Exhibition | Opulent Fashion in the Church

Posted in exhibitions by Editor on December 18, 2016


Opulent Fashion in the Church
The Cleveland Museum of Art, 24 September 2016 — 24 September 2017


Chasuble, early eighteenth century, Genoa, silk, gilt-metal thread: velvet, cut and uncut, 106 × 68 cm (The Cleveland Museum of Art, gift of Mr. and Mrs. J. H. Wade, 1916.1443.1).

Throughout history, precious works of art have been used in worship. Radiant textiles—cherished symbols of the majesty of God as well as the wealth and power of the Catholic Church—embellished the high altar and clothed the clergy. Quality was expensive. Lustrous silk thread dyed vibrant colors was transformed into luxury textiles by skilled designers, weavers, and embroiderers. One of the most beautiful and important vestments is the chasuble, the outer garment worn for the Catholic Mass. By the 1700s, its original full shape, influenced by fashion, acquired a fiddle-shaped front to facilitate arm movement and a straight-sided back. It was worn over a long white garment called an alb, enriched with the most costly material: lace.

As part of the museum’s centennial celebration, this exhibition honors Mr. and Mrs. Jeptha H. Wade II, the museum’s visionary co-founder and president, who in 1916 donated most of these European vestments of the 1600s and 1700s with regalia from a matching set. The Cleveland Museum of Art is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture. The Ohio Arts Council helped fund this exhibition with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.



Betsy Wieseman Appointed New Curator at Cleveland

Posted in museums by Editor on December 18, 2016

Press release (15 December 2016) from The Cleveland Museum of Art:

cleve-2The Cleveland Museum of Art (CMA) has announced the appointment of Marjorie E. (Betsy) Wieseman as the Paul J. and Edith Ingalls Vignos Jr. Curator of European Paintings and Sculpture, 1500–1800. The museum’s collection of Old Master European paintings and sculpture is of international importance, ranging from works created in the early years of the Renaissance through the Rococo period. Wieseman’s appointment follows an international search. She will assume her responsibilities at the CMA sometime this spring.

“Betsy is an extraordinarily accomplished and productive curator and an elegant writer. The exhibitions she has curated for the National Gallery, London, have been celebrated for their scholarship, sensitivity, and beauty,” said Director William Griswold.

As Curator of European Paintings and Sculpture, 1500–1800, Wieseman will oversee the care and development of the collection and work closely with the Director and Chief Curator on the identification and acquisition of artworks to augment the collection. She will oversee special exhibitions exploring all aspects of European painting and sculpture from 1500 to 1800. The collections for which Wieseman will be responsible span three hundred years of artistic production throughout Europe and encompass paintings on panel and canvas and sculpture in wood, terracotta, bronze, and marble. Areas of particular strength are the museum’s Italian and Spanish Baroque paintings and German and Austrian Baroque sculpture. The collection also has a number of internationally significant Italian Renaissance paintings and French and Flemish paintings of the 16th and 17th centuries. The museum’s holdings of portrait miniatures are among the most outstanding in the world.

“I am thrilled to have been chosen to be the next Paul J. and Edith Ingalls Vignos Jr. Curator of European Paintings and Sculpture, 1500–1800. I look forward to working with my new colleagues at the CMA to share the museum’s world-class collection with even wider audiences. The collection offers an endless source of inspiration, and I am honored to have the opportunity to bring these beautiful works to life for museum visitors,” said Betsy Wieseman.

Wieseman brings more than twenty-five years of curatorial work and museum experience to the CMA. She has been Curator of Dutch Paintings, 1600–1800, at the National Gallery, London, since 2006; 17th- and 18th-century Flemish paintings were added to her purview in 2012. At the National Gallery she curated and co-curated acclaimed exhibitions such as Dutch Flowers (2016); Rembrandt: The Late Works (2014–15); Vermeer and Music: The Art of Love and Leisure (2013); Close Examinations: Fakes, Mistakes, and Discoveries (2010); and Dutch Portraits: The Age of Rembrandt and Frans Hals (2007). Also, while at the National Gallery, she curated an exhibition at the Fitzwilliam Museum, Cambridge: Vermeer’s Women: Secrets and Silence (2011–12).

Before moving to London, Wieseman held curatorial positions in two Ohio museums. As Curator of European Paintings and Sculpture at the Cincinnati Art Museum, she curated a wide variety of exhibitions including Perfect Likeness: European and American Portrait Miniatures from the Cincinnati Art Museum (2006); Drawn by the Brush: Oil Sketches by Peter Paul Rubens (Bruce Museum of Arts and Science, Berkeley Art Museum/Pacific Film Archive, and Cincinnati Art Museum, 2004); and A Brush with Nature: The Gere Collection of Landscape Oil Sketches (2003). As Curator of Western Art before 1850 at the Allen Memorial Art Museum, Oberlin College, she spearheaded projects that focused on her area of specialization—17th-century Dutch painting—as well as working on exhibitions that featured (among other topics) American landscapes, German Expressionist paintings, and portrait miniatures.

