|
MILWAUKEE ART MUSEUM
Americans in Spain: Painting and Travel, 1820–1920 June 11–October 3, 2021 Americans in Spain: Painting and Travel, 1820–1920 is the first major exhibition to focus on the influence of Spanish art and culture on American painting. During the nineteenth century, artists increasingly added Spain to their European tours to study the masterworks in the Prado Museum and to capture the country’s scenic charms and customs. The exhibition features artists and movements that expand upon areas of particular strength in the Museum’s collection, including artists of the Ashcan Circle and the Eight, as well as major canvases by Mary Cassatt, William Merritt Chase, Robert Henri, and John Singer Sargent. Also among the highlights are Sargent’s famous Carmencita (1890) from the Musée d’Orsay; a newly discovered painting by Mary Cassatt from a Madrid private collection never before shown in the United States; and Spanish old masters on loan from the Prado Museum that American painters copied. The exhibition’s more than 100 paintings, photographs, and prints are presented chronologically and organized to emphasize migration, tourism, and travel in nineteenth-century Spain. Additional themes include the romance and the reality of old Spain; Spanish old masters and American copyists at the Prado Museum; Spanish architecture, gardens, and landscapes; Spain’s Islamic history; and the critical and popular responses to American artists’ work. This exhibition is co-organized by the Milwaukee Art Museum and the Chrysler Museum of Art. |
|
Illinois State Museum --Springfield
Ancestral Threads: The Fiber Art of Sherise Wright
May 28, 2021 to September 15, 2021
Ancestral Threads: The Fiber Art of Sherise Wright celebrates the art and tradition of African American quilting through the work of the late Calumet City, Illinois fiber artist Sherise Marie Wright.
Wright learned to quilt from her great-grandmother. At three years old, she found herself enamored by the beautiful colors of fabric and the way they sprawled across the floor. With encouragement from her great-grandmother, she continued the legacy of Black needlework on her own. Wright later said, “My overall goal as a fiber artist is to create quilts that resonate with my spirit and soul. My quilts are a diary of my heart and spirit.”
“We are honored to present the fiber art of Sherise Wright, which explores her life as an educator, nature lover, and Black artist,” said Illinois State Museum Director Cinnamon Catlin-Legutko. “The beautifully intricate textiles capture snapshots of Wright’s inspirations. At the same time, Wright’s words that accompany each piece bring her art to life.”
May 28, 2021 to September 15, 2021
Ancestral Threads: The Fiber Art of Sherise Wright celebrates the art and tradition of African American quilting through the work of the late Calumet City, Illinois fiber artist Sherise Marie Wright.
Wright learned to quilt from her great-grandmother. At three years old, she found herself enamored by the beautiful colors of fabric and the way they sprawled across the floor. With encouragement from her great-grandmother, she continued the legacy of Black needlework on her own. Wright later said, “My overall goal as a fiber artist is to create quilts that resonate with my spirit and soul. My quilts are a diary of my heart and spirit.”
“We are honored to present the fiber art of Sherise Wright, which explores her life as an educator, nature lover, and Black artist,” said Illinois State Museum Director Cinnamon Catlin-Legutko. “The beautifully intricate textiles capture snapshots of Wright’s inspirations. At the same time, Wright’s words that accompany each piece bring her art to life.”
Art Institute of Chicago
MONET'S CHICAGO
thru June 14 , 2021
From the 1880s on, Chicago welcomed the “Father of Impressionism” with open arms. When Monet’s paintings first appeared alongside his contemporaries’ in a Chicago gallery in 1888, he was singled out for praise by the press. And when his works were shown in the city again as part of the last Inter-State Industrial Exposition in Chicago (also known as the “American Salon”) in 1890, they not only captured the eye of local collectors—they ignited a collective passion.
In 1891, Bertha and Potter Palmer acquired some 20 paintings by Monet—including several from the Stacks of Wheat series—a fraction of the 90 canvases they would come to own. That year, Martin A. Ryerson, who served as a trustee and eventual vice-president of the Art Institute, bought his first of many paintings by the artist. As president of the Board of Lady Managers for the 1893 World’s Columbian Exposition, Bertha oversaw the creation of the Woman’s Building. The international fair, which featured an exhibition of 129 works from American private collections, including four paintings by Monet, showcased a city still reimagining itself after the Great Fire of 1871 and one eager to embrace not only the technology but the aesthetics of modernity. And who had a more modern artistic vision than Monet?
