Category Archives: Exhibitions

Juried and Invitational Exhibitions at the BMA

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First Annual Exhibition of Maryland Painters, Sculptors, and Printmakers exhibition, The Baltimore Museum of Art, 1933

As the recently announced 2015 Janet & Walter Sondheim Artscape Prize finalists prepare for their exhibition at the BMA this summer, I am working with the Archives’ Juried and Invitational Exhibitions Records and giving much thought to the incredible creative output of Maryland’s artists over the past century and the BMA’s role in displaying it.  From the moment the BMA opened its doors in 1923, opportunities for local artists to exhibit their work were a part of each year’s schedule of exhibitions.  With the opening of the John Russell Pope building in 1929, the BMA was able to develop its own exhibitions and expand its relationship with local artists.  The records I am processing as part of the Library and Archives’ NHPRC grant project document group exhibitions such as the BMA’s Maryland and Regional Artists Exhibitions, the Baltimore International Salon of Photography, and annual exhibitions of the work of members of the Baltimore Water Color Club and the Artists’ Union of Baltimore.

This week I am nearing the end of arranging and describing the largest part of the records, the Maryland and Regional Artists Exhibitions files (21 boxes of material).  The files document a long-running series of exhibitions of the work of local and regional artists organized by the BMA beginning in 1933.  Following a highly successful series of solo exhibitions at the Museum in 1930 to 1932, space considerations and the number of artists in the state interested in exhibiting work led to the decision to instead hold a major group exhibition for Maryland artists.  Although it wasn’t long before the solo exhibitions started up again, the Maryland and Regional Artists exhibitions continued for nearly 60 years.

Exhibition catalog, Maryland Artists Twentieth Annual Exhibition, The Baltimore Museum of Art, 1952

Exhibition catalog, Maryland Artists Twentieth Annual Exhibition, The Baltimore Museum of Art, 1952

The contents of the files for each exhibition vary, but most contain material about the logistics of bringing artwork into the BMA and hanging it on the walls, facilitating purchases, and returning the work that remained after the exhibition.  Cards or lists of entries provide information about the work each artist entered.  Some files also contain correspondence with artists, jurors, and museum visitors–complaints and praise for the most part.  Through these letters, it has been interesting to note how each year the challenges of coordinating the exhibitions shifted as the BMA’s staff worked to weather difficulties such as World War II and changes in artistic influences as new art movements made their way to Baltimore.

Perhaps surprising to those who aren’t from Maryland is the number of nationally-known artists who worked in the area between 1933 and 1992: Grace Hartigan, Morris Louis, Lowell Nesbitt, Martin Puryear, Amalie Rothschild, Anne Truitt, and May Wilson, to name a few.  All submitted work to the Maryland and Regional Artists Exhibitions at least once.  Jurors for the exhibitions also included influential artists, critics, and curators such as Max Weber, Betty Parsons, Richard Tuttle, Sam Hunter, and Dore Ashton.

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Grace Hartigan, Maryland Artists Invitational exhibition, The Baltimore Museum of Art, 1968

In an effort to please artists and visitors and to support its small staff, the BMA revised the format of the exhibitions several times.  A separate exhibition for Maryland crafts was held in 1952, 1953, and 1954.  Beginning in 1953, regional exhibitions including the works of artists from Washington, D.C. and Delaware alternated years with the strictly Maryland exhibitions.  An invitational was attempted in 1968, followed by a move to biennial exhibitions from 1974-1985.  The exhibitions ultimately ended with Maryland by Invitation in 1992 which featured the work of artists Jeff Gates Lisa Lewenz, but the commitment to Maryland artists lives on through the Sondheim exhibitions, the Baker Artists’ Prize exhibitions, and the Front Room exhibitions in the Contemporary Wing—Baltimore-born artist Sara VanDerBeek’s work is on view now!

Great News for Landmark Matisse/Diebenkorn Exhibition

Today’s grant announcement from the National Endowment of the Arts brings BMA Senior Curator Katy Rothkopf another step closer to realizing her dream of pairing the work of French artist Henri Matisse (1869-1954) and American artist Richard Diebenkorn (1922-1993).

