adult programs - minneapolis institute of...

Click to jump back to the beginning

Adult Programs

winter 2010

Want to enrich your overall art

knowledge? Put the right side of

your brain to better creative use?

Get to know other art lovers?

Take a seminar, or try your hand

at sketching in the galleries,

guided by top-notch instructors.

Gain new insight at lectures

led by art experts who are

passionate about their subjects.

Hear contemporary artists.

We’ve got a full calendar of

choices for you.

Click to jump to:

• Art History Seminars

• Sketching in the Galleries

• Lectures

• registration

Click to jump back to the beginningwinter 2010

Art History SeminarsArt history seminars

are ideal for those

who desire a more

comprehensive or

in-depth experience

with the art and

culture of a particular

area. Art history

newcomers and

veterans alike will

gain insight on a broad

array of interesting

topics related to the

museum’s collection or

special exhibitions.


Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org

Gustave Courbet, French, 1819–77, Deer in the Forest (detail), 1868, oil on canvas, gift of James J. Hill

www.artsmia.org



Saturday, January 91–4 p.m., Pillsbury AuditoriumJulie L’enfant

Beginning with the French Revolution of 1789,

Paris was the scene of artistic revolutions

that led to modern art. After a backward

glance at the ancien régime, we’ll explore the

social, political, and aesthetic ideas of the

Neoclassical movement as shaped by its leader,

Jacques-Louis David.

First we’ll explore the Romantic spirit through

the works of Théodore Géricault and Eugène

Delacroix. Then we’ll trace the rise of realism

through the July Monarchy (1830–48), with a

look at developments in the art of the Salon,

as well as the politically conscious work of

the Barbizon school. Artists such as Gustave

Courbet, Honoré Daumier, and Félix Nadar will

illustrate the impact of a burgeoning popular

culture and developments in photography on

mid-19th-century Realism.

Julie L’Enfant is an associate professor of art history and Chair of Liberal Arts at the College of Visual Arts, St. Paul.

$45; $30 for MiA members. to reserve tickets, call (612) 870-6323 or register online.

Art HiStOrY SeMinAr...

French Art 1750–1850

Antoine Watteau, Actor Standing with Head Turned to the Right, 1719–20, The John R. Van Derlip Fund


www.artsmia.org

http://www.artsmia.org/index.php?section_id=42



Saturday, January 231–4 p.m., Pillsbury AuditoriumMark Stansbury O’Donnell

Two millennia ago, Greek and Roman writers were already

compiling lists of great artworks, including the Seven

Wonders of the Ancient World. Ancient works of art were

also much admired by Renaissance and modern artists,

but the first reactions to objects like the Parthenon

sculptures were decidedly less than enthusiastic. While

these are now regarded as masterpieces of Greek art, did

the Greeks view them as such?

Together, we’ll explore what Greek and Roman viewers

considered to be the critical ingredients of a masterpiece

and what survives from the works they coveted. Next,

we’ll consider what we regard today as masterpieces

of ancient art and how our standards and Top 10 lists

compare. Along the way, we’ll look at highlights of the

major antiquities collections in Paris, New York, London,

Berlin, Munich, Rome, and Athens.

Mark Stansbury O’Donnell is a professor of art history at the University of St. Thomas.

Roman, The Doryphoros, 120–50 B.C., pentelic marble, The John R. Van Derlip Fund and gift of funds from Bruce B. Dayton, an anonymous donor, Mr. and Mrs. Kenneth Dayton, Mr. and Mrs. W. John Driscoll, Mr. and Mrs. Alfred Harrison, Mr. and Mrs. John Andrus, Mr. and Mrs. Judson Dayton, Mr. and Mrs. Stephen Keating, Mr. and Mrs. Pierce McNally, Mr. and Mrs. Donald Dayton, Mr. and Mrs. Wayne MacFarlane, and many other generous friends of the Institute



What Makes a Classical Masterpiece?


www.artsmia.org




Saturday, February 61–4 p.m., Pillsbury AuditoriumKathleen ryor

Since they first captured the imaginations of

Europeans in the 19th century, Japanese prints

have been treasured and accorded the status of

fine art by Western collectors. Yet pictures of the

floating world, or ukiyo-e, were an integral part

of popular culture in Japan and functioned as

illustrations, advertisements, and souvenirs.

