POSTED BY Guest Blogger, ON June 05, 2015, Comments Off on Paintings Make the Best Tour Guides
In the wildly popular HBO television series Game of Thrones, the dramatic landscapes match the high drama that plays out on screen. Many of the show’s most memorable scenes are shot on location in Northern Ireland—its rugged terrain, remote beaches, romantic ruins, and tempestuous weather offer the ideal setting for the often grim but always thrilling fantasy. Fans of the show from around the world have taken note and are flocking to key film sites, spurring a robust tourism industry.
That seeing a beautiful vista on screen might make you want to experience the place for yourself is hardly surprising, and thanks to success stories like Game of Thrones in Northern Ireland and The Lord of the Rings and The Hobbit trilogies in New Zealand, travel marketers and tourism boards the world over are looking to brand through television and movies. But long before the advent of film, savvy artists and entrepreneurs marketed Ireland’s scenic beauty to well-heeled travelers through paintings, engravings, and even cartographic board games, examples of which can be seen in Ireland: Crossroads of Art and Design, 1690–1840.
Early views of Ireland in art were generally detailed drawings of major cities and ports made by draftsmen and mapmakers, but by the mid-eighteenth century, a growing appreciation for nature and a rising interest in landscape aesthetics saw an increase in site-specific works of the Irish countryside.
Landowners often commissioned paintings depicting the scenery around their stately homes. In the case of the view of Killarney shown above, local landowner Lord Kenmare and the self-taught artist Jonathan Fisher collaborated to produce a series of large paintings, which Fisher then turned into a book of engravings called A Picturesque Tour of Killarney. The book included specific instructions on how to view the lake from the best possible vantage points and was in high demand with both wealthy sightseers and those who could not make it to Killarney but sought a vicarious experience.
Another tourist locale in eighteenth-century Ireland made more popular by picturesque engravings was the Giant’s Causeway, a geological wonder on the island’s northeast coast in what is now Northern Ireland. The engravings seen below are based on paintings by Irish artist Susanna Drury, who is said to have spent three months living in the Causeway area while she completed her meticulous pictures. The equally-detailed engravings by François Vivares received wide European circulation.
Ireland’s popularity as a tourist destination was made manifest when Walker’s Tour through Ireland: A New Geographical Pastime was published in 1812. This map board game had players take turns progressing around the country from Dublin by spinning a top-like device called a totum and following a carefully constructed route of what were deemed the island’s must-see towns, estates, and landscapes. To win, a player had to land directly on place number 113, the “bold and romantic” Giant’s Causeway.
Whether eighteenth-century painters or twenty-first-century filmmakers, artists and in turn, tourists, have been inspired by the Irish landscape for centuries. If a trip across the pond is not in the cards, come be inspired by Ireland: Crossroads of Art and Design before it closes June 21.
—Anna Decatur, Assistant Director of Principal Gifts
Thomas Sautelle Roberts. Stormy Landscape with Anglers, c. 1820. Private Collection.
Jonathan Fisher. A View of the Lakes of Killarney from the Park of Kenmare House, c. 1768. Private Collection.
Francois Vivares (Engraver). The East and West Prospects of the Giant’s Causeway, Co. Antrim, May 1, 1777. Rolf and Magda Loeber.
Published by William Darton Jr. Walker’s Tour through Ireland: A New Geographical Pastime, Published March 9, 1812. Rolf and Magda Loeber.
POSTED BY Katie R., ON June 03, 2015, Comments Off on Go Hawks!
The first game of the Stanley Cup Final is tonight and the lions are ready!
As always, when a Chicago sports team makes it to the championship game/series, our mighty lions are adorned with helmets or jerseys in support of our hometown team. This morning, the lions were outfitted with Blackhawks helmets and as you can imagine, it’s quite a process. Scroll below to see images of our south lion getting dressed for the big series. Go Hawks!
First scaffolding is put into place. . .
The helmet is placed on a lift. . .
It’s lifted above the height of the lion. . .
Then carefully placed on the lion’s head. . .
It’s adjusted and secured. . .
And after a few finishing touches. . .
Installation is complete!