Katy first conceived the idea for the exhibition many years ago as part of the BMA’s ongoing commitment to studying Matisse’s work. She saw two drawings of a reclining woman in the BMA’s collection by both artists and noticed an unmistakable similarity between the Frenchman’s and American’s work. Yet these images were created four decades and two continents apart. Since then, Katy has examined many artworks that show resonances between the two painters. She also made several trips to California to meet with the Diebenkorn family, including the artist’s widow before she passed this year, and even got to see the Diebenkorn’s extensive personal collection of books about Matisse.

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Henri Matisse. Reclining Model with a Flowered Robe, c. 1923. The Baltimore Museum of Art: The Cone Collection, BMA 1950.12.52

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Richard Diebenkorn. Woman Seated in a Chair, 1963. The Baltimore Museum of Art: Thomas E. Benesch Memorial Collection, BMA 1970.21.3

Diebenkorn was introduced to Matisse’s work in the early 1940s, then immersed himself in the French master’s work in 1952 when a major retrospective of the artist’s paintings came to Los Angeles. He was completely taken by the color and structure of the oil paintings and inspired by Matisse’s willingness to show evidence of his creative process, and began to seek out examples of his work whenever he could. The effect on his work was transformational. A subsequent Matisse exhibition in 1966 captivated Diebenkorn even further.

Matisse’s emphasis on geometric structure, spatial relationships, and a bold, colorful painting style was of great importance to Diebenkorn. Both artists loved to show both the inside and outside in their compositions, often focusing on windows or doorways that include views beyond. In Window, Diebenkorn pays homage to Matisse at his most radical, combining a subject that was a favorite of both artists with pared down detail and broad, geometric fields of color. The decorative wrought iron grille and solitary chair in Window further link the composition to Matisse, who made many paintings of his home and studio that included these elements, such as in Goldfish and Palette of 1914.

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Goldfish and Palette, 1914. The Museum of Modern Art, New York: Gift and bequest of Florene M. Schoenborn and Samual A. Marx, 507.1964

Diebenkorn-Window

Window, 1967. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University: Gift of Mr. and Mrs. Richard Diebenkorn and anonymous donors, 1969.125 CR1414

 

 

 

 

 

 

 

 

 

 

Fast-forward a decade later, the Matisse/Diebenkorn exhibition is now being co-organized by the BMA and the San Francisco Museum of Modern Art (SFMOMA) for presentations on each coast in 2016-2017. This landmark exhibition will bring together more than 80 paintings and drawings by Matisse and Diebenkorn from museums and private collections around the world. Seeing these two great artist’s works paired side-by-side for the first time is an event everyone wants to be a part of.

The exhibition will be accompanied by a color catalogue with images of all of the works featured, as well as additional illustrations for the introduction by the distinguished Matisse scholar John Elderfield and essays by Katy Rothkopf and SFMOMA Curator Janet Bishop.

In addition to works from the BMA’s and SFMOMA’s collections, stellar examples of each artist’s work are being loaned by the Musée National d’Art Moderne Centre Georges Pompidou in Paris; the Statens Museum for Kunst in Copenhagen; The Art Institute of Chicago; the Museum of Fine Arts, Boston; and The Museum of Modern Art, The Metropolitan Museum of Art, and Albright-Knox Art Gallery in New York.

Generous support for the exhibition has come from The Henry Luce Foundation and the Terra Foundation for American Art in addition to the National Endowment for the Arts.

Black Box: Sharon Hayes

Sharon Hayes. ‘Ricerche: three’, 2013. Single channel HD video. 38 minutes. Edition of 5 + 1 AP. (HAYES-2013-0089). HD video still. Participants (left to right): Jasmine Brown, Laakan McHardy, Paola Lopez, Anarkalee Perera, Zehra Ali Khan, Sara Amjad. Courtesy of the artist and Tanya Leighton Gallery, Berlin

Sharon Hayes. ‘Ricerche: three’, 2013. Single channel HD video. 38 minutes. Edition of 5 + 1 AP. (HAYES-2013-0089). HD video still. Participants (left to right): Jasmine Brown, Laakan McHardy, Paola Lopez, Anarkalee Perera, Zehra Ali Khan, Sara Amjad. Courtesy of the artist and Tanya Leighton Gallery, Berlin

Do you think you’ll marry soon? Why did you come to an all-female college? Can you be more sexually free here than politically or intellectually?

