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Bulletin 


Krannert  Art  Museum 


ilHEUSRARVOFTNt 

OCT    31983 

UNIVERSITY  OF  fLUNOli 
AT  URBANA-CHAMPAK3W 


University  of  Illinois 
Urbana-Champaign 
Volume  VIII,  Number  1,  1982 


A  Message  To  Members  from  the  New  Director 


Stephen  S  Prokopolt.  Director.  Krannert  Art  Museum 


As  I  |Oin  the  staff  of  the  Krannert  Art  Museum  I  see 
the  task  of  building  on  the  base  of  the  fine  collections 
and  staff  professionalism  that  have  been  developed 
by  my  able  predecessors  over  the  past  years  as  a 
source  of  challenge  and  creative  satisfaction  A  mu- 
seum such  as  the  Krannert  Art  Museum  offers  spe- 
cial opportunities  tor  imaginative  programming,  in- 
novation, and  scholarship  because  it  serves  a  diverse 
public  whose  interests  range  from  the  specialized 
concerns  of  university  faculty  and  students  engaged 
professionally  in  the  arts  to  the  more  general  needs 
of  the  residents  of  mid-lllinois 

While  It  IS  too  early  to  describe  future  programming 
in  detail,  it  is  nevertheless  useful  to  suggest  some  in- 
tentions I  would  like  future  exhibitions  to  range  widely 
over  the  history  of  art.  presenting  both  new  discov- 
eries and  cogent  reappraisals  of  more  familiar  artists 
and  ideas;  to  investigate  the  arcane  and  difficult  as 
well  as  the  popular  and  immediate:  to  explore  tradi- 
tional forms  and  media  as  well  as  newer  areas  of  mu- 
seum interest -photography,  crafts,  design,  and 
architecture 

While  continuing  to  present  important  exhibitions 
originated  by  other  museums,  the  Krannert  Art  Mu- 


seum will  begin  to  organize  its  own  scholarly  exhibi- 
tions that  will  travel  to  other  museums.  These,  along 
with  their  accompanying  publications,  will  be  an  im- 
portant part  of  the  museum  s  creative  contnbution 
to  the  study  of  art 

Understanding  of  the  museum's  exhibitions  will  be 
enhanced  by  a  broad  spectrum  of  educational  activi- 
ties and  by  the  presentation  of  related  programs  m 
other  media -lectures  and  symposia,  film,  theatre, 
dance,  music,  poetry  It  is  my  hope  that  the  mu- 
seum s  engagement  in  such  collaborations  with  other 
disciplines  will  stimulate  a  more  profound  under- 
standing of  visual  arts 

Significant  additions  to  the  museum's  existing  col- 
lections will  be  actively  sought,  enriching  breadth  and 
depth  and  providing  an  enlarged  fund  of  renewable 
experience  with  line  original  works  of  art 

Above  all.  I  would  like  the  aggregate  of  the  mu- 
seum s  programs  and  activities  to  form  a  continuous 
stream  of  experience  that  will  be  of  growing  impor- 
tance to  the  museum  s  public  It  is  my  hope  that  all 
the  members  of  its  varied  public  will  find  much  that 
will  engage,  inform  and,  finally,  please  in  the  activities 
of  the  museum 


Tentative 

Exhibition 

Schedule 

1982-1983 

Academic 

Year 


L 


Collages:  Selections  from  the 
Hirshhorn  Museum 

August  22-  September  26 


Faculty  Exhibition 
October  3-  November  7 


In  China:  Photographs  by  Eve  Arnold 
November  14-  December  12 


Invisible  Light 
November  14-  January  9 


Lorado  Taft 

January  16-  February  20 


The  Lloyd  E  Rigler  Collection 
January  16-  February  20 


Graduate  Student  Exhibition 
February  27-  March  27 


Collages  from  the  period  of  eariy'Arnenua.t  .^ 

through  the  mid-1970's  and  a  variety  of  styles  and  tech- 
niques are  represented  in  works  by  twenty-three  internation- 
ally recognized  artists  including  Joseph  Cornell,  Louise 
Nevelson,  Larry  Rivers,  and  Frank  Stella,  Introduced  by 
the  Cubist  painters  about  1912,  collage  soon  developed 
into  an  independent  medium  as  artists  began  incorporating 
"non-art"  materials  into  their  works  Succeeding  generations, 
continued  to  find  collage  a  vital  and  versatile  technique  This 
exhibition  is  circulated  by  the  Smithsonian  Institution  Trav- 
eling Exhibition  Service, 


This  popular  annual  exhibition  presents  the  work  of  faculty 
members  in  the  School  of  Art  and  Design  at  the  University 
of  Illinois,  Urbana-Champaign  Included  are  contemporary 
examples  of  crafts,  graphic  design,  industrial  design,  mixed 
media,  painting,  sculpture,  photography  and  printmaking 


Eve  Arnold,  whose  assignments  as  a  photo  lournalist  have 
ranged  from  protest  marches  in  the  American  South  to 
Hollywood  movie  queens,  harems  in  Abu  Dhabi  to  migrant 
farm  workers,  has  focused  her  camera  on  the  China  not 
normally  visited  by  foreigners  In  1 979  she  made  two  trips 
to  China,  traveling  nearly  40,000  miles  The  results  of  these 
tnps  can  be  seen  in  this  exhibition  of  104  color  photographs 
reflecting  the  life.  work,  and  people  ot  modern  China  The 
exhibition  was  organized  by  The  Brooklyn  Museum  and  is 
now  on  a  two  year  nationwide  tour  made  possible  by  Exxon. 


Infrared  photography  in  which  images  are  produced  by 
heat  rather  than  light,  has  been  used  for  a  variety  ot  pur- 
poses in  the  twentieth  century  The  exhibition  Invisible  Light 
explores  the  artistic  capabilities  of  this  medium  Because 
infrared  film  is  sensitive  to  heat  sources  not  visible  to  the 
eye,  the  photographed  images,  in  turn,  record  qualities  not 
seen  through  conventional  techniques  The  exhibition  in- 
cludes over  sixty  photographs.  It  is  circulated  by  the 
Smithsonian  Institution  Traveling  Exhibition  Service, 


Lorado  Taft  spent  his  youth  in  Champaign  and  received  a 
bachelors  and  master  s  degree  from  the  University  of  Illinois 
before  moving  to  Chicago  where  he  spent  most  of  his  life 
After  the  artist  s  death  in  1 936  the  University  acquired  a 
large  group  of  works  from  Taft  s  private  collection  that  now 
belongs  to  the  Krannert  Art  Museum  A  number  of  these 
works,  which  illustrate  the  unique  talent  of  this  Illinois  sculp- 
tor were  chosen  for  the  exhibition  Included  are  a  dozen 
plaster  portraits  from  the  period  of  1 885- 1 905  and  models 
for  the  Fountain  of  Time  and  the  Fountain  of  Creation 


This  exhibition  represents  recent  gifts  to  the  Krannert  Art 
Museum  from  Mr  Lloyd  E  Rigler  of  Burbank,  California 
[Class  of  1 939]  The  prints  are  the  work  of  a  variety  of 
contemporary  artists  associated  with  the  Tamarind 
Lithography  Workshop,  an  institute  created  in  1960  with 
the  goal  of  revitalizing  lithography  in  the  United  States, 


Variety  originality  and  experimentation  are  the  characteris- 
tics of  this  annual  group  of  theses  exhibitions  by  candidates 
for  the  MFA  degree  in  the  School  of  Art  and  Design 


Of  Time  and  Place:  American  Figurative 
Art  from  the  Corcoran  Gallery 

April  3-May  22 


Seventy  paintings,  sculptures,  drawings,  prints,  and  photo- 
graphs from  the  collection  of  the  Corcoran  Gallery  of  Art. 
which  represent  the  human  figure  in  American  art,  are  fea- 
tured in  this  exhibition  The  works  illustrate  both  stylistic  and 
sociological  changes  in  approach  to  the  representation  of 
the  human  figure,  and  date  from  the  early  nineteenth  cen- 
tury to  the  present  This  exhibition  is  circulated  by  the 
Smithsonian  Institution  Traveling  Exhibition  Service 


Fall  Exhibitions 


Collage  is  one  of  the  most  interesting  and  versatile 
art  forms  developed  m  thie  twentietli  century  The  term 
derives  from  the  French  verb  coller.  meaning    to 
paste,    referring  to  one  of  the  key  techniques  of  the 
medium  Since  its  introduction  by  the  Cubist  painters 
about  1912,  collage  has  developed  into  a  maior 
modern  medium  incorporating  ail  kinds  of  materials 
and  obiects.  often  m  combination  with  painting  or 
drawing  In  addition  to  a  vanety  of  materials,  collage 
includes,  in  its  seventy  year  history,  a  large  variety  of 
styles  and  techniques. 


This  exhibition  attempts  to  survey  the  development 
of  collage  from  the  early  twentieth  century  through 
the  1970  s  Works  by  the  following  artists  are 
included  Romare  Bearden,  Anthony  Berlant,  Cesar, 
Joseph  Cornell.  Jose  Luis  Cuevas.  William  Dole, 
Rosalyn  Drexler  Lee  Gatch.  Nancy  Grossman  Lois 
Jones,  Nicholas  Krushenick,  John  H  Levee,  Edward 
Moses,  Louise  Nevelson,  Robert  Reed,  Larry  Rivers, 
Anne  Ryan,  Saul  Steinberg,  Frank  Stella,  Joseph 
Stella,  Ernest  Van  Leyden,  Tom  Wesselmann,  James 
Wines  The  works  were  selected  from  the  Hirshhorn 
Museum  and  Sculpture  Garden,  Washington,  DC 
A  fully  illustrated  catalogue  of  the  exhibition  will  be 
available  for  purchase  at  the  Museum  Sales  Desk 

The  annual  exhibition  of  works  by  artists  on  the 
Faculty  of  the  School  of  Art  and  Design  is  consistently 
one  of  the  most  well  attended  offerings  of  the  Mu- 
seum Perhaps  its  popularity  is  due  to  the  fact  that 
the  artists  are  from  the  community,  many  may  be 
neighbors  or  friends;  or  perhaps  visitors  en)oy  the 
avant-garde  nature  of  the  exhibition,  or  meeting  the 
artists  at  the  Preview  Certainly  the  students  must 
en)oy  seeing  and  critiquing  their  own  professor  s 
work  Whatever  the  reasons,  the  annual  Faculty 
exhibition  is  not  to  be  missed 

For  fifteen  years  photoiournalist  Eve  Arnold  had 
sought  an  opportunity  to  travel  and  photograph  in 
China  Finally  in  1979,  with  the  opening  of  Chinas 
doors  to  the  rest  of  the  world,  permission  was 
granted  Over  a  period  of  five  months  Arnold  made 
two  extended  trips  to  China,  traveling  some  40,000 
miles  and  taking  thousands  of  pictures  She  worked 
in  the  cities,  in  the  countryside,  and  in  remote  areas 
seldom  seen  by  foreigners 

Arnold  s  intention  was  to  make  a  statement  about 
the  lives  of  the  people,  to  try  to  penetrate  to  their 
humanity,  to  try  to  get  a  sense  of  the  sustaining  char- 
acter beneath  the  surface  I  wanted  to  get  tseyond 
the  endless  blue  suits  and  bicycles  we  ve  been  seeing 
pictures  of  for  so  many  years  and  to  cover  as  many 
of  the  particulars  of  China  as  I  could;  and  I  wanted 
to  tell  my  story  in  color' 


Eve  Arnold 

Retired  Worker-Guilin 


Eve  Arnold  accomplished  her  goal  as  Is  evident 
in  the  1 04  brilliant  color  prints  selected  for  this  exhi- 
bition Her  pictures  capture  the  spint,  the  color,  and 
the  involvement  of  the  people  of  China^  The  exhibi- 
tion was  organized  by  The  Brooklyn  Museum  and 
IS  sponsored  by  the  Exxon  Corporation. 

Infrared  photography  utilizes  a  special  film  so  that 
images  are  produced  by  heat  rather  than  by  light  as 
in  traditional  methods  While  infrared  photography 
has  been  used  for  a  variety  of  purposes,  the  exhibi- 
tion Invisible  Light  and  its  accompanying  catalogue 
explore  the  artistic  use  and  techniques  of  this  medi- 
um 

The  exhibition  includes  a  wide  range  of  con- 
temporary photographs.  Among  them  are  work  in 
both  black  and  white,  and  in  color,  as  well  as  a  plati- 
num print  from  infrared  film.  Approximately  sixty- 
three  photographs  by  thirty-one  artists  will  be 
displayed  including  a  work  by  Luther  Smith,  associate 
professor  in  the  University's  School  of  Art  and  De- 
sign. 


Eve  Arnold 

Bottler— Beer  Factory 


Exhibition  Previews 


The  Preview  of  the  annual  Faculty  Exhibition  will  be 
held  Saturday  evening,  October  2,  from  eight  until 
ten  o'clock  Like  the  exhibition  itself,  this  preview 
should  be  exciting  as  it  provides  an  opportunity  to 
meet  the  artists  and  view  their  most  recent  creations. 

A  second  Preview  will  be  held  this  fall  for  the  exhi- 
bition, In  China:  Photographs  by  Eve  Arnold.  Eve 
Arnold's  color  photographs  provide  an  incomparably 
beautiful  portrait  of  China  today:  the  people,  the  land- 
scape, the  work,  the  spirit.  This  Preview  will  take  place 
Saturday,  November  1 3  from  eight  until  ten  o'clock. 

All  Krannert  Art  Museum  Associates  will  receive 
mailed  invitations  for  both  events.  Circle  both  dates 
in  your  calendar  and  plan  to  attend. 


Museum  Trip 


ElGreco  1541-1614 

Saint  Manm  and  the  Beggar  c  1 597-99 

oil  on  canvas  76  %"  h   «  40  '/?"  w   1 93  5  cm 

Washington.  Naiona)  Gallery  o1  An 

Widner  Collecnon   1942 


103  cm 


Krannert  Art  Museum  Associates  are  mvited  to  loin 
a  Museum-sponsored  trip  to  visit  The  Cleveland  Mu- 
seum of  Art  and  The  Toledo  Museum  of  Art  with  a 
special  tour  of  the  El  Greco  of  Toledo  exhibition  The 
trip  will  take  place  on  October  fifth  and  sixth 

Members  will  be  guided  through  the  comprehen- 
sive collections  of  western  art  at  the  Cleveland  Mu- 
seum by  Mark  Johnson  Margaret  Sullivan  will  escort 
the  group  through  the  museum  s  superb  Oriental 
collection 

The  second  day  will  be  spent  touring  The  Toledo 
Museum  of  Art  In  addition  to  its  fine  general  collec- 
tion, the  Toledo  Museum  is  renowned  for  its  glass 
collection  which  surveys  the  artistic  use  of  this  me- 
dium from  ancient  times  up  to  the  present 

Members  will  also  be  treated  to  a  special  viewing 
of  El  Greco  of  Toledo,  the  first  maior  exhibition  de- 
voted to  the  paintings  of  this  great  Spanish  master 
The  sixty  paintings  in  this  exhibition  include  works 
of  key  importance  from  Europe  and  North  America. 
some  of  which  will  be  seen  for  the  first  time  outside 
the  locations  where  they  have  been  housed  for  the 
past  four  hundred  years 

During  the  summer  Krannert  Art  Museum  Asso- 
ciates received  mailed  reservation  forms  and  detailed 
information  about  the  tnp  Mrs  William  Johnson  is 
Museum  Trip  Chairman;  Mrs  Chester  Keller  and  Mrs 
David  McBride  are  Tnp  Co-Deputy  Chairmen 


Exhibition  Trip 


On  April  twenty-first  the  Museum  will  sponsor  a  trip 
to  The  Art  Institute  of  Chicago  to  view  the  maior 
exhibition,  t^auntshuis  Dulcti  Painting  of  the  Golden 
Age  from  Ttte  Royal  Picture  Gallery.  Tfie  Hague 
Information  on  this  exhibition  and  trip  will  be  con- 
tained in  the  January  issue  of  the  Bulletin 


Decent  Training  Program 


Museum  docent  Garland  Remsen  with  a  fourtti  grade 
class  from  ABL  sctiool  in  Broadlands.  Illinois 


Docents  have  been  an  integral  part  of  the  Museum's 
education  program  since  1962,  Docents  are  volun- 
tary educational  assistants  called  upon  to  guide  pre- 
elementary,  elementary,  and  secondary  school 
classes,  as  well  as  adult  groups,  during  their  visits 
to  the  Museum.  Docents  acquaint  the  public  with 
works  of  art  while  fostering  an  enjoyment  of  art  and 
an  understanding  of  aesthetic  principles, 

Docents  contact  the  school  supervisors,  principals, 
and  teachers  each  fall,  informing  them  of  the  special 
exhibitions  that  will  be  held  during  the  coming  sea- 
son and  reminding  them  of  the  regular  gallery  visit 


topics,  as  well.  Another  valuable  group  of  volunteers 
serve  in  the  Art  in  the  Schools"  program,  providing 
students  with  in-school  programs  on  art  and  on  the 
Museum  collections, 

Docents-in-training  attend  an  intensive  sixteen  week 
instruction  program  Ma|or  penods  of  art  history  from 
ancient  times  to  the  present  are  reviewed  as  well  as 
technical  aspects  of  printmaking,  ceramics  and 
glassmaking,  painting,  and  sculpture  Slide  lectures 
are  accompanied  by  gallery  sessions  in  which  the 
Museum's  own  collections  are  discussed.  Visits  to 
artists'  studios  are  an  important  part  of  the  program, 
as  is  instruction  In  educational  methods 

The  training  program  begins  with  an  introductory 
session  on  September  ninth.  The  class  will  meet 
regularly  on  Thursday  mornings.  Those  interested 
in  registenng  for  the  docent  training  program  should 
contact  Mark  Johnson,  Assistant  Director,  at 
333-1860  Current  Museum  docents  also  are  invited 
to  enroll  in  this  course. 

Docent  Training  Schedule 


Regular 

Meetings:  Thursdays,  930-1 1  30  am 

Sept   19 

Introduction  to  the  Krannert  Art  Museum 

16 

Ancient  Art 

23 

Greek  Ceramics 

30 

Medieval  Art 

Oct       7 

Early  European  Painting 

14 

Baroque  Art 

21 

18th  Century  Painting 

28 

19th  Century  Painting 

Nov       4 

Modern  Art 

1  1 

Prints  and  Drawings 

18 

Decorative  Arts 

Dec      2 

Oriental  Art 

9 

Pre-Columbian  Art 

Jan       6 

Training 

13 

Training 

20 

Training 

In  addition  to  the  standard  instruction,  a  number  of 

special  lectures,  tours,  exhibition  briefings,  and  dem- 

onstrations will  be  scheduled  for  Wednesday  or  Fri- 

day mornings. 

Fall  Lecture-Luncheon 


Stephen  S  Prokopotf.  the  new  director  of  the  Kran- 
nert  Art  Museum,  will  be  the  speaker  at  this  fall  s 
lecture-luncheon  to  be  held  on  October  fourteenth 
at  the  Champaign  Country  Club  In  a  lecture  entitled 
"Looking  Ahead.    I^r  Prokopoff  will  discuss  some 
of  his  ideas  for  future  programming  at  the  Krannert 
Art  Museum 

Prior  to  his  appointment  at  the  University  of  Illinois. 
Mr  Prokopoff  served  as  director  of  the  Institute 
of  Contemporary  Art.  Boston.  Museum  of  Con- 
temporary Art.  Chicago;  Institute  of  Contemporary 
Art.  University  of  Pennsylvania.  Philadelphia:  and 
Hathorn  Gallery.  Skidmore  College.  Saratoga 
Spnngs.  New  York  At  these  institutions  he  organized 
many  contemporary  art  exhibitions  and  he  authored 


essays  in  a  large  number  of  the  accompanying  exhi- 
bition catalogs  Over  the  last  twenty  years  Mr 
Prokopoff  has  also  held  the  positions  of  adjunct  or 
visiting  professor  of  art  at  several  educational  institu- 
tions including  Boston  University  the  University  of 
Chicago,  and  the  University  of  Illinois  at  Chicago  Cir- 
cle He  IS  the  recipient  of  a  bachelor  and  master 
of  arts  degree  from  the  University  of  California  at 
Berkeley  and  a  doctorate  from  New  York  University 
Members  will  not  want  to  miss  this  special  event 
and  the  opportunity  to  meet  the  new  director 
Krannert  Art  Museum  Associates  will  receive  mailed 
information  regarding  reservations  for  luncheon  and 
the  lecture. 


Enoch  Wood  &  Sons,  c  1757-1840 

Plate,  England,  c  18)8 

pollery.  diam  10".  25  4  cm 

Gill  ol  Theresa  E  and  Harlan  E  Moore.  1967  (67-24-75) 


Members  Seminars 


American  and  European  Decorative  Arts  from  The 
Theresa  E  and  Harlan  E  Moore  Collection  will  be 
the  topic  of  a  three  week  seminar  presented  by 
Margaret  Sullivan,  research  curator  Krannert  Art  Mu- 
seum. Each  session  will  consist  of  a  slide  lecture 
followed  by  a  visit  to  the  gallery  for  an  examination 
of  silver,  glass,  furniture  and  the  ceramic  arts  The 
seminar  will  be  held  on  three  consecutive  Wednes- 
days: October  20.  27.  and  November  3  from  9  30 
to  1 1  00  o'clock 

The  topic  of  the  spring  seminar  will  be  Dutch 
Painting  of  the  Golden  Age  Mark  Johnson,  assistant 
director  will  survey  the  period  and  discuss  the  maior 
artists  through  slide  lectures  and  study  of  original 
works  in  the  Museum  s  collection  The  topic  of  this 
seminar  is  intended  to  prepare  members  for  the  tnp 
to  The  Art  Institute  of  Chicago  in  April  to  view  the 
maior  exhibition.  Mauntshuis:  Dutch  Painting  of  the 
Golden  Age  from  the  Royal  Picture  Gallery.  The 
Hague  The  seminar  will  take  place  on  three 
Wednesdays.  March  2.  9.  and  16  from  9:30  until 
11  00  0  clock 

Both  seminars  will  be  held  in  the  conference  room 
therefore,  the  attendance  is  limited  and  will  be 
restricted  to  Museum  members  Members  may  reg 
ister  by  calling  the  Museum  office  (333-1 860). 


6 


Additions  to  the  Collections 


Pierre  Auguste  Renoir  French  (1841-1919) 

LEnlant  au  Biscuit,  ca  1 898-99 

lithograph,  12  ^/e"  h    x  10  Vio"  w.;31  4  cm    x  26  2  cm. 

Gift  of  George  S,  Trees.  Jr.  (81-41-1) 


'^•^"<>-.fc^^ 


^^*ii^"^^:^?$vi^;  ■  ■■>, 


Pablo  Picasso 

T6les.  1963 

linocut  25  '/<"  h   .  21 "  w  (image);  64  1  cm 

Gill  o(  Mr  and  Mrs  Richard  J  Faletti  (81  17-1 


Spanish  (1881-1973) 


53  3  cm 


Gifts 

Significant  additions  have  been  made  to  the 
Museum's  collection  of  pnnts  In  1960  the  Tamannd 
Lithography  Workshop  was  opened  in  Los  Angeles 
with  the  goal  of  revitalizing  the  art  of  lithography 
Three  hundred  and  nineteen  lithographs  by  twentieth 
century  American  artists  including  Elaine  de  Kooning, 
Richard  Haas,  Gerald  Johnson,  Martyl,  Jacqueline 
Gourevitch,  Fritz  Scholder,  and  t\/lario  Yrissary,  which 
were  printed  while  the  artists  worked  at  the  Tamannd 
Institute  located  m  Albuquerque,  have  been  given  by 
Mr  Lloyd  E  Rigler  A  special  exhibition  of  these  litho- 
graphs IS  scheduled  tentatively  at  the  Museum 
between  January  1 6  and  February  20,  1 983. 

