Tag Archives: the Cone Sisters

Introduction to the BMA Archives

LS1.2sThe Baltimore Museum of Art, from the south, circa 1940.

Everywhere you look at the BMA, there are connections to history—from the architecture of the John Russell Pope building to the re-creation of Claribel Cone and Etta Cone’s apartments. The Museum’s Archives is reflective of this, with a rich array of materials documenting the history of the BMA, as well as the art collectors and other people who have helped shape it from 1914 to the present. Whether you have a scholarly research question or are just curious about the BMA’s past, helpful resources can be found in the Archives.

What’s in the Archives?
The Archives’ collection comprises approximately 1,400 linear feet or almost four football fields of primary source material such as letters, diaries, meeting minutes, photographs, films, audio recordings, architectural plans, research notes, and financial documents.  These are divided into two distinct parts: institutional records and manuscripts. The former are records of the activities of the Museum’s staff, volunteers, and trustees. For example, the Prints, Drawings and Photographs Department Records include curators’ research for exhibitions, correspondence about purchasing works of art, and logistical documents for the Print Fairs.  Manuscripts, on the other hand, are the personal papers of art collectors and others with a connection to the Museum. Claribel Cone and Etta Cone’s papers include account books listing their purchases while traveling in Europe, letters from Claribel to Etta describing life in Germany during World War I, and photographs of their apartments in Baltimore.


Front room, Claribel Cone’s apartment (8B), Marlborough Apartments, Baltimore, Maryland

How do I find resources and materials?
To learn more about the materials in the Archives, start by reviewing the finding aids, which are easily keyword searchable with your browser’s find function (Ctrl+f). Because of the volume of material inside each box listed in the finding aids (often hundreds of items), you will find general descriptions of categories of materials called series or sub-series—correspondence, financial records, research, etc. When the significance of the materials warrants more information, detailed folder or item descriptions may also be included.

If you spot something that seems helpful to your research, please contact us. You don’t need to be a BMA member to visit the Archives. All researchers are welcome, by appointment, Monday through Friday, between 9 am and 5 pm.  To make an appointment, call (443) 573-1778 or email bmalibrary@artbma.org.       


Letter from Samuel Putnam Avery to George A. Lucas, August 25, 1895

BMA Voices: The Blue Eyes

Henri Matisse. The Blue Eyes. 1935. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.259. © 2014 Succession H. Matisse/Artists Rights Society (ARS), New York

Henri Matisse. The Blue Eyes. 1935. The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.259. © 2014 Succession H. Matisse/Artists Rights Society (ARS), New York

Katy Rothkopf, Senior Curator & Dept Head of European Painting & Sculpture

Henri Matisse’s small, but powerful, painting The Blue Eyes was created in 1935. It features an intimate view of Lydia Delectorskaya, a Russian woman who met the artist when she was hired as a nurse for his wife. Lydia began to model for the French master in 1935, later becoming his studio assistant, muse, and Matisse’s companion for the rest of his life.

In 1935, when The Blue Eyes was produced, Matisse was just starting to paint again after a three-year hiatus from making oil paintings. In the late 1920s, Matisse had received some criticism for producing so many decorative paintings of women in interiors, often dressed in exotic costumes. He decided to take a break, and travelled abroad, created his first illustrated book, as well as completed a major mural project for the Barnes Foundation outside of Philadelphia. When he returned to producing oil paintings in 1934, Matisse had a new sense of energy and excitement in his work. His exploration of space and his love of texture and pattern began to emerge in new ways.

During his hiatus, Matisse came to Baltimore to pay his condolences to Etta Cone, one of his most important collectors, whose sister Claribel had died the previous year. During that visit in 1930, he saw all of the wonderful pieces the Cone sisters had purchased for their collection, including his own works that he had not seen for a long time, as well as paintings by many of his great artistic heroes. After his visit Matisse and Etta became even closer friends. When the artist returned to making oil paintings in 1934, he began to make works with the Cone Collection in mind, wanting to ensure that Etta’s collection was as strong as it could be.

The Blue Eyes is a composition that seems very spontaneous and immediate, but, in fact, the artist worked on perfecting the pose several times. Matisse was very taken by this idea of a woman seated in a casual pose, leaning on the back of a chair with her head resting on her arms. While working on a drawing with a similar pose, Matisse took photographs of the work in progress and sent them to Etta. She was so taken with the images that she could not resist purchasing the related painting from her favorite artist.

BMA Voices is an insider’s exploration of The Baltimore Museum of Art collection through the eyes of its curators, conservators, and registrars. Featuring a new object every day during the BMA’s 100 Day Celebration, the project will highlight some favorite, amusing, unusual, and obscure objects.

Reproduction, including downloading of Henri Matisse works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York.