Artist Sharon Hayes, acclaimed for her politically charged live performances and video works, asks these and other insightful questions to a group of college-aged women in the mesmerizing piece Ricerche: three, opening on Sunday March 15 in the BMA’s Robert and Ryda H. Levi Gallery.

The 38-minute video, which received a special mention from the Golden Lion award committee at the 2013 Venice Biennale, explores changing perspectives on gender and sexuality through the eyes of 36 students attending Mount Holyoke, an all women’s college in western Massachusetts.

Born and raised in Baltimore, Hayes returned to her hometown this past fall for the first portion of a residency at The Johns Hopkins University. She visits again in early April to continue her meetings with JHU students and to perform a live piece. The artist expects that her time in Baltimore will also inform another installment of what she intends to be an on-going series of works. Titled Ricerche (the Italian word for research or investigation) and inspired by Pier Paolo Pasolini’s 1964 film Comizi d’amore (Love Meetings). For that film, Pasolini, like Hayes, acted as both documentarian and interviewer, asking Italians to discuss their attitudes about sex.

This is the BMA’s third collaboration with JHU’s Center for Advanced Media Studies, which brings internationally recognized media artists to Baltimore. This year’s project includes a new partner—JHU’s Museums in Society program, extending the reach of the artist’s topical examination of collegiate sexual identity.

Black Box: Sharon Hayes is on at the BMA from March 15 – October 11, 2015.  It has been curated by Curator of Contemporary Art Kristen Hileman and presented in collaboration with The Johns Hopkins University’s Center for Advanced Media Studies and the Museums in Society program.


Interview with Sharon Hayes at the 55th International Art Exhibition, where she received a special mention from the Golden Lion award committee.

How to Collect Art: Tips for New Collectors

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Collectors at the 2012 Baltimore Contemporary Print Fair.

The Baltimore Contemporary Print Fair (March 27-29) is a biennial fair that brings printers, publishers, and dealers to Baltimore for one weekend to sell the latest in contemporary prints and multiples. Ranging from emerging to blue chip artists, and from $500 to $50,000, there is something for everybody. The BCPF provides a wonderful opportunity for younger and first-time collectors to add reasonably priced works of art by today’s best makers, and also offers visitors the opportunity to engage directly with the people who worked with the artists to make the prints. Staff from many of the country’s most important print studios will be on hand to tell you about their experiences and help you understand how the prints were made. It’s a not-to-miss event. In addition, to make visitors feel welcome, Museum staff will be on hand to offer guidance throughout the weekend.

If you are a first-time collector, or just looking for a better experience buying art, these tips might help.

The Basics
The International Fine Print Dealers Association (IFPDA) defines an original print as a work of art on paper that has been conceived by the artist to be realized as a print, rather than as a reproduction of a work in another medium. There is always a fuzzy line between posters and prints, but suffice it to say, at the BCPF, visitors will be looking at original prints.

Condition
While most prints at the BCPF are very recent, the first thing to consider when looking at any potential purchase is condition. Check to make sure the print hasn’t been compromised, meaning it’s not scratched, torn, wrinkled, or too yellowed. You want the paper to be free of marks, creases, and dents.

Technical knowledge
If you like an image but are unfamiliar with the techniques used to realize it, ask the dealer to help you understand better. There are lots of glossaries around that describe printmaking techniques. A handy one can be found on the IFPDA’s website here: http://www.ifpda.org/content/collecting_prints/glossary.

We can’t emphasize enough the value of engaging the vendors in conversation. They are there to help you understand not only the technical aspects of a work of art, but also to help you understand what the artist was thinking; as we say in the department, the “what’s the what”.

Making a purchase
When it comes to making a purchase, please know the deal is between you and the vendor. Negotiating is part of the deal. Don’t be afraid to ask if a discount is available; it can’t hurt to try!

The bottom line on purchasing art is that purchases should not be made based on the speculative future value of the object, but it should be bought because you love it and want to live with it.

Framing
Once a purchase has been made, you’ll want to frame the work. There are many good framers in the Baltimore metro area. The museum can recommend several who will treat your purchase well. The quality of the materials the framer uses is important. The bottom line: pay for the best materials you can afford.

Care at home
Bringing your purchase home is always exciting. When considering placement within your home, several factors come into play. When possible, steady climate control is best. Dampness and heat should be avoided in the area where the print is stored, if possible. Be sure to keep your print out of direct sunlight as this can also cause damage to the ink and paper. If your print is unframed, be sure to store it flat to keep the edges from curling and/or tearing.
More information on how to care for your work on paper.