Wieseman is a prolific scholar. Recent work has included contributions to numerous exhibition catalogues including: Vermeer and the Masters of Genre Painting: Inspiration and Rivalry (Musée du Louvre, Paris; National Gallery of Ireland, Dublin; and National Gallery of Art, Washington DC, 2017); Beyond Caravaggio (The National Gallery, London; National Gallery of Ireland, Dublin; and The Royal Scottish Academy, Edinburgh, 2016); and Vermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age (Kyoto, and Tokyo: Mori Arts Centre Gallery and Fukushima Prefectural Museum of Art, 2016). Among her many other contributions to the literature on 17th-century Dutch art are essays such as “A Courtly Art Comes to The Hague: Portrait Miniatures at the Court of Elizabeth of Bohemia,” in Face Book: Studies on Dutch and Flemish Portraiture of the 16th–18th Centuries, edited by Edwin Buijsen, Charles Dumas, and Volker Manuth (Leiden: Primavera Pers, 2012); “Rembrandt’s Portrait(s?) of Frederick Rihel,” National Gallery Technical Bulletin 31 (2010); and “Paper Trails: Drawing in the Work of Caspar Netscher, his Pupils and Followers,” in Collected Opinions: Essays on Netherlandish Art in Honour of Alfred Bader, edited by Volker Manuth and Axel Rüger (London: Holberton, 2004).

Holding a PhD from Columbia University, Wieseman has been the recipient of numerous awards including a Robert H. and Clarice Smith Fellowship from CASVA, a Theodore Rousseau Fellowship from The Metropolitan Museum of Art, as well as a Fulbright Grant for Graduate Study Abroad.

Betsy Wieseman will be moving to Cleveland with her husband, Allen Wright.


Jennifer Scott Appointed New Director of Dulwich Picture Gallery

Posted in museums by Editor on December 18, 2016

Press release from Dulwich (as noted by The Guardian, Scott will be the first woman to lead the Gallery). . .

2362Dulwich Picture Gallery has announced that Jennifer Scott has been appointed to the position of Sackler Director of Dulwich Picture Gallery, succeeding Ian A. C. Dejardin after his 12-year leadership. Scott will take up her new position in April 2017.

Professor Evelyn Welch MBE, Chair of Trustees at Dulwich, said: “I am delighted to be able to announce Jennifer’s appointment to this important role. Her passion for the Gallery is clear and her achievements at The Holburne Museum and at the Royal Collection are an excellent foundation for joining Dulwich. We look forward to welcoming her on board as we look towards the Gallery’s future ambitions.”

Scott is currently Director of The Holburne Museum, Bath, having joined in August 2014. During this time she has played a significant role in shaping the Museum’s centenary celebrations, with a series of critically acclaimed exhibitions in 2016. In addition, she led a successful £450,000 acquisition campaign with linked community engagement programme, and initiated conservation and research leading to major new attributions of the Museum’s Flemish paintings. Scott has also developed a number of national and international partnerships. Prior to joining The Holburne Museum, she was Curator of Paintings at Royal Collection Trust (2004–14).

Jennifer Scott said: “I am honoured to be appointed as Sackler Director of Dulwich Picture Gallery. Through its exceptional collection and pioneering programme, Dulwich has an enduring appeal grounded in its 200-year history. Ian Dejardin’s dynamic leadership has placed the Gallery in a strong position for the future. I look forward to working with Evelyn, the Board and the team to continue to develop the Gallery as the perfect place for people to experience the inspirational potential of art.”

2017 will welcome an exhibition line-up featuring Vanessa Bell, John Singer Sargent, and Tove Jansson. The year will also see the opening of the Gallery’s first pavilion building in June as well as a series of displays celebrating 200 years since the Gallery first opened its doors to the public. Jennifer Scott will be the Gallery’s fourth Director.

CV Highlights
• August 2014–present, Director, The Holburne Museum. Responsible for £1.4m budget, 21 staff (f/t), and 320 volunteers; led successful acquisition campaign for Sir Thomas Lawrence’s Arthur Atherley; recent discoveries of previously overlooked works by Brueghel the Younger and Teniers; achieved significant grants for outreach and community engagement work.
• Curator of Impressionism: Capturing Life (2016) and Bruegel: Defining a Dynasty (2017). Restructured staff, introduced a SMT at Deputy Director level, devised and implemented a 3-year forward plan, managed capital project of new car park / café terrace.
• January 2004–August 2014, Curator of Paintings at Royal Collection Trust. Responsible for curating exhibitions and displays and project management of loans to museums and galleries worldwide. Established academic authority on royal portraiture and British, Flemish, Spanish, and Dutch painting 1450–1900.
• Author of numerous publications including The Royal Portrait: Image and Impact (2010), Dutch Landscapes (2010), and Bruegel to Rubens: Masters of Flemish Painting (2007). Previously worked in the curatorial department of The National Gallery, London and National Museums Liverpool.
• 1998–2002, BA and MA, History of Art, The Courtauld Institute of Art. Fellow of the Society of Antiquaries and Fellow Commoner of Lucy Cavendish College, University of Cambridge.




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