Today, we’ll examine both the development of

style and subject matter in Japanese prints

within the socio-economic context of the

17th–19th centuries. Themes we’ll explore include:

the construction of sexual desire through both

allusive and explicit imagery, the relationship of

popular literature and contemporary events to

print illustrations, and the connection between

woodblock prints and the Japanese theater.

Kathleen Ryor is a professor and Chair of the Department of Art History at Carleton College, Northfield.

Utamaro Kitagawa and J u– zaburo– Tsutaya, Courtesan Konosumi, 1793–94, color woodblock print, Bequest of Richard P. Gale



Japanese Woodblock Prints & Popular Culture


www.artsmia.org





Saturday, March 61–4 p.m., Pillsbury AuditoriumAnna tahinci

With sculpture being an art of

multiples, a sculptor first works

on a model (usually in clay or

plaster) and then has it cast in

bronze. In this seminar, we’ll learn

how to examine bronze sculptures

in order to discover precious

inscriptions (foundry marks, cast

numbers, and signatures) that

help assess their authenticity,

determine their date of casting,

the number of the bronze edition,

and the identity of the foundry.

Artistic, financial, and legal issues

related to bronze casting will also

be discussed.

Anna Tahinci, Ph.D., has worked at the Musée Rodin, the Musée d’Orsay, the Musée du Louvre, and the Harvard Art Museum. She has taught at Boston University Paris, at the Alliance Française, and at the University of Minnesota.


Bronzes & Bric-a-Brac: Sculpture in the Age of Mechanical Reproduction

Henri Matisse, Large Seated Nude, c. 1923–25, bronze, Gift of the Dayton Hudson Corporation © Succession H. Matisse / Artists Rights Society (ARS), New York


www.artsmia.org




winter 2010

Sketching in the Galleries Experienced sketchers or newcomers—both are welcome!

You’ll get the basics in our weekly workshops, led by artists

who offer plenty of individual instruction. Sessions begin with

a short lecture, discussion, and slide show to highlight specific

technical, historical, and stylistic issues. Then you’ll move

into the galleries to draw from artworks in the permanent

collection and select special exhibitions.

inStruCtOr: Kenneth P. Wenzel received an M.F.A. from the

San Francisco Art Institute and a B.F.A. from the School of the

Visual Arts in New York. His work has been exhibited widely.


MAteriALS LiStPaper: Pad of 11” x 14” or larger medium •weight white paper for drawing with a variety of media, including pencilSeveral blending stumps•

Any and/or all of the following drawing materials:

Graphite drawing pencils (several each) •of grades HB, 2B, 4B, 6BKneaded eraser•Small pencil sharpener with container •for shavingsColor pencils: Berol Prismacolor Thick •Lead Art Pencils or equivalent (set of 12, more if desired)Oil pastels: Set of 12 or more. Pentel •and Panda brands are student-grade materials. Rembrandt is professional grade. Choose what feels right for you. Small packet of dry facial tissue•Moistened wipes to clean hands•

www.artsmia.org



Location: Classroom 114 & museum galleries.Fee per session: $30; $22 MiA members. to register, call (612) 870-6323 or register online.

winter 2010Click to jump back to the beginning

SKetCHinG in tHe GALLerieS...

Exploring the Figure

Saturdays

January 9–30

10:15 a.m. to 1:15 p.m.

Since the cave paintings at Lascaux, figural drawing has been

a consuming passion of artists. Together, we’ll practice some

of its most important elements, including gesture drawing,

a technique where one works rapidly and freely to capture

a subject’s sense of movement and life, and blocking, an

approach in which one draws the underlying geometry of the

subject’s contours. We’ll also practice creating volume and

mass with value to construct more accurate representations

of forms. And we’ll explore a subject’s context, critical to

expression and communication.