The Baltimore Contemporary Print Fair will be held at the BMA March 28-29, 2015. See the website for full details about exhibitors, and special events. Entry to the event is free for BMA Members. Tickets for non-members are $15 for both days, and $10 for one. Students and teachers with a valid I.D. are free. 

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What do you wonder about African art?

D'mba Docent Tour

A BMA docent teaches a class of fourth-graders about the Great Mother Headdress (D’mba).

The BMA’s African galleries are currently under renovation, with a planned reopening on April 26, 2015. The new galleries will be filled with visitor favorites such as our Great Mother Headdress (D’mba), shined until she sparkles and fully dressed in a new full-length costume, plus never-before-seen objects. This creates an exciting opportunity to rethink how we can help visitors understand the art in the galleries, and why it is relevant in their lives.

During the last few months, we’ve spent a lot of time brainstorming different possibilities for how we might be able to share all the interesting information we have about the art, artist, or culture on display.

Now we have lots of ideas—everything from video projects to maps to iPad apps. But one thing that we’ve kept saying is, “That sounds interesting to me, but will our visitors be interested?”

What better way to answer that question than to ask?

Docent tour in the African gallery

Docent tour in the African gallery

We want to know what you care about when you’re looking at African art. Everyone looks at these artworks through different eyes—with different experiences and knowledge shaping how they see them.  What are your questions when you see a mask, a statue of a woman, a reliquary figure, a contemporary vase, or other objects?

If you have 7 minutes to spare, please fill out our visitor research survey at the bottom of this page and let us know what you care about. You can also leave us comments on this blog post. We’d love to hear from you.

Bonus Prize: If you add your contact information at the end of the survey, you will be entered into a draw for the prize, Museum Educator for a Day. You will receive a personal gallery tour with a BMA education staff person and then have the opportunity to write a blog post about it for the BMA blog! You can choose a particular artwork, gallery, media, or anything else you can think of to write about.

Take our survey

She Poses for Moses, Erroneously (with apologies to Mr. Kelly and Mr. O’Conner), the final pages…

Painting by Pierre Auguste Renoir, On the Shore of the Seine, with man's hand and magnifying glass in foreground.

Pierre Auguste Renoir. On the Shore of the Seine. c. 1879. The Baltimore Museum of Art: Saidie A. May Bequest, Courtesy of the Fireman’s Fund Insurance Company, BMA 2014.1

In March, acclaimed Baltimore-based writer and producer David Simon (The Wire) started She Poses for Moses, Erroneously (with apologies to Mr. Kelly and Mr. O’Conner) – the first continuing story in our Renoir Returns story challenge. Now we return to the beginning of that tale, to see how it unfolded. Below, read the story as it played out from the beginning, with thanks to the multiple authors who contributed to it.

By David Simon
Nine months of loose-fitting robes and girlish misdirection were coming to a head, right here, at the low tide of morning.

“Hey,” said the princess to the most trusted handmaiden,  ”what’s that over by those white flowers.”

“It looks like a basket,” said her servant, dry as dirt.

“I wonder what’s in it?”

An infant’s cry answered, as if in reply.  Or, maybe, that was laughter.

By Peter O’Connor
The bulrushes rustled; the maiden tiptoed closer.

Newborns lay mewing, their eyes shut.

“Wolves!” she gasped.

The princess paused from washing off the mud to pull back the rushes.

“Coyotes,” she corrected, “My brother was raised by wolves. I recognize a coyote cry from a wolf any day.”

The handmaiden whispered, as to not startle, “Remember, a pirate wears a sombrero and does not lose his glasses. A man’s heart will pine until one gives him a swift kick in the ass to find his heart’s true deseo.” Her astronomy with animal totem beliefs became a quilt for Frida Kahlo’s memory.

By Ken James Guessen
Mauve shadows paint their faces.

Monet tells of her last days. Renoir interrupts. Degas squints, listening to the memory as if it were his own.
***
“Relax your arms like a ballerina.”

She’s goes under. He dives, surfaces.

“Aline!”

Tracing the rope to her waist, he lifts.

She arrives coughing, choking.

“A…line! You must learn to swim.”

“Get this off me!”

“La corda salvato la vita.”

