Paper + People is a blog about the Smith College Museum of Art’s collection of over 16,000 prints, drawings, and photographs. Here you will find a diverse array of posts written by museum staff, students, scholars, and other works on paper enthusiasts about anything pertaining to the collection: exhibitions, class visits, monthly Student Picks exhibitions, as well as research on and personal encounters with individual artworks. Any works you see featured here are available to view by appointment in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
Thursday, November 29, 2012
Maggie Hoot ’16 looks closely at a Fragonard drawing. Photography by Julie Warchol.
Here at the Smith College Museum of Art, Smith students are given many amazing opportunities to be deeply involved in their collection. This semester, one such chance was given to six students who enrolled in the colloquium French and Italian Drawings: Renaissance through Romanticism,taught by Suzanne Folds McCullagh, who is this year’s Ruth and Clarence Kennedy Professor of Renaissance Studies. A Smith alumna herself (class of 1973), McCullagh is the Anne Vogt Fuller and Marion Titus Searle Chair and Curator of Prints and Drawings at the Art Institute of Chicago. As a specialist in French and Italian prints and drawings from the Renaissance and Baroque, she provides extensive knowledge of drawings in terms of connoisseurship, techniques, conservation, provenance, and collecting, as well as her invaluable experience as a curator at a world-renowned museum.
As an important part of the course, Professor McCullagh and her students developed an installation of French and Italian Drawings from the SCMA collection, which is on view in the Nixon gallery on the second floor of the Museum until December 16. To develop their installation, the class met here in the Cunningham Center for Prints, Drawings, and Photographs, where the students acquired unique hands-on experience of working directly with these drawings. Students learned how to tell more about the history and provenance of these drawings by identifying materials, paper type, watermarks and collectors marks. Using all of this information and much outside research, students wrote their own wall labels for the installation (a selection is shown below). Professor McCullagh and her students’ installation of SCMA’s drawings also creates a dynamic conversation with our exhibition Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection,on view on the first floor until January 6.
Maddy Barker ’15 researches this Moreau le Jeune drawing with its curatorial file. Photography by Julie Warchol.
Suzanne Folds McCullagh ’73 examines two drawings by Carmontelle. Photography by Julie Warchol.
Labels written by the French and Italian Drawings Class
Lodovico Cardi, called il Cigoli. Italian, 1559 – 1613. Study of Jacob from the painting "Jacob's Dream" (recto); Study for the painting "Jacob's Dream" (verso),n.d. Red chalk on cream laid paper. Purchased with the Ruth and Clarence Kennedy Endowment, the Diane Allen Nixon, class of 1957, Fund, and the Josephine A. Stein, class of 1927, Fund in honor of the class of 1927. Photography by Petegorsky/Gipe. SC 1996:23
Label written by Suzanne Folds McCullagh (B.A., Smith College ‘73; Ph.D., Harvard University ‘81), the Anne Vogt Fuller and Marion Titus Searle Chair and Curator of Prints and Drawings at the Art Institute of Chicago:
Cigoli was a prolific and expressive draftsman who brought a new naturalism and clarity to his vast corpus of drawings, many of which were preparatory for paintings and espoused Counter Reformation decorum and piety.
This double-sided drawing is comprised of red chalk (recto) and pen and brown ink (verso) studies for The Dream of Jacob, one of his early masterpieces—probably the 1593 version (the painting pictured here) now in the Musée des Beaux-Arts in Nancy.
Discovered mounted in a book in 1996 at an antiquarian book sale in Northampton, the sheet joins an impressive list of at least nine studies for that composition, which Cigoli executed several times in oil. The red chalk study is clearly drawn from a studio model in contemporary dress.
