, Taeuber-Arp died of accidental carbon monoxide poisoning due to a malfunctioning stove. The artist has experienced renewed interest in the past years, which will culminate with a retrospective of her life and career presented at the Kunstsmuseum Basel in Switzerland, the Tate Modern in London and the Museum of Modern Art in New York in 2021 – 22.

Nelda Damiano Pierre Daura Curator of European Art

MOTHER MONUMENT

All works by Sophie Taeuber-Arp (Swiss, 1889– 1943) from an untitled portfolio of 10 prints after original works by Taueber-Arp, 1957. Color serigraphs on heavy paper. Georgia Museum of Art, University of Georgia; Museum purchase with funds provided by Martha R. Daura. “Composition à rectangles, carrés et carré de cercles.” GMOA 2020.44.10. “Composition à rectangles, cercles, carré et carré de cercles.” GMOA 2020.44.7. “Deux cercles, deux plans et lignes croisées.” GMOA 2020.44.5. “Composition à cercles.” GMOA 2020.44.11.

new ACQUISITIONS

CHARLES RICKARBY MILLER

m iller gained recognition through watercolors of the Hudson River Valley, which he sold through the American Art- Union and exhibited at the National Academy of Design, and later through work as an illustrator for weekly magazines like Gleason’s and Frank Leslie’s. Throughout his career Miller also painted myriad studies of fruit in nature — especially peaches — inspired by the plant life he saw on his many sketching trips. These works are a prime example of trompe l’oeil still-life painting, an important artistic tradition in the US, where dazzlingly three-dimensional objects from everyday life often appear together on illusionistic tabletops. This recent acquisition, “Study of Peaches from Nature,” fills an important gap in the museum’s collection of 19th-century art. In Miller’s painting, two peaches sit side by side, a sprig of leaves artfully perched above them and a lone leaf dangling over the edge of a wooden table, which recedes into a shadowy gray background. The work is at once a masterfully convincing translation of ordinary objects into paint as well as a scientific examination of the peach as an organic form. Alongside the branch and leaves of a peach tree we see two encompassing views of this fruit (one from the side, one from the bottom), arranged like a naturalist might have done in attempting to document the flora and fauna of North America.

The son of a British landscape painter,

WilliamRickarby Miller immigrated to the United States in 1844, eventually settling in New York City.

William Rickarby Miller (American, 1818 – 1893), “Study of Peaches from Nature,” 1863. Oil on board, 5 3/4 × 8 1/2 inches. Georgia Museum of Art, University of Georgia; Museum purchase in memory of Michael Karl Malcom. GMOA 2020.89. Eugène Louis Boudin (French, 1824 – 1898), “Le Bassin de l’Eure au Havre,” 1893. Oil on canvas, 28 5/8 × 19 1/4 inches. Georgia Museum of Art, University of Georgia; Gift of Charlie and Teresa Friedlander in honor of his parents Jacqueline S. and Matt Friedlander. GMOA 2020.115.

It is an honor to add this painting to the Georgia Museum of Art’s collection in memory of friend and supporter Michael Karl Malcom.

Jeffrey Richmond-Moll Curator of American art

EUGÈNE BOUDIN

e ugène Boudin is best known for his resorts. He grew up in the port city of Honfleur, in Normandy, working on his father’s ship and, later, in a stationery and framing store. This job allowed Boudin to meet painters working in the area who encouraged him to pursue an artistic career. He followed their advice and went to Paris in his 20s to study painting. Establishing a steady routine, he spent his summer in the coastal towns of Nor- mandy and Brittany, sketching outdoors. He then used those studies to produce highly marketable The recent gift of this beautiful canvas is a key addition to our collection. Now hanging in our permanent galleries, it offers visitors a major depictions of harbors, sailors, fishermen and fashionable vacationers at beach milestone in the development of French landscape painting.

paintings like this one in his Paris studio during the winter. His keen observation of the varying atmospheric conditions foreshadowed impression- ism and influenced the young Claude Monet, who painted alongside Boudin in the Havre. The Havre, one of Frances’s most important ports, became a main feature in Boudin’s numerous seascapes early on in his career. Its dramatic and infinite views enabled Boudin to focus on the ever-changing sea and sky. In fact, his reputation for his sensitive and lifelike representation of the elements led artist Jean- Baptiste-Camille Corot (1796 – 1875) to refer to Boudin as “le roi des cieux” (“the king of the skies”). This was no small compliment as Corot was a pivotal figure of 19th-century landscape painting. Boudin exhibited regularly at the Paris Salon (the official art exhibition sponsored by the French government) and participated in the first impressionist exhibition in 1874. Today, examples of his work are held in museum collections around the world.

