Susan first visited the museum back in May 1979 when she was in town with her mother during a promotional visit. She went back home to her California church and talked about a carving of Jesus Christ she saw during her visit to the CMA . During Susan and Bill’s 2011 visit, they enjoyed viewing Winslow Homer’s Early Morning After a Storm at Sea.  Susan, who paints watercolors in her spare time, sees the work as an “education in color.” A true Homer fan, she donated a copy of a Winslow Homer painting to hang in the vestibule of her church.

Bill often ponders how artists detail texture and color in their portraits. “I’m always fascinated with how artists paint skin,” he said as he viewed The Portrait of Dora Wheeler by William Merritt Chase. As longtime art lovers, sketches by Rodin and Durand are among their personal art collection.

“The museum has a knockout collection,” Susan said. “I wanted to be sure to spend an afternoon here while we were in town. It seems like there is three times as much here as when I visited all those years ago. I’m looking forward to seeing as much as I can.”

She was intent in taking as many memories of our collection home with her as she could. At the time of this interview, her digital camera had already captured 100 images of their visit.

The Seven Worthies of the Bamboo Grove Undated, c. 1943 Hanging scroll, ink and color on paper 64.7 × 75 cm Nanjing Museum

The subject of this painting is a group of third-century scholars and poets who retreated to nature, using wine, music, poetry, and Daoist-oriented “pure conversation” (qingtan) to escape from the corrupt political world. Here, Fu painted the dense, luxuriant bamboo grove using fine brushstrokes in various ink tonalities further enriched by careful toning of green color washes.  The seven worthies and an attendant appear in light-filled voids in the bamboo grove, as if the moon is casting a silvery light on them, reflecting their peaceful solace. The effect of light and atmosphere show that Fu was inspired by modern Japanese paintings of refreshing, naturalistic landscapes that also indirectly reflected the impact of Western art. In so doing, Fu gave new vitality to his modern interpretation of a traditional Chinese theme.

Although this painting is not dated, Fu painted several similar versions during 1943–45; this one is close in style to those dated 1943. That year, Fu and his circle of friends created an interesting caricature in fine-line drawing (baimiao) titled The Seven Worthies Coming Out of the Grove, a modern adaptation of the theme and a delightful work commemorating the gatherings of kindred spirits in wartime Chongqing.

Tracy Sisson, art movement supervisor, coordinates the movement of all art within the museum utilizing a team of five highly-trained art handlers. Planning can often begin up to one year in advance of any object actually being moved.

Barry Austin and John Beukemann, two of the five art handlers that make up the Cleveland Museum of Art’s team, recently sat down to explain their job of working with the objects in the museum’s collection.

Being an art handler requires having art terminology/history knowledge, technical skills, and the right personality. And there are both physical and psychological components to the job. Objects vary greatly in size and weight and art handlers have to be physically able to manipulate both very small and very large pieces of art. It takes steady hands and incredible focus and concentration to move art within specific parameters. Although the art handlers are frequently working on a strict schedule, they can’t rush and must work at a very deliberate pace. The safety of the object is their number one priority.

The main areas of responsibility for an art handler include:

• Assessing art to determine risk/approach for art movement
• Transporting art safely throughout the museum
• Installing/de-installing art, including making proper hardware selection choices
• Packing art for shipping
• Pick-up and delivery of art

“Each piece of art is unique and has its own set of problems that have to be examined,” explains Barry. An object may require a special mount to be made for its installation in an exhibition, it may always need to be stored in a certain position because of its condition, or it may be that its size or weight makes it more challenging to move or install.

John is a Cleveland Institute of Art alum and has actually moved his own artwork, which was featured in a local artists show at the museum. His artistic abilities allow him to visualize what impact the placement and lighting of an object has on the visitor experience.

Both Barry and John love their jobs because they are in the presence of great artwork. “We are more intimate with the objects than most people will ever be,” says Barry. They note that the privilege is not lost on any one of their team. The great care they put into their jobs helps the museum run smoothly. Gretchen Shie Miller, registrar for loans, notes that “couriers visiting from other institutions are impressed by our museum’s art handlers.”

