Now On View
Nov. 27, 2013 April 30, 2014
In the 1960s, Pop artist Robert Indiana achieved worldwide acclaim for his bold, graphical images composed of geometric shapes, short words and numbers, including his popular LOVE design, which he used in paintings, sculptures and even a postage stamp in 1973. This exhibition features ten large, colorful silkscreen prints that formed Indiana’s important portfolio entitled Decade. The original silkscreens are composed of symbols and words that reflect Indiana’s response to both the civil rights movement, the Vietnam War and art created by notable gay Americans. Indiana’s painting Decade Autoportrait, 1963 (1971), a new acquisition in the Currier collection, will be on view in the exhibition as a complement to these works on paper.
The Currier’s presentation of Signs from the Sixties: Robert Indiana's Decade is supported by David & Dorothea Jensen and Barbara & Harry Shepler.
Image credits:Robert Indiana, 1968 Black and White Love, 1962 Yield Brother, 1971, screenprint, 39 x 32 in. Museum Purchase: The Henry Melville Fuller Acquisition Fund, 2013.4.9 and 2013.4.3. © 2013 Morgan Art Foundation / Artists Rights Society (ARS), New York.
Oct. 21, 2013 Jan. 13, 2014
Two outstanding Impressionist paintings, Vincent van Gogh’s Route aux confins de Paris, avec paysan portant la bêche sur l'épaule (Path on the outskirts of Paris, with a peasant carrying a spade) (1887) and Pierre-Auguste Renoir’s Femmes dans un Jardin (Women in a Garden) (1873) are now on view. The paintings are located in the European Gallery, next to the Currier’s Claude Monet impressionist painting, The Seine at Bougival (1869).
The van Gogh painting features a peasant in a field near a country lane. The city of Paris is visible in the distance. The painting reveals how the work of contemporary impressionist and neo-impressionist artists living in Paris influenced van Gogh. After he arrived in Paris, van Gogh changed from the drab, dark colors of his Dutch subjects, mostly peasants laboring in the field, to a warmer palette and subject matter. During his two years there, van Gogh experimented with new styles, subjects and techniques. He applied small dots of paint that visually combine to create a vibrant and sunnier atmosphere. This style of painting—called pointillism—is most closely associated with artists Georges Seurat and van Gogh’s close friend, Paul Signac.
While many know Renoir as a figure painter, this work is essentially a landscape. In the deep shadows of the painting stands a woman in a blue dress holding a white parasol and a bunch of freshly picked flowers. Behind her is another woman painted more darkly, emerging from the darkness of the trees. The contrasting pigment and especially the brightly “lit” parasol, instantly draw your eye deeper down the pathway to where the women are standing.
These two loans will be on view for a limited time.
Image credits: Vincent van Gogh,1853-1890, Route aux Confins de Paris; (Road to the Confines of Paris), 1887, oil on canvas; Pierre-Auguste Renoir, 1841-1919,Femmes dans un Jardin; (Women in a Garden), 1873, oil on canvas, Anonymous Loan
Sept. 28, 2013 Jan. 12, 2014
Featuring more than 40 textiles, garments and other works of art, this exhibition offers the opportunity to experience the aesthetic power and rich cultural histories of textiles produced across the continent of Africa. Whether used for everyday functions, high fashion, costumes or sacred rituals, the textiles featured in this exhibition highlight the diverse influences that continue to shape these vibrant art forms, including the regional and global exchange of ideas, techniques and materials.
This exhibition is organized by the Harn Museum of Art and made possible by Michael and Donna Singer, the Harn 20th Anniversary Fund, the 1923 Fund, the Center for African Studies, the Dr. Madelyn M. Lockhart Endowment for Focus Exhibitions at the Harn Museum of Art, and Mary Ann and Richard Green, with additional support from the Harn Program Endowment.
The Currier’s presentation of Africa Interweave: Textile Diasporas is supported by The Coby Foundation, Ltd., M. Christine Dwyer and Michael Huxtable, the TD Charitable Foundation, the Botnick Family Foundation/E&R Laundry and Dry Cleaners, and TD Bank.
View the Gallery Guide.
Image caption: All images from Samuel P. Harn Museum of Art, University of Florida, Gainesville, Photo credit: Randy Batista Photography Top: Kweku Kakanu Asafo Company Flag with Griffin (frankaa), C. 1940s, Cotton, 41 ½ x 65 in. (95.3 x 165.1 cm) Museum purchase, funds provided by the Caroline Julier and James G. Richardson Acquisition Fund, 2011.40.1; Bottom: Ekpenyong Bassey Nsa, Nigerian, born 1973, Ebonko Masquerade Ensemble, 2010, Multiple Media, General size when costume is on form: 5 ft. x 29 in. (160 x 73.7 cm), Museum purchase with funds from the Caroline Julier and James T. Richardson Acquisition Fund, 2010.68.1
May 7, 2012 June 1, 2014
The Currier Museum of Art presents five Dutch and Flemish masterworks loaned from the Rose-Marie and Eijk van Otterloo collection. The Van Otterloo Collection recently drew large crowds as it toured the Netherlands and the U.S, opening at the Peabody Essex Museum in Salem, MA, then traveling to Houston and San Francisco and then briefly at the Museum of Fine Arts, Boston. The works loaned to the Currier have been acquired since that international tour, and have not been exhibited previously in the U.S. The paintings mark defining moments in each artist’s career.
The Crucifixion by Peter Paul Rubens (about 1618), the first Rubens to be shown at the Currier in the museum’s history, is a powerful, moving depiction of the moment of Jesus’ death.
There are also exquisitely detailed floral still-life paintings by Jacob van Walscapelle (about 1679) and Jan van Huysum (about 1730). A comic genre painting by Jan Steen, The Cardplayers (about 1660), is full of intrigue and underhanded activity. A lively mythological composition painted with jewel-like surfaces by Joachim Wtewael (1598) is almost miniature in scale.
Images: Jan Havicksz Steen, Dutch (1626 - 1679), An Elegant Company in an Interior with Figures Playing Cards at a Table, n.d., The Rose-Marie and Eijk van Otterloo Collection; Joachim Wtewael, Dutch (Utrecht, 1566 - 1638, Utrecht), The Apulian Shepherd, 1598, The Rose-Marie and Eijk van Otterloo Collection