Gustave Caillebotte’s Paris Street; Rainy Day is not only one of the museum’s foremost Impressionist masterpieces, it’s also a visitor favorite. And while many are familiar with the very Impressionist focus on light and weather and the modern subjects, there are probably a few bits of trivia that have escaped even our most devout followers. Read on for some fun facts and behind-the-scenes information:
– It was painted in 1877 and purchased by the Art Institute in 1964. In the years between, it was primarily owned by Caillebotte descendants, but was acquired in the 1950s by Walter P. Chrysler, Jr., the son of the scion who founded the Chrysler organization and financed New York’s Chrysler Building.
– The painting was first exhibited at the Impressionist exhibition in 1877, which Caillebotte largely organized and financed. The Art Institute’s own Arrival of the Normandy Train, Gare Saint-Lazare by Monet also appeared in the exhibition.
– In 2014, Art Institute conservator Faye Wrubel began to remove varnish that was added some time in the mid-20th century. Check out our video to see her process and some surprising results, including the realization that what we thought was a pearl earring, we now believe to be a diamond.
– Caillebotte was not only one of the foremost Impressionist artists, he was also an esteemed collector. In fact, when he died, he gave his collection to the French nation and the pieces now form the backbone of the Impressionist collection at the Musée d’Orsay.
– The couple walking in the foreground of the painting is strolling down the rue de Turin, which intersects with the rue de Moscou immediately behind them. This intersection still exists today and looks remarkably similar.
– Caillebotte owned property in this neighborhood and his friend and fellow artist Edouard Manet lived less than five minutes from this intersection.
This monumental painting currently greets visitors when they enter the museum’s Impressionist galleries, but it’s about to leave Chicago for a short time for an upcoming exhibition devoted to the artist. In advance of its departure in mid-June, we invite you to revisit this masterpiece and test out some of your new knowledge on your friends/family/fellow visitors!
Image Credit: Gustave Caillebotte. Paris Street; Rainy Day, 1877. Charles H. and Mary F. S. Worcester Collection.
POSTED BY Suzanne K.S., ON May 20, 2015, Comments Off on Powerful Prints: Warrior Saints and Holy Kings
In the Buddhist Japanese and Christian European traditions, historical religious figures could be just as effective miracle workers after their deaths as when they were alive. Posthumous miracles due to a saint’s intercession were in fact required for Catholic canonization. The touch of a relic torn from their martyred bodies could cure illnesses, but sometimes even the sight of a modest printed image of a holy person could do the same.
Two prints illustrating this idea appear side-by-side for the first time in the interdepartmental Asian Art and Prints and Drawings exhibition Spreading Devotion: Japanese and European Religious Prints (on view in Gallery 107 until June 21), showing how the fascination with holy figures extended far beyond their lifetimes, and well beyond anyone remembering their true likenesses. Though sometimes said to have intrinsic healing powers, these powerful images did not always celebrate healing, instead glorifying righteous, bloody conquests. Warrior saints and kings could be equally renowned for their tactical prowess, real, or imagined.
The tall print above is a 17th-century woodcut of the sword-wielding Heavenly King Indra, which was printed much later, around 1845, and mounted as a hanging scroll. The other, horizontal composition (below) is a detailed engraving from 15th-century Germany showing Saint James the Greater—who is also armed to the teeth—routing a Turkish army in an imaginary battle in Spain 800 hundred years after his death around AD 44.
The woodcut is said to have originated from the hand of the monk Nichiren, founder of the Nichiren sect of Buddhism in the thirteenth century. According to legend, he carved a woodblock with a crude image of his patron deity, the god Indra, holding a sword. The block was rediscovered at Daikyōji temple in Shibamata near Tokyo in 1779; during a famine in 1783, ninth-generation head priest Nikkyo carried this woodblock around in the streets, and it had healing effects. The image became famous, with smaller versions sold to pilgrims to the Daikyōji Temple. Many versions of the print exist. The Art Institute’s print is believed to have been made from the oldest surviving woodblock of the image from the 17th century, and carries the signature and ciphers of the 12th generation head priest Nikki (1800-1859), and the next priest Nittei, who became the head priest in 1845.
In contrast, the engraving showing Saint James in the middle of a battle that never occurred was itself not known to have performed any miracles. Yet the scallop shell on James’s hat refers to the pilgrimage his many devotees made to visit his relics at Compostela, Spain, after making their penitent way through much of Europe. The saint initially became the patron of Spain in part because of his supposed role in driving the Turkish army out of that country. While this print lacks the personal seals of its printers as seen in the Indra print, the signature at the bottom, M+S, suggests it was made by the famous German engraver Martin Schongauer (active 1470s-90s). This association, like the fictitious subject matter, is not entirely trustworthy; in fact most scholars agree that it was done by others in Schongauer’s workshop, who adopted his style and signature.
