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The Face of America: Modernist Art 1910-1950, Painting, Sculpture, Prints, Drawings, and Native American and Decorative Arts from the Museum Collection exhibition, Baltimore Museum of Art, October 9 – December 29, 1996
No full textIn 1910, America was an outpost of the art world; its center was Paris, where Matisse and Picasso caught the eye of forward-looking collectors such as Gertrude Stein and Baltimore's Cone sisters. By 1950, the center of the art world was New York. Jackson Pollock, Willem de Kooning, Franz Kline and Mark Rothko were among the leaders of the New York School, and abstract expressionism was the latest thing. This exhibition strives to show the progression, inspiration and relationships of American artists and their artworks. Completely drawn from the museum's collections and containing about 200 works of art, the show includes objects from many departments in many media: painting and sculpture; prints, drawings and photographs; books and journals; Native American art; textiles and decorative arts
Celebrating Calder exhibition, Baltimore Museum of Art, October 4, 1995 – January 7, 1996
No full textAlexander Calder, the American sculptor who created the mobile, was a prolific and versatile artist. His sculpture ranged from fragile wire figures of circus characters to abstract metal sculptures called stabiles, in sizes up to several stories high. And his work encompassed sculpture, drawings, watercolors, prints; even tapestries and jewelry.
All of the above are included in “Celebrating Calder” at the Baltimore Museum of Art, a show drawn almost exclusively from the collection of the Whitney Museum in New York. The exhibit NTC reveals that while Calder created lots of different things, certain concepts run through his work with remarkable consistency
The Cubist Generation: Prints, Drawings, and Photographs from the Museum Collection exhibition, Baltimore Museum of Art, October 18, 1995 – January 21, 1996
No full text“Arshile Gorky and the Genesis of Abstraction” is a traveling exhibit of Gorky works that shows him drawing on cubism and surrealism in his progress toward an abstract art. “The Cubist Generation,” a complementary show drawn from the museum’s own collections, deals with cubism and its influences on related movements
A Tom Miller Retrospective: Decorated Furniture exhibition, Baltimore Museum of Art, February 22 – April 16, 1995
No full textBorn and raised in Baltimore, Maryland, Tom Miller’s screenprints, acrylic paintings and painted found object furniture are lovingly rendered in the artist’s self-described “Afro-Deco” style. Tom Miller’s painted furniture, now being given a major joint retrospective at the Baltimore Museum of Art and Maryland Art Place, has a lot about it to make you smile. But such an extensive exhibit of Miller’s work — 59 works produced over a 10-year period — also gives us an opportunity to see how much the work has matured, both in purely visual terms and in terms of what it means
The Garden of Earthly Delights: Photographs by Edward Weston and Robert Mapplethorpe exhibition, Baltimore Museum of Art, May 24 – July 30, 1995
No full textExhibition held at the UCR/California Museum of Photography, March 4 - April 30, 1995, and at the Baltimore Museum of Art, May 24 - July 30, 1995
May Wilson: Fractured Memory exhibition, Baltimore Museum of Art, May 17 – August 6, 1995
No full textIn 1966, at the age of 61, May Wilson, whose husband had left her, put behind her a life as Baltimore housewife and part-time artist, moved into a one-room apartment in New York and devoted herself to her art. For the next 20 years, until her death in 1986, she specialized in sculptural assemblages of found objects, covered with metallic paint. She also produced collages that she called “Ridiculous Portraits,” which featured photographs of her own face over reproductions of famous works of art, such as “Untitled (after Goya’s Dona Maria Martinez de Puga)” shown here
Matisse, Picasso, and Friends: Masterworks on Paper from the Cone Collection exhibition, Baltimore Museum of Art, June 7 – August 27, 1995
No full textIn Matisse's or Picasso's hands, a pencil could make a simple line communicate a powerful sense of personality and three-dimensionality. Few of these artists' contemporaries appreciated their extraordinary draftsmanship as keenly as the Cone sisters of Baltimore, Maryland. More than 120 drawings, prints, and illustrated books by these and other artists from the Cones' vast collection will be on view in this exhibition. Visitors come to The Baltimore Museum of Art from all over the world to see the renowned collection bequeathed by Miss Etta Cone in 1949. This exhibition is organized and circulated by the BMA to give the general public its first opportunity to see these fragile, rarely-shown works together for the first time since the bequest. It opened in Baltimore in 1995, and continued in Cleveland, Seattle, and Houston
Abstract Photographs exhibition, Baltimore Museum of Art, March 22 – June 25, 1995
No full textAn exhibition of abstract photographs held at the BMA from March 22 – June 25, 1995
Eighteenth Century French Drawings, Baltimore Museum of Art, November 8 – December 31, 1995
No full textThe eighteenth century in France, a period defined by the intellectual and political upheavals of the Enlightenment, fostered advancements in art and thought. As the writings of Voltaire and Rousseau inspired revolutionary change, the foundations of modern society were being laid. In this transformative era, drawing became a powerful medium of artistic expression, embraced by artists across all disciplines in France. French draftsmanship from this period reflects the innovative spirit and cultural aspirations of the age, showcasing the precision, creativity, and beauty of a society on the verge of profound change. These drawings capture both the elegance and the intellectual fervor of a pivotal moment in history
American Art Posters of the 1890s exhibition, Baltimore Museum of Art, November 1 – December 31, 1995
No full textIn 1893 a poster advertising the April issue of Harper's Monthly Magazine appeared in newsstands and bookshops throughout the United States. The subject matter was unlike that of French posters of the period; this poster was modest and the style restrained. It was unlike other American posters because the product advertised was not so much commercial as it was intellectual. Despite this quiet beginning, the Harper's poster started a revolution in the history of American poster-making.
The book and magazine publishers who commissioned the first posters of this type gave free rein to their artists, many of whom, like Edward Penfield, Will H. Bradley, Maxfield Parrish, and Ethel Reed, were well-known illustrators of the time. Most of them signed their posters, which sometimes included the name of the printer as well. In other words, from the beginning the creative personalities responsible for the artistic statements were acknowledged in the American art posters of the 1890s