Théodore Géricault. French, 1791 – 1824. Landscape with Stormy Sky(recto), ca. 1817. Pen and brown (iron gall) ink with brush and ink, watercolor and gouache over graphite on cream wove paper. Purchased. Photography by Petegorsky/Gipe. SC 1960:92
Label written by Carol Kaminsky:
Géricault’s short life spanned the rise and fall of Napoleon and the shift from rigid Classicism to the intensity of Romanticism. His short apprenticeship in the former style was followed by a period of self-study in Paris copying paintings in the Louvre and two years (1816–17) in Florence and Rome. This brooding landscape, possibly made in Italy, is transformed by sharp contrasts between light and dark. Bands of clouds race across the horizon; a glow emanates from a hidden moon and lights a crenellated tower as smoke rises to merge with the midnight blue of the sky. Landscapes are relatively rare within the artist’s drawn oeuvre, but another landscape by Géricault appears in the exhibition Drawn to Excellence on SCMA’s first floor.
Agostino Carracci, Annibale Carracci. Italian, Agostino 1557 – 1602; Annibale 1560 – 1609. Landscape: Hillock with Trees,n.d. Pen and brown ink on cream laid paper. Purchased. Photography by Petegorsky/Gipe. SC 1955:30
Label written by Maggie Hoot, class of 2016:
The Carracci family of artists reformed art in late sixteenth-century Italy, moving from the sterility of Mannerism to the drama of the Baroque, emphasizing drawing from nature and living subjects. While this landscape is surely from the Carracci dynasty, it is highly debatable which family member made this small sketch. A past collector attributed it to “Antonio Caracie” (as inscribed), but most scholars believe it to be by Antonio’s father, Agostino, or his uncle Annibale. Drawings representing trees by both of these artists are featured in the exhibition Drawn to Excellence downstairs and provide an intriguing comparison and foundation for this work’s origins.
Anne K. Socolow, Cayman Islands, British West Indies
Gericault drawing "Landscape with Stormy Sky"
An extraordinary label by Carol Kaminsky - in SCMA French and Italian Drawings Class - of young Gericault's work. Her explanation of detail of chiarascuro and swirling romantic movement in this drawing prefigures Gericault's later painted oeuvre.
Thursday, November 8, 2012
Cass Bird. American, born 1974. I Look Just Like My Mommy,2005. C-print. Purchased. Photograph by Petegorsky/Gipe. © 2011 Cass Bird. SC 2011:41-1
Cass Bird, who graduated from Smith College in 1999, works as both a fine art and commercial photographer in Brooklyn, NY. Her commercial work is often featured in the New Yorker, Rolling Stone, the New York Times Magazine, and many others. While her magazine work sensuously portrays celebrities, models, and pop culture icons, her photographs of friends, acquaintances, and inspirational figures are far more personal, challenging, and moving. Such portraits artfully explore the subjective and amorphous nature of gender in our contemporary society.
In I Look Just Like My Mommy,acquired by SCMA in 2011, Bird depicts her friend Macaulay on the rooftop of a Williamsburg apartment building. Macaulay stands shirtless, with breasts, tattoos, and underwear exposed. The portrait is strikingly beautiful; the sun’s soft glow illuminates both the Brooklyn skyline and the subject’s skin, but it is not just about mere aesthetics. With most of Macaulay’s face covered, we are left to explore the signs which we may typically associate with normative gender identities; breasts, hairless skin, and pink underwear exist alongside defined arm musculature, tattoos of guns, a bald eagle, and “ROCK & ROLL,” as well as a trucker hat which boldly states “I LOOK JUST LIKE MY DADDY.” (Of course, this last detail is even further complicated by the title of the photograph, which states the opposite.) Bird’s portrait asks viewers to acknowledge the inconsistencies of these signifiers in order to think beyond conventional, polarized ideas of gender, and ultimately, to recognize the individual underneath the posturing.
Regarding her work, Bird claims: “The photographs portray the beauty and the positive existence of these individuals, their male and female origins overridden by their own will to define their gender, sexuality, and place in society.” Cass Bird continues to photograph individuals whose lives and appearances operate outside the traditional gender dichotomy, as can be seen in her first book, Rewilding,which was published earlier this year.
