Enfilade

In Memoriam | Wilhelmina Cole Holladay (1922–2021)

Posted in museums, obituaries, on site by Editor on March 10, 2021

Press release (8 March 2021) from the NMWA:

Wilhelmina Cole Holladay, who founded the National Museum of Women in the Arts (NMWA), the first and only museum solely dedicated to championing women through the arts, died on Saturday, 6 March 2021, at the age of 98 in Washington, D.C. Against tremendous odds and with dedication, drive, and a singular vision, Holladay created a museum to help alleviate the underrepresentation of women artists in museums and galleries worldwide.

“For nearly 40 years, Wilhelmina Holladay has been the guiding light of our museum,” said Director Susan Fisher Sterling. “Mrs. Holladay knew the power of art and the importance of women in art and in the world. Her foresight in recognizing women artists of the past and championing women artists of the present by creating a new museum was visionary—even revolutionary—for the time. Her actions signaled a major shift in our thinking about art and society, and it is her genius and purpose we carry forward with us today.”

Wilhelmina Cole Holladay, A Museum of Their Own: National Museum of Women in the Arts (New York: Abbeville Press, 2008).

“Wilhelmina, ‘Billie’ as she was known to her friends, believed deeply in philanthropy and volunteerism,” said Board Vice-Chair and daughter-in-law Winton Smoot Holladay. “Her leadership and generosity established the museum, and she worked tirelessly to create an important institution where women artists could fully participate in and shape the national and international cultural conversation. Her unwavering sense of purpose and her love of art enriched the lives of all who were privileged to work alongside her.”

Holladay’s interest in art by women began in the 1970s, when she and her husband Wallace traveled widely to visit museums and galleries. They were particularly drawn to a painting they saw in Vienna, a 1594 still life by Flemish artist Clara Peeters. They saw additional paintings by Peeters at the Prado in Madrid. When Holladay attempted to learn more about the artist, she could find no information on Peeters—or any other female artist—in the standard art history textbook, H. W. Janson’s History of Art. Astonished by this discovery, the Holladays began to search for work by other women artists.

By the 1980s, the Holladay collection had grown to approximately 500 works by 150 artists, from the Renaissance to contemporary times. In addition to artwork, the Holladays kept an archive of catalogues, books, photographs, and biographical information on women artists. Nancy Hanks, then head of the National Endowment for the Arts, encouraged the Holladays to consider establishing a museum, and Holladay focused her considerable organizational and fundraising skills in this direction.

NMWA was incorporated in 1981, and for the next six years, Holladay opened her residence to the public for tours, traveled extensively to garner support for her idea, raised more than $20 million from public and private sources, purchased and renovated a historic building to house the collection, and donated her personal collection and library to the museum. On 7 April 1987, Barbara Bush, wife of the then-Vice President, cut the ribbon to open the museum in a 1907 Renaissance revival landmark building located two blocks from the White House.

NMWA’s collection has grown to include more than 5,500 works by approximately 1,000 artists, such as Louise Bourgeois, Mary Cassatt, Judy Chicago, Frida Kahlo, Georgia O’Keeffe, Faith Ringgold, and Élizabeth Louise Vigée-Lebrun. Special exhibitions have included premier solo showings of work by Camille Claudel (19th-century French), Remedios Varo (20th-century Mexican), Lavinia Fontana (16th-century Italian) and Carrie Mae Weems (contemporary American). The diversity of women’s artistic creativity has been showcased in exhibitions featuring treasures from the Hermitage, pottery by American Indians, theatrical creations by Julie Taymor, representations of the Virgin Mary in Western art, abstract art by Black women artists, and work by emerging artists in the museum’s signature Women to Watch series. These exhibitions have broadened the art historical canon to be more open and inclusive.

The museum is also a leader in online content and arts education, serving the local community through outreach to D.C. public and private charter schools as well as developing an arts education model for schools nationwide. NMWA’s Women, Arts, and Social Change public program initiative offers a platform for speakers and attendees to advance ideas and solutions to society’s most pressing issues—especially those affecting women and girls—and inspires action in the arts and beyond. NMWA also publishes a triennial magazine, serves as a center for the performing and literary arts, and maintains one of the foremost repositories of documents and materials on women artists.

In over 35 years, the museum’s budget has grown to $11 million, and the full-time staff numbers 50. NMWA members and donors—nearly 13,000 strong—come from all over the United States and 21 other countries. Its network of national and international committees has 25 outreach groups with more than 3,000 dedicated members throughout the United States and around the world, including Chile, France, Peru, and the United Kingdom. The committees host regional programs and serve as ambassadors for the museum.