Nelda Damiano Pierre Daura Curator of European Art

supporting our DECORATIVE ARTS STUDENTS

Both Linda Chesnut, our long-time chair of the museum’s Decorative Arts Advisory Committee (DAAC), and her husband, David, have been stalwart supporters of our decorative arts program. w HAT YOU MAY NOT KNOW know is that that support now extends to students studying decorative arts with us. In 2020, the Linda Crowe Chesnut Student Award was established, going annually to a student who has demonstrated excellence in research and study of the decorative arts or a closely allied field. Gifts like this one that allow us to pay or otherwise compensate our students help us move away from volunteer positions and toward greater diversity in the field. This award can be given not just for excellence in research and study, but also for contributions to exhibition design and mounting or research and editing in service to the museum or sustaining a passionate interest in the field of decorative arts. Recipients may be either a current University of Georgia student (graduate or undergraduate) or a recent UGA graduate and receive an unconditional honorarium of $500 as well as the opportunity to apply for $500 in travel funds. Up to two students per calendar year may receive it. This goal of the award is to gird future interest and participation in decorative arts in Georgia, which makes it appropriate that it bear Linda Chesnut’s name. Chesnut was the first graduate of all three tracts of the Institute for Southern Material Culture, holds a master’s degree in design from Georgia State University and has been a scholar, supporter and enthusiast of southern decorative arts over her lifetime. She has received awards for her work to promote Georgia decorative arts including the museum’s M. Smith Griffith Volunteer of the Year Award, a Georgia Governor’s Award in the Humanities and the Henry D. Green Lifetime Achievement Award for the Decorative Arts. Recently retired curator of decorative arts Dale L. Couch wrote, in his nomination of Chesnut for the latter, that she “has been instrumental in preserving Georgia’s material culture and seeing that that culture was shared with scholars and the

Linda Chesnut with museum director William U. Eiland.

public alike. She has participated in every major exhibition of Georgia material since 1980, including those of the Atlanta Historical Society and the High Museum of Art.” He added, “As a component in the decorative arts establishment, she is invaluable and continues to contribute to it in many ways. She is unassuming and eschews a public presence but works tirelessly in the background for the success of this state’s preservation and study of its decorative art, architecture and material culture.” The first two recipients of the Linda Crowe Chesnut Student Award, this past year, were Chason Dean and Charlotte Gaillet . Dean is a recent UGA graduate (in finance!), who was introduced to us through the exhibition “Modern Living: Giò Ponti and the 20th-Century Aesthetics of Design.” Since then, he has taken a passionate interest in Georgia’s material culture, participating in most programs at the Green Center and developing remarkable connoisseurship. He has already made important discoveries in Georgia decorative arts and was a lender to the exhibition “Material Georgia.” Couch says, Dean “is a brilliant example of how students with different academic backgrounds and career aims can benefit from life enrichment with the humanities and the museum in particular.” Charlotte Gaillet is a second-year master’s candidate in American art history at UGA, with a thesis underway that examines the impact of World War I on the artist Imogen Cunningham. She is currently an intern at the museum, where she works with decorative arts and material culture. She is also a graduate assistant at the Lamar Dodd School of Art and serves as president of its Association of Graduate Art Students. She will attend the 2021 Museum of Early Southern Decorative Arts Summer Institute program, where she will research decorative arts within the Chesapeake area. She also read a paper at the 2020 Green Symposium interpreting a document recording landscape flowers in use in Savannah in the 19th century. In short, both Dean and Gaillet are studying Georgia decorative arts with the same zeal and focus as Chesnut has, following in her dedicated footsteps. We know that future recipients of the award will do the same, and we are excited to work with them.