Mr  and  Mrs  George  S  Trees.  Jr  have  given  a  lith- 
ograph entitled  L'enfant  au  Biscuit  (Child  with  a 
S;scu/fj  by  Pierre  Auguste  Renoir  (1841-1919).  It 
was  not  until  the  early  1 890  s  that  Renoir  experi- 
mented with  the  lithographic  process.  In  the  artists 
proof  pnnted  in  grey-black  and  dated  circa  1898-99. 
Renoir  reveals  his  fascination  with  his  son  Jeans  nat- 
ural movements  and  demonstrates  skillfulness  m 
rendering  solid  yet  delicate  three-dimensional  form 
in  an  all-embracing  atmosphere  of  light  and  shadow 

A  linocut  by  Pablo  Picasso  (1881-1973)  was  the 
recent  gift  of  Mr  and  Mrs  Richard  J  Faletti  Tetes 
f/-/eadsj  dated  January  17.  1963  is  numbered  21 
in  an  edition  of  50  prints.  Linoleum,  like  the  wood 
block,  provides  a  surface  for  relief  designs  The  sur- 
face area  that  is  not  cut  away  picks  up  rolled-on  ink 
which  then  is  transferred  to  paper  when  pressure  is 
applied  Although  Picasso  was  a  prolific  pnnt  maker 
after  1 897.  it  was  not  until  1 939  that  he  produced 
his  first  linocut,  and  it  was  much  later  in  the  1950's. 
when  he  printed  color  Imocuts  in  series  The  advan- 
tage of  using  the  linoleum  block,  demonstrated 
masterfully  by  Picasso,  is  the  ease  with  which  one 
can  make  fluid,  curvilinear  strokes  and  patterns  in 
the  pliable  surface.  Teles,  in  which  crowned  heads 
in  frontal  and  profile  view  are  discernible,  is  a  skillful 
composition  of  lines  creating  a  dynamic  abstract  de- 
sign. 

Dr  and  Mrs  Allen  S  Weller  have  donated  a  litho- 
graph by  twentieth  century  American  artist  Harold 
Altman.  a  distinguished  veteran  pnntmaker  who  stud- 
ied at  the  Art  Students  League  in  New  York. 
Academie  de  la  Grande  Chaumierte  in  Pans,  and  at 
Black  Mountain  College  in  Greenville,  North  Carolina. 


Maitreya  Chinese.  Northern  Ch'i  (550-577) 
dated  first  year  of  Wu  Ping  (570  A  D.) 
whife  marbfe,  1 3  3/4  "  h  ,  35  cm  h 
Purchase.  Class  of  1908  Fund  (82-4-1) 


Altman,  twice  the  recipient  of  a  Guggenheim  Fellow- 
ship, has  taught  at  the  University  of  North  Carolina 
and  Pennsylvania  State  University,  An  impressionistic 
view  of  the  Parisian  Tuillerie  Gardens  is  the  subject 
of  the  artist's  proof,  entitled  Chair,  which  is  dated 
1 980,  This  phnt  is  an  interesting  complement  to  a 
much  earlier  lithograph  of  a  spectre-like  figure  by  the 
artist,  already  in  the  Museum's  collection. 

Jackstones  [known  also  as  knucklebones,  jacks, 
or  dibs]  IS  a  game  of  great  antiquity  played  initially 
with  the  wrist  or  ankle  bones  of  goats,  sheep  or  other 
animals.  Dr.  Richard  H.  Edmondson  has  given  a  terra 
cotta  knucklebone  whose  origin  may  have  been  ei- 
ther ancient  Rome  or  Greece.  This  knucklebone 
probably  was  made  after  an  actual  bone  used  in  play 
The  object  of  this  ancient  game,  which  remains  the 
same,  was  to  garner  bones  [stones,  seeds,  jacks) 
left  on  the  ground  while  others  were  tossed  upward. 
Five  ancient  Persian  bronze  objects  including 
axeheads,  a  garment  pin,  and  pendants  have  been 
presented  by  the  Jerome  Levy  Foundation. 

Added  to  the  collection  of  Chinese  ceramics  is 
a  granary  urn  datable  to  the  Han  Dynasty 
[206  B  C.-200  A.D.),  the  gift  of  Mr  and  Mrs.  Ralph 
W.  Barber  This  unglazed  slate-gray  earthenware, 
which  has  parallel  horizontal  ribbed  bands  on  its  body 
and  a  constncted  circular  mouth,  was  a  mortuary  ob- 
ject made  for  bunal.  During  the  Han  period,  it  was 
customary  for  the  deceased  to  be  buried  with  grave 
furnishings  including  wine  and  storage  jars,  cooking 
vessels,  and  replicas  of  horses,  animals,  and 
servants  The  Museum  is  grateful  for  all  these  gifts 
which  will  enhance  the  collection,    mms 

Purchases 

A  cast  and  laminated  glass  sculpture  entitled  Com- 
pression Series  by  William  Carlson  was  purchased 
by  the  Museum  with  art  acquisition  funds.  William 
Carlson  is  a  glass  maker  on  the  faculty  of  the  Univer- 
sity's School  of  Art  and  Design.  The  Sculpture  is 
being  circulated  with  the  exhibition  'Americans  in 
Glass." 

Long  an  objective  of  members  of  the  Class  of 
1908,  particularly  of  Mr.  H.  Clifford  Brown  and  of  Mr 
William  B.  Greene,  was  the  acquisition  of  a  Chinese 
and  a  Japanese  sculpture.  A  marble  sculpture  of 
Maitreya,  created  during  the  Northern  Ch'i  dynasty 


Fudo  Myo  Jaoanese.  Laie  Heen 

(897-1 185)/Earty 

Kamakura  ( 1 1 85- 1 333) 

attributed  to  En-School  at  Sanyo.  Kyoto 

cypress  wood  26  •^4"  h    65  4  cm  h 

Purchase.  Class  ot  1908  Fund  (82-5-1) 


(550-577  A. DO  and  dated  by  an  inscnption  on  the 
base  570  A.D.,  has  been  purchased  recently  The 
bodhisattva  is  shown  in  nneditation.  seated  on  a  high 
cylindrical  throne  The  rectangular  plinth  below  is 
decorated  with  the  engraved  design  of  an  incense 
burner  between  two  small  lions,  on  the  front,  and  with 
a  votive  inscription,  on  the  back  The  typical  formal- 
ism of  Chinese  Buddhist  sculpture  is  evident  in  the 
pose  and  in  the  stylization  ot  the  drapery,  but  some 
indication  of  a  softening  influence  from  Indian  Gupta 
sculpture  is  apparent  in  the  sensitivity  of  the  facial 
expression  and  in  the  naturalism  [restrained)  of  the 
torso  _ 

A  Japanese  sculpture  of  Fudo  Myo,  the  central 
deity  of  the  Five  Great  Kings  of  Light,  also  has  been 
acquired  The  sculpture  is  attributed  to  a  carver  of 
the  En-School  at  San)0.  Kyoto,  and  is  dated  from  the 
late  Heian  (897-1 185)  or  early  Kamakura  (1 185- 
1 333)  period  Fudo  customarily  is  shown  with  a 
sword  in  one  hand  and  a  rope  in  the  other  and  with 
a  wrathful  countenance  The  image  of  Fudo  was  in- 
troduced into  Japan  in  the  ninth  century  In  tenth  cen- 
tury examples  he  was  represented  in  a  standing 
position  and  sometimes  with  one  eye  closed  By  the 
Kamakura  penod  Fudo  was  presented  in  an 
animated  pose,  one  foot  forward  and  twisting  at  the 
waist 

The  piece  is  carved  from  cypress  and  is  made  of 
joined  wood  blocks;  the  eyes  are  glass  beads;  traces 
of  gesso  and  paint  remain  The  purchase  of  the  first 
examples  of  Chinese  and  Japanese  sculpture  in  the 
Museum's  collection  was  made  possible  through  a 
fund  established  by  members  of  the  Class  of  1908 

A  fourteenth  century  French  ivory  diptych,  with  the 
Coronation  ot  the  Virgin  depicted  on  the  left  panel 
and  the  Crucifixion  with  the  Virgin  and  St  John  on 
the  right,  both  framed  by  gothic  tracery  above,  has 
been  purchased  for  the  medieval  collection  In 
iconographic  and  stylistic  features  it  provides  an  im- 
portant addition  to  the  group  of  medieval  obiects  in 
the  Museum  It  was  purchased  with  income  from  the 
Theresa  E  and  Harlan  E  Moore  Fund     mbc 


10 


William  B,  Greene  1886-1982 


A  proud  member  and  a  leading  spirit  of  tine  Class 
of  1 908,  Mr  Greene  was  dedicated  to  the  University 
of  Illinois  and  to  the  Krannert  Art  Museum.  On  the 
occasion  of  the  fiftieth  anniversary  of  the  Class,  Mr 
Greene  and  his  classmates  chose  to  contribute  to 
the  initial  building  fund  for  the  Krannert  Art  Museum, 
and  they  retained  an  active  interest  in  the  develop- 
ment of  the  Museum 

In  1 964,  the  Museum  had  on  loan  a  group  of 
fourteenth  to  eighteenth  century  Chinese  porcelains. 
On  a  visit  to  the  Museum,  Mr,  Greene  and  his  class- 
mates Mr  Charles  S  Pillsbury  Mr  William  J,  Wardell. 
Mr  Chester  R.  Dewey  Mr,  George  E  Pfisterer,  and 
Mr  H.  Clifford  Brown  decided  to  acquire  the  porce- 
lains as  the  beginning  of  an  oriental  collection  for 
the  Gallery  of  the  Class  of  1 908, 

Over  the  years  that  followed,  Mr  Greene  was 
instrumental  in  fund  raising  for  additions  to  the  orien- 
tal collection  which  eventually  included  thirteen 
Chinese  porcelains,  four  Chinese  paintings,  four 
Tang  Dynasty  tomb  figurines,  an  eighth  century 
Mons-Dvaravati,  [Thai]  stele,  a  Tibetan  bronze  figur- 
ine and  tanka  of  the  seventeenth  century  and  more 
recently  a  pair  of  seventeenth  century  Japanese 
screens,  a  late  twelfth/early  thirteenth  century 
Japanese  wood  sculpture,  and  a  Chinese  sixth  cen- 
tury marble  sculpture. 

Mr  Greene  was  born  on  the  family  farm  near  Lisle, 
Illinois,  This  had  been  the  family  home  through  four 
generations.  In  1 908,  he  graduated  from  the  Uni- 
versity of  Illinois  with  a  degree  in  Mechanical 
Engineenng,  In  1916,  Mr  Greene,  who  was  ad- 
vertising manager,  and  Harry  H.  Barber,  who  was  an 
engineer,  for  Stephens-Adamson  Manufacturing 
Company  in  Aurora  saw  a  future  in  standardized  ma- 
terial handling  machines  and  decided  to  form 
Barber-Greene  Company  Mr  Greene  continued  in 
active  management  of  the  company  until  1 966  when 
he  retired  as  chairman  of  the  board. 

He  enioyed  the  distinction  of  receiving  University 
of  Illinois  Achievement  Awards  in  1 963  and  1 967, 
one  of  the  First  Distinguished  Graduate  Citations  from 
the  University  of  Illinois  Department  of  Mechanical 
and  Industrial  Engineering  Alumni  Association  in 
1968,  a  University  of  Illinois  College  of  Engineering 
Metal  Award  for  "his  role  in  introducing  mechaniza- 
tion to  the  problem  of  material  handling  and 


processing,"  in  1 969.  He  served  as  president  of  the 
Construction  Industry  Manufacturers  Association  and 
as  director  of  the  American  Road  Builders  Associa- 
tion and  of  the  International  Road  Federation.  These 
were  but  a  few  of  Mr  Greene's  state,  national,  and 
international  honors  and  awards. 

His  effort  for  the  Krannert  Art  Museum  was  but 
one  of  his  many  philanthropic  activities.  He  kept  in 
touch  with  other  members  of  the  Class,  sending 
them  news  of  their  collection  and  encouraging  them 
to  remember  the  Museum  in  their  future  planning. 
He  recently  was  involved  in  studies  for  the  addition 
to  the  Krannert  Art  Museum  building,  particularly  for 
the  extension  of  the  space  to  house  the  oriental  col- 
lection. Mr.  Greene  has  been  one  of  the  Museum's 
most  valued  advisors  His  presence  will  be  missed, 
but  his  influence  and  ideas  are  well  represented  in 
the  Gallery  of  the  Class  of  1 908.    mbc 


1a         School  of  Iwasa  Matabei 

Ulsusemi     Tale  of  Gen/i}  650-70 
color  and  gold  on  paper,  wood  panels 


lb         ScnoQi  ol  iwasa  MalaDei 

Suma.    Tale  ol  Genii  1650-70 
color  and  gold  on  paper  wood  panels 
63"  h   X  143^4"  w    160cm  h    x  365  1  cm  w 
Gill  ol  Ihe  Class  ol  1 908  (80  16  1) 


12 


Japanese  Screen-paintings  based  on  the     Tale  of  Genji 


by  Margaret  M  Sullivan 


Genjimonogatari  (Tale  of  Genji] 

Prince  Gen|i.  the  most  celebrated  courtier  in  Jap- 
anese classic  literature,  is  the  subject  of  a  pair  of 
screen-paintings  (cover,  Figs.  T  a.b]  recently  given 
to  the  IVluseunn  by  the  Class  of  1 908. 

The  Tale  of  Genji  was  w/ntten  in  the  early  part  of 
the  eleventh  century  by  Murasaki  Shikibu  (ca.978- 
ca.  1 026]  who  was  invited  to  the  imperial  court  as  a 
lady-in-waiting  by  Michinaga,  the  most  powerful  of 
the  Regents  in  the  Fujiwara  family,  because  of  her 
recognized  talent  in  composing  monogatari  [tales]. 
It  was  during  this  time  at  court  that  the  7a/e  of  Genji 
was  composed  Murasaki  indeed  produced  a 
masterpiece  of  fiction  that  is,  at  once,  romantic  and 
sentimental:  nonetheless,  the  Tale  of  Genji  profiles 
the  Fujiwara  clan,  an  ancient  aristocracy  reigning 
during  the  Heian  period  [897-11 85]  Although  the 
story  is  of  Murasaki's  predecessors,  its  credibility  is 
sustained  by  the  author's  own  expenences  as  part 
of  a  court's  retinue.  With  over  400  characters  in  the 
54  chapters  of  the  novel,  most  of  whom  are  related, 
the  central  theme  embraces  the  consequences  of 
amorous  intrigues.  "The  affairs  of  the  heart  are  car- 
ried on  in  a  courtly  atmosphere  where  matters  of 
rank,  prestige  and  appearances  are  vital.  The  char- 
acters are  obsessed  with  the  approval  of  those  of 
higher  status,  with  weanng  correct  clothing,  with 
demonstrating  their  good  taste  and  gentility  and 
sense  of  decorum"' 

The  mannerisms  of  men  and  women  alike  are 
imbued  with  effeminacy;  a  plump  white  face  with  a 
small  mouth,  narrow  eyes  and  tuft  of  beard  on  the 
tip  of  the  chin  was  considered  the  Heian  ideal  of  male 
beauty  Apart  from  the  beard,  feminine  physiognomy 
was  indistinguishable  from  masculine  physiognomy 
Heian  women,  as  depicted  in  literature  and  numerous 
paintings,  are  ensconced  in  kimonos  and  have  im- 
measurably long  and  glossy  ebony  hair^  [cover,  Figs. 
3,  4,  15,  23].  Refinement,  beauty  and  ceremony  in 
all  their  subtleties  pervade  Murasaki's  story:  however, 
all  is  enshrouded  by  a  prevalent  Buddhist  intuition 
of  the  impermanence  of  life 

The  Heian  period  was  marked  by  peace  and  pros- 
perity among  members  of  the  aristocracy  and 
imperial  household  who  established  paradigms  of 
behavior,  dress,  decorum,  literature,  calligraphy, 
architecture,  theatre,  and  painting  Music,  calligraphy, 
religious  and  secular  painting,  as  well  as  architecture 


were  known  to  have  flourished:  unfortunately,  little 
survives.  The  Fujiwaras  achieved  power  through  their 
matnmonial  ties  with  the  imperial  throne,  through  as- 
sets, and  through  influence  exerted  in  the  provinces 
where  their  estates  were  manifold. 3  Appointments 
to  the  vahous  ministries  controlled  by  the  Fujiwaras 
were  dictated  by  ancestry,  not  by  ment  or  capability. 
Such  a  metropolitan  culture  centered  in  present-day 
Kyoto  which  was  steeped  in  gentility  and  luxury  could 
not  be  supported  indefinitely  by  this  oligarchy  and, 
therefore,  was  destined  for  demise.  Murasaki's  novel 
parallels  a  life  at  court  that  is  seemingly  content:  later 
chapters  are  characterized  by  disillusionment  and 
pessimism  portending  the  eclipse  of  Fujiwara  power. 
A  courtier's  life  was  cultivated  with  training  at  the 
Daigaku  where  he  received  an  education  rooted  in 
Chinese  classics  Reconciled  to  the  Confucian  con- 
cept of  the  virtuous  man.  the  Heian  courtier  was 
vowed  to  scholarship  and  elevation  of  the  spirit 
through  poetry  music,  calligraphy  and  philosophy 
Of  noble  birth,  great  wealth,  and  exceptional  beauty 
Pnnce  Genii,  the  protaganist,  is  the  archetypal  mid- 
Heian  courtier  whose  political  career  is  contingent 
on  conspiracy  and  personal  ambition.  His  wealth  and 
promotion  at  court,  like  that  of  fellow  patncians,  have 
been  accrued  by  way  of  family  alliances  and  tax- 
exempt  land  holdings.  An  existence  inextricably  tied 
to  innumerable  paramours.  Genji  is  the  mercurial 
and  irresistible  Don  Juan.  Extremely  sensitive  to  color 
harmony  in  a  kimono,  music,  perfume  scent, 
blossoming  flowers,  and  skill  both  in  calligraphy  and 
in  composing  poetic  communiques,  Genji  himself 
was  a  noteworthy  poet,  talented  amateur  painter, 
calligrapher,  musician,  and  savant  of  Chinese  clas- 
sics. As  the  story  unfolds,  Genji  evolves  from  an  irre- 
sponsible scandalous  youth  into  a  wiser,  sensible 
man  who  accepts  his  destiny  and  his  culpability  for 
past  entanglements. 

Each  of  the  Museum's  screen-paintings  adheres 
to  scenes  from  the  "Utsusemi "  and  "Suma"  chapters 
of  the  Tale  of  Genii.  Utsusemi,  meaning  cicada,  was 
the  wife  of  the  provincial  governor  of  lyo  and  was 
pursued  unflaggingly  by  Genp  Although  Utsusemi 
resisted  Genii's  attentions,  Gen|i  was  so  resolved  in 
his  determination  that  he  sought  help  from 
Utsusemi's  brother  In  the  Museum's  screen-painting 
[cover,  Fig.1  a]  Gen|i,  disguised  in  informal  garb 


13 


2         detail  Senzui  Byobu  ca  11  th- 1 2lh  centuries 
color  on  silk 
Toil.  Kyoto 
Ohotograph  courtesy  ol  Tokyo  Kokuritsu  Bunkazai 

KenkyuiO 


unbefitting  hiis  rank,  tiides  on  the  veranda  of  the  east- 
ern wing  in  Utsusemis  house  Utsusemi  s  brother 
crouches  between  the  double  wooden  doors  under 
a  bamboo  screen  and  informs  Gen|i  that  Utsusemi 
IS  playing  go  with  her  sister-in-law  and,  therefore,  a 
visit  with  his  beloved  cannot  be  accomplished Z*  At- 
tendants and  the  unadorned  ox-drawn  cart  belonging 
to  Utsusemis  brother  wait  outside  the  gate.  Faithful 
to  its  literary  precursor  the  painting  includes  details 
in  costumes  and  interior  decoration,  e.g.  screen- 
paintings,  lamp,  curtains,  and  lattice  windows.^ 


The  companion  screen-painting  addresses  Genjis 
impending  exile  at  Suma.  a  Japanese  coastal  town 
on  the  Inland  Sea  in  Hyogo  prefecture,  induced  by 
an  unfavorable  change  in  political  power  and  Genjis 
remorse  over  the  tragic,  scandalous  consequences 
of  his  amorous  exploits  Before  going  to  Suma.  Genp 
wanted  to  visit  his  father  s  tomb  in  Kitayama.  north 
of  Kyoto  Waiting  for  the  moon  to  appear  for  this  long 
lourney  he  visited  Fujitsubo.  a  one-time  consort  of 
Gen|i  s  father  and  later  Genii's  paramour  who  now 
lives  in  seclusion  as  a  nun  In  the  Museum  s  screen- 
painting  (Fig  1  b]  Genii,  having  visited  Fujitsubo.  is 
on  horseback  and  is  followed  on  foot  by  a  few  loyal 
attendants  some  of  whom  carry  an  umbrella  or  a 
prod  Riding  along  the  shore  of  either  the  Takano  or 
Izumi  River  Gen|i  is  on  route  to  Shimogamo  shrine 
in  Kamo  prefecture,  passing  a  thatched-roof  house 
in  the  countryside  before  progressing  to  his  father  s 
tomb^  Genii's  lowly  position  is  indicated  by  his  igno- 
ble attire  and  mode  of  transport;  a  horse  has  dis- 
placed his  lavish  ox-drawn  carnage 

Development  and  function  of  byobu  (folding  screens) 

Utsusemis  living  quarters  (cover)  can  be  considered 

charactenstic  of  a  Heian  architectural  dwelling  called 
shinden.  whose  exterior  consisted  of  a  sloping  bark- 
shingled  roof  with  deep  eaves  and  a  wooden  platform 
elevating  the  entire  building  in  an  attempt  to  minimize 
humidity  inside 7  Interior  decoration  was  sparse, 
governed  by  tranquility  and  restraint.  Among  the  ac- 
cepted accouterments  were  floor  mats,  cushions,  go 
boards,  folding  screens,  and  kicho  which  consisted 
of  a  wooden  frame  supporting  an  opaque  silk  curlain 
to  assure  privacy  ^  Shutters  separating  open 
verandas  from  private  quarters  could  be  removed 
and  bamboo  blinds  rolled  up  making  the  interior 
alight  and  the  extenor  garden  a  spatial  continuum 
Private  precincts,  nevertheless,  were  generally  dark 
obscuring  the  presence  and  movements  of  women 
Illicit  rendezvous  always  were  conducted  in  semi- 
darkness  which  lead  to  complications  when  the  iden- 
tity of  a  lover  could  not  be  verified,  as  witnessed  often 
by  Prince  Genii' 

Screen-painting  is  of  Chinese  origin,  but  as  an  art 
form  it  never  was  prominent  there,  for  screens  were 
not  especially  serviceable  in  Chinese  architectural  de- 
sign that  allowed  large  walled  areas  on  which  to  paint. 
Although  screen-painting  burgeoned  early  in  China, 
dunng  the  Chou  dynasty  (fourth  to  the  third  centuries 
B  C  ).  It  was  in  the  Sung  dynasty  (960-1 279)  when 
It  increasingly  was  regarded  as  accessory  and  not 
serious  art  ^  Conversely,  Japanese  houses  lacked 
fixed  walls 

Thus,  screens  proved  invaluable  as  room  parti- 
tions, as  protection  from  inclement  breezes  and  the 
unwelcome  glances  of  intruders,  for  seasonal  dis- 
plays, and.  lastly,  as  sumptuous  decoration. 