Holladay was born on 10 October 1922, in Elmira, N.Y. She developed an early appreciation of art from her maternal grandmother. She earned a BA degree from Elmira College in 1944, studied art history at Cornell University, and completed postgraduate work in art history at the University of Paris in 1953–54. During World War II, Holladay worked in Washington, D.C., where she met her husband, an officer in the United States Navy. She worked as social secretary to Madame Chiang Kai-Shek from 1945 to 1948, but after the birth of her son Wallace Jr., she dedicated herself to volunteer projects.

In addition to serving as the museum’s chair of the board, Holladay was active in many other ventures, serving on the boards of the National Women’s Economic Alliance, the Adams National Bank, the Corcoran Gallery of Art, the World Service Council of the YWCA, the American Academy in Rome, the United States Capitol Historical Society, the National Gallery of Art’s Collector’s Committee, and the International Women’s Forum. In recognition of her service, Holladay received the National Medal of Arts as well as diplomatic orders from France and Norway. She also was regularly listed as one of the most powerful women in Washington, D.C. and received a lifetime achievement award from the District of Columbia. Among Holladay’s other awards for her service to women include induction into the National Women’s Hall of Fame, a lifetime achievement award from the Women’s Caucus for Art, the Women Who Make a Difference Award from the International Women’s Forum, and the Distinguished Achievement Award from the National League of American Pen Women. She received honorary doctorate degrees from four colleges.

Holladay was predeceased by a son, Scott Cole Holladay and her husband, Wallace F. Holladay. Holladay is survived by a son and daughter-in-law, Wallace ‘Hap’ Holladay Jr. and Winton Holladay; four grandchildren, Brook Holladay Peters (Brian), Fitz Holladay, Jessica Holladay Sterchi (Louis), and Addison Holladay (Eliza); and nine great-grandchildren.

A celebration of life will be announced at a future date. In lieu of flowers, the family requests contributions may be made to the National Museum of Women in the Arts.

National Museum of Women in the Arts, at 1250 New York Avenue, NW in Washington, D.C. Built in 1908 as a Masonic Temple—to designs by Wood, Donn, and Deming—the Renaissance revival style building has been home to the NMWA for 34 years. Photo: Wikimedia Commons, 2008.

The Burlington Magazine, July 2018

Posted in books, exhibitions, journal articles, obituaries, reviews by Editor on July 21, 2018

The eighteenth century in The Burlington:

The Burlington Magazine 160 (July 2018)

E D I T O R I A L

• Michael Hall, “At the Royal Academy of Arts,” p. 535. This is the Royal Academy’s year. The venerable London institution has celebrated its 250th anniversary by unveiling a redevelopment that has added seventy per cent more public space, staging a Summer Exhibition that has garnered five-star reviews, mounting an exhibition, The Great Spectacle, which traces the history of the annual exhibition since its inception in 1768, and publishing a monumental multi-author history of itself and its collections. . . .

A R T I C L E S

• Dorothea Diemer and Linda Hinners, “‘Gerhardt Meyer Made Me in Stockholm’: A Bronze ‘Bathing Woman’ after Giambologna,” pp. 545–53. Spurred by rivalry with French founders working for the Swedish Crown, in 1697 Gerhardt Meyer the Elder cast a bronze figure of a nude woman after a marble by Giambologna that had been in Sweden since 1632. It is inscribed ‘Me fecit Gerhardt Meyer Holmiae’.

R E V I E W S

• Laurel O. Peterson, Review of the exhibition Visitors to Versailles, 1682–1789 (Château de Versailles, 2017–18; The Metropolitan Museum of Art, 2018), pp. 582–84.
• Louis Cellauro and Gilbert Richaud, Review of the exhibition Jacques-François Blondel: An Enlightenment Architect in Metz (The Arsenal, Metz, 2018), pp. 584–86.
• Paul Taylor, Review of Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017), pp. 606–07.
• Gauvin Alexander Bailey, Review of the exhibition catalogue, Ilona Katzew, ed., Painted in Mexico / Pintado en México, 1700–1790: Pinxit Mexici (Prestel, 2017), pp. 607–08.
• Sophie Littlewood, Review of Donald J. La Rocca, How to Read European Armor (Metropolitan Museum of Art and Yale University Press, 2017), p. 613.