museum notes

Staff Notes Rylee Meyer , the museum’s special events coordinator, has left her position due to her husband, Greg Meyer, being hired as special teams coordinator with the University of Southern Mississippi. With in-person events on hold due to the pan- demic, Rylee had taken on new responsibilities, working with the curators even as she prepared for private events to start back up in the future. Awards The museum received the 2020 Mary Ellen LoPresti Award for exhibition catalogues from the Southeast Chapter of the Art Libraries Society of North America (ARLIS/NA). The LoPres- ti Award normally goes to one scholarly publication and one exhibition catalogue, but two books from the museum tied for the latter award: “Deborah Roberts: The Evolution of Mimi” (published with the Spelman College Museum of Fine Art and now out of print) and “Material Georgia 1733 – 1900: Two Decades of Scholarship.”

Ouida H. Williams American (1942 – 2020), untitled, 2004. Acrylic on canvas. Collection of Kathy Prescott and Grady Thrasher.

In the Galleries Ouida Williams, who died last year, is known for her vibrant and dynamic work. One of her works is on view in the M. Smith Griffith Grand Hall through the end of June. A Georgia native, Williams received her master of fine arts degree from UGA. Through her spirited use of color and composition, she was determined to share with us her cu- riosity and openness to the world around her. Upstairs, near the entrance to the permanent collection wing, you’ll find Bo Bartlett’s painting “Leviathan,” on view through June 20 in conjunction with the exhibi- tion “Extra Ordinary: Magic, Mystery and Imagination in American Realism.”

in the shop The Museum Shop is always excited to feature the work of Georgia artisans and craftspeople. Our current selection offers a bounty of beautiful, hand-crafted jewelry, housewares, decor and other unique gift items.

gifts

The Georgia Museum of Art received the following gifts between October 1 and December 31, 2020.

In honor of William U. Eiland by Betty Robertson and Patricia & Tom Wright In honor of Annelies Mondi by Bill Paul, Betty Robertson and Patricia & Tom Wright

Thomas, Barbara & John Timmons Jr., Camilla Watson, Peg & Norm Wood and Julie Yates

Copper & Torch (Marietta) Raven Black vintage lace necklace ($50)

In memory of William Power by Suzanne & Allen King

In memory of Honey Scheidt by William Underwood Eiland

In memory of Andrew Ladis by Patricia & Tom Wright

In memory of John Scoggins by William Underwood Eiland

In memory of Mike Malcom by Judy & John Bunn Hill and Gloria Norris In memory of C.L. Morehead by Gloria Norris and Patricia & Tom Wright In memory of Ed Myrtle by Carol & John Cuff, Carol & Richard Dolson, William Underwood Eiland, Michele Fleischacker & Mike Bucholtz, Jane Johnson, Suzanne & Allen King, Judy Masters, Dan Minor, Gloria Norris, Jinx & Gordhan Patel, Kendra Pippin, Kathy Prescott & Grady Thrasher, Ann Stearn, Frances & Marty

In memory of Doris Shaheen by William Underwood Eiland and Fred Norton

Jack Rabbit Creations (Atlanta) Down on the Farm wooden playset ($36)

In memory of Virginia Shields by William Underwood Eiland

Blue Poppy Designs (Savannah) dough bowl candle ($45)

In memory of Louise Dunn Gibson Wansley by William, Stevi & Elizabeth Wansley In memory of Ouida Williams by William Underwood Eiland and Kathy Prescott & Grady Thrasher

Forestique (Peachtree Corners) quill pen ($25)

Cameoko (Atlanta) Ruby Fuchsite earrings ($45)

CALENDAR CALENDAR CALENDAR CALENDAR

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All events are virtual unless otherwise indicated. Check our website and social media channels for sign-up links and the most up-to-date information.

VIRTUAL TOURS AND GALLERY TALKS

LECTURES + PANEL DISCUSSIONS

SPECIAL EVENTS

SLOWARTDAY Saturday, April 10, 2 – 3:30 p.m.

Keep an eye on our website/social media channels for additional virtual tours and video gallery talks by museum staff.

ARTIST TALK: BO BARTLETT Thursday, April 1, 1 p.m.