Whether medieval, 17th, or even 19th century in origin, these rare prints show us the fervor of belief in both cultures, as well as the common desire to be able to own a piece of the history of these charismatic, dangerous, and above all, holy, individuals.
Spreading Devotion: Japanese and European Religious Prints was curated collaboratively by Janice Katz, Roger L. Weston Associate Curator of Japanese Art, and Suzanne Karr Schmidt, Assistant Curator of Prints and Drawings.
After Nichiren. Heavenly King Indra, 17th century, printed around 1845, gift of Martin A. Ryerson.
School of Martin Schongauer, Saint James at the Battle of Clavijo, late 15th century, bequest of Mrs. Potter Palmer, Jr.
POSTED BY Guest Blogger, ON May 18, 2015, Comments Off on Insider’s Look
James Rondeau, is the Art Institute’s Dittmer Chair and Curator, Department of Modern and Contemporary Art and the exhibition curator of the recently opened Charles Ray: Sculpture, He recently spoke with our Member Magazine about some of his earliest artistic memories and why you shouldn’t be intimidated by contemporary art.
Do you remember when you were first drawn to art?
My mother was a Sunday painter, so I remember growing up with her paintings around the house, and I have strong memories of the occasional visit to Boston or New York museums for “blockbuster” exhibitions of Egyptian or Impressionist art. But it was not until college that I was alerted to art history as a discipline.
If you could pick one piece from the Art Institute’s collection for your office, what would it be?
Impossible. One of the great things about my job is that the quality and depth of our collection makes any such game of favorites truly beside the point. Yes, we are proud of our singular masterpieces, but our greatness comes as a whole that is more than the sum of its individual parts.
What were some of the installation challenges with “Charles Ray: Sculpture, 1997–2014″?
Every challenge presents an opportunity to learn more about the artist’s work and about our own museum, its incredible possibilities, and its occasional limitations. In this case, the extreme weight of some of Ray’s sculptures presented real challenges. Working with our colleagues in the Department of Design and Construction alongside a team of outside structural engineers, we were able to solve most every issue.
The Art Institute has been committed to collecting contemporary art since its founding. When the museum was first established, Monet was a contemporary artist. Do you feel any kind of pressure given this legacy, being responsible for finding the Monets of today?
Not pressure per se, but a great sense of responsibility. It’s useful to remember that all great art was once contemporary. To be sure, part of our mandate is to embrace the experimental and not to be afraid of risk. That said, we know who we are as an institution, we know our history, and we know the context we provide to artists and objects. All of this makes us different from many of our peer institutions that only collect contemporary art. Hopefully an understanding of these distinctions informs the decisions we make in the most positive sense.
You get to work with living artists. What’s one thing that would surprise people about the foremost artists of today?
Surprise? Not sure. But almost without exception, I am struck by the confluence of great artistic talent with incredibly agile, open, challenging minds and kind and generous personalities. That said, great artists can also be tough. They keep us on our toes.
You curated a major exhibition of the work of the artist and director Steve McQueen the year before he won the Oscar for Best Picture for 12 Years a Slave. Is this a rare crossover or the shape of things to come?
Steve is one of the great artists of his generation working with the moving image. We have presented his work twice here, first in a small exhibition in 2002 and then again with the survey we organized in 2012. I am proud that we recognized his talent early and then showed it in depth. Increasingly, artists who work with media move between formats (film, video, digital) and modes of distribution (the art gallery, the museum, the movie theater, television, the Internet). This fluidity makes things exciting but also makes identifying the differences between “art” and the “everyday” more of a challenge, possibly even irrelevant.
Some people try but struggle with contemporary art. What is your response to that?
Go with your instincts, but most contemporary art emerges from a basic paradox: because it sometimes does not look like traditional forms of expression, we find it alienating or off-putting. But precisely the opposite is intended. The revolutionary freedom inherent in contemporary art—the expanded set of possibilities for what a work of art can look like, how it can function, who can make it, and for what purposes—is meant to be both liberating and welcoming. Hopefully, we can find such an open field exciting rather than vexing.
Which would go best—a hearty red or crisp white wine—with work by the following artists: Roy Lichtenstein, Sol LeWitt, Ed Paschke, Jackson Pollock, and John Chamberlain?
At least one glass of each.