3  Azymaya  I'  Table  of  Genii  handscroll,  1 2th  century 

color  on  paper,  8  4"  h    x  15  4"  w,;  21  5  cm  h   x  39 
cm  w 
The  Tokugawa  Reimeikai  Foundation.  Tokyo 


Folding  screens  which  are  commonly  paired 
remain  the  most  versatile;  they  become  stable  when 
hinged  panels  are  in  zig-zag  position,  and  thus  are 
readily  portable  when  contracted.  Used  first  in  China, 
byobu.  (a  Japanese  word  meaning    protection  from 
wind")  were  exploited  masterfully  in  Japan  for  their 
potentially  decorative  surface.  One  of  the  oldest  ex- 
tant six-fold  byobu  in  Japan,  the  "Senzui-Byobu"  [Fig. 
2).  dating  between  the  eleventh  and  twelfth  centunes 


The  Museum  s  screen-painting  [cover]  illustrates 
the  importance  of  this  art  form  in  the  household  of 
the  Heian  aristocrat. 'O  In  the  Japanese  household, 
the  folding-screen  was  functional  and.  yet.  admired 
as  a  fine  painting  There  are  three  formats  of  screen- 
paintings:  the  single-panel  tsuitate  made  of  paper 
pasted  on  wood  which  was  placed  upright  at 
entrances;  sliding-screens  [fusuma]  which  were  set 
in  tracks  and  installed  in  corridors  separating  rooms 
or  sections  of  a  house;  and  the  folding-screen 
{byobu).  composed  of  two,  six.  and  rarely  eight 
panels.  Both  fusuma  and  byobu  were  made  of  layers 
of  paper  over  a  wood  lattice  framework,  and  exam- 
ples can  be  seen  within  Utsusemi's  living  quarters 
[cover). 


after  a  lost  ninth  century  original,  demonstrates  an 
antiquated  manner  of  hinging  panels  which  was  not 
only  cumbersome  but  disruptive  of  the  painting  sur- 
face. Individuals  panels  were  linked  at  top  and  bottom 
using  thongs  of  leather  or  cloth  and  were  framed  with 
wood  or  brocaided  silk.  By  the  fourteenth  century 
an  innovative  type  of  hinging  was  adopted  in  Japan 
which  facilitated  an  uninterrupted,  unified,  painted 
surface.  Strips  of  paper  were  wrapped  horizontally, 
from  the  front  of  one  panel  to  the  back  of  the  next, 
forming  hinges;  space  between  the  panels  thus  was 
minimized.  Painting  was  completed  generally  on 
separate  sheets  of  paper  which  later  were  affixed  to 
the  screen  surface.  In  many  cases,  small  squares  of 
gold  foil  were  fastened  to  the  paper  surface,  as  in  the 


15 


Museums  pair  of  screen-paintings,  providing  a  lavish 
setting  for  a  literary  classic  ' ' 

Evolution  of  Yamato-e 

The  tvluseum  s  screen-paintings,  which  date 
approximately  from  the  mid-seventeenth  century 
embody  a  fostering  and  revitalization  of  Yamato-e. 
the  ancient  tradition  of  painting  in  Japan  An  outline 
of  this  enduring  painting  tradition  v/hich  continued 
to  venerate  subjects  such  as  the  Tale  of  Genii  will 
place  the  fvluseum  s  screen-paintings  in  proper  per- 
spective The  term  Yamato-e  (Japanese  painting) 
initially  underscored  distinctions  in  subiect  matter  be- 
tween Japanese  and  Chinese-inspired  paintings,  the 
latter  produced  in  Japan  around  the  eighth  century  '^ 
Yamato-e  paintings  incorporated  subject  matter 
indigenously  Japanese  such  as  folklore,  heroes, 
historical  events,  classical  literature,  and  seasonal 
changes  in  landscape  Its  meaning  was  broadened 
to  express  the  Japanese  intuitive,  sensuous,  and 
emotional  reaction  to  nature,  in  contrast  with  an  in- 
tellectural  and  philosophic  response  espoused  by 
the  Chinese  Nature,  its  mountains,  streams,  and 
blossoming  trees  is  related  to  mans  daily  activities 
With  respect  to  subject  matter  the  Museums  screen- 
paintings  adhere  to  a  charactenstic  Yamato-e  theme; 
moreover,  the  figures,  costumes,  architecture,  and 
landscape  are  inherently  Japanese. '^ 


Takekawa  11    Tale  of  Genii  handscroil.  1 2th  century 
color  on  paper.  8  6"  ti   x  18  9"  w  22  cm  h   x  48  1 
cnn  w 
TheTokugawa  Reimeikai  Foundation  Tokyo 


From  the  late  ninth  through  eleventh  centuries, 
there  are  few  paintings  which  document  the  flowenng 
of  yafT7afo-e  '''  The   Senzui-Byobu   (Fig  2) 
exemplifies  the  transition  in  painting  wherein  Chinese 
secular  themes  and  Yamato-e  are  integrated 
Although  the  subject,  a  poet-scholar  of  the  Tang  dy- 
nasty and  costumes  are  Chinese,  the  blossoming 
trees  and  soft  rolling  hills  are  distinctly  Japanese,  as 
compared  with  the  precipitous  mountains  of  China. 
Classical  literature  such  as  the  Tale  of  Gen/i  and  Tales 
of  Ise  whose  descriptive  prose  is  visually  adaptive  to 
painting,  henceforth,  laid  the  foundation  for  true 
Japanese  painting   Yamato-e  subscribed  not  only  to 
native  subject  matter  but  to  techniques  of  painting 
which  discarded  Chinese  realism  in  preference  for 
formal  and  decorative  abstraction 

Extant  segments  of  the  oldest  handscroil  based  on 
chapters  of  the  Tale  of  Geriji  (Figs  3,4],  which  date 
from  the  twelfth  century  disclose  characteristics  of 
mature  Yamato-e  that  also  are  discernible  in  the  Mu- 
seums  screen-paintings  The  format  of  the  hand- 
scroll  with  restricted  height  and  great  honzontal  ex- 
panse, and  which  is  examined  from  above,  led  to  the 
creation  of  the  following  pictonal  devices  in 
representing  interior  domestic  scenes  steep 
diagonals  for  depicting  roofs,  verandas,  or  lintels  in 
order  to  render  spatial  depth:    blown-off   roofs  to 
reveal  interiors:  inverted  perspective,  making  the 
background  loom  larger:  and,  lastly  indiscnminate 
interception  of  architectural  structures,  furniture  {go 
boards,  screens),  and  landscape  elements  in  prefer- 
ence for  abstraction,  Screen-paintings  such  as  the 


16 


Tosa  Mitsunon  (1563-1638) 

■  Suma,'  Tale  of  Genii 

color  on  paper,  38-8"  h   x  35.8"  w;  15  3  cm  h.  x  14.1 

cm  w. 

The  Tokugawa  Reimeikai  Foundation,  Tokyo 


attrib  to  Tosa  Mitsuyoshi  (1539-1613) 

(one  screen)  A  Meeting  at  ttie  Frontier' 

color  and  gold  leaf  on  paper  62 '/2"  h    x  124"w,1587 

cm  h    X  314  9  cm  w 

Ttie  Metropolitan  Museum  of  Art,  Fletcher  Fund.  1955 


Museum's  adopted  these  conventions,  initially  well- 
suited  for  ttie  handscroll  format,  whicfi  enlrance  ttie 
decorative  and  abstract  visual  effects.  Alttiougti  ttie 
higti  angle  perspective  is  of  Ctiinese  origin,  Japanese 
artists  innovatively  coupled  ttiis  with  the  removal  of 
walls,  doors  and  other  obstacles,  as  the  intenor  of  a 
deep  eaved  shinden  house  could  not  be  seen  from 
this  high  vantage  point.  The  viewer  thus  sees  each 
scene  as  if  from  the  roof  of  a  stage.  ^^ 

In  the  scene  "Azumaya"  [Fig.  3],  a  noble  woman 
has  had  her  hair  washed  and  a  maid  now  combs  it. 
Facing  them  are  two  noblewomen,  one  of  whom  ex- 
amines a  book  of  paintings  while  the  other  reads 
from  the  accompanying  text.  Beautiful  landscapes 
in  the  decorative  tradition  of  Yamato-e  can  be  seen 
on  the  sliding  doors  and  center  curtain.  In  the  other 
scene,  "Takegawa "  (Fig.  4],  two  noblewomen  are 
playing  go  near  a  veranda  surrounded  by  ladies-in- 
waiting.  A  beautiful  blossoming  cherry  tree  springs 
from  the  courtyard.  The  mood  of  the  scroll  is  quiet 
and  passive,  its  movement  arrested.  Physical  detail 
is  conventionalized;  aristocrats  have  slit  eyes  and  a 
hooked  nose,  representing  the  ideal  gentry  ^^  ggch 
is  distinct  from  the  other  in  terms  of  postures  or 
movements.  As  in  the  Museum's  screens,  each 


17 


7         School  of  Iwasa  Malabei 

detail,   Ulsusemi    Tale  ot  Genii.  1650-70 


scene  in  the  scroll  has  figures  around  whonn  the  ac- 
tion revolves  and  subordinate  figures,  eg  ladies-m- 
waiting  or  servants  Enhancing  the  decorative 
qualities  of  the  handscroll  is  the  technique  of  painting 
called  tsukuri-e.  whereby  the  connposition  initially  is 
executed  m  fine  black  lines,  and  the  entire  picture 
space  then  is  covered  with  layers  of  opaque  colors 
After  patterns  in  fabrics  are  added,  the  outlines  then 
are  redrawn 

There  must  have  been  on  the  average  two 
paintings  per  chapter  in  the  original  twelfth  century 
scroll;  the  scenes  probably  were  designated  by  the 
commissioning  anstocrats  Among  the  scroll  frag- 
ments, there  are  no  extant  scenes  based  on  the 
Utsusemi'  and   Suma'  chapters  Whereas  the  fvlu- 
seum  s   Utsusemi"  scene  was  popular  the   Suma" 
scene  is  without  known  extant  parallel  '^  Scenes 
based  on  the  Suma  chapter,  however,  are  not 
lacking,  for  example,  Tosa  fvlitsunons  (1563-1638) 
small  detailed  and  decorative  painting  (Fig  5)  The 
presumed  aberrant  nature  of  the  Museums   Suma" 
scene  and  the  discrepencies  in  certain  descnptive 
details  depicted  m  the   Utsusemi  scene,  as  com- 
pared with  the  text,  could  be  explained  by  the  artists 
inventiveness  or  by  decrees  of  the  studio  in  which 
he  worked  '^ 

Later  continuation  of  Yamato-e: 
Tosa  and  Kano  Schools:  Sotatsu 

The  Tale  of  Gen/i  was  so  rich  in  visual  descriptions 
it  comes  as  little  surpnse  that  it  inspired  painters  who 
continued  the  Yamato-e  tradition  for  centuries.  Dating 
from  the  Kamakura  period  [1 185-1333),  when  the 
novel  was  read  widely  the  second  oldest  extant 
handscroll  survives  in  the  Tenri  Library  in  Nara  By 
the  Muromachi  penod  (1392-1573),  Tale  of  Genii 
paintings  were  executed  in  diverse  formats  hand- 
scroll,  album  leaf,  stiikistii  (small  square  paper), 
covers  of  sasshi  (booklets),  and  fans  which  were 
attached  to  screens  '^  Techniques  of  paintings  varied 
from  hakubyo  (black  and  white)  to  very  detailed  and 
decorative  works  anticipating  the  Tosa  School 

The  Tosa  School  of  court  painters  claimed  to  have 
unbroken  ties  with  the  Yamato-e  masters  of  the  Heian 
period  20  From  the  early  fifteenth  century  the  Tosa 
family  controlled  the  painting  studio  of  the  imperial 
court  and  continued  the  tradition  of  secular  painting 
which  arose  in  the  Heian  and  Kamakura  periods  The 
early  Tosa  painters  decorative  style  and  espousal  of 
native  traditions  precipitated  a  revival  of  Yamato-e  by 


Kano  Sunraku  ( 1 56 1  - 1 635) 

delail.   Fight  ol  the  Carnage  Attendants     Aoi'  chapter 

Tale  ol  Genii.  4  told  byobu 

color  and  gold  leal  on  paper  69"  h   x  145  6"  w    1 75  5 

cm  h    X  370  cm  w 

Tokyo  National  Museum 


18 


i^i^;•4^W^**f^'*Jr».»ir^«^4^J~lfr^'Hr»*t^Kr■■■*;>^'^^ 


attributed  to  Kano  Tanyu  (1602-74) 

Scenes  from  the  54  ctiapters  of  the  fate  of  Genii. 

detail,  one  of  pair  of  6-fold  byobu 

color  and  gold  leaf  on  paper  54  1 "  h   x  1 45  6"  w ,  1 67  5 

cm  h,  X  370  cm  w 

Imperial  Household  Collection,  Tokyo 


1 0         Tawaraya  Solatsu  (d   1 643) 

Sekiya,  ■  Tale  ol  Genii,  one  of  pair  of  6-fold  byobu 
color  and  gold  on  paper,  59,8"  h,  x  135  7"  w,  152  cm 
h,  X  355  cm,  w 
Seikado  Bunko,  Tokyo 


the  fTiature  Tosa  school,  active  principally  from  the 
sixteenth  through  first  half  of  the  seventeenth  centu- 
nes  2'  Associated  with  this  school  was  elegant  draw- 
ing, rich  color  and  meticulous  detail,  all  contributing 
to  a  highly  decorative  art,  Tosa  artists  customarily 
worked  with  a  small  format  such  as  an  album  leaf 
or  scroll:  they  later  embraced  the  prevailing  larger 
screen-painting  appropriate  to  the  grandeur  of  the 
period  architecture 

Tosa  Mitsuyoshi  [1539-1613)  was  adopted  into  the 
official  circle  of  painters  who  specialized  in  rendenng 
classical  themes  in  carefully  detailed  miniature  for- 
mats 22  A  Meeting  at  the  Frontier"  [Fig  6),  which 
belongs  to  Mitsuyoshi's  pair  of  screen-paintings 
based  on  the  Sekiya,"  "Miyuki,"  and  "Ukifune"  chap- 
ters of  the  7a/e  of  Genji.  exemplifies  a  skillful, combi- 
nation of  traditional  Tosa  technique  in  magnified  scale 
with  a  profusion  of  gold,  the  latter  particularly  conso- 
nant with  the  age  of  castle  architecture.  Delicate, 
careful,  line  drawing,  thick  coloring,  and  descriptive 
detail  are  characteristic  of  Mitsuyoshi's  painting  in 
small  format  Figures,  costumes,  and  postures  are 
drawn  minutely  and  meticulously  The  juxtaposition 
of  blue  mountains  and  golden  clouds  makes  the 
scene  all  the  more  preciously  decorative. 23 
Mitsuyoshi's  seeming  preoccupation  with  a  literal  ren- 
dering of  the  scene  as  described  in  the  Tale  sacnfices 
the  underlying  poetic  spirit  of  Yamato-e. 

Tosa  Mitsunori  [1563-1638],  son  of  Mitsuyoshi, 
also  produced  paintings  in  album  format  based  on 
the  Tale  of  Genii. 2'i   Suma'  (Fig,  5),  in  keeping  with 


19 


Iwasa  Maiabei  ( 1 578-_1 650) 
Lao  Tzu.   Kanaya  Byobu.ca   1626 
ink  on  paper.  52  2"  h   x  21  6"  w    )32  8  cm  h   x  55 
cm  w 

Tokyo  National  Museum 

Pholograph  courtesy  of  Shueisha  Publishing  Co   Lid 
Tokyo 

Nobuo  Tsu|i.   Iwasa  Malatiei    hlihon  Biiutsu  Kaiga 
Zenshu.  vol  13.  1980 


12         Iwasa  Matabei(  1578- 1650) 

Ladies  Viewing  Chrysanthemums    Kanaya  Byobu.  ca 
1626 

ink  and  color  on  paper,  51  9"  h   x  21  6"  w    132  cm 
h   X  55  cm  w 
Yamatane  Museum  ol  An.  Tokyo 


-''^V, 
^ 


1 


traditional  Tosa  painting,  is  vivid,  detailed,  highly 
decorative,  and  abstract  The  latter  is  especially  ev- 
ident in  the  landscape  elements  intersected  by  cloud 
forms 

The  Kano  school  vi/hich  was  active  from  the 
fifteenth  until  the  nineteenth  centuries  was  heir  to  the 


ink  monochrome  tradition  established  in  the  Sung 
(960-1 279]  and  Yuan  ( 1 279- 1 368]  dynasties  in 
China  The  painting  on  the  fusuma  (sliding  door], 
which  serves  as  a  room  divider  in  Utsusemi's  private 
quarters  (Fig  7),  is  characteristic  of  the  clear- 
expression,  well-defined  brushwork.  and  landscape 


20 


13         Iwasa  Matabei  (1578-1650) 

Nonomiya,   Kanaya  Byobu.  ca,  1626 
ink  and  color  on  paper.  51  5"  h   x  216"  w.;  131  cm 
h   X  55  cm  w 
Idemitsu  Museum  of  Arts,  Tokyo 


15 


14  Iwasa  Matabei  (1578-1650) 

detail.   Utsusemi,    Tale  of  Genji 
Gift  of  thie  Class  of  1908(80-16-1) 


associated  with  this  Chinese-inspired  painting  tradi- 
tion.25  The  Kano  school  during  the  first  half  of  the 
Momoyama  period  (1573-1615),  with  masters  such 
as  Eitoku  (1 543-90],  transformed  Chinese  subject 
matter  including  birds  and  flowers,  Chinese  sages, 
or  landscapes,  and  the  ink  monochrome  technique 
into  a  national  style.  Firm  and  powerful  brushwork, 
polychrome,  gold  leaf,  and  strong  two-dimensional 
design  distinguish  the  splendorous  paintings  of  the 
Kano  school  which  illuminated  the  dark  castle  inte- 
riors of  the  Momoyama  penod. 

The  second  halt  of  the  Momoyana  period  and  early 
Edo  period  were  dominated  by  individualists  such 
as  Kano  Sanraku  [1 561  -1 635),  Kano  Tanyu 
(1602-74),  Tawaraya  Sotatsu  (d.  1643),  and  Iwasa 
Matabei  (1 578-1 650)  to  whose  work  the  Museum's 
screen-paintings  are  related.  Although  each  fused 


Iwasa  Matabei  (1578-1650) 

"Onono  Komachl."  Thirty-six  Poets  Byobu.  ca  1 640 

color  on  board.  1 8.5"  ti.  x  1 1 .8"  w.:  47  cm  h    x  30 

cm,  w  (eacji  panel) 

Kawagoe  Toshogu  Sfinne 


/ 


21 


''\^--/1 


16  iwasaMaiabei  [1578-1650) 
detail.   Utsusemi,   TaieolGen;/ 
Gitt  of  the  Class  ol  1 908  C80- 1 6-2) 

1 7  Iwasa  Matabei  (1578-1 650) 

Tales  o(  Ise,   Ikeda  Byobu.  ca  1 635-40 

color  on  paper,  23"  h  x  14  8"  w,  58  5  cm  h   x  37  7 

cm  w 

Idemitsu  d^useum  ot  Arts,  Tokyo 


b 


f 

f  •^j 


1 


Chinese  and  Japanese  elennents  in  their  paintings, 
they  remained  much  closer  to  Yamato-e  m  terms  ot 
subject  matter  technique,  and  spirit  Dunng  the 
Momoyama  period  ( 1 573- 1615)  there  evolved  a 
retrospective  interest  m  Yamato-e  of  the  Heian  period 
(897-1 185].  as  Japan  increasingly  withdrevi^  from 
foreign  interaction  26  as  the  Japanese  tsecame  more 
conscious  of  their  indigenous  cultural  advancement 
and  of  their  economic  prosperity,  they  became  more 
aware  of  their  unique  artistic  heritage 

With  regard  to  painting,  artists  like  Sanraku.  Tanyu 
Sotatsu  and  Ivlatabei  reverted  to  an  era  vi^hen  their 
country  was  self-sufficient,  the  late  Heian  period 
Some  artists  were  more  faithful  to  Yamato-e  in  spirit; 
others  chose  to  fuse  Chinese  and  Yamato-e  elements 
in  their  paintings  2''  And  thus,  during  this  period  Kano 
artists  who  worked  traditionally  in  ink  monochrome 
gravitated,  with  respect  to  compositional  design, 
subject  matter,  and  minute  coloring  technique,  to- 
wards the  Tosa  School  At  times  it  becomes  very 
difficult  to  differentiate  paintings  by  Tosa  artists  from 
those  Yamato-e  paintings  produced  by  the  Kano 
School  Kano  Sanraku  s   Fight  of  the  Carnage  Atten- 
dants (Fig  8)  and  screen-pamtings  attnbuted  to 
Kano  Tanyu  (Fig  9),  both  based  on  the  7a/e  ol  Genii. 
affirm  these  artists  competence  in  restating  Yamato-e 
subjects  and  traditional  painting  techniques  Fine 
draughtsmanship  in  rendering  precise  descriptions, 
compositional  design,  and  color  scheme  facilitated 
their  impressive  transition  from  Kano  to  Yamato-e 
styles. 

Yamato-e  of  the  Heian  (897-1 1 85)  and  Kamakura 
periods  ( 1 1 85- 1 333)  as  well  as  secular  painting  of 
the  tvluromachi  period  (1392-1573)  were  sources 
for  the  exceptional  paintings  by  Sotatsu  Extant  works 
by  and  attributable  to  Sotatsu  illustrating  the  Biogra- 
phy of  Priest  Saigyo.  Tales  of  Ise  and  the  Tale  of  Genji 
indicate  that  he  had  an  imposing  repertory  and  un- 
derstanding of  Yamato-e  painting  techniques  and 
themes  A  screen-painting  based  on  the   Sekiya" 
chapter  of  the  Tale  of  Genji  (Fig   1 0)  reveals  Sotatsu  s 
innovative  reinterpretation  of  a  Yamato-e  theme. 
Sotatsu's  strength  lies  in  his  ability  to  create  abstract 
and  dynamic  compositions  which  distill  the  original 
spint  and  lyricism  from  classical  Yamato-e  Less  fas- 
cinated with  physical  details  of  the  story  Sotatsu  ex- 
ploits the  potential  for  decorative  abstract  design 
which  transmits  a  poetic  feeling  for  the  story  Using 
color  and  line,  as  in  the   Sekiya'  scene,  elements 
are  situated  in  dynamic  opposition  intimating  the 
emotional  conflict  between  the  protagonists,  Genji 
and  Utsusemi,  hidden  in  their  respective  carriages 
And  thus,  tension  is  couched  in  the  juxtaposition  of 
silhouetted  masses,  color,  and  dynamic  linear  move- 
ments •''*' 

Iwasa  Matabei  and  his  school 

Iwasa  Matabei  (1578-1650),  whose  life  spanned  the 


22 


Iwasa  Mdlabei  (.1578-1 650) 

Nobleman  on  Seashore,  "  Koji  Jimbutsu  Zukan.  ca 
1640 

color  on  paper  1 4  1 "  h  ,  36  cm  h 
location  unknown 

Photograph  courtesy  of  Shueisha  Publishing  Co    Ltd 
Tokyo 

Nobuo  Tsu)i.    Iwasa  Matabei,    Nihon  Bijutsu  Kaiga 
Zenshu.  vol   13,  1980 

late  Momoyama-early  Edo  periods,  is  a  problematical 
figure  whio  like  the  aforenamed  artists  of  tfiis  period 
assimilated  Ctninese  and  Yamato-e  subiect  matter  and 
painting  techniques  in  his  works.  At  the  source  of 
the  controversy  are  numerous  paintings  without  a 
seal  or  signature  which  have  been  attributed  to 
Matabei  s  hand  lacking  substantive  proof  For  quite 
some  time  the  identity  of  Matabei  was  uncertain,  and 
definition  of  his  school  of  followers  is  yet  amor- 
phous,29  In  light  of  this,  a  discussion  of  paintings 
accepted  to  be  by  Matabei  and  those  convincingly 
attnbutable  to  his  school  will  show  that  the  Museum  s 
screen-paintings  based  on  the  Tale  of  Genji  are 
attnbutable  to  Matabeis  school  and  date  approxi- 
mately 1650-70, 

Known  also  as  Iwasa  Shoi  or  Iwasa  Katsumochi, 
Matabei  was  the  son  of  Murashige  Araki,  the  latter 
having  served  the  shogun  Oda  Nobunaga 
(1 534-82)  Murashige  and  Matabei  were  the  only 
members  of  their  family  who  survived  Nobunaga's 
vengence  when  Murashige  was  charged  with  trea- 
son, Matabei  was  raised  subsequently  in  Kyoto  and 
assumed  his  mother's  name  Iwasa, 

The  period  in  which  Matabei  acquired  his  un- 
structured training  as  a  painter  can  be  fixed  reason- 
ably between  1596-1615  During  this  time,  it  is  very 
probable  that  Matabei  became  familiar  with  the  ink 
monochrome  paintings  of  the  Kano  school,  of 
Unkoku  Togan  [1 547-1 61 8)  and  of  Hasegawa 
Tohaku  (1539-1610)  and  collaborated  with  Tawaraya 


Sotatsu,  Although  it  is  not  clear  from  whom  Matabei 
learned  Yamato-e.  it  is  likely  that  Tosa  artists  cultivated 
his  appreciation  of  this  native  painting  tradition, 30 
Sotatsu  and  Matabei  both  achieved  a  revival  of 
Yamato-e,  each  consonant  with  his  respective  individ- 
uality Where  Sotatsu  sought  to  retain  the  spint  of 
Yamato-e  in  his  paintings,  such  that  decorative  ele- 
ments transcended  literal  interpretation  of  the  story, 
Matabei  continued  to  study  Chinese  style  painting 
and  assimilated  both  traditions  in  his  art,^^  Matabei, 
unlike  Sotatsu,  deftly  portrayed  realistic  emotions,  and 
yet,  was  intrigued  with  sarcastic,  humorous,  and  vul- 
gar aberrations  of  life,  Matabei.  as  many  of  his 
contemporaries,  liberally  assimilated  diverse  styles 
and  subjects  in  his  work;  however  he  stands  apart 
in  his  facility  of  extracting  and  inventively  transform- 
ing potential  elements  from  these  sources 

In  1616  Matabei  moved  to  Fukui  where  he  spent 
nine  years  in  Koshu|i  temple  afterwhich  he  was 
commissioned  to  paint  by  Lord  Tadamasa 
Matsudaira,  Matabei  had  at  this  time  two  sons 
Katsushige  and  Totetsu,  the  latter  adopted  by 
Hasegawa  Tohaku, 32  And  finally,  Matabei  moved  to 
Edo  [present-day  Tokyo)  in  1 637  where  he  eventually 
died  According  to  the  Yuisho-gaki  dated  1731,  which 
outlined  the  Iwasa  family  genealogy  Katsushige  had 
a  son  named  IjU  [also  called  Youn)  and  grandson 
named  Youn. 33  The  relationship  of  Matabeis 
offspnng  and  his  school  of  followers  will  be  addressed 
presently 

From  the  paintings  generally  accorded  to  be  by 
Matabei.  one  deduces  that  he  was  familiar  equally 
with  classic  Japanese  and  Chinese  subjects,  fused 
Yamato-e  and  Chinese  painting  techniques  and 
styles,  and  expressed  classical  themes  in  a  vernacu- 
lar While  Matabeis  individual  style  was  evolving  in 
Fukui  circa  1626,  he  produced  his  masterpiece, 
Kanaya  Byobu."  Each  panel  of  this  pair  of  originally 
six-fold  byobu  was  devoted  to  a  classical  Chinese  or 
Japanese  subject  such  as   Lao-tzu"  [Fig,  1 1 ),   Court 
Ladies  Viewing  Crysanthemums "  [Fig.  1 2),  and 
"Nonomiya"  [Fig,  13). 