“The rope was just long enough to hang me.”
***
The next morning he taps his razor. His reflection, an echo, his eyes reminiscing.

“I punched a hole in the wall,” he tells her.
***
Laughter erupts. Monet leaves abruptly.

By Jan Ryan
He stares down at the shore. He saved her, hoisted the carcass from the depths. The fabulous creature laughed at him, at all of them. The rest laughed too as if they understood erasure by water, mockingly floating a bubble up to the distant vague ship. How could she prefer to be hidden/lost/gone from them? Were we imbued to crave beauty only to deprive us… was creation not our assigned mission? Could one greedy, selfish lover, an ocean, incinerator, fireplace or thief be allowed to kidnap her?

By Jan Ryan
These kleptomaniacs would steal candles from a church. He pointed and she pocketed. With the ruckus behind the plants (Remus and Romulus basket kidnapping) you may wonder how anyone witnessed anything but I had a higher vantage point.

Newspapers were spread open across the carpet. They LOVED the publicity. They read the news coverage out loud to each other every day. Things were calm with Saidie May and the young lady but forget any peace with these basket cases. They were your feral children.

By Jan Ryan
Each day with no buyer, after optimism based on the serendipity that scored the Renoir, created a little more doubt as to how to escape from a Baziotes cocoon. If they could only sell the Renoir they could move to New York or putter in a propeller basket to the Caribbean. They read the Real Estate section, picking out an apartment that sold before they had the money to buy it, and the travel section, selecting their tropical island. Semi-consciously they floated, descending, through clouds.

By Jan Ryan
Picasso wasn’t in Mallorca in 1931 if that’s what you are thinking. He was up the coast in Southern France illustrating a Balzac story about a perfectionist artist who kills himself after being ridiculed by young artists.

When tourists assumed her paintings were no good Saidie May was ready to kill too.

“Don’t blab that you collect art. They will rob you.” warned the artistic sister.

The family never heard the details of Saidie’s trip but when the robbery happened much later they wondered.

By Jan Ryan
The thieves made contact. He explained that he was in the market for lesser-known artists like The Painter’s Window. He wanted it but a stolen Renoir from a museum? Too hot. “Not going to touch it but try this guy, he’s an idiot,” and “this guy” was an idiot. He bargained with all the same reasons to not buy then paid cash and disappeared.

They were dealt a better hand. The thieves dyed their hair brown, left their whole stolen collection in Baltimore, went by new names and never returned.

By Jan Ryan

“Did you seek protection? Couldn’t you find the museum or the May apartment?” berates the Interrogator.
“Do you understand simile?” she retorts, “Like a plant, someone has to move me.”
“… throw out some seeds or fall into a visitor’s lap?” the questioning continues.
“After I left the museum no one drew, photographed, no more art history analysis, no X-rays or Internet. There were dire consequences were they to admit they had me. Outside we could be chased through a land of video cameras.”

By Jan Ryan
He sacrificed much of the children’s tuition and his wife’s precious roasts for the Renoir for which the thieves considered him an idiot. He HAD TO bargain: How much cash did they think he could account for? He hated doing business with amateurs and their “buyer” was so condescending. He loved what he loved and he loved the Renoir. If you can’t see why you would have been nothing to him.

In a fit of nerves his wife gave the Renoir to the maid.

By Jan Ryan
The maid knew what “this guy” was all about. Research at the museum and libraries made her think the painting was real. There was no way to know for sure. She told her kids it was a copy of a corner of a real Renoir. They took crayons to paper to make their own replicas, thereby, in the maid’s opinion, leaving a trail. Uneasily she wiped it clean of fingerprints figuring otherwise her great grandkids would get themselves into trouble selling it thinking they were trying to pass it off as real.

By Jan Ryan
I would be happy to return to the museum with the school kids piping up with comments, the stoned teenagers dully saying, “Cool.Renoir,” the adults telling wise tales that aren’t true, the quiet ones (mysteries they are thinking) and intimidated visitors finally blurting out, “I like THIS one.” Thanks! What’s not to like? They all liked me but there was nothing to do but look at me so they looked and looked and I looked back.

This is the final post for She Poses for Moses. The Renoir Returns exhibition is on display in the Museum until 20 July 2014. Examine all the evidence in the Renoir Returns Flickr group, and visit the BMA to see the all the works of art shown in this story in person.