O B I T U A R I E S

• Andrew Wilton, Obituary of Malcolm Cormack (1935–2018), p. 617. When the Yale Center for British Art, New Haven, opened in 1977, Malcolm Cormack was its first Curator of Paintings. At Yale, and subsequently at the Virginia Museum of Fine Arts, he staged influential exhibitions on subjects ranging from William Blake to the Camden Town Group.

 

In Memoriam | Linda Nochlin (1931–2017)

Posted in obituaries by Editor on October 30, 2017

From ARTnews:

Andrew Russeth, “Linda Nochlin, Trailblazing Feminist Art Historian, Dies at 86,” ARTnews (29 October 2017).

Linda Nochlin, the perspicacious art historian who brought feminist thought to bear on the study, teaching, and exhibition of art, reshaping her field, has died, according to people close to her family. She was 86.

In 1971, Nochlin earned widespread attention for her landmark essay “Why Have There Been No Great Women Artists?,” which approached that question with incisive and nuanced analysis, demonstrating how, for centuries, institutional and societal structures had made it “impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius.” But Nochlin also interrogated how “greatness” itself had long been formulated and evaluated. “In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones,” she wrote in the essay, which was published in ARTnews.

That article quickly became a cornerstone for the developing field of feminist art history. It would have been enough to secure her place as one of art history’s most important writers, but over the course of her six-decade career, she also made formidable contributions to the study of Realism and Gustav Courbet, Impressionism and Post-Impressionism, and numerous contemporary artists. . . .

The full obituary is available here»

Save

The Burlington Magazine, August 2017

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on August 11, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (August 2017)

E D I T O R I A L

• “Reflected Glory: University Art Collections in Britain,” p. 599.

O B I T U A R I E S

• Simon Jervis, “Rudolf Hermann Wackernagel (1933–2017),” p. 639. His great article, “Carlton House Mews: The State Coach of the Prince of Wales and of the Later Kings of Hanover, A Study in the Late-Eighteenth-Century ‘Mystery’ of Coach-Building, in Furniture History 31 (1995) remains the most authoritative statement on London coach building in the late eighteenth century. But his crowning achievement was the massive two-volume Staats- und Galawagen der Wittelsbacher (Stuttgart, 2002). This is a catalogue of the wonderful collection of the Marstallmuseum at Schloss Nymphenburg, outside Munich, where he generously deposited part of his own extensive and systematic archive on coaches and carriages…

R E V I E W S

• Gauvin Alexander Bailey, Review of Christine Casey, Making Magnificence: Architects, Stuccatori and the Eighteenth-Century Interior (Yale University Press, 2017), pp. 642–43.
• Ayla Lepine, Review of Julian Holder and Elizabeth McKellar, eds., Neo-Georgian Architecture, 1880–1970: A Reappraisal (Historic England, 2016), pp. 643–44.
• Michael Hall, Review of Pauline Prévost-Marcilhacy, ed., Les Rothschild: une dynastie de mécènes en France, 1873–2016 (Somogy éditions d’Art, 2016), pp. 644–46.
• Francis Russell, Review of the exhibition Canaletto and the Art of Venice (London: The Queen’s Gallery, Buckingham Palace, 2017), pp. 651–52.
• Matthi Forrer, Review of the exhibition Hokusai: Beyond the Great Wave (London, The British Museum; and Osaka: Abeno Harukas Art Museum, 2017), pp. 652–53.
•Eric Zafran, Review of the exhibition America Collects Eighteenth-Century French Painting (Washington: D.C.: National Gallery of Art, 2017), pp. 669–70.

R E C E N T  A C Q U I S I T I O N S

Recent acquisitions (2007–17) by regional university collections in Britain

Joshua Reynolds, Maria Marow Gideon and Her Brother, William, 1786–87 (Birmingham: The Barber Institute of Fine Arts), January 2013.

Rosalba Carriera, Portrait of Gustavus Hamilton, 2nd Viscount Boyne, ca. 1730–31; pastel, heightened with white bodycolour on paper (Birmingham: The Barber Institute of Fine Arts), 2009.

John Opie, The Death of Archbishop Sharpe, 1797; oil on canvas (University of St Andrews), 2008.

Save

Save

Save

Save

Save

Save

Save

ASECS 2017, Minneapolis: Memorial Session for Mary Sheriff

Posted in conferences (to attend), obituaries by Editor on February 13, 2017

In addition to this year’s regular ASECS offerings, the schedule will include a memorial gathering dedicated to Mary Sheriff (1950–2016).