Lao-tzu,  the  Chinese  philosopher  who  founded 
Taoism,  is  painted  in  ink  monochrome  with  strong, 
angular  brush  work  reminescent  of  Hasegawa 
Tohaku  and  his  school.  Lao-tzu's  droll  expression 
indicates  Matabei's  penchant  for  transforming  serious 
and  contemplative  subject  matter  "Court  Ladies 
Viewing  Crysanthemums"  is  predominately  hakubyo 
[black  and  white)  painting  with  pale  coloring  close 
in  style  to  the  Tosa  school. 31  A  long  jaw,  full  cheeks, 
and  high  forehead  constitutes  what  has  been  termed 
the  "Matabei  facial  type,"  that  can  be  seen  in  most 
of  Matabeis  accepted  works  as  well  as  those 
indirectly  related  to  him  such  as  the  Museums 
screen-paintings  [Fig.  14]  This  particular  composite 
of  facial  attributes  was  not  invented  by  Matabei,  as  it 
was  considered  to  be  a  standard  of  beauty  in  con- 


23 


19         IwasaMatabei  (1578-1650) 

detail.   Yamanaka  Tokiwa.  ca  1615-35 
handscroll.  color  on  paper.  13  4"  h  .  34  2  cm  h 
The  M  O  A  Museum.  Alami 


20         School  ol  Iwasa  Malabei 

detail.    Thirty-six  poets  Byobu     l637-50_ 

color  and  gold  on  paper  pair  ot  6-loid  byobu 

60  5"  h   X  144"  w    153  8  cm  h    x  365  9  cm  w  [each 

panel] 

Idemitsu  Museum  of  Arts.  Tokyo 


temporary  genre  paintings  35  The  court  ladies'  casual 
glances  at  the  flowers  outside  their  carnage  approach 
sensuality  inappropnate  to  the  classic  subiect  matter 
•  Nonomiya.  based  on  the  7a/e  of  Genii,  also  is  exe- 
cuted in  hakubyo  and  once  again  reveals  Matabei's 
eccentric  treatment  of  classical  themes  with  respect 
to  the  halt-moon  shape  of  Genp  s  torso  and  the 
painting  s  interesting  compositional  design 

Although  one  can  be  reasonably  certain  that 
l\/1atabei  learned  Yamato-e  painting  from  Tosa  school 
painters  while  in  Kyoto,  almost  all  his  works  com- 
pleted later  in  Fukui  and  Edo  evince  little  adherence 
to  the  Tosa  school  The   Thirty-six  Poets  Byobu 
belonging  to  the  Kawagoe  Toshogu  Shnne  which 
was  produced  in  Edo  circa  1640  is  an  unequivocal 
exception    Onono  Komachi   (Fig   15)  was  painted 
in  the  Tosa  tradition  ot  careful  drawing,  bright 
coloring,  and  minute  detail,  eg  costume  patterns 
The  portrait  is  sedate  and  formal  in  keeping  with  this 
ancient  Yamato-e  classic  subiect. 3^  In  comparison, 
Utsusemi  CFig.  163  in  the  Museum  s  painting  is  more 
sensual,  eg  the  tilting  of  the  head  and  soft  curves 
in  hair;  however  similarities  exist  in  facial  features  and 
costume  design  to  suggest  a  relationship 

Ikeda  Byobu.    painted  circa  1635-40,  while 
Matabei  was  still  in  Fukui  or  after  his  arnval  in  Edo, 
parallels   Kanaya  Byobu   in  so  far  as  both  incorpo- 
rate Chinese  and  Japanese  subject  matterS''  How- 
ever, the  consistent  technique  in  painting,  firm 
brushwork.  and  refinement  of  forms  substantiate  a 
later  date  for   Ikeda  Byobu  '  In  a  scene  based  on 
the  Tales  of  Ise.  (Fig  1 7)  Matabei  combined  Yamato-e 
and  Chinese  painting  techniques  within  a  single  com- 
position irrespective  of  subject  matter,  unlike  Kanaya 
Byobu'  wherein  subject  matter  dictated  the  mode 
of  painting  This  integration  of  elements  approaches 
a  refreshing  interpretation  of  Yamato-e  ^^  And  thus, 
figures  are  contoured  with  fluid  abbreviated  and 
rhythmic  brush  strokes,  while  the  mood  of  the  com- 
position and  delicate  colonng  retain  the  lyricism  of 
Yamato-e  Matabei  continues  to  distinguish  himself 
in  his  sensitivity  to  the  rhythmic  flow  of  line  whether 
in  drapery  or  landscape  This  scene  is  nonetheless 
reminescent  of   Court  Ladies  Viewing  Crysanthe- 
mums   not  only  with  respect  to  facial  types,  but  also 
in  Its  attempt  to  intimate  the  sensual  departure  of 
lovers 

"Koji  Jimbutsu  Zukan "  ('Scroll  of  Ancient  Legends 
and  Human  Figures  ),  whose  whereabouts  is 
unknown  at  present,  probably  was  produced  while 
Matabei  was  m  Edo  circa  1640,  and  continues  to 
demonstrate  the  artist's  maturity  in  harmonizing  dif- 
ferent styles  The  subject  matter  is  diversified  to  in- 
clude Yamato-e  themes  such  as  the  Tale  of  Genii  and 
the  Tales  of  Heiie  and  Heike  as  well  as  Chinese  folk- 
lore   Nobleman  on  Seashore  (Fig   1 8)  displays  the 
same  sensitivity  to  rhythmic  line  in  draperies,  waves, 
and  trees  found  in   Ikeda  Byobu'  39  The  serpentine 


24 


21  School  of  Iwasa  Matabei 

detail,   Aritoshi-zu  Byobu,    1650-70 

color  on  paper,  pair  of  6-told  byobu 

67  8"  fi,  X  98  4"  w.  157  cm  h    x  250  4  cm.  w  (each 

panel) 

Idemitsu  Museum  of  Arts.  Tokyo 


tree  branches,  agitated  line  drawing  in  the  taller  atten- 
dant's costume,  and  rhythmic  sea  beyond  the  coast 
also  have  counterparts  in  the  Museum's  screen- 
paintings  (Figs  1  a,b).  Differences  between  these  two 
works  are  explained  in  terms  of  master  and  his  stu- 
dio. 

Polemics  involving  Matabei  stemmed  principally 
from  numerous  paintings  attributed  to  him  such  as 
the  genre  work    Hokoku-sai  Byobu. "  which  depicts 
the  festival  of  Hokoku  shrine  dedicated  to  the  shogun 
Toyotomi  Hideyoshi,  and  paintings  based  on  iorun 
texts  such  as  "Yamanaka  Tokiwa, "  'Horie,"  "Joruri. ' 
and   Ogun'  monogatan  (tales]  ''O  In  response  to  this 
controversy  the  concept  of  Matabei's  school  evolved 
which  attempted  to  solidify  relationships  between 
these  works  that  lack  Matabei's  seal  or  signature  and 
those  accepted  to  be  by  him 

A  sound  case  has  been  made  in  asserting  that 
Matabei  was  not  only  responsible  for  "Kanaya 
Byobu. "  "Ikeda  Byobu."  and    Ko|i|imbutsu  Zukan." 
all  of  which  have  Matabei's  seals,  but  that  he  also  pre- 
sided over  a  studio  of  artists  in  Fukui  between 
1615-35  that  produced  brilliantly  colored  and  dy- 
namic handscrolls  based  on  classic /orun  texts. "^  A 
scene  from  "Yamanaka  Tokiwa "  (Fig.  1 9]  depicts 
Tokiwa,  the  mother  of  a  member  of  the  Minamoto 
clan,  dying  in  the  arms  of  her  maid  after  being 
stabbed  and  robbed  by  bandits.''2  it  has  been  argued 
consistently  that  works  such  as  this  deviate  too  radi- 


cally from  Matabei's  oeuvre  to  have  been  executed 
by  the  same  artist.  Nonetheless,  similarities  indeed 
link  "Yamanaka  Tokiwa'  with  works  such  as   Ikeda 
Byobu"  and  "Kojijimbutsu  Zukan:"'3  Correlations 
among  the  three  with  regard  to  figure  style,  charac- 
ter of  sprawling  serpentine  pine  trees,  compositional 
design,  and  rhythmic  drawing  validate  a  near  con- 
temporary date  for  all.  The  utter  vulgarity  of  scenes 
in   Yamanaka  Tokiwa"  is  heightened  by  the 
caricaturish  faces  of  the  bandits  and  garish  coloring 
employed  in  the  draperies  and  interior  decoration. 
Bright  primary  colors  coupled  with  gold  and  silver 
cloud  areas  enhance  the  overall  decorativeness  of 
the  scroll. 

Meticulous  line-drawing,  whether  sedate  or 
undulating  in  a  nervous  manner,  is  a  strain  through- 
out Matabei's  work  and  many  works  attributable  to 
his  studio  The  Museum's  screen-paintings,  "Thirty-six 
Poets  Byobu"  (Fig.  20),  and  "Aritoshi-zu  Byobu" 
("Paintings  of  Aritoshi  Shrine, "  Fig  21],  all  attnbutable 
to  Matabei's  school  in  Fukui  or  Edo,  demonstrate  the 
close  affinities  between  works  by  Matabei  and  those 
attributable  to  his  school,  operating  even  after  his 
death,"''  In  all  three  works  the  rigid  contours  of  the 
male  aristocrat's  costume  (Figs,  20,  21 ,  22]  contrast 
with  the  fluid  and  rhythmic  brushstrokes  in  the  atten- 
dants' costumes.  Likewise  common  to  all  three  is  a 
certain  vulganty  in  the  facial  expressions  of  the  atten- 
dants. The  upper  frieze  of  poets  appea_ring  in  the 
Idemitsu  Museum's  'Thirty-six  Poets  Byobu"  (Fig  20] 
was  probably  painted  by  Matabei  himself,  as  the  fig- 
ure style  closely  resembles  the  aforementioned 
Thirty-six  Poets  Byobu"  in  the  Kawagoe  Toshogu 
Shrine  (Fig   1 5]  Below  the  frieze,  fan-shaped 
paintings  enframe  Yamato-e  subjects  and  Chinese 
landscapes,  which  were  produced  conceivably  by 
Matabei's  school  under  the  master's  supervision  This 
work,  which  dates  after  Matabei's  arnval  in  Edo  in 
1 637  and  before  his  death  in  1 650,  juxtaposes 
Yamato-e  subjects  and  techniques  (opaque  pig- 
ments] with  Chinese  subject  matter  and  mode  of 
painting  (ink  monochrome],  a  mixture  in  keeping 
with  Matabei's  tradition  and.  by  extension,  that  of  his 
school. 

In  1 928.  a  pair  of  six-fold  screen  paintings,  then 
attributed  to  Iwasa  Matabei  and  whose  present  loca- 
tion tragically  is  unknown,  were  published. ''^  Each 
screen-painting  depicts  scenes  from  six  chapters  of 
the  Tale  of  Genii  (Figs.  23,  24]  including   Utsusemi " 
and  "Suma,"  all  of  which  were  connected,  as  in  the 
Idemitu's  "Thirty-six  Poets  Byobu,"  by  gold  clouds. 
These  Tale  of  Genii  paintings  like  the  Museum's  do 
not  show  allegiance  to  any  particular  school  (Kano, 
Tosa]  in  their  reinterpretation  of  Yamato-e.  Paintings 
based  on  the  Tale  of  Genii  by  Matabei's  school  must 
have  been  quite  popular  and  these  artists  seemingly 
relied  more  on  the  ancient  traditions  of  painting  in 
the  Heian  period  Facial  types,  although  loosely  char- 


25 


acterislic  of  Matabel's.  are  different  m  the  two  sets  of 
screen-paintings  Differences  like  tfiese  as  well  as  tfie 
selection  and  number  of  scenes  from  tfie  Tale  of 
Genii  represented  can  tae  understood  in  liglit  of  a  stu- 
dio of  artists  working  withiin  the  painting  tradition  of 
the  master  Iwasa  IVIalabei 

There  are  similarities  between  the  two  sets  of 
paintings  in  the  figure  style  of  aristocrats  and  atten- 
dants, in  costumes,  architecture,  and  landscape  ele- 
ments The  aristocratic  type  derives  partially  from 
figures  in   Ikeda  Byobu,   '  Kanaya  Byobu,   and  the 
Thirty-six  Poets  Byobu  in  Kawagoe  Toshogu  Shnne 
The  use  of  thick  opaque  pigments  and  gold  as  well 
as  the  depiction  of  canctunsh  lower  class  people  sub- 
stantiate, on  the  other  hand,  the  indirect  relationship 
of  these  screen-paintings  to  jorun  scrolls  such  as 
"Yamanaka  Tokiwa'  In  general,  pervasive  thick 
coloring  and  gold  decorative  backdrops  are  inconsis- 
tent with  fvlatabei  s  known  repertory  of  classic  sub- 
jects: It  IS  assumable  that  these  resulted  from  the 
discretion  of  localized  followers  of  Matabei. 

The  identity  of  those  artists  m  Matabeis  school  are 
for  the  most  part  unknown  One  scholar  proposed, 
however  that  if  a  (vlatabei  school  existed,  it  would 
have  consisted  exclusively  of  Matabei  and  his  son 
Katsushige  "6  Although  Katsushige  worked  at  times 
in  the  manner  of  his  father  it  Is  inconceivable  that 
Matabei  and  Katsushige  solely  were  responsible  for 
the  production  of  the  aforenamed  works  which 
clearly  exhibit  modifications  in  the  master's  hand 
Paintings  accepted  to  be  by  Katsushige  lack  the  vigor 
seen  in  many  of  the  above  works '*''  Matabeis  fol- 
lowers must  have  been  anonymous  skilled  profes- 


22  School  ol  Iwasa  Matabei 
detail    Suma.    Tale  of  Genii 

Gilt  ol  the  Class  of  1 908  (80- 1 6- 1 ) 

23  School  ol  Iwasa  Matabei 

detail.   Utsusemr  Ta/e  o' Gen;/,  ca  1650-70 
Mori  Collection,  unknown  location 


26 


^ 


24         School  of  Iwasa  Matabei 

detail,  late  o/  Gen;/,  ca   1 650-70 

color  and  gold  on  paper 

Mori  Collection,  unknown  location 

sional  painters  working  in  his  tradition  either  under 
his  supervision  at  Fukui  and  later  Edo  or  in  localized 
groups  working  after  his  death.  Works  such  as 
Hokoku-sai  Byobu,    and  Thirty-six  Poets  Byobu" 
in  the  Idemitsu  Museum  of  Arts,  in  which  drawing 
and  figures  appear  less  distorted  and  thus  closer  to 
Matabei  s  standard  works,  ostensibly  were  produced 
pnor  to  Matabeis  death;  contrarily^those  such  as  the 
Museum  s  screen-paintings,  Aritoshizu  By_obu"  and 
the  lost  la\e  of  Genii  screens  once  in  the  Mori  collec- 
tion, apparently  were  produced  after  Matabei  s  death 
circa  1 650-70  The  line-drawing  becomes  artfully 
agitated,  painting  opaque,  and  the  facial  types  [Genji, 
women,  attendants)  more  deviational  from  the  norm. 
In  the  Museum's  screen-paintings,  compositional 
unity  IS  aided  by  a  subtle  use  of  color;  for  example, 
in  the   Utsusemi"  scene,  the  bright  red  in  the 
women  s  garments  can  be  found  in  Genii's  collar  the 
kicho  [hanging  curtain),  and  in  the  boy  s  garment 
In  the  "Suma"  scene,  this  same  color  is  seen  on  both 
the  horse  and  one  attendant.  The  manner  of  painting 
which  does  not  strictly  follow  either  Kano  or  Tosa 
schools,  IS  nonetheless  in  the  ancient  painting  tradi- 
tion of  Yamato-e  Strong  colors  without  modulation, 
firm  contour  lines,  as  well  as  the  abstract  represen- 


tation of  architectural  interiors  have  their  antecedents 
in  the  twelfth  century  Tale  of  Genji  handscroll.  There 
has  been  considerable  loss  of  gold  leaf  in  the  Mu- 
seum's screen-paintings,  but  gold  paint  has  disguised 
these  losses  Although  retouching  of  paint  is  per- 
ceptible in  minimized  areas,  the  painting  technique 
and  style  are  both  cohesive  and  consistent,  sup- 
porting the  idea  that  one  artist  painted  both  screens. 
The  artist  also  made  ample  use  of  gofun  (white  pig- 
ment] in  the  attendant's  costumes,  mountains,  trees, 
and  architecture  consistent  with  Matabeis  works, 
"Kanaya-Byobu"  and  'Yamanaka  Tokiwa: 

Critics  arbitranly  have  isolated  certain  peculianties 
in  Matabeis  figures;  however,  prototypes  can  be 
found  among  classical  handscrolls  and,  therefore, 
these  figures  should  not  be  considered  exclusive 
attributes  of  Matabeis  work.^s  jhe  classical  hand- 
scrolls  of  the  late  Heian  and  Kamakaura  periods  are 
forerunners  of  the  costumes,  architecture,  and  most 
human  figures  in  the  Museum  s  screen-paintings. 
Fluid  rhythmic  line  and  cancatunsh  homogeneity  of 
lower  class  people  already  could  be  seen  in  "Shigisan 
Engi "  handscroll  of  the  twelfth  century  However, 
following  Matabeis  tradition,  the  artist  of  the 
Museum  s  screen-paintings  has  transformed  such 


27 


Footnotes 


classical  elements  while  creating  a  remterpretation 
of  Yamato-e  Inclusion  of  the  Chinese  landscape 
paintings  on  the  slidmg-screens  in   Utsusemi  s  com- 
partments (cover.  Fig  7)  is  yet  another  indication  of 
an  artist  working  in  Matabei  s  manner  who  could 
assimilate  diverse  painting  traditions  within  a  single 
composition 

The  Museum  s  screen-paintings  certainly  are 
beautiful  aesthetic  art  objects  and  are  significant  as 
documents  of  an  ancient  tradition  of  painting  unique 
to  Japan 


The  author  acknowledges  Mrs  Keiko  Malsui  Gibson  who  provided 
invaluable  assistance  in  the  translation  ot  numerous  texts  This  re- 
search was  supported  in  part  by  the  University  ol  Illinois  Research 
Board 


'John  M  RosenlekJ.  Fumiko  E  Cranston.  Edwin  A  Cranston.  The 
Courtly  Tradition  in  Japanese  An  and  Literature  (Cambridge.  1 973). 
p  220 

^Ichitaro  Kondo.  Feminine  Beauty  in  Japanese  Printing  (Tokyo. 
1955).  p  124 

^George  B  Sansom.  .4  History  ot  Japan  to  (334  (London  1958). 
p  139 

■"Very  popular  among  aristocrats  was  go.  agameol  considerable 
strategy  introduced  from  China 

^Murasaki  Shikibu  7a/e  ot  Genii,  translated  by  Arthur  Waley  (New 
York.  1960).  pp  47-53  Takuya  Tamagami.  Geniimonogatari. 
Hydsriaku.vo\   l  (Tokyo.  1965).  pp  309-11 
^Murasaki  Shikibu.   Suma  in  Tale  otGenji  pp  229-254.  Tamagami. 
vol  3.  pp  52-58  Tamagami  s  commentary  on  the  original  text  pro- 
vides the  geographic  location  ot  this  scene  Waley  s  translation  slates 
that  Genp  and  his  attendants  all  were  on  horseback.  Tamagami 
maintains  that  Genji  was  the  only  one  nding  a  horse  It  is  possible 
that  the  scene  in  the  Museum  s  screen-paintmg  could  lollow  another 
section  ol  the  Suma  chapter  While  Gen|i  was  at  Suma  living  in  a 
thatched-rool  cottage  near  the  mountains  and  shore  his  long-time 
Iriend  To  no  Chu|0  came  to  visit  The  scene  could  represent  To  no 
Chujo  s  return  to  Kyoto  This  seems  unlikely  as  To  no  Chujo  boarded 
a  ship  and  no  mention  ol  his  attendants  is  recorded  Tamagami.  p 
73 

'Ivan  Morris.  The  World  ol  the  Shining  Prince  (New  York.  1 964). 
p  28 

"Screens  ol  silk  brocade  were  early  space  dividers,  unlortunately 
none  survive  trom  the  Heian  period  Paintings  dating  trom  the  Heian 
period,  however,  confirm  their  existence  and  utility 
'With  the  advent  ot  the  amateur  scholar-painter  in  China  emphasis 
shifted  trom  decorative  painting  to  ink  monochrome  painting  Deco- 
rative painting,  nonetheless,  was  continued  by  some  professional 
court  painters  Elise  Grilli.  The  Art  ot  the  Japanese  Screen  (New 
York.  1970).  p   151 

'"Although  no  actual  screen-paintings  from  the  Heian  penod  are 
extant,  contemporary  literature  documents  the  close  relationship 
ol  poetry  and  painting  at  that  time  An  imperial  anthology  ol  poetry 
datable  to  the  lOth  century.  Kokin  Waka  Shu.  includes  many  poems 
ostensitjiy  inspired  by  screen-paintmgs  Kokin  Waka  Shu  The  Tenth 
Century  Anthology.  [rans\a\e<i  by  H  H  Honda  (Japan.  1970).  pp 


93   105   107  Also  Kenji  Toda    Japanese  Screen  paintings  of  the 
Ninth  arx3  Tenth  Centuries.  Ars  Orientaks  vo>  3.  1959  pp  162-63 
'  'Initial  use  of  gokj  on  painting,  which  onginaled  m  Chir\a  ts  datable 
to  the  Heian  period  m  Japan  By  the  1 5th  century  it  is  known  tfiat 
there  was  a  great  demand  tor  gold  screen-paintings  and  during 
the  Momoyama  period  (1573-1614)  gold  was  employed  on  a  full- 
scale  as  It  was  associated  with  the  ix}wer  and  atttuence  ol  the  great 
warlords  Ei|i  Akazawa    Ju-go  seiki  m  okeru  km-byobu  ni  isuile 
Kokka  no  849  December  1962  pp  567-79 
'^China  had  exerted  great  influence  on  Japan  m  areas  of  political 
organization  literature  education  paintir^g  and  aesthete  apprecia- 
tion m  the  8th  and  early  pan  ot  the  9th  centuries  During  the  2nd 
half  of  the  9th  century  while  the  Chinese  T  ang  regime  crumbled 
the  Japanese  curtailed  intercourse  with  China  and  developed  an 
intuitive  admiration  tor  their  homeland  catalyzing  internal  cultural 
development 

