Now everyone is an insider!
In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.
If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at firstname.lastname@example.org.
Tuesday, August 14, 2012
Did you know...?
The Cunningham Center for the Study of Prints, Drawings, and Photographs is an incredible resource for groups and individuals interested in viewing works on paper in an intimate environment. Housed within the Smith College Museum of Art, the Cunningham Center allows visitors to experience direct, close encounters with prints, drawings, and photographs. Our collectionincludes over 16,000 works on paper dating anywhere from the 15th century to the present, and the number is constantly growing as we acquire new works! Visiting the Museum is just seeing the tip of the iceberg; prints, drawings, and photographs comprise over 70% of the Smith College Museum of Art’s collection.
This blog is our virtual tool with which we can share highlights from our collection of works on paper, as well as behind-the-scenes experiences of those who work in or visit the Cunningham Center. The best way to access our extraordinary collection is, however, to come visit us in person! We strongly encourage allvisitors – individuals or groups; art enthusiasts; families; students, scholars, and classes of any level or discipline.
The Cunningham Center for the Study of Prints, Drawings, and Photographs is open by appointment Tuesday-Friday from 10 AM – 4 PM, year-round. You are invited schedule a time to view specific prints, drawings, and photographs of your choosing which can be found using our online database(make sure you specify that you are searching the Smith College collection in the drop-down menu). To make an appointment, or for further information, please call 413.585.2764 or e-mail email@example.com. We, the staff of the Cunningham Center, hope you will take this amazing opportunity to discover, explore, and personally engage with our collection!
Thursday, August 9, 2012
Japan and Photography in the 19th-Century
When American Commodore Matthew C. Perry landed in Yokohama, Japan in 1854, the country had been in a state of isolation for over 200 years. Wary of the influences of Western civilizations, the island nation sought to preserve its culture and autonomy by shutting out the rest of the world, beginning in 1635. This era of Japanese history is known as the Edo or Tokugawa Period, when Japan was a feudal society, ruled by daimyo(lords), shoguns(generals), and samurai(aristocratic warriors). In 1868, the Tokugawa shogunate was overthrown and a traditional monarchy was reinstated, beginning the period known as the Meiji Restoration, after the ruling Emperor Meiji. After re-opening its gates to the world, Japan was in a state of rapid modernization and Westernization, which were considered synonymous at times.
Photography, a modern invention, was introduced to Japan in the 1850s. (The first datable photographs taken in Japan were shot in 1854 by daguerreotypist Eliphalet Brown, Jr., who accompanied Commodore Perry on his expedition.) Originally met with widespread hostility and resistance, it was not until the 1860s that photography grew in popularity. The Japanese word for “photograph” is shashin,meaning “reproducing reality” – a translation that is only partially true. There was a significant Western market for tourist photographs of Japan, particularly since no foreigners were previously able to enter the country for hundreds of years. These photographs were often contrived, exoticized images of feudal Japan, sold as both landscapes and studio portraits of “native types.” However realistic or not they actually were, these photographs are fascinating documents of an antiquated, romantic view into a culture that was changing at breakneck speed.
The most well-known and influential photographer in 19th-century Japan was actually not Japanese at all. Felice Beato was an Italian-British photographer who worked in Japan from 1863 until 1884. His photographic albums are unique visual documents of the last years of the country’s feudal period, 1865-68. His work was hugely influential to all subsequent 19th-century Japanese photography, particularly with his albumen prints which were hand-colored by Japanese artists. Many of these artists were formerly employed by coloring woodblocks for the production of ukiyo-eprints; Beato photographed one such painter from his studio (see below). (Click hereto see Amanda Shubert’s discussion of this popular art form, which photography supplanted in popularity in the second half of the 19th-century.) Beato’s work is closely related to the ukiyo-etradition in production and aesthetics; his studio portraits of geisha and tradespeople are quite unlike the picturesque and sentimentalized commercial photographs of his time.
Baron Raimund von Stillfried
Felice Beato’s legacy was carried on by his contemporary competitor, Baron Raimund von Stillfried, an Austrian nobleman. From 1871 until 1885, Stillfried lived and worked in Yokohama, the largest city for exporting photographs, where Beato also had his studio. He was the first European photographer to use Japanese apprentices. Stillfried’s most famous photographic album, Views and Costumes of Japan,includes the last depictions of samurai warriors taken before they were no longer allowed by law to wear their topknot hairstyle or carry swords, symbols of their aristocratic status which was dismantled with demise of the Tokugawa shogunate.
One of Stillfried’s Japanese apprentices was Kusakabe Kimbei, who became a commercial photographer with his own studio in Yokohama. His and Stillfried’s photographs are instilled with a psychological sense of their subjects that is lacking in the work of Beato. While he worked in relative obscurity during his lifetime, Kimbei is now one of the most renowned Japanese photographers of the 19th-century. Pictured below are works by Kimbei which the Smith College Museum of Art acquired recently.
Thursday, August 2, 2012
A couple of years ago I ventured out on a small personal pilgrimage to visit the hometown and gravesite of an artist whom I consider to be one of Belgium’s best; James Ensor (1860-1949).
Since I’m originally from the Netherlands, I’m quite familiar with the neighboring country of Belgium, however I had never been to the seaside town of Oostende. I was very excited to discover Ensor’s old stomping grounds.
Ensor spent most of his life in Oostende with the exception of two years where he studied at the Academie Royal des Beaux-Arts in Brussels only to return completely disillusioned, referring to the Academy as the” establishment of the near blind.” It was in Oostende where he was inspired to create his unique artistic vision.
Oostende is one of many interesting but forgotten Northern seaside places which used to draw a rather sophisticated crowd in the 19th-century.
Its glorious past lingers only faintly in the large, now dilapidated, buildings which immediately bring on a rather melancholic feeling, especially on a dreary fall day.
While known for its seasonal lively carnival crowds, a spectacle often displayed in Ensor’s art, historically, it is a rather dark place. Coveted because of its strategic location, it was frequently destroyed by invading armies. It was also the site of the bloodiest battle of the Eighty Years War and it is rumored that human bones are still to be found in its dunes. Ensor was clearly intrigued by these battles, as he drew quite a few of them. The Smith College Museum of Art owns a small etching called La Bataille des Èperons d'Or(The Battle of the Golden Spurs) from 1895 – a darkly comical, cartoonish rendition of a famous Flemish battle which took place in 1302.
For many years, Ensor fought his own personal battles with the local arts establishment, until finally the tide turned in his favor. During his early years, his work was mostly rejected and he was regarded to be eccentric and quite a loner. Later in life, after he had turned into an old, dignified, and white-bearded man, he was often seen wandering the broad boulevard.
Society finally caught up with him and his art and he came to enjoy the fruits of his labor during his lifetime – an outcome not often enjoyed by such a recalcitrant visionary artist.