Inspired by these influential tastemakers, private groups and collectors eagerly followed their lead. In 1895, the Union League Club of Chicago purchased Apple Trees in Blossom (1872), which was also shown at the Art Institute that year in the exhibition 20 Works by Claude Monet, the artist’s first solo show at a museum in the United States. In 1903, the Art Institute became the first American museum to purchase one of Monet’s paintings and in the decades that followed, the museum’s collection grew thanks to generous gifts from several donors, including Annie Coburn, former two-time Chicago Mayor Carter Harrison Jr., the Searle family, and others. In keeping with the theme of firsts, Monet and Chicago is the first exhibition to explore Chicago’s pioneering connection to the great Impressionist artist.
thru June 14 , 2021
From the 1880s on, Chicago welcomed the “Father of Impressionism” with open arms. When Monet’s paintings first appeared alongside his contemporaries’ in a Chicago gallery in 1888, he was singled out for praise by the press. And when his works were shown in the city again as part of the last Inter-State Industrial Exposition in Chicago (also known as the “American Salon”) in 1890, they not only captured the eye of local collectors—they ignited a collective passion.
In 1891, Bertha and Potter Palmer acquired some 20 paintings by Monet—including several from the Stacks of Wheat series—a fraction of the 90 canvases they would come to own. That year, Martin A. Ryerson, who served as a trustee and eventual vice-president of the Art Institute, bought his first of many paintings by the artist. As president of the Board of Lady Managers for the 1893 World’s Columbian Exposition, Bertha oversaw the creation of the Woman’s Building. The international fair, which featured an exhibition of 129 works from American private collections, including four paintings by Monet, showcased a city still reimagining itself after the Great Fire of 1871 and one eager to embrace not only the technology but the aesthetics of modernity. And who had a more modern artistic vision than Monet?
Inspired by these influential tastemakers, private groups and collectors eagerly followed their lead. In 1895, the Union League Club of Chicago purchased Apple Trees in Blossom (1872), which was also shown at the Art Institute that year in the exhibition 20 Works by Claude Monet, the artist’s first solo show at a museum in the United States. In 1903, the Art Institute became the first American museum to purchase one of Monet’s paintings and in the decades that followed, the museum’s collection grew thanks to generous gifts from several donors, including Annie Coburn, former two-time Chicago Mayor Carter Harrison Jr., the Searle family, and others. In keeping with the theme of firsts, Monet and Chicago is the first exhibition to explore Chicago’s pioneering connection to the great Impressionist artist.
Saint Louis Art Museum
Nubia: Treasures of Ancient Africa
April 18–August 22, 2021
With works spanning more than 2,000 years, Nubia: Treasures of Ancient Africa offers insights into the kingdoms that inhabited what is today the Sudanese Nile Valley. Although frequently overshadowed in the public imagination by its northern neighbor Egypt, ancient Nubia has a long and glorious past. There, a series of civilizations flourished for more than 6,000 years. Nubia’s location made it a strategic link between central and eastern Africa, western Asia, and the Mediterranean, but its history was often misinterpreted. Through a majestic display of art and objects, this exhibition offers new ways of understanding Nubia’s history and contemporary relevance.
The exhibition presents the Nubians’ artistic achievements, including magnificent jewelry, pottery, sculpture, metalwork, and more and showcases the collection of the Museum of Fine Arts, Boston. Through Nubian art, the exhibition examines concepts of power, representation, and cultural bias in the ancient world, in the early 20th century, and today.
April 18–August 22, 2021
With works spanning more than 2,000 years, Nubia: Treasures of Ancient Africa offers insights into the kingdoms that inhabited what is today the Sudanese Nile Valley. Although frequently overshadowed in the public imagination by its northern neighbor Egypt, ancient Nubia has a long and glorious past. There, a series of civilizations flourished for more than 6,000 years. Nubia’s location made it a strategic link between central and eastern Africa, western Asia, and the Mediterranean, but its history was often misinterpreted. Through a majestic display of art and objects, this exhibition offers new ways of understanding Nubia’s history and contemporary relevance.
The exhibition presents the Nubians’ artistic achievements, including magnificent jewelry, pottery, sculpture, metalwork, and more and showcases the collection of the Museum of Fine Arts, Boston. Through Nubian art, the exhibition examines concepts of power, representation, and cultural bias in the ancient world, in the early 20th century, and today.