SeSSiOnS

January 9: Gesture Drawing

January 16: Blocking in a Drawing

January 23: Shading in a Drawing

January 30: Background

Pablo Picasso, Reclining Woman, 1920, graphite, Bequest of Putnam Dana McMillan, © Estate of Pablo Picasso / Artists Rights Society (ARS), New York

www.artsmia.org






Saturdays

January 9–30

1:45 to 4:45 p.m.

Space is a critical visual element the artist needs to understand and

control. This understanding starts with real space, as used by the

sculptor and architect, then extends to implied and pictorial space.

Space is a powerful visual element that can be manipulated for

expressive purposes. We’ll look at engaging examples from art history

in which artists used highly altered spatial expressions effectively. Also,

you’ll be challenged to explore your personal interpretation of space.

Edward Hopper, Double House, Gloucester, c. 1925, black conté crayon, gift of the Reverend Richard L. Hillstrom in memory of Martin and Alma Hillstrom


Space in the Visual Arts

SeSSiOnS

January 9: Real Space

January 16: Implied Space

January 23: Pictorial Space

January 30: Using Space

Expressively

www.artsmia.org



Saturdays

February 6–27

10:15 a.m. to 1:15 p.m.

In drawing, we translate the

three-dimensional world

we live in into the two-

dimensional surface of the

paper through shapes. Seeing

and representing shapes are

critical parts of learning to

draw. In this class, we’ll explore

and define geometric shapes,

the basis of more complex

visual understanding, as well

as more organic and complex

volumes.

SeSSiOnS

February 6: Geometric Shapes

February 13: Organic Shapes

February 20: The Cube &

the Sphere

February 27: The Cylinder,

Cone & Pyramid

Sir George Clausen, A Little Rustic, 19th century, pen and brown ink, The William Hood Dunwoody Fund





Shape & Volume

www.artsmia.org



Rockwell Kent, Macy Island, Strait of Magellan, 1922, pen and ink, John DeLaittre Memorial Collection, gift of funds from Mrs. Horace Ropes





Defining Content

Saturdays

February 6–27

1:45 to 4:45 p.m.

Whether pencil on paper, paint on canvas, clay on a wheel, or

found objects assembled together, art is a physical manifestation

of form. The artist creates form from raw materials to express

and communicate emotions and ideas. Together, we’ll discuss the

importance of manipulating the drawing media to create form. We’ll

also explore the intersection of form and theme to deepen our

understanding of the integral connection of form and content. And

we’ll look at some dominant themes found in the visual arts and

various approaches used to communicate them historically.

SeSSiOnS

February 6: Form

February 13: Historic Themes

February 20: Form to Content

February 27: Finding Themes

www.artsmia.org





LecturesLectures are ideal for those who

desire a more comprehensive

or in-depth experience with the

art and culture of a particular

area. Art history newcomers and

veterans alike will gain insight

on a broad array of interesting

topics related to the museum’s

collection or special exhibitions.

www.artsmia.org



thursday, February 256 p.m., Pillsbury Auditoriumtimothy Standring

Hear a fascinating revisionist overview

about this important 17th-century

artist, who painted the MIA’s own The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua.

Timothy Standring will discuss how

Castiglione, called “Il Grechetto,” was

considered an outsider in his time. He

will also illuminate the artist’s working

methods, both internally with his studio

practices and externally with his client

relationships.

Timothy Standring, Ph.D., is Gates Foundation Curator of Painting & Sculpture at the Denver Art Museum.

This Agnes Lynch Anderson and Roger Lewis

Anderson Lecture is co-presented by the Department

of Public Programs and the Paintings Curatorial

Council of the Minneapolis Institute of Arts.

Il Grechetto (Giovanni Benedetto Castiglione), The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua, 1650Oil on canvas, The Putnam Dana McMillan Fund

$5; free for MiA members. to reserve tickets, call (612) 870-6323 or register online.

.LeCture...

An Artist More Feared than Loved: Giovanni Benedetto Castiglione


www.artsmia.org




Saturday, March 13 2 p.m., Pillsbury Auditorium Marco Breuer

Hear Marco Breuer, the latest artist

featured in the MIA’s New Pictures

series of international photography,

discuss his abstract photography in a

short presentation and conversation

with David E. Little, the series curator.