'■'The  importance  and  popularity  of  VSmafo-e  m  tfieHeen  period 
can  tie  understood  from  the  chapter  Eawase  (Pcture-compeution) 
in  Murasaki  s  Tale  ot  Gen/i  Teams  of  competitive  artists  submitted 
paintings  illustrating  typical  Yamato-e  subject  matter 
"Toda  pp  153-161   Soper  intensively  discussed  ttie  evotvement 
of  Yamalo-e  Alexander  C  Soper    The  Rise  ol  Yamato-e    The  An 
Bulletin.  vo\  XXIV  December  1942  pp  356-79  also  Terukazu 
Akiyama.   Heian-jidai  no  Kara-e  to  Yamato-e  (I)  Biiutsu  Kenkyu 
vol  120.  1941.  pp  378-83:  Akiyama    Heian-pdai  no  Kara-e  to 
Yamato-e.   (II).  Si/ufsu  Kenkyu.  vol  121    1942.  pp  11-23 
'^High-angle  perspective  was  used  by  Chinese  landscai^e  artists 
during  the  T  ang  Dynasty  (618-907)  and  was  employed  by  the 
Japanese  in  the  8th  century,  particularly  in  Buddhist  paintings  This 
device  may  have  originated  m  early  wood-block  illustrations  of  sutras 
wherein  the  Buddha  at  a  high  vantage  point,  looks  down  on  his 
followers  The  latter  is  a  theory  proposed  by  Chiang  Yee  quoted  in 
Ivan  Morris  The  Tale  of  Gen/i  Scroll  {Tokyo  1971)  p  141 
'^Alexander  Soper  suggests,  contranly  that  slit  eyes  and  a  txjoked 
nose  symbolize  the  dreamy  unreality  associated  with  this  society 
Alexander  Soper  and  Robert  Paine  The  An  and  Architecture  ot 
Japarv  (Auckland.  1975).  p  134 
"Tosa  Mitsuyoshi  (1539-1613)  arrxjng  others  painted  trie 

Utsusemi  scene  in  small  format.  Mitsuyoshi  s  painting  is  located 
in  the  Kyoto  National  Museum 

'^Another  remote  possibilly  would  point  to  an  ekotoba  (instructon 
book)  which  may  have  existed  at  the  time  the  Museum  s  paintings 
were  produced  These  ekoioba.  one  ot  which  dates  trom  the 
Muramachi  period  ( 1 392- 1 573)  and  is  kept  at  Osaka  Women  s  Col- 
lege, provided  artists  with  a  choice  ot  scenes  trom  original  texts  such 
as  Tale  ot  Genii  as  well  as  descriptions  ot  seasons  colors,  manners, 
and  costumes  ot  people  that  should  be  included  m  their  paintings 
Professor  Kaiagiri  of  Osaka  Women  s  College  was  kind  to  furnish 
photocopies  ol  the  original  text  pertaining  to  the  Suma  and 

Utsusemi  chapters  in  the  Ekototia  These  ekotoba  endangered 
inventive  reinterpretations  ot  classical  stories,  as  artists  might  not 
consult  the  original  text  for  inspiration  Ekoioba  remain  highly  prob- 
lematic as  their  existence  and  use  can  not  t)e  venlied 
"Ken  Akiyama.  Terukazu  Akiyama.  Naoshige  Tsuchida  editors. 
Gen;/mor)oga/an  (Tokyo.  1 978)  also  Yuzo  Yamane    Monogatan-zu 
Byobu-no  Gaikan.   Nihon  Byobu-e  Shusei  Jimbutsu-ga  Yamato-e 
kei  Jimbulsu  vo\  5  (Tokyo.  1979).  pp  113-16 
■'"Artists  belonging  to  the  Tosa  school  claimed  themselves  heirs  ol 
Tsunelaka  ot  the  1 2th  century  who  had  the  title  Tosa  Gon  no  Kami 
(vice-lord  ol  Tosa)  although  there  was  no  historical  proof  of  this  line 
age  Soper.  The  An  and  Architecture  ol  Japan  p  182 

^'  The  position  of  the  Tosa  school  declined  with  the  okJ  aristocracy 
in  the  16th  century  The  school  moved  to  Sakai.  south  of  Osaka 
and  managed  to  survive  with  Mitsuyoshi  and  others 
■■Albums  ot  paintings  by  Mitsuyoshi  based  on  the  Tale  ol  Genii  can 
tDe  found  in  the  Kyoto  National  Museum  Muneshige  Narazaki 
Shinshutsu  Tosa  Mitsuyoshi  hitsu  Geniimonogatari  echo  ni  tsuite. 
Kokka.no  736.  July  1953.  pp  191-203 


28 


^^For  discussion  of  Mitsuyoshi  in  relation  to  Yamalo-e  artists  of 
Ivlomoyama  period  (1573-1614)  see  Yuzo  Yamane, '  Tosa 
Ivlitsuyoshi  to  sono  Sekiya,  IVIiyuki,  Ukitine  zu  Byobu, '  Kokka.  no 
749.  August  1954.  pp  241-59 

^■"An  album  based  on  ttie  Tale  ol  Gen;/  by  Mitsunori  demonstrating 
tiis  skill  in  fragile  line-drawing  is  located  in  tfie  Freer  Gallery  Smitti- 
sonian  Institution,  Wastiington.  D  C 

^^Kan-ga  (Chiinese  style  paintings)  is  used  to  describe  Japanese 
paintings  in  the  Cfiinese  ink-monochrome  style  Kan-ga  ink  paintings 
which  are  quiet  in  tone  coincide  with  the  popularity  of  Zen  Bud- 
dhism However,  it  was  with  Kano  Motonobu  {1476-1559)  that 
Kan-ga  paintings  achieved  a  new  sense  ol  decorative  design  which 
was  to  singularize  the  Kano  school 

2^By  the  1 3th  century  Japan  absorbed  another  wave  of  Chinese 
culture  with  the  influx  ot  Ch  an  Buddhism  (Zen)  which  became  ster- 
ile by  the  16th  century  Korea,  a  transmitter  of  Chinese  culture  to 
Japan,  became  the  latters  adversary  as  a  result  of  Hideyoshi's  mili- 
tary campaign  in  the  2nd  half  of  the  1 6th  century 
^'A  discussion  of  Wakan  Yugo,  the  amalgamation  of  Japanese  and 
Chinese  styles,  characteristic  of  many  paintings  at  the  end  of  the 
Momayama  penod  was  undertaken  by  Shigeyasa  Hasumi  in 
Momoyama-|idai  Kaigashi  ni  okeru  Wakan-yugo  no  Mondai, ' 
Bukkyo  Geijulsu,  no   100,  February  1975,  pp  96-98 
^'For  a  more  detailed  study  of  Sotatsu's  compositional  design  see 
Tanaka  Kisaku  (Toshisaku),   Sotatsu  hitsu  Geniimonogatan-zu-byobu 
ni  tsuite,"  Biiulsu  Kenkyu.  vol   10,  1932,  pp  31-35 
^'Two  early  documents,  Gaio-Yoryaku  and  Koctio  Meiga  Shui.  re- 
ferred to  tvlatabei  by  his  sons  name  Katsushige,  thus  instigating  the 
confusion  between  them  Haruyama  Takematsu,    Matabei  Kenkyu 
Shiryo.'  Toyo  e//ufsu,  vol  9.  tvlarch  1931 .  pp  136-7  Both  the 
Enpeki-Kenki  wntten  in  1 675  by  Confucian  scholar  Kurokawa  and 
the  Yuisho-gaki  wntten  in  1 731  refer  to  tyiatabei  as  Ukiyo-Matabei 
Although  both  were  published  after  Matabei's  death,  they  catalyzed 
the  long-standing  controversy  as  to  whether  Matabei  should  be 
credited  as  the  father  of  Ukiyo-e  (genre)  painting  Nobuo  Tsu|i, 
"Iwasa  Matabei,"  Nihon  Biiulsu  Kaiga  Zenshu,  vol  1 3  (Tokyo,  1 980), 
pp  107-9 

^"Matabei's  biographical  details  are  summarized  in  the  following 
Tsu|i,  pp  101-4,  Muneshige  Narazaki,  "Iwasa  Matabei  Shoi  ni  tsuite," 
Kaiga  Ronshu  (Tokyo.  1977),  pp  245-48.  Michio  Yada,  "Iwasa 
Matabei  Sono  San-byaku  nen  sai  ni  Chinasmite,"  Chawan.  vol.  209, 
October  1949,  pp  31-33,  Narazaki,  "Iwasa  Matabei  Katsumochi 
ni  tsuite,"  Kokka.  no  686,  May  1 949,  pp   1 1 9-22  On  the  verso  of 
Matabei's  paintings   Hitomaro-Tsurayuki,"  there  is  an  inscription 
wherein  Iwasa  Matabei  identifies  himself  as  a  follower  of  Tosa 
Mitsunobu  This  is  not  to  be  taken  literally  as  Matabei  was  not  a  true 
descendent  of  the  Tosa  school,  however,  Matabei,  as  they  was  work- 
ing in  the  Yamato-e  painting  tradition  Narazaki  made  the  reference 
to  the  Koga  Biko.  a  compilation  of  classic  paintings,  which  included 
the  name  Matabei  Yamasaku  (probably  Iwasa  Matabei)  as  Tosa 
Mitsunons  follower  See  Narazaki,  Kokka,  no  686,  May  1949,  p  122 
■''One  scholar  distinguishes  between  Sotatsu  s  interest  in  the  deco- 
rative development  of  Yamato-e  and  Matabei's  preoccupation  with 
the   monogatari-e "  (paintings  of  tales)  aspect  of  Yamato-e.  Yada,p.36. 
■'^A  manuscript  documenting  Matabei's  stay  in  Fukui  is  discussed 
by  Tsuji.  "Fukui-ken  Houn-|i  zo  no  Iwasa  Matabei  Kankei-bunsho. " 
Biiutsu  Kenkyu.  no.  225,  November  1962,  pp  31-36, 
^■'Narazaki.  "Iwasa  Matabei  Katsumochi  ni  tsuite;  Echizen-iidai  to 
bannen  no  Matabei,"  Kokka.  no  686,  May  1949,  pp  1  26 
^■"It  has  been  speculated  that  Matabei  learned  this  type  ol  hakubyo 
Yamato-e  saiga  (minute  painting)  from  Tosa  Mitsunon  or  some  other 
Tosa  artist  working  in  Kyoto  who  revived  this  ancient  technique  dur- 
ing Keicho  (1596-1 6 15)-Genna  (1615-24)  periods  Tsu|i.    Iwasa 
Matabei.    Nihon  Biiutsu  Kaiga  Zenstiu.  p  1 27 
■'^Tsuii  calls  attention  to  another  probable  antecedent  of  this  facial 
type  wall-paintings  of  female  and  male  gods  in  Yaegaki  shrine  dat- 
ing from  the  Muromachi  penod  (1336-92)  Tsu|i.  "Iwasa  Matabei. " 
Nihon  Biiutsu  Kaiga  Zenstiu.  p.  107.  ill  no  16. 


'^The  Thirty-six'"  poets  is  a  theme  which  dates  to  the  Heian  penod 
(794-1 185)  Certain  poets  whose  poems  were  included  in  well- 
known  anthologies  were  selected  lor  tnbute  in  the  form  of  portrait 
paintings 

^'Ikeda  Byobu  probably  was  in  its  original  format  an  eightfold 
screen-painting.  Tsu|i  convinvingly  argues  Tsu|i,    Iwasa  Matabei  no 
Sakuga  Han-i,  Biiutsu  Kenkyu.  no  230.  September  1963.  pp  5-6 
^^Of  Matabeis  contemporaries,  it  is  proposed  that  such  an  integra- 
tion of  diverse  subiect  matter  and  styles  is  paralleled  in  the  works 
by  anonymous  town  professional  painters  Tsuji,    Iwasa  Matabei." 
Nihion  Biiutsu  Kaiga  Zenstiu .  pp  105-7  However,  this  phenomenon 
seems  to  be  characteristic  of  a  much  broader  movement,  whereby 
artists  in  opposition  to  the  extant  feudal  system  did  not  have  alle- 
giance to  one  school,  be  it  Kano  or  Tosa 
■'^These  similarities  argue  for  near  contemporary  dating  ot  both 
"  Ikeda  Byobu"  and  "  Kojijimbutsu  Zukan."" 
''°Jdrun  are  epic-like  folklore;  classical  joruri  refer  to  those  texts  com- 
posed during  the  Keicho  (1596-1615).  Gen"na,  (1615-23)  and 
Kan'ei  (1624-44)  periods  "Yamanaka  Tokiwa.'"  ""Hone,"  ""Oguri," 
and   Joruri "  monogatari  are  all  considered  classical  iorun  I  would 
like  to  restnct  the  discussion  to  "Yamanika  Tokiwa.   excluding  other 
handscrolls  based  on  iorun  and  such  School  of  Matabei  works  as 
"  Hokoku-sai  Byobu"  located  in  The  Tokugawa  Reimeikai  Foundation. 
Tokyo  The  latter  is  important  in  that  it  demonstrates  the  versatility 
of  Matabei  s  school  in  their  choice  of  subject  matter  and  their  incor- 
poration of  Matabei  characteristics  Interesting  is  the  use  ot  thick 
pigments  and  finger-shaped  golden  clouds  similar  to  those  in  the 
Museum  s  screen-paintings.  Nobuo  Tsuji,  "Matabei  hitsu 
Hokoku-sai-zu  Byobu,"  Kokka.  no.  924,  March  1970 
■"Tsuii  cites  the  fact  that  the  handscrolls  based  on  iorun  texts  were 
found  in  the  Matsudaira  collection  in  Fukui  as  proof  that  Matabeis 
studio  of  followers  existed  there  Tsu|i,  Biiutsu  Kenkyu.  no  230.  Sep- 
tember 1963.  pp   12-19.  alsoTsuii.  "Ukiyo-Ukiyo-lwasa  Matabei," 
Kisd  no  Keifu  (Tokyo,  1 970).  pp  9-22  Hiroshi  Iso  affirms  that 
Matabei  himself  was  responsible  for  the  production  of  a\\  iorun 
handscrolls  Hiroshi  Iso.  "Matabei-fu  sakuhin  no  kento, "  Bigaku.  vol 
1 9,  no  2  September  1 968,  p  37  Fuiikake  Shizuya,  contrarily  has 
argued  that  Matabei  did  not  paint  these  scrolls  and  that  town  pro- 
fessional painters  imitating  Matabei's  style  produced  them  Fuiikake 
IS  quoted  in  Tsu|i,  Kiso  no  Keifu.  p  32 

""'Details  from  "Yamanaka  Tokiwa"  are  based  on  Tsu|i.  Kiso  no  Keilu. 
p  10. 

"^Tsuii  suggests  that  Koiuimbutsu  Zukan  might  be  an  important  pro- 
totype for  works  such  as   Yamanaka  Tokiwa  as  narrative  scenes 
in  both  have  great  momentum  Tsu|i.  Biiutsu  Kenkyu.  no  230.  Sep- 
tember 1963.  pp  5-7 

■'■'Nobuo  Tsu|i  speculates  that  the  Old  Legends  Byobu   may  belong 
to  a  localized  Matabei  style  that  evolved  in  Fukui  prefecture  Tsu|i. 
Iwasa  Matabei,"  Nilion  Biiulsu  Kaiga  Zenshu.  p  144. 
"^This  pair  of  byobu  was  once  in  the  Mon  collection.  Seiichi  Taki, 
"Matabei-ga  no  tokucho  o  ronjite  mon-ke  no  Gen|i-e  ni  oyobu, '" 
Kokka.  no  450,  May  1928,  p.  123  In  1949,  they  again  were  refer- 
enced in  a  publication  by  Narazaki,  Kokka.  no  686,  May  1949,  p 
145 

■"'Iso,  pp  39.  43  Iso  further  discounts  the  idea  of  "Matabei  style'" 
works  which  he  thinks  confuses  any  true  assessment  of  the  full 
scope  of  Matabers  oeuvre 

"'A  discussion  of  Katsushige's  paintings  is  found  in  Haruyama,  pp 
1 36-1 40  By  extension  these  works  mentioned  in  the  text  can  not 
be  attributable  to  Katsushige's  son  l|u  (Youn)  or  grandson  Youn 
Narazaki  examined  both  artists  in    Iwasa-ha  no  Kenkyu  III,  Kokka. 
no  693,  December  1949,  pp  346-48 

■■^As  discussed  above,  the  full-cheek,  long-|aw  facial  type  was  not 
invented  by  Matabei  Tsu|i  has  pointed  out  Matabei  s  unique  man- 
ner in  rendering  calves  and  feet  in  the  attendants  These,  I  contest, 
are  derived  from  ancient  sources  See  Tsu|i,  Biiutsu  Kenkyu.  no 
230,  September  1963,  p   11 


29 


Art  Trip  Abroad 


Krannert  Art  Museum  Associates  will  be  invited  to 
participate  in  Art  and  Architecture  Tours  abroad  dur- 
ing 1 983  A  trip  to  Switzerland  is  planned  for  late 
May  and  will  follow  a  route  to  Basel,  Rhiine  Falls, 
Winterttiur  Bern,  Interlaken,  the  Jungfrau,  Grindel- 
wald,  Gstaad.  Lausanne,  Montreux,  Geneva.  Cha- 
monix,  Mt  Blanc.  Aosta.  Martigny.  Sion.  Visp.  Zermatt 
the  Matterhorn.  Locarno.  Lugano.  St  Montz.  Davos. 
Klosters,  Chur  Vaduz  (Liechtenstein).  Lindau,  St 
Gall.  Burgenstock.  Altdorl.  Lucerne,  and  Zurich 

As  distances  within  are  not  great,  the  travel  time 
will  not  exceed  fourteen  days  Emphasis  will  be  placed 
upon  scenery  and  on  works  of  art  in  public  and  pri- 
vate collections 

Detailed  information  will  be  available  to  Krannert 
Art  Museum  Associates  in  November  Participation 
will  include  a  contnbution  to  the  Krannert  Art  Museum. 
as  determined  by  Museum  policy. 


KAMA  Trip;  Spam.  1982 


Toledo,  once  a  capital  of  Iberians.  Visigoths,  Moonsfi 
and  Christian  kings 


Sahagun.  twellth  century  Ronoanesque  pilgrimage  church 


30 


Ronda  environs,  the  marble  mountain 


Italica,  second  century  Roman  amphitheater  built  under  Hadrian 


Andalucia.  sheep  and  goats  choose  different  directions 
31 


Puerto  de  Pajares.  looking  northward  at  the  Cantabrian  mountains 


Granada,  in  the  Court  of  Lions  at  the  Alhambra 


in  a  little  Spanish  town,  looking  satisfied  after  lunch 


Contributors  to  the 
Collections  and 
Endowments* 


University  of  Illinois 


Founden 

Class  ol  1908 

Mr  H  Cliltord  Brown 

Mr  John  Needles  Chester 

Mr  William  B  Greene 

Mr  Frederick  A  Jorgensen 

Mr  William  S  Kinkead 

Mr  and  Mrs  Herman  C  Krannen 

Mrs  Kalherine  Trees  Livezey 

Mr  and  Mrs  Harlan  E  Moore 

Mr  and  Mrs  Fred  Olsen 

Mr  and  Mrs  George  S  Trees 

Mr  and  Mrs  Merle  J  Trees 

Donors 

Mr  Max  Abramovilz 

Mr  Samuel  M  Adier 

Mr  George  P  Bicktord 

Mrs  Marie  Ann  Caro 

Mr  and  Mrs  Herman  E  Cooper 

Mr  Richard  J  Faletti 

The  Ford  Foundation 

Mr  George  L  Goldstein 

Mr  George  M  Irwin 

Mrs  William  E  Kapoaul 

Mr  I  Austin  Kelly.  Ill 

Mr  Joseph  H  King 

Mr  Samuel  M  Kootz 

Mrs  Dean  McCumber 

Mr  Louis  Moss 

Mr  and  Mrs  Morne  A  Moss 

Mrs  Addison  Parker 

Mr  Charles  S  Pillsbury 

Mr  and  Mrs  Allen  S  Weller 

Mr  and  Mrs  William  C  Wenninger 

Supporters 

Mr  John  L  Alden 

Mr  Albert  L  Arenberg 

Mr  Himan  Brown 

Mrs  Clyde  Butler 

Mr  Charles  N  Cadwell 

Miss  Janet  Eisner 

Mr  and  Mrs  Spencer  Ewing 

Federal  Works  Agency 

Works  Progress  Administration 

Mrs  Paul  Kent 

Mrs  Gertrude  McCue 

Mrs  Stacy  Rankin 

Mr  and  Mrs  Marvin  D  Rosenljerg 

Mr  Peter  Rubel 

Mr  George  W  Santord 

Mr  Sherlock  Swann 

Estate  ol  Lorado  Tall 


Administration 

President  ot  the  University  ol  Illinois 
Stanley  O  Ikenberry 

Chancellor  ol  the  University  ot  linnois 

at  UrbanaChampaign 
John  E  Cnbbel 

Vice  Chancellor  lor  Academic  Allairs 
Edwin  L  Goldwasser 

Dean  ol  the  College  ol  Fine  and 

Applied  Arts 
Jack  H  McKenzie 


Krannen  Art  Museum 

Director 

Stephen  S  ProkopoH 

Assistant  Director 
Mark  M  Johnson 

Research  Curator 
Margaret  M  Sullivan 

Registrar 
Kathleen  Jones 

Business  Secretary 
Annette  E  Karsh 


Membership  Secretary 
Pamela  Cooper 

Graduate  Assistant 
Marilyn  Munski 

Exhibits  Designer 
Gerald  Guthrie 

Preparaior 
Steve  McCarthy 

Keeper  ol  European  Collections 
Mark  M  Johnson 

Keeper  ot  Ancient  and  Eastern 

Collections 

Margaret  M  Sullivan 

Consultant  in  Conservation 
Allred  Jaksias 

Consultant  in  Ancient  Art 
John  D  Cooney 

Consultant  in  Decorative  Arts 
Carl  C  Oauterman 


Secunty 

Susan  Caiza 

Kent  Carrico 

Sylvia  Herakovich 

Joan  Hicks 

Sherman  Hotlman 

Avon  Killion 

Donald  Maleiowsky 

Barbara  OehlschlaegerGarvey 

Linus  Ogene 

David  Reisman 

Charles  Schlatter 

John  SecKman 

Darryl  Silver 

University  ol  Illinois  Police 

Assistance  with  Special  Projects 
Faculty  in  the  School  ol  Architecture 
and  School  ol  Art  and  Design 

Building  and  Grounds  Service 
Division  ol  Operation  and 
Maintenance 


•Conlnbutors  to  the  Art  Acquisition 
Fund  are  listed  annually  in  the 
Spnng  issue  ol  the  Bulletin 

Contributors  to  the  Krannen  Art 
Museum  Associates  Fund  are  listed 
annually  and  by  category  in  the 
Spring  issue  ol  the  Bulletin 


32 


Docents 

Champaign-Urbana  Junior  League 

Garland  Remsen,  Coordinator 

Nancy  Lohuis,  Scheduler 

Helen  B  Cahn 

Jean  Edwards 

Betty  Faucett 

Alice  Fox 

Clare  Hausserman 

Gloria  Helfrich 

Kenni  James 

Ctiarlotte  Jotinson 

Adion  Jorgensen 

Paula  Kalsinas 

Bonnie  Kelley 

Jane  Kelley 

Jean  Murphy 

Rosann  Noel 

Ginny  Rettberg 

Lucy  Sanlord 

Nell  Shapland 

Shirley  Traugott 

Ann  Tryon 

Dianne  Wagner 

Charlotte  Wandell 

Betty  Weber 

Judith  Winters 

Suzanne  Younger 


The  Council  Executive  Committee     1981-83 

Mrs  Sandra  Casserly.  Presideni 

Mrs  August  Meyer.  Jr .  Vice-  President 

Mrs  Kenneth  Sensenbrenner  Secretary 

Mrs  Kyle  Robeson,  Treasurer 

Mrs  Richard  Jorgensen.  Council  Membership  Chairman 

Mrs  George  Miller,  Krannert  Art  Museum  Associates 

Membership  Chairman 
Mrs  Charles  Younger,  III,  Krannert  Art  Museum 

Associates  Membership  Deputy  Chairman 
Mrs  James  Cullum,  Public  Information  Chairman 
Mrs  Wayne  Weber  Public  Information  Deputy  Chairman 
Mrs  Louis  Liay,  Reception  Chairman 
Mrs  William  Kappaut,  Reception  Deputy  Chairman 
Mrs  William  Johnson.  Trip  Chairman 
Mrs  Chester  Keller,  Trip  Co-Deputy  Chairman 
Mrs  David  McBnde,  Trip  Co-Deputy  Chairman 
Mrs  Richard  Helfrich,  Program  Chairman 
Mrs  James  Edwards,  Past  President 
Mr  Mark  M  Johnson,  Krannert  Art  Museum 