Contours of a Thief, the final pages…

Renoir magnifying glass on name

In April, Baltimore author Justin Sirois (So Say the Waiters) provided the opening text for Contours of a Thief - story two in our Renoir Returns story challenge. Now we return to the start of that story, to see how it unfolded. Below, read the story as it played out from the beginning, with thanks to the multiple authors who contributed to it. Now, we are seeking a final chapter, to pull the story together. 

By Justin Sirois
For thirty-eight years of its secret life, the painting hung in her study, above the hearth that was never lit—sitting there waiting for her cat’s tail dust the frame’s intricate cursive. The study door was always locked. No guests allowed. No husband around. There was a desk and hundreds of books on bookshelves and an austere, but hand-me-down leather chair for reading in. Curtains blocked nearly all daylight.

She, the bandit, would sip tea and stare beyond the painting’s warm foliage. How the gesture of breeze transported her. Prisms of pastel smeared beyond Eden. Men and women walked along the shoreline. Basking and kissing. The bandit sipped and reached into her pocket with her free hand, fingering the study door’s key. She slid the key out and brought her fingers to her lips, kissing the back of her hand.

The cat curled around her ankle—dusting her off too. The painting hummed colorful. Sang inside the study. It was, in a way, a prison. A secret that could only be enjoyed when she fantasied about telling it. The people in the painting walked away.

By Jan Ryan
Honestly, you didn’t protect me well. You let me go out with anyone, the sick woman, anyone, acting like it would be a wonderful experience for me. The patriarch said I was the best thing that ever happened to them. And then I was with them. They were my people. How were you to know that the prettiest one would end up alone and impoverished, discarded in a box of knickknacks at a flea market? Well let me assure you I witnessed plenty of secret adventures before I became too much of a liability.

By Gabriella Russo
I remember the night that bandit came into the apartment, stealthily creeping among the Saints first and then making her way to me. She overlooked the beauty in the intricacy of their portraits and focused in on the vivid, beautiful brushstrokes in my foreground. She looked at me with envy, as if she wished she could be engrossed in my very canvas and that is when she stripped me from my home, carefully tip toeing out of Miss May’s apartment.

By Julia Fountain
The thieves will get their money, just as they always do. The police want to protect the people, but not the artist, nor their art.
135 years later pieces will hang on the cluttered walls of museums, boasting names of the histories renowned artists. Millions of eyes will trace the various strokes and contours, but little do they know that beneath the varnish and oil may simply be a rendition, a mere copy of an original.
The art is still being appreciated, the legacy sustained; no one got hurt.

By Jan Ryan
Yeah, Saidie May would fondly remember her time drinking in Mallorca and her family’s blind eye to it, making and collecting art. No one knew anything she didn’t tell him or her. If she told them how would she remember? How would they remember? Juan Gris’s Bottle and Glass painting could have reminded her of men’s smoky Spanish chats in that independent period in her life but were the spillage tremors an earthquake or a reaction to really good wine? At home wine tasted like a chemical brew.

By Jan Ryan
There is only an appearance of too little. Everything fits together simply. Some of the paintings are needlessly complicated. Black, white and primary colors. They fit. They do it all the time but no one has to create disorder. Timing matters.

The idiot had me restored. That means dirty original paint was removed and repainted. Won’t future generations love that. Makes my reds boil but that is individualism.

By Jan Ryan
Maybe you can paint. Maybe you can’t paint but Saidie May could paint. This is one of her landscapes.
For decades the May family repeated that the theft goes back to 1930s Mallorca. Family members visited the Mediterranean many times with one eye watching for the painting. Rooms were unlocked and cellars searched on a hunch. As soon as a guest named May checked into a hotel word went out, “Hide the painting!” not that anyone had any idea who had it.

By Jan Ryan
The children knew that their father had done something terrible and that their mother had also done something terrible to keep the family together. With teenage friends they pieced together that their father had probably had an affair, a serious affair, with an expensive prostitute who gave him that small painting as a celebration of their love and that he had had the nerve to hang it behind a secret panel in his man cave library and that their mother had gotten away with killing the woman.

The maid was living with a grown child in Virginia. She found a cleaning job to put some cash in her pocket. She had a feeling the Renoir belonged in the master bedroom so bracing for a lecture on how lowbrow her taste in art was she hung it there. The woman she cleaned for dropped her towel when she saw it. Never one to pause and think she said, “Holy sh*t. WTF. How? I suppose you want money.” It was not the response the maid expected but she nodded. Wahoo! The grandkids were going to college.