After spending some time with the art handling team and learning about all what goes into moving and installing works of art, there’s no doubt that the Cleveland Museum of Art collection is in good hands. The next time you’re at the museum, keep an eye open for the art handlers, although, if they’re doing their job right….you just might miss them.

Founded in 1967 by Venezuelan composer and conductor Alberto Grau, the Schola Cantorum is credited with contributing to the growing choral movement in Venezuelan music. In particular, the choir is celebrated for its virtuosic performance of polyphonic music (music featuring counterpoint, or two competing but complementary lines of melody) and in 1974 was awarded first prize for polyphony at the prestigious Guido d’Arezzo Foundation’s International Polyphonic Competition in Corso, Italy. The Schola Cantorum de Venezuela has now grown into a global phenomenon led by award-winning chief conductor María Guinand, with multiple international tours, over two dozen recorded albums, and several world premieres under its belt. In fact, Argentine composer Osvaldo Golijov wrote his La Pasión según San Marcos (The St. Mark Passion) specifically for the Schola Cantorum de Venezuela, who premiered this highly acclaimed masterwork at the 2000 European Music Festival in Stuttgart, Germany, and whose recording of the piece later earned them a Grammy nomination for best choral performance and a Latin Grammy nomination for best classical album. 

Known for putting on shows that are both musically stunning and rousingly fun—and often involving a degree of audience participation—the Schola Cantorum de Venezuela exudes an originality and exuberance that make its upcoming Cleveland performance an event not to be missed. The world-renowned choir will take the Cleveland Museum of Art’s Gartner Auditorium stage on the evening of Friday, October 28, as part of the museum’s VIVA! & Gala Performing Arts series. Tickets are available through the museum website.

Wearable Art Fashion Show & Boutique is on Sunday, October 16, 2011 at Landerhaven, 6111 Landerhaven Drive, Mayfield Heights, Ohio 44124. View some of the creations that will be at this year’s show.

1920s-30s

Fu’s formal training culminates in studies in Japan. Art history informs his artistic creativity. His obsession with seal carving lasts throughout his career.

1940s

Experiencing war and dislocation, he develops his signature style with compelling images inspired by history, myth, poetry, and nature—combining age honored Chinese techniques with Western and Japanese

pictorial elements.

1950s
As Communist policy stresses art for the masses, he depicts revolutionary themes while struggling to defend artistic tradition. Mao’s poetry becomes a source. Fu travels to Eastern Europe painting scenes of Socialist reconstruction and industry.

1960s
Fu embarks on sketching tours, capturing the new appearance of China’s territory with patriotic
conviction. He continues to depict propaganda themes, forging his Socialist commitment at critical moments. He dies in 1965.

The exhibition runs until January 8, 2012. Plan your visit and learn about upcoming program and events.

Chinese Art in an Age of Revolution: Fu Baoshi (1904-1965) is organized by the Cleveland Museum of Art with the Nanjing Museum. Additional support is from the Asian Cultural Council.

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.

On Sunday, October 9, Cleveland audiences will have the incredible opportunity to hear music master Jordi Savall perform his program Folias & Variations: Music Dialogues from Orient & Occident on a rare lira da gamba (c. 1500) and a seven-string bass viol (c. 1697). Two early instruments of uncommon beauty, the lira da gamba (better known as the viola da gamba) and the bass viol are both members of the viol family, a group of instruments that are ancestors to today’s violin and find their own roots in ancient, bowed string instruments that emerged in Central Asia during the 9th and 10th centuries. Instruments in the viol family often resemble the modern-day cello in appearance and tonal range; they are played with a curved bow, feature a nearly flat bridge with six or more strings (allowing the musician to produce complex, multi-string chords), and are held between the knees (viola da gamba translates as “viol for the leg”). These refined and sophisticated instruments enjoyed great popularity during the Renaissance, but were gradually superseded by the more robust-sounding cello and the smaller, louder lira da braccio (meaning “viol for the arm”), precursor to the modern-day violin.