Representative 


cover     School  ot  Iwasa  Matabei 

detail,   Utsusemi,"  Tale  of  Genii.  1650-70 
color  and  gold  on  paper  wood  panels 
63"  h   X  145"  w,;  160  cm  h   x  368  3  cm  w 
Gift  of  the  Class  of  1 908  [80-1 6-2) 


Krannert  Art  Museum 

University  of  Illinois 
Urbana-Champaign 

Mailing  Address 

Krannert  Art  Museum 
500  E  Peabody  Dnve 
Champaign,  Illinois  61820 

Museum  Otiice  Hours 

Monday  through  Friday  8  00  a  m  -5  00  p  m. 
Museum  closed  on  national  holidays 

Gallery  Hours 

Tuesday  through  Saturday  9  00  a  m  -5  00  p  m 
Sunday  2  00-5:00  pm 
Admission  free 

Reservations 

Those  desiring  guided  visits 

may  make  reservations 

by  writing  or  calling  the 

Krannert  Art  Museum 

500  E  Peabody  Drive 

Champaign,  Illinois  61820 

(telephone  area  code  217/333-18601 


Bulletin  of  the  Krannert  Art  Museum,  University  of  Illinois, 
Urbana-Champaign 

Volume  Vlll   Number  1,  1982 

The  Bulletin  of  the  Krannert  Art  Museum  is  published  twice  a  year 
by  the  Krannert  Art  Museum,  University  of  Illinois,  Urbana- 
Champaign,  500  E  Peabody  Drive,  Champaign  61820  Edited  by 
Krannert  Art  Museum  staff  Pnnted  in  the  United  States  of  America 

Bulletin 

Layout  and  Production  Raymond  Perlman 
Paper  Cover  10  point  Kromekote 

Text,  Basis  80  Warren  s  Patina  Matte 
Type   Helvetica 
Printing  Superior  Printing 
Champaign,  Illinois 

Copyright  "  1 982  by  the  Board  of  Trustees  of  the  University  of  Illi- 
nois, all  rights  reserved 

International  Standard  Serial  Number  0195-3435 

Indexed  in  RILA,  International  Repertory  of  the  Literature  of  Art 

Photographs 

Wilmer  D  Zehr 
Steven  McCarthy,  p  5 
Regina  McCumber  Spam 


llilltlll 

3  0112  084209003 


/ 


A  Retrospective  Exhibition:  January  16  to  February  20,  1983 


LIBRARY  OF  THE 

CT     31983 

RSITY  OF  ILLINOIS 
BANA-CHAMPAIG,N 


Bulletin      Krannert  Art  Museum      University  of  Illinois,  Urbana-Champaign,  Volume  VIII,  Number  2,  1983 


Beaux-Arts  Lecture  Series 


In  conjunction  with  the  exhibition,  Lorado  Taft. 
the  Kranneri  Art  Museum  Associates  are 
sponsoring  a  lecture  series  devoted  to  European 
and  Annerican  Beaux-Arts  architecture,  painting, 
and  sculpture  Guest  lecturers  include:  David  Van 
Zanten,  Chairman,  Department  of  Art  History, 
Northwestern  University:  June  Hargrove, 
Associate  Professor  of  Art  History,  Cleveland 
State  University:  Allen  S.  Weller,  Dean  Emeritus, 
College  of  Fine  and  Applied  Arts.  University  of 
Illinois  and  H   Barbara  Weinberg,  Associate 
Professor  of  Art  History,  Queens  College  of  the 
City  University  of  New  York 

The  lectures  which  will  take  place  from  2:30  to 
4:00  p.m.  in  the  auditorium  in  the  Krannert  Art 
Museum  are  as  follows: 

European  and  American  Beaux-Arts  architecture 
David  Van  Zanten,  Wednesday.  January  26 

European  sculpture  in  the  Beaux-Arts  tradition 
June  Hargrove,  Thursday,  January  27 
Education  at  the  Ecole  des  Beaux-Arts  and  American 
sculptors  working  in  the  Beaux-Arts  tradition 
Allen  S.  Weller,  Tuesday,  February  1 

European  and  American  painters 

working  in  the  Beaux-Arts  tradition 

H,  Barbara  Weinberg,  Thursday,  February  3 

The  lecture  series  is  open  only  to  Museum 
members. 


Front  cover 

Ideal  Head,  c   1910-15,  No  25 

Back  cover 

Great  Lakes  Medal.   1935,  No  31 


Foreword 


'  V  V 1^  i     , 


e- . , . 


After  a  long  eclipse  the  Beaux  Arts  style  has 
emerged  in  the  past  several  years  as  a  viable 
and,  indeed,  admirable  historical  development.  It 
is  particularly  appropriate  at  this  time  to  examine 
the  art  of  Lorado  Taft,  who  was  one  of  the  major 
contributors  to  the  style  in  America.  This 
exhibition,  the  first  survey  ever  of  Taft's  art, 
reveals  him  both  as  the  celebrated  designer  of 
complex,  heroic  public  monuments  and,  almost 
unknown,  the  deft  and  extraordinarily  sensitive 
portraitist. 

Taft's  connections  with  the  University  of  Illinois 
and  the  community  of  Champaign-Urbana  are 
strong  and  still  felt.  The  artist  spent  much  of  his 
youth  on  the  University  campus  and  maintained  a 
close  association  with  it  throughout  his  life.  His 
presence  remains  vivid  through  the  large  number 
of  his  works  that  grace  the  community  and 
campus,  the  large  collection  of  Taft  material  in 
the  Krannert  Art  (vluseum,  and  the  artist's  papers 
in  the  University  archives. 

This  exhibition  would  not  have  been  possible 
without  the  efforts  of  Dr.  Allen  S.  Weller  who 
brought  the  material  together — some  of  it  never 
seen  before,  wrote  the  catalogue  essay,  and  with 
persistent  enthusiasm  carried  the  project 
forward.  Additional  thanks  go  to:  Professor 
Robert  Youngman  of  the  School  of  Art  and 
Design  who  assisted  with  restoration  and  to 
Gerald  Guthrie,  Steve  McCarthy,  and  David  Shutt 
who  prepared  and  installed  the  exhibition. 
Professor  Ray  Perlman  of  the  School  of  Art  and 
Design  planned  this  handsome  publication,  (vlark 
Johnson,  Assistant  Director  of  the  Museum, 
managed  many  of  the  exhibition's  organizational 
details.  The  lecture  series  surveying  the  Beaux 
Arts  style  presented  concurrently  with  the 
exhibition  was  planned  by  the  Museum's 
Research  Curator,  Margaret  M.  Sullivan. 

We  are  very  grateful  to  the  lenders  to  the 
exhibition  who  generously  shared  their  holdings: 
Jeffrey  F.  Bordelon  and  Amy  Dallas,  Auburn, 
California;  Tom  Mapp,  Director,  Midway  Studios, 
University  of  Chicago;  Donald  L.  Reed,  Oregon, 
Illinois;  Mary  Taft  Smith  and  Bertram  Taft  Smith, 
Greensboro,  North  Carolina;  from  within  the 
University  of  Illinois,  Champaign-Urbana:  Hugh 
Atkinson,  University  Librarian;  Barbara  Bohen, 
Director,  World  Heritage  Museum;  James  W. 
Carey,  Dean,  College  of  Communications,  Daniel 
C.  Drucker,  Dean,  College  of  Engineering. 

Finally,  we  wish  to  thank  the  Illinois  Arts 
Council  for  making  available  its  supplemental 
photographic  exhibition  of  Taft's  monuments  and 
for  a  grant  in  partial  support  of  the  exhibition. 


Stephen  Prokopoff,  Director 


Lorado  Taft     1860-1936 


When  Lorado  Taft  died  in  1936  the  Illinois  Alumni 
News  referred  to  him  as  "the  University's  most 
famous  son."  For  a  period  of  forty  years  he  was 
undoubtedly  the  most  distinguished  figure  in  the 
world  of  art  in  Chicago  and  throughout  the  middle 
west,  and  he  had  a  distinct  impact  on  the 
national  scene.  He  has  important  commissions  all 
across  the  country,  he  was  m  great  demand  as  a 
teacher  and  lecturer,  he  published  an  important 
book  In  his  field,  which  is  still  used  and  has  been 
reprinted  in  recent  years. 

Lorado  lived  in  Champaign  for  only  nine  years, 
1871  to  1880.  graduating  from  the  University  in 
1879  at  the  age  of  nineteen   But  these  were  the 
decisive  years  which  determined  the  entire 
course  of  his  professional  career  How  did  it 
happen  that  a  fourteen-year  old  boy.  who  lived  in 
small  middle  western  villages  over  a  hundred 
years  ago  and  who  had  never  seen  an  important 
original  work  of  art,  decided  at  that  early  age  to 
become  a  sculptor?  A  combination  of  native 
ability,  hard  work,  the  cooperation  and 
encouragement  of  a  very  interesting  family,  and 
the  education  he  received  in  a  pioneering 
educational  institution,  made  it  possible  for  him  to 
achieve  his  youthful  ambitions. 

He  was  the  son  of  Don  Carlos  Taft,  professor 
of  geology  (and  half  a  dozen  other  sciences)  at 
the  newly  founded  Illinois  Industrial  University, 
Lorado  and  his  parents,  his  brother  and  younger 
sisters,  lived  in  a  spacious  Victorian  house,  just 
across  the  street  from  old  University  Hall,  which 
housed  the  major  parts  of  the  entire  University 
program.  Lorado  entered  the  University  at  the 
age  of  fifteen  and  graduated  with  high  honors 
four  years  later,  by  that  time  fully  commiied  to  a 
career  in  art  which  was  in  considerable  part 
inspired  by  the  opening  of  the  first  University  art 
gallery  on  the  last  day  of  the  year  in  1874.  This 
was  a  remarkable  collection  of  casts  of  Greek 
and  Roman  sculpture  which  had  been  purchased 
by  the  first  President  (then  called  Regent)  of  the 
University  l\^any  of  these  arrived  in  Champaign 
from  Pans  broken  in  pieces,  and  Lorado  and  his 
father  laboriously  fitted  them  together.  The  first 
catalogue  of  the  gallery,  which  occupied  a  large 
room  in  University  Hall,  lists  over  nine  hundred 


objects,  all  copies  of  celebrated  works  in 
European  museums  It  was  truly  a  remarkable 
and  unexpected  element  in  the  little  western 
town,  and  must  have  made  an  astonishing  effect 
on  its  inhabitants 

At  twenty  Lorado  set  off  for  Pans  and  the  great 
government  supported  school,  the  Ecole  des 
Beaux-Arts.  His  father  had  agreed  to  support  him 
to  the  extent  of  a  dollar  a  day  for  this  important 
European  professional  training  Pans  in  the  1880s 
was  in  many  ways  the  world  center  of  art.  and 
the  Ecole  was  the  stronghold  of  official  academic 
education,  founded  on  the  reverent  admiration  of 
Greek  and  Roman  art  and  the  unremitting  study 
of  the  nude  model  Lorado  had  been  well  taught 
in  German  and  French  at  the  University,  and  he 
had  no  language  problem  in  Paris,  though  it  took 
him  some  time  to  overcome  the  German  accent 
he  had  acquired.  He  made  close  friends  with 
other  Americans  at  the  Ecole,  but  there  were 
also  a  number  of  friendships  with  several  French 
students.  Lorado  attended  the  highly  competitive 
school  for  three  years,  where  he  made 
remarkable  progress  and  received  a  number  of 
prizes  and  honors.  He  then  returned  to 
Champaign  in  1883  for  a  single  year,  then  went 
back  to  Pans  for  a  final  year  of  independent 
work.  Three  of  his  works  in  two  different  years 
were  accepted  for  the  Pans  Salon,  where  they 
were  seen  along  with  hundreds  of  other 
examples  of  academic  style  By  1886  his  student 
days  were  over,  and  he  established  himself  in 
Chicago  It  was  there  that  his  career  was  to 
flourish  for  the  remaining  fifty  years  of  his  life. 

In  the  late  nineteenth  century  the  two  principal 
fields  which  were  open  to  American  sculptors 
were  Civil  War  monuments  and  grave  memorials. 
One  of  the  first  major  commissions  Taft  received 
after  he  settled  in  Chicago  was  for  a  monument 
for  the  battlefield  at  Gettysburg,  and  during  the 
next  fifteen  years  he  produced  ten  or  a  dozen 
such  monuments  in  towns  in  Illinois.  Indiana, 
[ylichigan.  and  New  York,  as  well  as  at 
Gettysburg,  Vicksburg,  and  Chickamauga  The 
early  ones  followed  the  then  standard  form  of  a 
column  surmounted  by  a  standing  figure,  usually 
a  standard  bearer,  with  lour  figures  at  the  base. 


each  representing  one  of  the  branches  of  the 
military  service,  and  sometimes  a  battle  scene  in 
relief  around  the  base  of  the  column.  The  final, 
and  finest,  of  these  works  is  The  Defense  of  ttie 
Flag  (1903)  in  Jackson,  Michigan,  in  which  Taft 
does  away  with  the  conventional  format  and 
creates  a  highly  complex  and  remarkably 
dramatic  group,  largely  free  of  the  rather 
tiresome  realistic  detail  which  was  one  of  the 
characteristics  of  official  Beaux-Arts  style. 

Grave  monuments  were  fewer,  but  he  was 
already  beginning  to  make  a  reputation  as  a 
portraitist.  This  activity  had  already  started  in 
Pans  (two  of  the  works  accepted  by  the  Salon 
were  portraits),  and  among  the  earliest  works  in 
this  country  were  portrait  busts  of  several  of  his 
close  friends.  A  considerable  number  of  these  is 
included  in  the  present  exhibition,  and  will  come 
as  a  surprise  to  those  who  know  Taft  only  as  the 
creator  of  large  scale  public  monuments.  They 
are  modeled  with  sensitivity  and  remarkable 
freedom,  a  number  of  them  deeply  thoughtful  in 
characterization.  They  record  the  appearance 
and  personalities  of  some  of  the  leaders  in  the 
intellectual  and  artistic  life  of  Chicago  in  the 
1890s.  Many  of  them  were  evidently  made  simply 
because  the  sculptor  was  interested  in  the 
individuals  concerned,  and  these  exist  only  in 
unique  plaster  models.  Others  were  of  course 
commissioned  works,  in  which  case  the  plaster 
model  was  cast  in  bronze  or  carved  in  marble. 

Meanwhile,  Taft  was  busy  at  the  Art  Institute  of 
Chicago,  with  which  he  was  associated  for 
twenty-five  years  as  a  teacher  and  for  longer  still 
as  a  lecturer.  He  wrote  voluminous  newspaper 
art  criticism.  There  was  also,  in  the  early  years,  a 
quantity  of  commercial  work,  in  the  form  of 
bronze  relief  sculpture,  generally  literary  in 
narrative  subject  matter  and  mass  produced  for 
decorative  purposes. 

To  Taft,  as  to  almost  all  the  major  American 
sculptors  of  his  generation,  the  1893  World's 
Columbian  Exposition  was  a  challenge  and  an 
opportunity.  At  the  age  of  thirty-three,  he  was 
quite  obviously  the  outstanding  artist  in  his  field 
in  Chicago,  and  he  was  given  major 
responsibilities.  It  is  true  that  the  two  largest  and 
most  spectacular  sculptural  projects  at  the  fair 
were  entrusted  to  Daniel  Chester  French  and 
Frederick  MacMonnies,  but  Taffs  major  work, 
the  elaborate  decoration  of  the  Horticultural 
Building,  was  not  far  behind.  On  either  side  of  the 
entrance  were  his  groups  of  The  Sleep  of  the 
Flowers  and  The  Awakening  of  the  Flowers,  rich 
in  movement  and  detail,  with  graceful  intertwining 
delicate  figures.  It  was  in  a  sense  the  final  large 
scale  work  in  which  he  worked  entirely  within  the 


stylistic  limitations  which  his  years  in  Paris  had 
contributed. 

A  distinct  change  in  the  young  artist's  stylistic 
development  took  place  in  the  early  years  of  the 
twentieth  century.  The  sometimes  overworked 
realistic  detail  of  the  early  monuments  and 
commercial  narrative  panels  is  largely  abandonee 
and  the  larger  and  more  basic  sculptural  masses 
are  allowed  to  speak  far  more  directly  than  had 
previously  been  the  case.  While  Taft  continued  to 
follow  the  academic  practice  of  confing  the  work 
of  his  own  hands  to  the  making  of  full-scale  clay 
models  to  be  translated  into  permanent  form  by 
professional  bronze  casters  or  stone  carvers,  he 
developed  a  far  greater  sense  of  the  inherent 
qualities  of  these  materials,  and  designed  works 
which  were  stylistically  more  appropriate  for  the 
medium  of  their  fabrication.  Compositions  for 
marble  or  limestone  began  to  let  the  stone  retain 
some  of  its  inherent  quality,  as  figures  begin  to 
emerge  from  the  material  in  a  fashion  which 
suggests  the  influence  of  Rodin,  whose  works, 
curiously  enough,  had  been  unknown  to  Taft  as  a 
student  during  his  years  in  Paris,  It  would  be  a 
mistake  to  say  that  he  became  in  any  sense  an 
absract  artist,  for  the  human  figure,  basically 
realistic  in  proportion  and  design,  remained  the 
single  great  theme  of  his  work,  but  he  was 
increasingly  conscious  of  abstract  compositional 
and  material  considerations.  And  he  retained 
always  the  sense  of  the  actual  and  tangible  fact 
of  such  a  quality  as  beauty,  which  had  been  a 
major  goal  in  the  academic  world  of  his  youthful 
training,  and  which  became  an  increasingly 
embarrassing  and  almost  unknown  element  to 
many  of  his  successors.  It  was  during  these 
same  years  that  a  number  of  the  big  ideas  and 
the  big  projects  which  were  to  engross  his 
attention  for  the  rest  of  his  life  began  to  emerge. 
Taft  was  unusual  among  the  sculptors  of  his 
generation  in  the  number  of  major  works  which 
were  created  and  finally  achieved  as  tie  result  o 
his  own  initiative  and  desire  rather  than  because 
of  specific  commissions.  At  the  same  time  he 
was  writing  his  History  of  American  Sculpture, 
published  in  1903,  the  pioneering  work  in  its  field 
a  book  which  has  had  a  long  and  useful  life,  and 
one  which  led  one  critic  to  refer  to  Taft  as  "the 
American  Vasari." 

The  first  decade  of  the  new  century  saw  the 
genesis  of  four  major  works  which  were  to 
engage  Taft's  attention  for  many  years.  All  of 
these  are  based  on  ideas  which  are  often 
dismissed  as  "literary" — sometimes  on  specific 
texts  by  identifiable  authors,  in  other  instances  oi 
more  generalized  or  symbolic  themes  but  always 
capable  of  being  explained  or  expounded  in 


words  He  was  increasingly  interested  in  the 
interaction  of  figures,  and  the  highly  complex 
compositions  of  these  large  works  are  developed 
with  skill  and  inventiveness  Taft  thought  of 
sculpture  m  terms  of  large  public  monuments, 
demanding  spacious  settings  and  generous 
proportions.  These  crucial  works  are  the 
expression  of  ideas  which  are  typical  of  the 
generation  of  artists  and  thinkers  who  were 
formed  m  the  year  before  World  War  I:  earnest, 
Idealistic,  didactic,  with  a  certain  type  of 
generalization  which  seemed  bland  and 
somewhat  impersonal  and  over-optimistic  to  a 
later  more  anxious  and  ambiguous  generation, 
but  which  is  again  today  beginning  to  be 
appreciated  as  a  basic  and  significant  stage  in 
American  culture 

Each  of  these  works  has  a  specific  and  well 
defined  message.  The  Solitude  of  the  Soul. 
started  in  1901  but  not  finished  until  1914, 
presents  four  figures  emerging  from  the  chaos  of 
rough  stone,  who  touch  each  other  but  remain 
remote  and  fundamentally  alone   The  Blind 
(1907-1908).  unfortunately  never  put  into 
permanent  material,  is  based  on  a  symbolic  play 
by  fvlaurice  tvlaeterllnck.  and  shows  a  group  of 
sightless  people,  of  different  ages  and  types, 
holding  aloft  a  child,  who  alone  can  see.  The 
Fountain  of  Time,  conceived  in  1909.  finally 
completed  m  1922.  was  suggested  by  a  vagrant 
couplet  by  the  poet  Austin  Dobson,  expressing 
the  wave-like  surge  and  movement  of  life  itself 
passing  in  review  before  a  rock-like,  mysteriously 
hooded  figure.  The  Fountain  of  Creation,  started 
in  1910.  unfinished  at  the  time  of  the  artist's 
death,  deals  with  the  creation  of  humanity  from 
the  formless  void,  based  on  the  classical  myth  of 
the  sons  and  daughters  of  Deucalion  and  Pyrrha. 

Individual  figures,  heroic  in  conception  and 
frequently  In  scale,  were  more  frequently  the 
result  of  specific  commissions.  Such  was  the 
case  with  Eternal  Silence  (1909).  an  imposing 
figure  on  a  tomb  in  a  Chicago  cemetery,  austere 
and  heavily  draped,  the  face  mysteriously 
shrouded  by  drapery  held  aloft  by  an  unseen 
hand,  and  the  monumental  Washington  (1909) 
which  Taft  made  for  a  striking  site  looking  out 
over  the  city  of  Seattle.  Greatest  of  the  single 
figures  is  the  Blackhawk  (191 1)  which  Taft  placed 
high  on  the  cliffs  above  the  Rock  River  at 
Oregon,  Illinois,  where  the  sculptor,  his  family,  his 
assistants,  and  an  Interesting  group  of  artists, 
writers,  and  architects  had  made  their  summer 
camp  and  workshop  since  the  1890s  This 
colossal  figure,  fifty  feet  high,  of  cast  concrete. 
Immortalizes  the  Indians,  driven  from  their 
hunting  grounds,  who  look  out  over  the  beautiful 
river  valley  towards  the  west.  Taffs  brother-in- 


law,  the  novelist  Hamlin  Garland,  tells  how  he 
demonstrated  to  the  antst  the  monumental  and 
imposing  postures  and  gestures  of  the  Indian 
chiefs  as  they  gathered  their  blankets  about 
them 

Two  great  fountains,  composed  of  many 
figures,  date  from  1912  and  1913  The  Columbus 
fountain,  in  front  of  the  Union  Station  in 
Washington.  D.C..  was  commissioned  as  the 
result  of  a  nation-wide  competition  It  is  a 
characteristically  Beaux-Arts  design,  mingling 
sculpture  and  architecture,  the  heroic  standing 
figure  of  the  explorer  mounted  on  the  prow  of  a 
ship,  a  globe  high  above  him  on  a  pylon,  seated 
symmetrical  figures  and  haughty  lions  to  either 
side.  The  ample  forms  are  treated  with  truly 
sculptural  breadth  and  economy  The  Fountain  of 
the  Great  Lakes  in  Chicago  personifies  the  five 
great  bodies  of  water  as  splendid  classical 
female  figures,  each  holding  a  conch  shell, 
skillfully  posed  in  such  a  way  that  the  running 
streams  of  water  flow  from  one  shell  to  another. 
the  clinging  rhythmic  drapery  seeming  to  echo 
the  lively  action  of  the  water  itself  A  third 
fountain,  the  Thatcher  Memorial  in  Denver  (1918). 
places  a  monumental  and  very  classical 
personification  of  Colorado  on  a  central  pedistal. 
with  the  groups  of  paired  figures  below 
symbolizing  Loyalty,  Learning,  and  Love. 

tyleanwhile.  there  was  for  years  a  steady 
production  of  smaller  commissions,  fvlany  of 
these  were  bronze  low-relief  tablets,  which 
contained  the  portrait  of  the  person 
commemorated,  surrounded  by  the  necessary 
name,  inscription,  and  dates  in  the  beautiful 
lettering  which  Taft  employed.  These  are 
technically  very  ingenious  works,  in  which  the 
sculptor  convincingly  expressed  in  delicate  low 
relief  strongly  three  dimensional  forms.  Two  of 
these  reliefs  are  at  the  University  of  Illinois,  to 
Katherine  Lucinda  Sharp  (1921)  in  the  Library, 
and  to  Henry  Harkness  Stoek  (1925).  included  in 
the  present  exhibition.  A  charming  and 
unexpected  piece  is  the  bronze  figure  of  Orpheus 
(1922).  commissioned  by  a  group  of  admirers  of 
the  inventor  Thomas  A.  Edison — the  Greek  god  of 
music  who  abandons  his  lyre  and  holds  up  an 
Edison  record. 