Slow Art Day is an event celebrated around the world that invites you to take a moment to look, linger and enjoy the unique experiences the visual arts offer us. We’ll slow down and look at outdoor sculptures at the museum and then complete a “slow art” activity outside (appropriate for all levels). Masks and social distancing required. Program is free, but space is limited. To make a reservation, email sagekincaid@uga.edu or call 706.542.8863 THIRDTHURSDAY Thursday, April 15, May 20 and June 17, 6 – 9 p.m. Eight of Athens’ established venues for visual art hold Third Thursday, an event devoted to art in the evening hours, on the third Thursday of every month. The Georgia Museum of Art, the Lamar Dodd School of Art, Lyndon House Arts Center, Glass Cube & Gallery@Hotel Indigo- Athens, Ciné, the Classic Center, ATHICA and CCBC Gallery at Creature Comforts Brewing Company will be open to showcase their visual-arts programming. Full schedules are posted at 3Thurs.org. 5TH-ANNUAL POP-UP ARTISTS’ MARKET Saturday, April 24, 10 a.m. – 3 p.m. Stan Mullins Art Studio, 650 Pulaski Street, Athens The Georgia Museum of Art’s Student Associa - tion hosts its annual gallery and artist market event, featuring a variety of art and hand- made goods by student and community artists. Masks and social distancing are required at all times for attendees and vendors. Rain or shine.

Join artist Bo Bartlett (based in Columbus, Georgia) and Jeffrey Richmond-Moll, curator of American art, for a virtual artist’s talk and conversation about Bartlett’s painting “Levi- athan” (2000), currently on loan from the Bo Bartlett Center and on display at the museum through June 20. ANGELAMILLER: “FRIENDS AND RELATIONS: THE QUEER SYMBOLIC REALISTS OF THE LINCOLN KIRSTEIN CIRCLE” Thursday, April 22, 1 p.m. Angela Miller, professor of art history and archaeology at Washington University in St. Louis, will give a Zoom lecture in conjunction with the exhibition “Extra Ordinary: Magic, Mystery and Imagination in American Real - ism.” This lecture traces the shared interests — aesthetic, romantic and philosophical — that brought together three artists who enjoyed the support and patronage of Lincoln Kirstein, founder of the New York City Ballet. What did the paintings and photographs of Paul Cadmus, Jared French and George Tooker share with others in the magic realist mode in the years around World War II?

ARTFUL CONVERSATION These Zoom programs are 30 minutes long, focus on just one work of art and provide opportunities for open-ended dialogue and discovery. Space is limited. Register in advance o n our website. • Wednesday, April 14, 1 p.m. Eldzier Cortor’s “Southern Landscape,” 1941, with Emily Hogrefe-Ribeiro, assistant curator of education • Wednesday, May 5, 1 p.m. Leonard Everett Fisher’s “Coney Island,” 1949, with Callan Steinmann, curator of education

• Wednesday, June 16, 1 p.m. “Saint Catherine of Alexandria,” with Sage Kincaid, associate curator of education

CURATOR TALK: “MODERNISM FORETOLD: THE NADLER COLLECTION OF LATE ANTIQUE ART FROM EGYPT” Thursday, April 15, 1 p.m.

Asen Kirin, Parker Curator of Russian Art, will give a Zoom talk about works in the exhibition.

COFFEEWITH THE CURATORS: NELDA DAMIANO AND JULIA KILGORE Tuesday, April 27, 1 p.m.

Grab a coffee and join us via Zoom for a lively conversation with Nelda Damiano, Pierre Dau- ra Curator of European Art, and Julia Kilgore, Pierre Daura Curatorial Research Assistant. The two will chat about the exhibition “Power and Piety in 17th-Century Spanish Art,” on view through November 28, 2021.

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MOTHER’S DAY AT THE MUSEUM: TOUR FOR TWO May 6 – 9 Visiting the museum with someone special makes the experience even more fun. Join a loved one for a self-guided tour with a gallery guide developed by museum education staff. Explore the galleries at your own pace while sharing stories about favorite family memo- ries. After completing the tour, pick up your free copy of this year’s NEA Big Read book, Roz Chast’s “Can’t We Talk About Something More Pleasant?” The NEA Big Read is a pro - gram of the National Endowment for the Arts in partnership with Arts Midwest.