Breuer’s experimental artworks ask

the fundamental question: What is

a photograph? Most of us think of

photographs as resulting from using

a camera to frame a scene, clicking

the shutter, and then developing the

negative. Breuer, however, creates

photographs by scraping, burning,

shooting, embossing, sanding,

cutting, and composting (yes,

composting!) light-sensitive paper to

make unique prints.

Breuer’s abstract images will go

on view February 18 in the Perlman

Gallery (262). In the days leading up

to this lecture, Breuer will transform

the gallery into a darkroom and

create a site-specific installation that

conjures the photographic process.

This transformation will be among the

topics discussed in the lecture.

$5; free for MiA members. to reserve tickets, call (612) 870-6323 or register online.

.LeCture...

New Pictures 2: Marco Breuer on Abstract Photography


Marco Breuer, German, born 1966, Spin (E-197), 2008Cyanotype on Fabriano paper, courtesy Von Lintel Gallery, New York

www.artsmia.org




Saturday, March 2711 a.m., Pillsbury AuditoriumJohn r. Hale

More than 2,000 years ago, male and

female Greek and Roman divers plunged

to depths of more than 100 feet to recover

art objects and other treasures from

shipwreck sites. Their successors have

continued to explore the floor of the Medi-

terranean Sea for sunken ships, cargoes,

harbors, and other submerged structures,

most recently aided by scuba gear, remote

operated vehicles (ROVs), bathyscaphs,

sidescan sonar, magnetometers, and other

equipment. Still, many classical underwater

sites still remain to be located, mapped,

and excavated.

Hear an overview of this fascinating field,

which will illustrate many of the most

important artworks recovered from the

sea (including the famous bronze god from

Artemision) and shows current technology

in use during the Persian Wars Shipwreck

Survey, in which John Hale participated as

an archaeologist.

John Hale, Ph.D., is Director of Liberal Studies, College of Arts and Sciences and Adjunct Professor of Archaeology, Depart-ment of Anthropology at the University of Louisville, Kentucky.

Free! no reservations required.

.LeCture...

In Poseidon’s Realm: Underwater Archaeology in the Mediterranean

Greek, Attica, Black-Figure Neck Amphora, Attributed to the Painter of Vatican 359, c. 540 B.C., The Ethel Morrison Van Derlip Fund


www.artsmia.org

Click to jump back to the beginningAdult Programs registration


FOur eASY wAYS tO reGiSter

OnLine

Click here to register online.

BY PHOne

(612) 870-6323 or toll-free (888) 642-2787, ext. 6323,

Monday through Friday, 9 a.m. – 4:30 p.m.

BY MAiL

Fill out the form below and then either fax or mail it in.

in PerSOn

Register in the lobby during museum open hours.


membership office

minneapolis institute of Arts

2400 Third Avenue south

minneapolis, mN 55404

or fAx To:

(612) 870-6306

Name Date ____________________________________________________________

Address City, State, ZIP_________

Phone (Home) (Work) (Cell)_________

Class Section _________ Dates ____________________________ Tuition $ ______________



TOTAL $ ______________

Museum member? ☐ No ☐ Yes: Number Level

☐ Check enclosed (payable to the Minneapolis Institute of Arts)

☐ Visa ☐ MasterCard ☐ American Express ☐ Discover

Credit card number _____________________________________________________________________________ Exp. date _____________________________ TOTAL $ __________________________

include your e-mail to receive updates: ____________________________________________________________________________________________________________

witHDrAwALS & reFunD POLiCY

A full refund is granted if a class is canceled by the

museum. A refund amounting to 50 percent of the

tuition fee is made when a student withdraws 14 days

or more before the first class. No refunds or transfers

will be made after that time.

To listen to a recorded message indicating class times,

dates, and tuition, please call (612) 870-6555.

tHiS PDF iS An interACtive FOrM. type in your information, using the “tab” key to move from field to field. when complete, print two copies, one for your records, and one to mail or FAX in. For your security, please do not send this information via e-mail.



www.artsmia.org

adult programs - minneapolis institute of...

Documents