Thursday, November 1, 2012
Student Picksis a SCMA program in which Smith students are given the opportunity to organize their own one-day art show using our collection of works on paper. This month’s student curator and guest blogger Leah Santorine ’13 discusses the inspiration and concepts behind her show, “Between the Lines: Image and Prose in the 20th Century Avant-Garde,” which will be on view tomorrow, Friday November 2 from 12-4 PM in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
Max Ernst. German, 1891 – 1976. Étoile de mer,ca. 1950. Lithograph on paper. Purchased. Photograph by Petegorsky/Gipe. SC 1953:120
All the shadow bubbles
And the sea-anemones
Come down and breathe within my thoughts
- André Breton. French poet, 1896 – 1966. *
I love modern art and literature. These two worlds have always been intertwined, and in my Student Picks show I strove to create a conversation between the drawings and prints which I chose and the literature around it. Between the Lineswas born by drawing parallels and making connections between these worlds. As a Comparative Literature major, I have always perceived 20th century art to be a product of literature. From my very first glimpse at the Futurist Manifesto, I was convinced. The cultural melting pot that was the European art scene in the early and mid-20th century continued to only solidify my visions of art through literature. Between the Linesis my personal and academic exploration of the literature and art of this particularly intriguing and influential time period.
Texture and color, arguably two things that cannot be portrayed in textual literature, were important to me in choosing, arranging, and creating connections between the artworks. Subsequently, the serious or silly subject matter and the geometric patterns juxtaposed with seemingly directionless lines were important in creating a balance between the different moods that the pieces evoke.
Futurism, Surrealism, and Dadaism were three movements that revolutionized art and were highly attractive to me – either through their respective manifestos or the art that the movements themselves produced. Many of the works in Between the Linesrepresent these different movements and show the full extent of the range of these artists. By combining each work with poems, prose, and quotes from authors from the same period, often even their peers and friends, the combined works give the viewer a new perspective on the influential and interpretive relationship between 20th century art and literature. I hope that Between the Linesilluminates both, playing with how art and literature address the ideas of conceptualizing and being.
Student Picks is a program that I had always wanted to participate in. Every year I put my name in, just once or twice, but never really expected anything. This year, I put my name in only three times. When I received the e-mail that I was selected to be a student curator, I was completely surprised and excited to have the opportunity to not only participate, but also to really kick off my senior year. It’s an incredible opportunity that I have done my best to take full advantage of. See you on Friday!
Sophie Tauber-Arp. Swiss, 1889-1943. Abstraction,n.d. Etching on paper. Gift of Priscilla Paine Van der Poel, class of 1928. Photograph by Petegorsky/Gipe. SC 1977:32-228
the streams buck like rams in a tent.
whips crack and from the hills come the crookedly combed
shadows of the shepherds.
black eggs and fools’ bells fall from the trees.
thunder drums and kettledrums beat upon the ears of the
wings brush against flowers.
fountains spring up in the eyes of the wild boar.
- Hans/Jean Arp. German-French artist and poet, 1886 – 1966. **
Riccardo Licata. Italian, born 1929. Scrittura,1954. Charcoal and pencil on white paper. Purchased. Photograph by Petegorsky/Gipe. SC 1954:70
As cool as the pale wet leaves
She lay beside me in the dawn.
- Ezra Pound. American poet, 1885 – 1972. ***
* excerpt, "The Spectral Attitudes," in Collected Verse Translations of David Gascoyne.Edited by Robin Skelton and Alan Clodd. Oxford University Press, 1970.
** Dada poetry line: line from Arp’s poem "Der VogelSelbdritt," Hans Arp; first published in 1920; “Gesammelte GedichteI”, p. 41 (transl. Herbert Read); in Jours effeuillés: Poèmes,essaies, souvenirs,Gallimard, Paris 1966, p. 288.
*** Ezra Pound: Poems and Translations.Edited by Richard Sieburth. Library of America; First Edition (October 9, 2003).