In  1906  the  University  of  Chicago  leased  to 
Taft  a  large  building  on  the  south  side  of  the 
Midway,  This  had  originally  been  a  stables,  and 
here  the  sculptor  established  the  l\^idway  Studios, 
where  he  worked  for  the  rest  of  his  life.  A  big 
house  next  door  accomodated  him  and  his 
family:  he  had  married  in  the  1890s  and  was  now 
the  father  of  three  beautiful  daughters.  During 
the  years  of  his  greatest  productivity,  when  he 
was  working  on  large  scale  projects  he  needed 


many  helping  hands:  at  times  he  had  as  many  as 
thirty  young  assistants,  a  number  of  whom  lived 
in  dormatory-type  rooms  in  the  Studios,  which 
expanded  over  the  years.  Though  he  no  longer 
taught  formal  courses  at  the  Art  Institute,  the 
involvement  with  actual  creative  work  by  a  major 
artist  was  an  invaluable  experience  for  scores  of 
ambitious  young  artists.  It  was  perhaps  closer  to 
the  Renaissance  bottega  than  anything  else  in 
our  times. 

Taft  continued  to  lecture,  often  at  the 
University,  but  more  and  more  frequently  on 
ambitious  tours  which  took  him  all  across  the 
country.  In  1918  he  went  to  France  under  the 
auspices  of  the  Y.M  C.A.  to  lecture  to  soldiers  on 
the  beauties  of  the  French  cathedrals.  For  many 


Taft  was  in  great  demand  as  a  lecturer,  and  is  shown  here 
(about  1910)  surrounded  by  the  material  he  used  in  his  famous 
"clay  talk,"  in  which  he  modelled  before  his  audience  the  head 
of  a  woman  who  changed  from  glamorous  youth  and  beauty  to 
haggard  and  shrunken  old  age 


summers  he  was  in  Europe  with  the  Bureau  of 
University  Travel,  leading  groups  of  eager  tourists 
through  some  of  the  buildings  and  museums 
which  he  had  explored  during  his  student  years. 
He  remained  particularly  loyal  to  his  alma  mater, 
which  in  1919  named  him  as  a  non-resident 
Professor  of  Art,  and  established  a  lecture  fund 
(which  still  exists)  to  bring  him  to  the  campus 
every  spring  for  a  series  of  lectures.  He  is 
probably  the  only  person  who  attracted  standing- 
room-only  audiences  to  lectures  on  art  in  the 
University  Auditorium. 

Another  major  preoccupation  in  his  later  years 
was  the  accumulation  of  a  comprehensive 
collection  of  casts  of  great  works  of  sculpture 
from  all  ages  and  countries.  He  dreamed  of  a 
great  museum  of  comparative  sculpture, 
obviously  inspired  by  the  Trocadero  in  Paris,  and 
talked  and  wrote  about  it  for  years.  The  dream 
was  never  realized  and  unfortunately  many  of  the 
excellent  casts  he  acquired  were  eventually 
destroyed.  Today  there  is  once  again  a  greater 
appreciation  of  the  educational  importance  of 
such  collections  than  was  the  case  in  the  1920s 
and  1930s. 

A  comparable  educational  project  was  the 
design  and  execution  of  the  so-called  "peep 


snows     Tnese  are  smaii  dioramas  which 
represent  the  studios  of  celebrated  sculptors, 
each  suggesting  sonne  dramatic  event  or  period, 
and  filled  not  only  with  small-scale  figures  of 
historical  personages,  but  with  reduced  models 
of  appropriate  works  of  art  There  are  eight  of 
these,  running  all  the  way  from  Phidias  and 
Praxiteles  to  Michelangelo  and  Claus  Sluter 
Many  of  the  little  figures  (ten  to  twelve  inches 
high)  were  executed  by  Taft's  assistants,  but  we 
can  be  sure  that  he  was  in  complete  control  of 
the  total  project  Art  historians  will  no  doubt  note 
many  anacronisms — mediaeval  and  Renaissance 
sculptors  did  not  retain  complete  collections  of 
casts  of  their  principal  works  in  their 
studios — but  the  "peep  shows"  have  continued 
to  fascinate  spectators,  young  and  old.  for  years. 
A  complete  set  of  them  is  in  the  University  of 
Illinois  World  Heritage  Museum. 

It  Is  Interesting  that  three  of  his  final  works, 
heroic  in  scale,  were  inspired  by  thoughts  which 
took  him  back  to  his  earliest  youth.  One  is  at  the 
University  of  Illinois:  the  Alma  Mater  (1929),  in 
effect  his  own  gift  to  the  institution  which  had 
provided  him  with  his  early  education  and  whose 
pioneering  art  gallery  had  been  his  inspiration.  Its 
actual  fabrication  was  provided  by  a  series  of 
class  gifts,  but  all  of  his  work  on  the  monumental 
piece  was  his  own  contribution   In  it  he 
personifies  the  figures  of  Labor  and  Learning 
which  appear  on  the  seal  of  the  University,  this 
time  In  very  different  form  from  his  earliest 
attempt  at  the  same  theme,  which  dates  back  to 
his  visit  home  from  Pans  in  1883.  Taft  was 
awarded  an  honorary  doctors  degree  when  the 
group  was  dedicated  on  the  fiftieth  anniversary  of 
his  graduation   His  Lincoln  (1927)  is  in  Carle 
Park.  Urbana;  he  represents  the  vigorous  young 
lawyer  who  tried  cases  in  the  Champaign  County 
Court  House.  The  Pioneers  (1928),  m  Elmwood. 
was  his  gift  to  the  small  town  In  which  he  was 
born:  the  young  parents,  holding  a  child  and 
accompanied  by  a  dog,  look  out  across  the 
prairies.  It  Is  placed  In  the  city  square,  the 
sculptor's  generous  contribution  to  the 
adornment  of  the  community,  an  act  which  was 
of  primary  Importance  to  him.  The  Crusader 
(1931)  Is  the  most  interesting  of  the  late  works.  It 
is  the  figure  of  an  armed  mediaeval  knight.  In 
polished  black  granite,  which  stands  on  the  tomb 
of  a  great  newspaper  man.  Victor  Lawson.  in  a 
Chicago  cemetary  The  broad  surfaces  and  direct 
simple  execution  are  far  removed  from  the  work 
of  his  youth. 

Major  commissions  were  few  and  far  between 
after  the  onslaught  of  the  great  depression  of 
1929.  and  Taft  was  in  his  seventies.  Large  groups 
of  The  Patriots  and  The  Pioneers  were  designed 


for  the  state  capitol  at  Baton  Rouge,  Louisiana 
(1933).  but  the  models  were  finished  under  great 
pressure,  and  unfortunately  these  were  badly 
executed  and  Taft  was  bitterly  dissappomted  with 
the  final  result  There  was  a  figure  of  Justice  for 
the  Federal  Building  at  the  Chicago  Worlds  Fair 
of  1933.  but  It  was  scarcely  more  than  an 
architectural  adjunct 

In  the  last  year  of  his  life  Taft  returned  to  a 
remarkable  portrait  which  he  had  made  of  his 
father  in  1893,  reworked  it  with  all  of  the  skill  and 
knowledge  of  a  lifetime,  cast  it  m  bronze,  and 
presented  it  to  his  home  town.  Elmwood,  where  it 
can  be  seen  in  the  public  library  He  was  still  at 
work  on  the  great  unfinished  Fountain  of 
Creation  The  last  work  which  he  completed  was 
the  Lincoln  and  Douglas  memorial  tablet  m 
Quincy.  Illinois,  and  his  last  public  appearance,  a 
few  weeks  before  his  death,  was  at  its  dedication 
In  1936  He  had  produced  a  small  model  for  a 
monument  to  George  Washington.  Haym 
Solomon,  and  Robert  Morns  for  Chicago,  which 
was  enlarged  and  brought  to  completion  by  three 
of  his  long-time  associates,  and  was  dedicated  in 
1941. 

Lorado  Taft  Is  still  very  much  a  presence  at 
the  University  of  Illinois.  The  Taft  lectureship  still 
exists,  and  provides  an  annual  series  of 
discussions  on  various  aspects  of  the  fine  arts. 
One  of  the  campus  streets  is  named  Taft  Drive. 
One  of  the  residence  halls  bears  his  name  His 
portrait  may  be  seen  in  the  office  of  the  College 
of  Fine  and  Applied  Arts.  The  Taft  house,  one  of 
the  few  remaining  tangible  links  with  the  early 
University,  has  fortunately  been  preserved, 
though  it  Is  no  longer  in  its  original  location. 
Installed  on  the  campus  or  in  University  buildings 
are  at  least  fifteen  works  by  Taft.  quite  aside 
from  the  portrait  busts  and  sketches  in  the 
collection  of  the  Krannert  Art  Museum  The 
University  Archives  contain  his  papers  and 
photographs,  acquired  after  his  death. 

Edmund  Janes  James,  who  was  President  of 
the  University  from  1904  to  1920,  once  said, 
when  speaking  before  a  committee  of  the  state 
legislature  urging  the  passage  of  the  University's 
appropriation  bill,  "If  the  University  of  Illinois  had 
never  done  anything  more  than  to  produce 
Lorado  Taft,  it  would  have  justified  all  of  the 
millions  that  the  State  has  expended  in  its 
upbuilding  and  maintenance  " 

Allen  S.  Weller 


PORTRAIT  BUSTS 


Unless  otherwise  noted  all  wortts  in  the  eihioton 
are  in  tr>e  collection  ol  the  Kranneri  Art  Museum 


Edward  Snyder  (1935-1903) 

Marble  bust.  24"  high.  1884.  reworked  1915, 

signed:  "Lorado  Taft  sc." 

Snyder  was  one  of  the  great  figures  in  the  early 
University  He  was  born  in  Austrian  Poland,  served  in 
ttie  Austrian  army  during  ttie  period  ol  ttie  Crimean  war. 
emigrated  to  this  country  where  he  served  as  a 
lieutenant  of  infantry  throughout  the  Civil  War.  and 
came  to  the  new  Illinois  Industrial  University  in  1866  as 
a  bookkeeper  (at  which  time  his  name  was  Schneider) 
He  was  soon  appointed  Professor  ol  German,  and  also 
taught  French.  Spanish,  and  Italian  For  many  years  he 
was  the  business  manager  of  the  University,  the 
secretary  ol  the  Board  of  Trustees,  the  commandant  ol 
the  military  detachment,  and  the  lirst  Dean  of  the 
College  of  Literature  and  Science  Alter  his  retirement 
in  1899  he  gave  the  University  $12.CKX)  to  found  a 
student  loan  fund  He  was  Taft's  favorite  professor.  A 
plaster  bust  was  commissioned  in  1884  for  the 
Alethenai,  one  of  the  four  student  literary  societies  At 
his  own  expense  Taft  had  this  early  work  carved  in 
marble  in  1915  and  presented  it  to  the  University.  The 
alert  expression  and  sidelong  glance  give  the  portrait 
great  vitality. 


Head  of  a  Girl 

Marble  head.  14'  high,  1884-1885,  unsigned. 

Like  most  academically  trained  sculptors.  Taft  was 
essentially  a  modeller  ol  clay,  leaving  the  labrication  ol 
his  works  to  professional  bronze  casters  or  marble 
carvers.  This  little  head  is  probably  the  only  marble  that 
Taft  ever  carved  with  his  own  hands   In  the  fall  ol  1884 
he  modelled  a  head  in  clay,  bought  chisels,  a  mallet,  a 
pointing  machine,  and  a  block  of  marble,  and  set  to 
work  to  master  the  technique  of  marble  carving.  His 
friend  and  fellow  student  Robert  Bringhurst  had  been 
active  as  a  stone  cutter  in  St   Louis  and  gave  him 
technical  advice  There  are  frequent  references  to  the 
head  in  Taft's  letters.  The  style  avoids  details  which 
would  have  required  a  good  deal  of  undercutting  and 
consequently  gives  an  appearance  of  simplicity  when 
compared  with  the  plaster  models.  The  clever 
illusionislic  treatment  of  the  eye-balls  is  a 
characteristic  academic  feature.  Apparently  the  head 
was  never  exhibited,  but  Taft  always  kept  it  in  his 
studio,  where  it  appears  in  old  photographs. 


Robert  Whittaker  McAII 

Plaster  bust,  24  "  high,  1885,  unsigned. 

McAII  was  a  British  clergyman  who  was  in  Paris  in 
1871  where  he  founded  a  Protestant  mission  for  French 
working  people.  Up  until  the  first  World  War  the  ly^cAII 
Nflission  was  a  vigorous  organization  with  scores  of 
salles  des  conlerences  throughout  the  city  Taft  was 
involved  with  the  (Mission  from  his  first  arrival  in  Paris 
in  1880.  and  was  soon  leaching  English  classes,  and, 
later,  conducted  Sunday  school  classes,  originally  for 
boys,  later  for  adults  The  McAII  bust  was  accepted  by 
the  Paris  Salon  in  1885  and  was  one  of  two  works  by 
Taft  in  that  enormous  exhibition   It  was  never 
reproduced  in  permanent  form   He  brought  it  to  this 
country,  where  it  was  one  of  the  six  works  which  Taft 
exhibited  in  the  inaugural  exhibition  at  the  Art  Institute 
of  Chicago  in  1887   II  is  a  deeply  thoughtful  work,  using 
characteristic  academic  detail  but  handled  with 
considerable  breadth. 


Simeon  B.  Williams 

Plaster  bust,  22"  high,  probably  1886,  unsigned. 
Williams  was  Tail's  earliest  Chicago  patron,  and  ttiis 
may  be  trie  first  work  ttie  young  sculptor  made  alter  he 
settled  in  Chicago  in  1S86  Williams  was  a  real  estate 
dealer  who  had  met  Taft  in  Pans,  probably  in  1884.  He 
took  a  great  deal  ol  interest  in  Tatt:  wrote  letters  of 
introduction  for  him  to  possible  clients;  advised  him  to 
publish  his  art  lectures;  and  lent  him  S100  with  which 
to  purchase  proper  clothes  for  public  social 
appearances  The  Taft  papers  contain  at  least  ten 
letters  from  him.  dated  1885  to  1891;  and  he  attended 
Taffs  marriage  in  1896  The  busts  early  date  is  based 
on  a  studio  tradition.  The  head  is  turned  slightly  to  one 
side;  the  sensitive  and  specific  modelling  of  the 
features  contrasts  effectively  with  the  relative 
informality  of  the  treatment  of  the  beard  and  clothing. 
Apparently  this  work  was  never  put  into  permanent 
material,  nor  was  it  included  in  any  of  the  early 
exhibitions  of  Taft's  pieces  in  Chicago. 


William  Porfer  (1820-1917) 

Plaster  bust.  22V2"  high.  1893.  unsigned. 

Porter,  born  in  (Massachusetts,  graduated  from 
Williams  College,  planned  to  be  a  missionary,  but  came 
to  Beloit  College  in  Wisconsin  in  1852  and  remained 
there  for  the  rest  of  his  life.  After  teaching 
mathematics  for  four  years  he  was  appointed  Professor 
of  Latin.  His  portrait  was  commissioned  by  the  College. 
and  a  marble  version  of  the  present  plaster  bust  was 
dedicated  m  the  chapel  with  expressions  of  "reverent 
enthusiasm. "  The  serious  old  face  is  expressive  of  the 
same  thoughtfulness  which  is  characteristic  of  many  of 
Taffs  early  portraits. 


Don  Carlos  Tail  (1827-1907) 

Plaster  bust,  32"  high,  1893,  reworked  1936; 

signed:  "Lorado  Taft  Sc.  1893." 

Lorados  father,  born  in  New  Hampshire,  graduated 
from  Amherst,  taught  in  several  Illinois  high  schools 
before  coming  in  1871  to  the  new  University  ol  Illinois 
as  Professor  of  Geology.  After  he  left  the  University  in 
1882,  Don  Carlos  established  a  bank  in  Hanover, 
Kansas,  and  lived  there  until  he  moved  to  Chicago  in 
1900  He  was  a  man  of  wide  interests,  and  an 
enthusiastic  supporter  of  his  son's  artistic  proclivities. 
providing  the  small  funds  necessary  lor  Taft's  study  in 
Paris  The  original  plaster  bust  was  exhibited  in 
Chicago  in  1894,  but  Taft  returned  to  this  and  reworked 
it  in  the  last  year  of  his  life.  The  final  version,  cast  in 
bronze,  was  presented  by  the  artist  to  the  public  library 
in  Elmwood,  Illinois,  where  Don  Carlos  had  been 
principal  of  the  academy  and  where  Lorado  was  born. 
Its  dedication  marked  one  of  Lorados  last  public 
appearances  The  patriarchal  aspect  of  the  massive 
head  makes  it  one  of  the  most  imposing  of  the  early 
portraits 


10 


Hamlin  Garland  {^860■^9A0) 

Plaster  bust.  23'/?  ■  high,  probably  1894. 

unsigned. 

Garland  was  a  prolific  novelist,  best  known  for  his 
early  short  stories  which  express  in  realistic  terms  the 
dreary,  lonely  lives  of  hard-working  pioneer  farmers  in 
the  Dakota  prairies,  and  for  a  series  of  autobiographical 
volumes.  A  Son  ol  the  Middle  Border  (1917)  and  others. 
dealing  with  the  history  of  his  immediate  family 
through  three  generations  Garland  married  Taft's  sister 
Zulime  in  1899.  and  remained  a  close  friend  of  the 
sculptor's,  first  in  Chicago,  later  in  New  York  and 
California  Garland  was  the  first  president  of  the  Cliff 
Dwellers  Club  in  Chicago,  and  one  of  the  original 
members  of  the  Eagles  Nest  Association  in  Oregon, 
Illinois  The  plaster  bust,  a  vivid  presentation  with  an 
almost  baroque  sense  of  movement,  was  exhibited  in 
Chicago  in  1895  and  in  St   Louis  in  1896  A  bronze  cast 
was  made  in  1921  for  the  American  Institute  and 
Academy  of  Arts  and  Letters  in  New  York,  in  which 
organization  Garland  was  very  active  A  second  plaster 
version  was  acquired  by  the  Dayton  Art  Institute. 


8  John  Henry  Barrows  (1847-1902) 

Plaster  bust,  26"  high,  probably  1895.  unsigned. 

After  his  education  at  Olivet  College  and  the  Yale 
Divinity  School.  Barrows  became  a  prominent 
clergyman  in  both  Congregational  and  Presbyterian 
churches  in  Kansas  and  Illinois.  From  1881  to  1896  he 
was  pastor  ol  the  First  Presbyterian  Church  in  Chicago, 
at  which  time  Taft  completed  his  portrait   In  1893 
Barrows  organized  and  presided  at  the  Parliament  of 
Religions,  held  at  the  Worlds  Columbian  Exposition,  a 
remarkable  ecumenical  movement  whose  sessions 
were  attended  by  some  150.000  people.  After  leaving 
Chicago  he  lectured  in  India  and  Japan,  and  m  1896 
became  president  ol  Oberlin  College.  The  Taft  bust  was 
included  in  an  exhibition  of  work  by  Chicago  artists  at 
the  Art  Institute  in  1896  Documents  indicate  that  a 
marble  version  was  made,  but  its  present  location  is 
unknown. 


Ella  Pomeroy  Belden 

Plaster  bust,  24"  high,  probably  1895,  unsigned. 
Information  about  the  two  ladies  whose  portraits  are 
among  the  early  works  is  scanty.  They  were  evidently 
members  ol  the  intellectual  and  artistic  group  which 
gathered  around  Taft  in  Chicago,  and  probably  at  the 
summer  camp  at  Oregon,  Illinois,  The  lady  is  identified 
as  fvlrs.  Charles  Belden  in  an  early  photograph  among 
the  Taft  papers.  The  bust  is  one  of  the  most  subtle  of 
Taft's  productions,  particularly  fine  in  its  delicate 
detail  While  it  brings  to  mind  certain  characteristics  ol 
the  Italian  Renaissance,  it  remains  at  the  same  lime 
distinctly  American  in  quality  It  was  exhibited  at  the 
Art  Institute  in  1896. 


12 


13 


10  Horace  Spencer  Fiske  (1859-1940) 

Plaster  bust.  21"  high,  probably  1895,  unsigned. 
Lent  by  the  Midway  Studios, 
University  of  Chicago. 

Born  in  Michigan.  Fiske  was  a  student  at  Beloit 
College,  Dut}lin.  Oxford  and  Cambridge  After  teaching 
political  science  and  economics,  he  turned  to  the  field 
of  English  literature,  and  in  1894  t>egan  a  long 
association  with  the  University  of  Chicago,  first  as  an 
extension  lecturer,  then  as  University  recorder,  editor  of 
the  University  Record,  director  of  the  University  Press, 
and  in  the  office  of  public  relations  IHe  was  one  of  the 
original  members  of  the  Eagles  Nest  Association,  and  a 
prolific  author,  publishing  a  number  of  volumes  of 
literary  criticism  and  verse,  several  of  wfiich  are 
glorifications  of  Chicago  and  the  University.  He 
established  a  poetry  prize  at  the  University,  and  wrote 
sonnets  on  several  of  Taffs  works  The  extraordinary 
visual  illusion  of  the  modelling  of  the  eye  glasses  is  an 
example  of  academic  virtuosity  Financial  records  in 
the  Taft  papers  indicate  that  the  Fiske  bust  was  carved 
in  marble  by  the  Piccirilli  Brothers  in  1896.  but  the 
present  location  of  this  version  is  not  known. 


1 1   Elihu  Bartlit  Pond 

Plaster  bust.  19"  high,  probably  1895.  unsigned. 

Pond  was  born  in  New  York,  but  became  a 
newspaper  editor  and  publisher  in  Ann  Arbor.  Michigan, 
and  was  a  member  of  the  Michigan  state  legislature  in 
1859  He  was  the  father  of  Allen  B  Pond  and  irvin  K. 
Pond,  whose  architectural  firm  was  for  many  years 
active  in  Chicago.  The  Pond  brothers  were  original 
members  of  the  Eagles  Nest  Association,  and  it  was  no 
doubt  there  that  Taft  came  in  contact  with  their  father, 
whose  wise  old  face  suggests  the  "high  thinking  and 
straight  living"  which  were  associated  with  his 
character  The  bust  was  exhibited  in  St.  Louis  in  1896 
and  in  Chicago  in  1899  under  the  title  of  Old  Settler  or 
Old  Pioneer. 


14 


15 


12  Henry  Blake  Fuller  {^e57■^^29) 

Plaster  bust,  25 Va"  high,  probably  1897, 
unsigned. 

For  many  years  Fuller  was  an  important  figure  in  the 
literary  world  of  Chicago,  the  author  of  novels  which 
were  significant  elements  in  the  realistic  depiction  of 
business  as  well  as  of  the  American  experience  in 
Europe.  He  translated  plays  by  Goldoni.  was  on  the 
advisory  committee  of  Poetry  magazine,  and  was  a 
prolific  author  of  literary  reviews  He  published  eight 
books  between  1890  and  1901.  but  did  little  creative 
writing  for  the  remainder  of  his  life  until  |ust  before  his 
death.  Although  a  semirecluse.  he  was  one  of  Taffs 
closest  friends,  one  of  the  original  members  of  the 
Eagles  Nest  Association,  and  a  frequent  visitor  at  the 
Midway  Studios  Taft  delivered  a  heartwarming  tribute 
to  his  friend  at  a  memorial  service  held  after  Fuller's 
death.  The  bust,  which  is  apparently  unique  in  the 
plaster  version,  was  shown  at  the  Art  Institute  in  1898. 


13  Joacju/Vj  M///e/- (1841-1913) 

Plaster  bust.  21"  high.  1898,  unsigned. 

Miller,  born  in  Indiana,  was  taken  by  his  parents  to 
the  far  west  as  a  child  and  grew  up  in  Oregon  and 
California  He  ran  away  as  a  teen-agers,  worked  in 
mining  camps,  lived  with  Indians,  joined  a  band  led  by 
a  Mexican  bandit,  and  started  publishing  sketches  of 
local  life  and  poetry  in  newspapers  and  magazine.  He 
was  a  picturesque  figure  whose  romantic  tales  at>out 
himself  are  often  not  credible  He  made  a  spectacular 
entrance  into  London  society,  wearing  a  broad  hat. 
jack-boots,  and  long  hair,  advocating  his  theory  of  free 
love,  while  continuing  to  pour  out  poems,  plays,  and 
novels.  His  literary  work  is  largely  forgotten  today. 
Miller  was  in  Chicago  in  1898.  when  Taft  made  the 
portrait  which  was  first  exhibited  in  1899.  and  again  in 
1919.  In  1933  Taft  proposed  to  Millers  daughter  that 
the  bust  be  cast  in  bronze,  but  apparently  this  was 
never  done. 