Please join us Thursday, March 30, from 6:00 to 7:00pm as we remember our colleague, dear friend, and mentor. There will be a cash bar, a short program, and an opportunity for people to share memories and celebrate Mary’s vibrant life.

The room is Lakeshore A, on the first floor of the Hyatt Regency Minneapolis. Please email Joanna Gohmann at jgohmann@thewalters.org or Hyejin Lee at hyejinlee.18e@gmail.com with any questions.

CAA 2017, New York: Memorial Session for Mary Sheriff

Posted in conferences (to attend), obituaries by Editor on January 26, 2017

In addition to this year’s regular CAA offerings, the schedule includes a memorial session for Mary Sheriff (other Enfilade postings for CAA 2017 have been updated with the addition). The session is open to the public, and no conference registration is required to attend. Tara Zanardi’s session ‘Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact’ (Friday, 17 February 2017, 10:30–12:00) will also be dedicated to Mary.

Beyond CAA, other events are planned, including two symposia in conjunction with the exhibition Becoming a Woman in the Age of Enlightenment, curated by Mary Sheriff and Melissa Hyde. In addition, there’s a gathering in Paris at INHA scheduled for Saturday, February 25 at 3:30 in the Salle Mariette.

Key Conversation: Mary Sheriff (1950–2016): A Memorial Session
Saturday, 18 February 2017, 12:15–1:15, Madison Suite, 2nd Floor

Chair: Francesca Fiorani (University of Virginia)

Join this session to remember Mary Sheriff. Come together, share memories, and celebrate her achievements.

◊  ◊  ◊  ◊  ◊

Note (added 26 January) — The original posting listed an incorrect date for the Paris event; it’s been corrected.

In Memoriam | Giles Waterfield (1949–2016)

Posted in obituaries by Editor on November 14, 2016

From Giles’s website:

Giles Waterfield
(24 July 1949 – 5 November 2016)

waterfieldIt is with very great sadness that we announce the death of Giles Waterfield, curator, novelist (his novel The Long Afternoon won the McKitterick Prize in 2001), and belletrist. He was Director of the Dulwich Picture Gallery from 1979 to 1996 and was Director of Royal Collection Studies (organised on behalf of Royal Collection Trust by the Attingham Trust) and Associate Lecturer at the Courtauld Institute of Art in addition to lecturing at the University of Notre Dame, London and Arcadia University.

Javier Pes’s obituary for The Art Newspaper is available here»

Thomas Marks’s tribute for Apollo Magazine is available here»

Anna Somers Cocks’s obituary for The Guardian is available here»

Condolences may be offered here»

Note (added 27 November 2016) — There will be a Service of Thanksgiving for Giles on Wednesday, 11th January 2017 at 3pm at St Martin-in-the-Fields, Trafalgar Square, London. All are very welcome.

Save

Save

Save

Save

Save

In Memoriam | Janice Neri (1970–2016)

Posted in obituaries by Editor on November 1, 2016

As reported by Dana Oland for the Idaho Statesman:

Janice Neri, pictured here in 2013 for an article in Boise State University’s 'Explore Magazine', died of complications from ovarian cancer on Friday, Oct. 14. A memorial service is planned for Saturday, Nov. 5. John C. Kelly Boise State University

Janice Neri, pictured here in 2013 for an article in Boise State University’s ‘Explore Magazine’, died of complications from ovarian cancer on Friday, October 14. A memorial service is planned for Saturday, November 5. John C. Kelly Boise State University.

Boise State University art history professor Janice Neri died on Friday, October 14, after a six-year struggle with cancer. Neri, 46, moved to Boise in 2004 for her BSU position, along with her husband, sound artist Ted Apel. The couple met as undergraduate students at Pomona College in Claremont, California…

A visual culture scholar, Neri’s research looked at the role of images in the construction of knowledge about nature during the early modern period (1400–1800). She published her book The Insect and the Image: Visualizing Nature in Early Modern Europe, 1500–1700 in 2011 …

Friends and colleagues can pay their respects at a memorial service at 2pm, Saturday, November 5, at Summers Funeral Home, 1205 W. Bannock St., in Boise. Instead of flowers, the family asks you make a donation to The Idaho Foodbank.

Janice’s obituary from the Idaho Statesman is available here»

Save

Save

Save

Save