BMA Library and Archives Digital Collections
Not a member yet
10176 research outputs found
Sort by
Theatre de la Mode: French Fashion Miniatures exhibition, Baltimore Museum of Art, February 14 – April 25, 1993
No full textThéâtre de la Mode presents post-World War II French haute couture fashions on one-third-life-size human mannequins. When it appeared at Louvre’s Museum of Decorative Arts in 1945, the Théâtre de la Mode opening drew 100,000 visitors. The exhibition toured Europe and the United States in 1946, before languishing in the basement of San Francisco’s City of Paris department store. The sets were lost, but the mannequins were saved through the efforts of Alma de Bretteville Spreckels, who championed their transfer to Maryhill Museum of Art. This traveling exhibition includes re-built sets and restored mannequins dressed in period casual and formal wear
The Antique as Inspiration: 18th-Century European Drawings and Prints exhibition, Baltimore Museum of Art, June 27 – September 26, 1993
No full textAn exhibition of 18th-century European drawings and prints held at the BMA from June 27 – September 26, 1993
Classical Taste in America, 1800-1840 exhibition, installation in progress, Baltimore Museum of Art, June, 1993
No full textPhotographs of the installation of the Classical Taste in America, 1800-1840 exhibition at the Baltimore Museum of Art, June, 1993
Guardian Spirits: Magical Clothing for China's Children exhibition, Baltimore Museum of Art, January 13 – June 27, 1993
No full textWhen Chinese children, and especially males, are born their mothers and grandmothers make them hats in the form of tigers, complete with whiskers and bulgy eyes with bushy eyebrows and big round ears in which, often, perch tiny representations that also have symbolic meanings. Rabbits mean longevity, mice mean industry, melons mean fertility and children mean the tiger can be protective as well as fierce.
Tigers are not the only forms these hats take, and there are other forms of clothing such as shoes and collars. But tiger hats are the most winning of the objects in the Baltimore Museum of Art's "Guardian Spirits: Magical Clothing for China's Children," itself a magical show that comes to us courtesy of Alice Gottesman, an American now living in Hong Kong but with family ties to Baltimore.
She assembled an exhibition of almost 100 children's hats and other pieces of clothing from four collections, including her own, and BMA curators Anita Jones (textiles) and Frances Klapthor (Asian art) have written a 19-page text that explains in depth the meanings of these delightful objects
Opening, Classical Taste in America exhibition, Baltimore Museum of Art, June 26, 1993
No full textUnidentified group at the opening of the exhibition, Classical Taste in America, at The Baltimore Museum of Art, June 26, 1993
Ansel Adams: The Early Years exhibition, Baltimore Museum of Art, June 2 – September 12, 1993
No full textExhibition held at the Museum of Fine Arts, Boston, October 8 – December 29, 1991 and at the Baltimore Museum of Art, June 2 – September 12, 1993
Three Master Printmakers from the 19th Century: Eugene Delacroix, Edouard Manet, and Mary Cassatt exhibition, Baltimore Museum of Art, March 17 – May 30, 1993
No full textAlmost 100 works are included in the Baltimore Museum of Art's exhibit, "Three Master Printmakers from the Nineteenth Century: Eugene Delacroix, Edouard Manet, Mary Cassatt." It debuts in time for the 21st Southern Graphics Council Conference, to be held in Baltimore next week, but it is much more than a selection of prints for an occasion.
The BMA holds some 20,000 19th-century French prints, one of the finest collections anywhere. It is composed of the George A. Lucas collection, on extended loan from the Maryland Institute, College of Art since 1933, and the museum's own collection, which consists in many cases of acquisitions made specifically to complement the Lucas holdings
Classical Taste in America, 1800-1840 exhibition, Baltimore Museum of Art, June 27 – September 26, 1993
No full textExhibition held at the Baltimore Museum of Art, June 27 – September 26, 1993; the Mint Museum of Art, November 20, 1993 – March 13, 1994; and the Museum of Fine Arts, Houston, May 1 – July 24, 1994. During the first four decades of the last century, America was mesmerized by the classical world. And never before has a book so thoroughly examined the period's diversity of thought and material production to demonstrate the variety of ways that nineteenth-century Americans used, misused, and even abused the lessons of antiquity in the arts and decorative arts. To an extraordinary extent, Americans embraced classicism at the beginning of the nineteenth century both as a fashionable new international style, which had its European beginnings in the eighteenth-century excavations at Pompeii and Herculaneum, and as a distinctive expression of America's own emulation of classical precedents in government, ideal beauty, education, and the decorative arts. This book charmingly investigates the multifaceted impact of classical political, intellectual, and aesthetic values on early nineteenth-century American culture through a close examination. Of approximately 225 representative objects from this aesthetically brilliant period, including paintings, sculpture, furniture, silver, glass, ceramics, textiles, and printed materials. Focusing particularly on the type of objects with which Americans decorated and furnished their homes, this book examines not only the superbly designed and fashioned products made for the well-to-do, but also those objects that were mass-produced and more widely sought by a burgeoning Middle class. From elegant Grecian couches with Roman paw feet, to diminutive, pressed glass salts ornamented with classical chariots and cornucopia, few aspects of American material life escaped the classical craze. The text of this fascinating volume delves into the symbolic and material significance of classicism in American life, the adaptation antique forms and motifs by American craftsmen and consumers, and the vernacularization of classicism. The material production of this lavish and visually exciting period provides an illuminating look at the lives and homes of a wide range of Americans in the early days of our republic
Opening, Classical Taste in America exhibition, Baltimore Museum of Art, June 26, 1993
No full textWendy Cooper with Charles V. Swain at the opening of the exhibition, Classical Taste in America, at The Baltimore Museum of Art, June 26, 1993. Swain was a lender to the exhibition
Opening, Classical Taste in America exhibition, Baltimore Museum of Art, June 26, 1993
No full textVisitors and harpist at the opening of the exhibition, Classical Taste in America, at The Baltimore Museum of Art, June 26, 1993