A true master of early string instruments, Jordi Savall is the arguably the greatest viola da gamba performer in the world today; as the New Yorker said of one 2005 concert, “No one plays this eccentric, eloquent instrument more beautifully than Savall . . . centuries-old songs and dances glowed with sadness and jumped for joy.” Savall hails from Catalonia, Spain, where his musical training began at the age of six in his hometown’s all-boys choir. As a student at the Barcelona Conservatory of Music, Savall learned to play the cello and expressed a keen interest in ancient music. He went on to master the viola da gamba at the Schola Cantorum Basiliensis in Basel, Switzerland, where he himself later became professor of viola da gamba at age 33. Together with his equally musical wife, the celebrated soprano Montserrat Figueras, Savall has formed three musical ensemble groups—Hespèrion XXI, La Capella Reial, and Le Concert des Nations—and performs regularly with his wife, daughter Arianna, and son Ferran. In addition, Savall has recorded over 160 CDs; is the creator of his own record label, Alia Vox; and performs an astounding average of 140 concerts each year.

In his upcoming Cleveland performance, part of the museum’s VIVA! & Gala performing arts series, Savall will be joined by his son Ferran Savall on voice and theorbo (the theorbo, or bass lute, is an early long-necked string instrument of Italian origin). Their rich, colorful program of early music from East and West is perfectly suited to the archaic instruments that will be featured. Tickets for this performance are available through the museum Web site.

The first stop was in the Arms and Armor Gallery in the 1916 building. Anne encouraged us to take a look at the Armor for Man and Horse with Völs-Colonna Arms. After carefully examining the armor, she asked us to give our opinions and observations of the armor. We learned that the armor was used for tournaments and pageantry. This armor could be seen in battle too, but the decorative nature of it meant it was probably more for show.

Armor for Man and Horse with Völs-Colonna Arms

Next, we walked over to the  Dutch Art Gallery. Here we took a closer look at Silver Wine Jug, Ham, and Fruit by Abraham van Beyeren. Most of us on the tour thought the painting looked luxurious with the exotic food, wine, and decoration. One participant asked whether this was a posed work or a spontaneous piece, and after reexamining the painting we determined that the work was more than likely posed, since it included human portrait reflected in the wine jug.

We later viewed George III (1783) by Benjamin West. Despite it being after the Revolutionary War, West paints King George is almost a confident light. George is clearly trying to show that he is unaffected by the war that just took place. In contrast to King George’s portrait, we then viewed Elizabeth Shewell West and Her Son, Raphael (1770), which is much more loving and happy. We can see the closeness between West’s wife and their son Raphael, and the inspiration West took from the artist Raphael and his painting Madonna and Child.

 Our last stop leads us to Blue Bloc (1967) by Edwin Mieczkowski, which plays tricks on our eyes. This particular artwork is completely using perception to try to convey itself to the viewer. The colors and shapes play with the views of any onlooker trying to focus on it. As our tour comes to a close we all began to realize that perception of art is in the eye of the beholder. It was educating and interesting to see how art has evolved through the ages and how our perceptions have shaped it through the years.

Don’t miss out on the fun. Check our calendar to see what’s in store for the next highlights tour.  Tours are offered everyday the museum is open @ 1:30 pm.

At the art museum, teachers explored the notion that rocks are beautiful as they viewed a variety of rocks throughout our Near Eastern, Greek, and Roman Art collections. They discussed the marble used in Rodin’s The Thinker, the stones used in the 1916 building, and the hardness of the rocks used in stele carvings. Workshop feedback was very positive. During the evaluations, one teacher commented:  “You’ve modeled an interesting way of asking students to apply their science knowledge and take it to the next level.” 

Two weeks later, 14 foreign language teachers toured the permanent collection, enjoyed an Art to Go demonstration, and played an art-infused foreign language game which can be used in the classroom to build conversation skills. Both workshops exposed teachers to strategies to bring art into their classrooms and are scheduled to be offered again next year. Contact Dale Hilton @ dhilton@clevelandart.org for more information.