HOMESCHOOL DAY TO-GO: MID-CENTURY AMERICA Friday, April 23

WORKSHOPS AND CLASSES

Explore American history from 1930 to 1970 through works of art from the exhibition “Ex- tra Ordinary: Magic, Mystery and Imagination in American Realism.” This program includes a self-guided tour of the exhibition and a free take-home kit that includes art supplies with instructions and worksheets that teach Geor- gia Standards of Excellence in social studies and visual arts. Sign up for timed tickets to visit on the museum website. Questions? Email sagekincaid@uga.edu FAMILY DAY TO-GO: MAGIC REALISM Saturday, May 15 Magic realists paired realism with fantasy to create mysterious works of art. Check out paintings from this exhibition that explore the strangeness and wonder of everyday life, then make your own extraordinary collage at home using a free Family Day To-Go kit. The kit includes a guide and art supplies and can be picked up from the museum Thursday – Sunday the week of the event. TEEN STUDIO VIA ZOOM: MAGICAL MYSTERY Thursday, May 20, 5:30 – 7:30 p.m. Teens ages 13 – 18 are invited to this studio- based Zoom workshop led by local artist and educator Kristen Bach. Check out the mystery and imagination of magic realism paintings, and then create your own magical work of art. This program is free, but art supply kits are limited. Please email sagekincaid@uga.edu to register.

MORNINGMINDFULNESS Friday, April 2, 16 and 30; May 14 and 28; June 11 and 25, 9:30 a.m. The Georgia Museum of Art invites you into the galleries via Zoom to participate in free guided mindfulness meditation sessions. Sessions include a variety of instructor-led meditation, movement and mindfulness tech- niques. No experience necessary. YOGA IN THE GALLERIES Thursday, April 15, May 20 and June 17, 6 p.m. Join us via Zoom for a free livestreamed yoga class surrounded by works of art in the galleries. Led by instructors from Five Points Yoga, this program is free and open to both beginner and experienced yogis. DRAWING IN THE GALLERIES Sunday, May 9, 2 – 3:30 p.m. Experience the pleasure of drawing in the museum’s galleries. This in-person workshop provides drawing instruction, supplies and enough space to socially distance. Partici- pants will always be at least 6 feet apart, and all supplies are sanitized. Program is free but space is limited; to reserve a spot email sagekincaid@uga.edu. ART + WELLNESS STUDIO Sunday, June 13, 2 – 4 p.m. The therapeutic benefits of art can offer a welcome respite. By looking at, making and talking about art, studies show that we can increase our sense of well-being. Join us as we explore art and create something won- derful together. Program is free but space is limited; email sagekincaid@uga.edu to reserve a spot.

YOUTH AND FAMILY PROGRAMS

Family Day art kits are sponsored by Heyward Allen Motor Co., Inc., Heyward Allen Toyota and the Friends of the Georgia Museum of Art

FAMILY DAY TO-GO: EARTH DAY Saturday, April 10 Earth Day is a global movement that cele- brates protecting the environment. Check out environmental art by Patricia Leighton, plant an oak tree and then create your own mini plant sculpture at home using a free Fam- ily Day To-Go kit. The kit includes a guide, an oak sapling and art supplies. Kits can be picked up from the museum Thursday – Sunday the week of the event. TODDLER TUESDAY TO-GO Enjoy looking at art and storytime in the galleries online, and then complete an Art an Home activity just for the little ones. This free program is designed for families with children ages 18 months to 3 years and is uploaded to our website on the day indicated. • Tuesday, April 20: Earth Day • Tuesday, May 25: “Extra Ordinary” • Tuesday, June 22: Past and Present

FAMILY DAY TO-GO: ART OF ANTIQUITY Saturday, June 12

The Coptic art in this exhibition was made over 1,500 years ago. Check out carved lime- stone reliefs and intricate bone sculptures and then make your own carving at home using a free Family Day To-Go kit. The kit includes a guide and art supplies and can be picked up from the museum Thursday – Sunday the week of the event.

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