image above: MAURICE PRENDERGAST (American, 1858–1924) Picnic by the Sea, 1913–15. Oil on canvas. Collection of Milwaukee Art Museum; Gift of the Donald B. Abert Family in his memory, by exchange, M1986.49. Photo by Efraim Lev-er
Milwaukee Art Museum
Convoy of Wounded: An Artist's Experience of War through March 26, 2023 Edouard Castres’s painting Convoy of Wounded (Franco-Prussian War 1870) received wide acclaim after its display at the 1872 Paris Salon. A citizen of neutral Switzerland and member of the newly formed International Red Cross, Castres (1838–1902) was uniquely positioned to capture the humanitarian disaster that occurred toward the end of the Franco-Prussian War, which lasted 10 months. The French had suffered a decisive defeat by a coalition of German states, and French troops were allowed to enter Switzerland as refugees. Castres and the conflict that inspired the painting are brought into critical focus in this exhibition. Different views of this significant turning point in European history are explored through related periodicals and decorative arts made in response to the conflict. |
Edouard Castres (Swiss, 1838–1902), Convoy of Wounded (Franco-Prussian War 1870), 1870/71.
Oil on canvas. Layton Art Collection Inc., Gift of Frederick Layton L1894.1. [Photo by John R. Glembin] |
Art Institute of Chicago
Face Mask, 20th century
Probably Ubi; Côte d’Ivoire. Private collection, Belgium. Photo by Hughes Dubois |
The Language of Beauty in African Art
through February 26, 2023 This presentation of more than 250 sculptures from dozens of distinct cultures across the African continent is an exploration that seeks to decolonize the Western aesthetic standards long placed on these objects and to elevate the local indigenous perspectives of the works’ makers and communities. When Westerners began to collect and study African art in the early 20th century, they admired objects for a range of perceived qualities; however, they rarely if ever took into account any form of local appreciation, value, or criticism. Western scholarship consequently made many assumptions—some correct and some not—about how visual aspects, like size, rare materials, and embellishments, translated into value in the source cultures. The Language of Beauty—while acknowledging this narrow historical assessment of African art—focuses instead on showcasing the aesthetic evaluations of the communities and makers who produced the works. Many sub-Saharan cultures share similar criteria for beauty: symmetry and balance, moderation, clarity, and youthfulness. Such determinations, however, go beyond the visual and overlap with an object’s meaning and function. Beauty is often tied to goodness and ugliness to immorality. These connections are especially apparent in sculptural representations of the human form, particularly idealized images of powerful men—usually equestrians or warriors—and caring women, typically shown as mother-and-child figures. Beautiful art often plays a role in interactions between the material world of humans and the immaterial world of spirits. Individuals facing illness and other adversity, for example, may attempt to honor or entice the spirits with sculpted human figures featuring elaborate hairstyles or body modifications that are the result of human intervention. The Language of Beauty in African Art is curated by Constantine Petridis, chair and curator of Arts of Africa at the Art Institute of Chicago. A fully illustrated catalogue accompanies the exhibition and features essays by Petridis as well as other top scholars in the field. |