An eye for detail: Walking through Imagining Home with Associate Curator Oliver Shell

Alfred Stieglitz. The Steerage. From the journal "291" (Nos. 7-8, September-October 1915). 1907, published 1915. Photogravure, Sheet: 465 x 318 mm. (18 5/16 x 12 1/2 in.), Image: 333 x 264 mm. (13 1/8 x 10 3/8 in.) The Baltimore Museum of Art: Gift of Cary Ross, BMA 1988.565

Alfred Stieglitz. The Steerage. From the journal “291” (Nos. 7-8, September-October 1915). 1907, published 1915.
Photogravure, Sheet: 465 x 318 mm. (18 5/16 x 12 1/2 in.), Image: 333 x 264 mm. (13 1/8 x 10 3/8 in.)
The Baltimore Museum of Art: Gift of Cary Ross, BMA 1988.565

Images contain details that can be enlightening or senseless, or whose import may be lost due the passage of time.  In an exhibition like Imagining Home with so many big themes, I find myself fixated by particulars. The passengers in Alfred Stieglitz’s classic photograph The Steerage almost universally wear hats or head gear. The women wear head scarves while among the men we see workers caps, fancy bowler hats, and one very prominent straw boater. What did it mean to wear a straw boater or bowler hat while traveling in steerage in 1907? Was there any difference? The larger point may be that in this era nobody left his or her home without some form of head covering–a practice that died out somewhere in the mid-20th century. My grandmother still wore a hat when she went to town. I do not! Lost rituals of propriety create a separation between their world and ours.

Marguerite Gérard. Motherhood. c. 1795-1800 Oil on wood panel, 24 x 20 in. (61.0 x 50.8 cm.) The Baltimore Museum of Art: Bequest of Elise Agnus Daingerfield, BMA 1944.102

Marguerite Gérard. Motherhood. c. 1795-1800. Oil on wood panel, 24 x 20 in. (61.0 x 50.8 cm.)
The Baltimore Museum of Art: Bequest of Elise Agnus Daingerfield, BMA 1944.102

Marguerite Gérard. Motherhood (detail). c. 1795-1800 Oil on wood panel, 24 x 20 in. (61.0 x 50.8 cm.) The Baltimore Museum of Art: Bequest of Elise Agnus Daingerfield, BMA 1944.102

The oil lamp depicted in Marguerite Gerard’s Motherhood is among the most exquisitely complex light fixtures that I have ever seen. Symbolically, this may be fitting for a work produced in the ‘age of enlightenment.’ Unfortunately, this lamp sheds little light onto the purpose of some of the other props in this room.  For instance, what are we to make of the large panel leaning against the wall, behind the mother? It depicts three rows of hand-written yet indecipherable words. My sense is that it would have been a recognizable object in its day, otherwise why include it? Perhaps it may serve some pedagogical function in the child’s upbringing—perhaps an aid to reading? The child seems too young for such instruction, and yet, it could signal a future intention to nurture and educate the child at home.

It is not purely by chance that Frances Benjamin Johnston’s photograph, Sophia’s Dairy, Harford County, Maryland, showing a double staircase in a seemingly vacant house, appears to dance as though liberated from any architectural rule. It is as though the photographer were channeling Giovanni Battista Piranesi, who’s Imaginary Prisons prints included staircases leading madly in pointless directions.

Frances Benjamin Johnston. Sophia's Dairy, Harford County, Maryland. 1936-1937. The Baltimore Museum of Art: Purchase Fund. BMA 1938.37

Frances Benjamin Johnston. Sophia’s Dairy, Harford County, Maryland. 1936-1937. The Baltimore Museum of Art: Purchase Fund. BMA 1938.37

A closer look reveals that Johnston has most deliberately chosen the single angle and camera elevation where the ascending stairs, at left, seem parallel to the top 4 stairs, which are in fact at a 90 degree angle to the lower 9 stairs.  This creates a seemingly uninterrupted ascent and obscures the shared landing at the level of the top of the door.  Not only does one have to turn 90 degrees to ascend further, but one has to do so twice in order to reach the second floor.  The turning motif is architecturally expressed through the rolled terminal volute of the bannister; but the true direction of the rising dark bannister is obscured (just where it turns 90 degrees for the first time) through its carefully planned visual intersection with the bottom rail of the second floor bannister.  Johnston’s game is to confuse the eye and liberate the architectural components from their structural duties with joyous irrational effect. Her play is achieved through the manipulation of details.

Imagining Home brings together more than 30 works from across the BMA’s collection to explore the universal theme of home. The exhibition is the result of a collaboration between Director of Interpretation and Public Engagement Gamynne Guillotte and Associate Curator of European Painting & Sculpture Oliver Shell.

 

This entry was posted in Exhibitions, Joseph Education Center, Works of Art and tagged , , , on by .

About Oliver Shell

Dr. Oliver Shell received a Ph.D. in Art History at the University of Pennsylvania, in 1998. He came to The Baltimore Museum of Art in 2003, as the Samuel H. Kress Curatorial Fellow, and conducted research on the sculpture of Henri Matisse. This work led to the 2007 BMA exhibition Matisse Painter as Sculpture, with venues at the Dallas Museum of Art and the Nasher Sculpture Center. Since 2007, as Associate Curator of European Painting and Sculpture, Shell has organized exhibitions including: The Persistent Figure in Modern Sculpture, 2006/2007; Rodin Expression and Influence, 2007; A Circus Family: Picasso to Léger, 2009; and Advancing Abstraction in Modern Sculpture, 2010/2011, and German Expressionism: A Revolutionary Spirit, January to September 2014.

Leave a Reply

Your email address will not be published. Required fields are marked *