I don’t know where the he-maniac went or why the she-maniac bought me back. A grown daughter eventually pretended she was returning Nazi looted art. Couldn’t anyone leave me in a bathroom or closet at the museum? Video cameras. Bag searches. They help and they hurt. I will now probably be hanging for centuries at the museum like a vampire bat. All we have are our adventures. If there is ever an opportunity to loan me out, descendants of those barflies in Majorca have been expecting to see me.

Stealing History

FBI's Most Wanted Art TheftsWere the hands that lifted the Renoir painting off of the Museum’s walls shaking? Or were they steady, swiftly raising the small landscape off of a hook without hesitation?

Was it a woman? Did she uncouthly slip the painting under her skirt—maybe into a pocket within her bulky crinoline made for just such an occasion? Or did she gently tuck it into her coat’s fashionable large balloon sleeve?

And was the Renoir her first choice? Or just a consolation prize when the intended loot was too difficult to take?

We may never know the answers to these questions now that the FBI has officially closed its investigation, but what we do know, thanks to an FBI video, is how the agency determined the painting’s provenance and rightful owner.

Special Agent Gregg Horner interviewed is one of 14 FBI special agents who investigate art thefts throughout the world. Created in 2004 partly because of looting in Iraq’s Baghdad Museum, his team knows all too well:

  • The US is the preferred place among criminals to sell stolen art;
  • Billions of dollars of art go missing every year;
  • Art theft is one of the highest grossing criminal trades in the US, following only drugs and arms; and
  • Fundamentalist terror groups rely on looted antiquities as a major source of funding.

So that’s why you should care. But what can you do about it?

  •  If you’re looking to buy antiques or art work, only buy from reputable dealers and auction houses who have researched the chain of ownership and who will guarantee that the artwork has not been stolen.
  • Help spread the word about thefts, leads, and recovery efforts.
  • Stop by the temporary entrance after seeing The Renoir Returns (closing July 20) to read about the top ten works of art still missing from museums around the world.
  • And last but not least, help protect and display Baltimore’s great treasures by becoming a BMA member. Your membership matters.

 

 

Exhibit L: Renoir Police Report

Renoir Police Report

Renoir Police Report

This is the final piece for She Poses for Moses, one of two stories in the Renoir Returns Story Challenge that have taken us on a journey inspired by weekly “evidence” inspired by the purloined painting.

I would be happy to return to the museum with the school kids piping up with comments, the stoned teenagers dully saying, “Cool.Renoir,” the adults telling wise tales that aren’t true, the quiet ones (mysteries they are thinking) and intimidated visitors finally blurting out, “I like THIS one.” Thanks! What’s not to like? They all liked me but there was nothing to do but look at me so they looked and looked and I looked back.

Exhibit K: Theo van Doesburg. Interior. 1919.

Theo van Doesburg. Interior. 1919.

Theo van Doesburg. Interior. 1919. The Baltimore Museum of Art: Bequest of Saidie A. May, BMA 1951.292

Theo van Doesburg was a founding member of the Dutch art movement De Stijl (The Style), formed in 1917. The group, which included artist Piet Mondrian, sought to express ideal spiritual harmony by radically simplifying form and color. This idea led to compositions based exclusively on vertical and horizontal elements and a palette limited to the three primary colors, as well as black and white. “Interior” appears more relaxed and painterly than many De Stijl works, and includes diagonals and curves, as well as strong earth tones. These features have led some scholars to date the work earlier than its 1919 inscription (which would place it in the period just prior to the self-imposed restrictions of full-fledged De Stijl).

“Interior” is one of only two works of the important De Stijl movement in the BMA’s holdings. Both were purchased by Saidie May in the late 1940s, proving her foresight as a collector of modernism.

The maid knew what “this guy” was all about. Research at the museum and libraries made her think the painting was real. There was no way to know for sure. She told her kids it was a copy of a corner of a real Renoir. They took crayons to paper to make their own replicas, thereby, in the maid’s opinion, leaving a trail. Uneasily she wiped it clean of fingerprints figuring otherwise her great grandkids would get themselves into trouble selling it thinking they were trying to pass it off as real.