14  Eldora  Lynde  Nixon 

Plaster  bust,  28"  high,  1898,  unsigned. 

She  was  the  wife  of  Charles  Elston  Nixon,  a 
journalist  on  the  staff  of  the  Chicago  Inter-Ocean,  of 
which  newspaper  fie  was  the  music  editor  and  critic. 
Mrs.  Nixon's  name  appears  among  those  of  Taft's 
friends,  both  in  Chicago  and  at  the  Eagles  Nest  camp. 
In  1902  she  published  a  sonnet  on  Taft's  Solitude  ol 
the  Soul  in  a  Los  Angeles  musical  periodical.  The 
Philharmonic  Review-  There  is  no  record  of  a  public 
exhibition  of  the  bust  in  Chicago  or  elsewhere.  As  with 
the  Belden  portrait,  the  contrast  between  the  sensitive 
surfaces  of  the  flesh  areas  and  the  elegant  but 
controlled  detail  of  the  hair  and  costume  decoration 
form  a  striking  effect. 


15  /srae/Zangw/// (1864-1926) 

Plaster  bust,  21 1/2"  high,  1898,  unsigned. 

Zangwill  was  a  prolific  British  novelist  and 
playwright,  but  is  best  remembered  for  his  passionate 
advocacy  of  the  forming  of  a  Jewish  homeland.  His 
reputation  was  made  with  a  remarkable  study  of  Jewish 
life.  The  Children  ol  the  Ghetto  (1892).  He  was  an  early 
member  of  the  Zionist  movement,  but  later  abandoned 
the  idea  of  a  Jewish  state  in  Palestine,  and  founded  the 
Jewish  Territorial  Organization  which  attempted  for 
years  to  find  some  other  location  for  such  a  homeland. 
He  was  in  Chicago  in  1898,  where  Garland  introduced 
him  to  Taft.  His  striking  appearance  led  Taft  to  model 
one  of  his  most  powerful  portraits.  Early  references 
describe  it  as  "sketch,"  and  it  is  probable  that  had  it 
led  to  a  formal  commission  much  of  the  urgency  and 
freedom  of  its  initial  appearance  would  have  been 
smoothed  away.  The  work  was  exhibited  at  the  Art 
Institute  in  1899. 


17 


16  Ralph  Clarkson  (186M942) 

Plaster  bust,  22"  high,  probably  1905.  unsigned. 

Clarkson  was  for  many  years  the  most  prominent 
portrait  painter  in  Ctiicago  Born  in  Boston,  he  studied 
at  Itie  Boston  Museum  School  and  in  Pans,  exhibited  in 
the  Pans  Salon  m  1887,  and  settled  in  Chicago  in  1896. 
There  he  was  active  in  many  civic  movements,  a 
governing  member  of  the  An  Institute,  one  of  the 
founders  ol  the  Friends  of  American  Art.  and  a  member 
of  the  luries  at  the  expositions  in  Pans  (1900).  St.  Louis 
(1904).  and  San  Francisco  (1915)  Clarkson  was  one  of 
the  original  members  ot  the  Eagles  Nest  Association 
and  spent  many  summers  in  his  studio  there.  Taft's 
bust  is  the  model  for  the  bronze  version  which  is  at  the 
American  Academy  and  Institute  of  Arts  and  Letters  in 
New  York.  The  plaster  version  was  exhibited  in  Chicago 
in  1906.  the  bronze  in  1910.  A  second  plaster  version, 
somewhat  different  in  detail,  and  lacking  the  delicately 
modelled  palette  on  the  base,  is  in  the  gallery  at 
Oregon.  Illinois.  Clarkson  painted  an  excellent  portrait 
of  Taft  which  cannot  now  be  located. 


17  Henry  Wadsworth  Long^eZ/ow  (1807-1882) 

Marble  bust,  28'/?"  high,  1907.  signed:  ■Lorado 
Taft."  Lent  by  the  University  o(  Illinois  Library. 

Taft  exhibited  a  piaster  ponrait  bust  of  Longfellow  in 
the  so-called  First  Champaign  Salon  of  1884.  which  he 
organized  on  his  return  from  Pans  after  three  years  at 
the  Ecole  des  Beaux-Ans  The  marble  bust  was 
commissioned  by  the  class  of  1907  as  a  gift  to  the 
University,  and  was  presented  with  appropriate 
ceremonies  upon  its  graduation   It  is  not  known 
whether  this  is  a  reworking  of  the  ponrait  made  twenty- 
four  years  earlier,  but  the  broad  style  and  simple 
surfaces  make  this  seem  unlikely  The  marble  was 
carved  by  the  Piccirilli  Brothers,  who  executed  many  of 
Taft's  works  in  this  material.  Taft  never  saw  the 
American  poet  and  obviously  worked  from  photographs, 
but  the  turn  of  the  head,  the  largeness  ot  treatment, 
and  the  vividness  of  the  expression  give  it  a  vital 
quality.  It  was  exhibited  at  the  An  Institute  in  1908. 


18 


18  Henry  Wilson  Clendenin  (1837-1927) 

Bronze  bust,  27"  high,  1930,  signed:  "Lorado 
Taft  sc.  1930."  Lent  by  the  College  of 
Communications,  University  of  Illinois. 

In  1927  the  Illinois  Press  Association  established 
"The  Editors  Hall  of  Fame,"  to  immortalize 
distinguished  journalists,  and  chose  the  University  of 
Illinois  for  the  location  of  a  collection  of  bronze  portrait 
busts.  The  first  commissions  were  made  in  1929,  and  it 
was  originally  planned  to  accumulate  as  many  as  a 
hundred  such  portraits.  The  depression  brought  this 
ambitious  scheme  to  an  end,  and  the  nine  busts  in 
Gregory  Hall  comprise  the  entire  Hall  of  Fame.  The 
portraits  are  larger  than  life.  Taft  was  one  of  six 
sculptors  who  made  them;  he  contributed  two,  neither 
of  which  can  have  been  modelled  from  life.  Clendenin 
was  born  in  Pennsylvania,  served  throughout  the  Civil 
War,  started  his  career  as  a  newspaper  man  in  Iowa  and 
moved  to  Springfield,  Illinois,  in  1881,  where  he 
acquired  the  Illinois  State  Register  and  became  a 
powerful  figure  in  the  Democratic  party,  at  both  the 
state  and  national  level.  The  two  late  Taft  busts  are 
routine  productions,  competent  but  rather  impersonal 
in  comparison  with  many  of  the  earlier  portraits. 


19  Victor  Fremont  Lawson  (1850-1925) 

Bronze  bust,  27"  high,  1930,  signed;  "Lorado 
Taft  sc.  1930."  Lent  by  the  College  of 
Communications,  University  of  Illinois. 

Lawson  was  the  most  important  figure  in  Chicago 
journalism  for  many  years.  He  founded  the  Daily  News 
in  1876,  and  was  the  long-time  President  of  the 
Associated  Press.  He  introduced  many  innovations  into 
American  journalism,  and  was  one  of  the  first  editors  to 
station  correspondents  in  leading  European  and 
Oriental  capitols.  He  was  a  generous  and  imaginative 
philanthropist,  a  supporter  of  social  and  cultural 
activities,  involved  In  civic  reform  and  race  relations.  In 
1932  Taft  made  the  monumental  granite  figure  of  The 
Crusader  for  Lawson's  grave  in  Graceland  Cemetery, 
Chicago.  It  is  significant  that  this  work,  the  most 
important  of  the  sculptor's  late  works,  is  a  symbolic 
rather  than  a  portrait  figure. 


19 


OTHER  WORKS 


20  Molly  Pitcher 

Bronze,  33"  x  11"  x  13y2".  1885  (bronze  c  1890). 
signed:  "L.  Taft  Sc."  Lent  by  Jeffrey  F.  Bordelon 
and  Amy  Dallas.  Auburn.  California. 

Molly  Pitcher  was  the  wile  of  a  gunner  in  the  army 
during  the  Revolutionary  War  She  carried  pitchers  of 
water  to  soldiers  on  the  battlefield  at  Monmouth.  New 
Jersey,  in  1778.  and  thus  gained  her  name  When  her 
husband  fell,  she  tooK  his  place  as  a  gunner,  and  is 
here  represented  proudly  holding  the  cannon's  ramrod. 
The  soldiers  made  her  an  honorary  sergeant,  and  the 
Pennsylvania  legislature  later  awarded  her  a  pension  in 
honor  of  her  bravery.  Taffs  figure  was  the  principal 
work  of  his  last  year  In  Paris,  and  his  letters  of  1884 
and  1885  are  full  of  references  to  her.  He  planned  to 
submit  a  lull-scale  version  to  the  Pans  Salon  of  1885, 
but  technical  difficulties  with  the  armature  prevented 
this,  and  he  was  represented  in  the  Salon  with  a  statue 
ol  Sainte  Genevieve  and  the  portrait  bust  of  Dr.  McAII. 
The  plaster  model  was  sent  back  to  this  country  and 
was  one  ol  the  six  works  which  Taft  showed  in  the 
Inaugural  exhibition  at  the  Art  Institute  ol  Chicago  in 
1887.  It  was  later  cast  in  bronze  by  the  Gorham 
Company.  Chicago  (probably  in  the  1890s).  and  for 
many  years  was  at  the  Midway  Studios.  The  illustration 
reproduces  a  photograph  taken  in  Pans  in  1885  of  the 
original  plaster  model. 


20 


21   Learning.  Love,  Labor 

Bronze  relief.  11"  x  32",  c.1890,  signed:  "Taft  sc. 
after  Boulanger."  Lent  by  Mary  Taft  Smith, 
Greensboro,  North  Carolina. 

This  IS  an  example  of  the  early  commercial 
decorative  reliefs  which  Taft  designed  during  his  first 
years  in  Chicago.  This  was  produced  in  multiple  copies 
by  Winslow  Brothers,  bronze  founders.  Chicago,  one  of 
several  such  companies  for  which  Taft  worked.  The 
signature  indicates  that  the  composition  is  not  original. 
It  was  no  doubt  based  on  a  reproduction  of  a  painting, 
probably  by  Hippolyte  Ammanuel  Boulenger 
(1837-1874).  at  that  time  a  well  known  Belgian  genre 
painter.  The  three  narrative  scenes,  separated  by 
lattices  and  plant  forms,  are  contained  within  a 
classically  designed  frame.  The  style  is  detailed,  the 
compositions  crowded.  Perhaps  Taft  was  attracted  to 
the  subject  matter  because  of  the  presence  of  Labor 
and  Learning  on  the  official  seal  of  the  University  of 
Illinois. 


1'^ 

m 
m 

IN 
if'-' 


21 


21 


22  The  Solitude  ol  the  Soul 

Plaster  model.  29"  x  12"  x  17".  probably  1901. 
unsigned.  Lent  by  Donald  L.  Reed.  Oregon. 
Illinois. 

The  first  minute  study  lor  ttiis  group,  only  about  two 
inches  high.  (No  44)  was  probably  nnade  in  1899.  and 
was  soon  developed  into  the  present  model.  This  was 
further  enlarged  to  life-size  scale:  the  final  monumental 
plaster  version  was  widely  exhibited,  receiving  a  gold 
medal  at  the  St   Louis  Exposition  in  1904  It  is  the  first 
major  composition  in  Taft's  mature  style,  the  forms 
broadly  simplified  and  making  expressive  use  of  the 
inherent  character  of  the  material.  In  1913  the  Friends 
of  American  Art  at  the  Art  Institute  of  Chicago 
purchased  the  model  and  provided  funds  to  have  il 
carved  in  marble,  which  was  done  by  Taft's  long  time 
marble  cutter.  Zimmerman.  The  original  full  scale 
plaster  model  was  acquired  by  the  Dayton  Art  Institute 
in  1930. 


23  The  Blind 

Plaster,  9'  x  lOV?'  x  6',  1907-1908,  unsigned. 

The  group  was  inspired  by  a  play  by  Maurice 
Maeterlinck.  Les  Aveugles.  which  deals  with  a  group  ol 
blind  people  lost  in  a  forest:  the  only  sighted  person  is 
an  infant,  held  alolt  by  its  mother.  A  minute  lirst  sketch 
exists  (No  49)  A  small  model  was  exhibited  in  Chicago 
in  1906.  The  lull  scale  model  was  never  put  into 
permanent  material   It  was  included  in  an  exhibition  in 
Chicago  in  1908.  and  later  in  the  same  year  in  an 
exhibition  ol  the  National  Sculpture  Society  in 
Baltimore  It  was  brought  to  Urbana  with  the  Talt 
collection  alter  his  death,  was  lor  years  installed,  first 
in  the  Architecture  Building,  later  in  the  Auditorium,  but 
was  linally  placed  in  storage  due  to  its  deterioration.  It 
is  now  impossible  to  reassemble  all  ol  the  separate 
sections,  but  we  are  exhibiting  eight  large  fragments 
which  give  a  good  idea  of  its  broad  treatment  and 
monumentality.  The  reduced  scale  model  was 
presented  by  the  sculptor  to  the  collection  in  the 
Oregon.  Illinois.  Township  Library. 


24   The  Fountain  ot  Time 

Plaster  model,  24"  x  94"  x  26".  1910,  unsigned. 

The  conception  of  the  lounlain  dates  from  1909. 
when  Talt  was  impressed  by  a  couplet  by  the  British 
poet  Austin  Dobson: 

Time  goes,  you  say?  Ah  no! 

Alas.  Time  stays,  we  go. 
A  minute  preparatory  sketch  in  clay  may  be  seen 
among  the  studies,  as  well  as  a  second  larger  plaster 
version  (Nos.  53  and  56).  which  led  in  1910  to  the  linal 
model  seen  here.  The  ligure  of  Time,  who  surveys  the 
moving  panorama  of  life  before  him.  has  not  been 
preserved  The  Ferguson  Foundation  in  Chicago  gave 
him  the  commission  to  enlarge  and  complete  the 
fountain  in  1913.  A  full  scale  plaster  model  was 
installed  on  the  Midway  in  1920:  it  was  later  cast  in 
concrete  and  dedicated  in  1922,  The  final  work  is 
approximately  a  hundred  and  ten  feel  long. 


22 


23 


25  Ideal  Head  (see  front  cover) 

Plaster.  20"  high,  date  unknown,  unsigned. 

This  does  not  seem  to  be  a  study  lor  any  otiier  work. 
ar<d  cannot  be  identified  vvilti  any  of  thie  artist's  works 
mentioned  in  the  documents  It  is  possible  that  it  was 
made  to  be  pan  of  the  work  which  Tall  used  in  his 
public  lectures  The  type  is  similar  to  those  employed 
in  the  Fountain  ol  Ihe  Great  Lakes,  and  the  date  may 
be  close  to  that  work,  at>out  I9t0  to  1915.  The  dramatic 
sweep  of  the  drapery  is  notable. 


26  The  Fountain  of  Creation:  Central  Group 
Plaster  model,  27  '  x  31"  x  10".  about  1912, 
unsigned. 

The  monumental  fountain  was  designed  lor  Ihe  east 
end  of  Ihe  Midway  in  Chicago  as  a  counterpart  to  the 
Fountain  ol  Time  on  the  west  end  Talt  conceived  the 
idea  attout  1910  and  worked  on  it  lor  the  rest  ol  his  life. 
The  theme  was  a  Greek  myth  in  which  Deucalion  and 
Pyrrha.  Ihe  only  two  people  left  alter  the  deluge,  throw 
the  bones  of  Mother  Earth  in  the  form  of  stones  behind 
them;  these  came  to  life  in  the  form  of  a  new  race  ol 
mankind  Only  four  of  Ihe  figures  were  executed  in 
permanent  form  These  are  Ihe  crouching  limestone 
figures  in  front  of  the  Library  and  the  Auditorium  on  our 
campus.  The  central  group,  placed  at  Ihe  apex  of  the 
composition,  consists  of  ten  figures,  closely  organized 
in  a  compact  mass.  This  part  of  the  preliminary  model 
was  included  in  an  exhibition  al  the  Whitney  Museum 
in  New  York.  "Two  Hundred  Years  of  American 
Sculpture."  in  1976.  No.  273.  Ten  small  studies  in  fired 
clay  of  individual  figures  or  groups  are  included  in  the 
present  exhibition. 


26 


24 


27  Head  of  a  Child 

Terra  cofta,  10"  high,  probably  1917,  unsigned. 

This  is  probably  one  of  three  works  which  Taft 
exhibited  at  the  Art  Institute  of  Chicago  in  1918  at  the 
first  exhibition  of  works  of  former  students  and 
instructors  there.  Nothing  is  known  of  the 
circumstances  of  its  production. 


29 


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IS  23 


■R-ilDLTOR-PPxl' 


28  Henry  Harkness  Stoek  (1866-1923) 

Bronze  memorial  tablet.  50"  x  36",  1925,  signed: 
L.  Taft  1925."  Lent  by  the  College  of 
Engineering,  University  of  Illinois. 

Stoek  came  lo  the  University  of  Illinois  in  1909  as  the 
first  head  of  the  Department  of  Mining  Engineering,  A 
graduate  of  Lehigh  University,  he  had  taught  at  his 
alma  mater  and  at  Pennsylvania  State  University:  had 
had  intensive  practical  experience  in  mining, 
metallurgy,  and  geology:  was  for  many  years  the  editor 
of  the  principal  professional  journal  in  his  field:  and 
was  president  of  the  Coal  Mining  Institute  of  America. 
He  was  greatly  admired  as  a  teacher,  and  after  his 
untimely  death  his  students  and  professional 
colleagues  gathered  the  funds  which  led  to  this 
memorial  tablet,  dedicated  in  1926  and  for  many  years 
installed  in  the  Engineering  Library.  It  is  an  excellent 
example  of  the  delicate  low  relief  by  which  Taft  was 
able  to  suggest  strong  three  dimensional  qualities. 


29  Alma  Mater 

Tvifo  drawings,  pencil  on  tracing  paper,  circular, 
191/2"  diameter,  1928, 

The  official  seal  of  the  University  contains  the  words 
"Learning  and  Labor."  As  early  as  1916  Taft  had 
conceived  the  idea  of  a  monumental  standing  figure  of 
Alma  Mater,  with  personifications  of  Learning  and 
Labor  at  either  side  This  was  finally  realized  as  the 
result  of  a  number  of  class  gifts,  and  the  work  was 
dedicated  in  1929.  on  the  fiftieth  anniversary  of 
Lorado's  graduation  from  the  University.  He  was  not  an 
accomplished  draftsman,  always  executing  even  the 
most  preliminary  sketches  of  his  works  in  three 
dimensions,  and  it  is  by  no  means  certain  that  the 
present  drawings,  only  recently  discovered  in  the  files 
of  the  University  architect's  office,  are  the  work  of  his 
own  hand   But  they  were  certainly  created  in  his  studio, 
under  his  direct  supervision. 


28 


26 


30  Ghiberti  and  Donatella 

Plaster  model,  painted,  12"  x  6"  x  4V2",  1927, 
unsigned. 

From  1927  to  1936  Taft  designed  and  tiis  associates 
fabricated  a  series  of  eigtit  small  dioramas  wtiicti 
represented  episodes  in  ttie  lives  of  famous  sculptors- 
Ttie  figures  of  ttie  sculptor  Gtiiberti  stiowing  ttie  bronze 
doors  by  Andrea  Pisano  in  ttie  Florentine  Baptistry  to 
the  youttiful  Donatello  are  from  ttie  first  of  ttie 
dioramas,  entitled  "IVIorning  in  Florence,  1400."  Wtiile 
many  of  ttie  details  were  made  by  Taft's  associates,  we 
can  be  sure  that  he  modelled  the  most  important 
figures,  like  these,  himself.  It  was  planned  to  produce 
multiple  copies  of  the  dioramas,  but  not  many  were 
actually  fabricated.  There  are  three  complete  sets,  and 
a  few  additional  individual  examples. 


31   Great  Lakes  Medal  {see  back  cover) 

Bronze,  2  7/8"  in  diameter,  1935,  signed:  "L.T." 
Lent  by  World  Heritage  Museum,  University  of 
Illinois. 

Beginning  in  1930  the  Society  of  l^edallists,  with 
headquarters  in  New  York,  issued  two  medals  annually 
for  its  subscribers.  Many  of  the  established  and 
generally  conservative  artists  of  the  period  received 
commissions  from  the  Society.  Taft  originally  designed 
a  powerful  anti-war  medal,  which  was  not  received  with 
favor  by  the  officers  of  the  Society  and  he  was  asked  to 
turn  to  a  less  controversial  theme.  This  he  found  in  his 
own  Fountain  ol  Ifie  Great  Lakes.  He  prepared  a  model, 
twelve  and  a  half  inches  in  diameter,  which  was 
reduced  in  scale  to  the  final  size  of  the  medal.  The 
obverse  represents  the  head  of  one  of  the  fountain 
figures,  inscribed  "Ontario  send  greetings  to  the  sea." 
The  reverse  depicts  the  entire  composition  of  the 
fountain  figures,  with  their  names  encircling  them. 


32 


32   The  Spirit  of  Art 

Bronze  relief,  26y2"  x  19",  1936-1937,  signed: 
"Lorado  Taft."  Lent  by  ttie  Midway  Studios, 
University  of  Ctiicago. 

This  relief  was  one  of  Taft's  last  designs,  and  was 
brought  to  completion  after  his  death  by  two  of  his 
associates.  Fred  Torrey  and  Mary  Webster.  It  was 
commissioned  by  the  Arche  Club,  a  Chicago 
organization  which  sponsored  the  fine  arts. 


27 


PORTRAITS  OF  TAFT 


33  Nellie  V.  Walker  (1874-1973) 

Lorado  Tati.  plaster  statuette,  painted,  25Vi"  x 
8'/:"  X  9",  date  unknown,  signed:  "N.  V. 
Walker." 

Nellie  Walker  was  Taft's  student,  associate,  and 
collaborator,  and  lived  for  many  years  at  the  Midway 
Studios.  She  had  an  active  independent  professional 
career  Taft  is  represented  in  his  studio  smock,  a 
modelling  tool  in  one  hand,  his  eye  glasses  in  the 
other.  Walker,  together  with  l^ary  Webster  and  Leonard 
Crunelle,  enlarged  and  completed  the  Washington 
monument  for  Chicago  which  Taft  designed  shortly 
before  his  death.  She  presented  the  portrait  statuette  to 
ttie  University  o(  Illinois  in  1943. 


34  Mary  H.  Webster  (1882-1965) 

Lorado  Taft.  bronze  bust,  28"  high,  1936, 
unsigned. 

Mary  Webster,  another  student  and  an  associate, 
lived  at  the  Midway  Studios  and  for  many  years  served 
as  Taft's  secretary  Her  portrait  of  him  was  made  in  the 
last  year  of  his  life.  It  was  presented  to  the  University 
in  1938  by  the  Illinois  Art  Extension  Committee.  A 
second  copy  of  it  is  in  the  public  library  in  Elmwood, 
Illinois. 


33 


28 


SKETCHES  AND  STUDIES 


37 
52 


The  Taft  collection  at  the  Krannert  Art  Museum 
contains  more  than  a  hundred  and  thirty  small 
sketches  and  studies.  Taft  seldom  made 
drawings  of  projected  compositions,  but  from  the 
beginning  conceived  his  ideas  in  three 
dimensional  form  on  a  surprisingly  small  scale. 
He  worked  in  clay,  sometimes  firing  it, 
sometimes  giving  it  a  coat  of  varnish  or  shellac, 
sometimes  leaving  it  untouched.  Some  of  the 
studies  were  cast  in  plaster.  They  vary  in  size 
from  minute  sketches  not  more  than  an  inch  or 
two  high,  to  standing  figures  seven  or  eight 
inches  tall.  It  is  extraordinary  that  an  artist  whose 
major  works  are  of  monumental  size  should  have 
given  his  first  expression  of  these  compositions  in 
such  small  scale.  Many  of  them  can  be  identified 
as  studies  for  specific  monuments;  others  simply 
record  poses  and  gestures  which  were  of  interest 
to  the  artist.  The  following  list  attempts  a 
chronological  order.  When  a  date  is  included,  it  is 
arbitrarily  made  earlier  than  the  completion  date 
of  the  work  in  question.  Many  of  Taft's  ideas 
matured  over  periods  of  years. 


35  Study  for  The  Awakening  of  the  Flowers, 
Horticulture  Building  at  the  World's  Columbian 
Exposition,  C.1892. 

Terra  cotta,  6V2"  x  AVt"  x  3" 

36  Study  for  a  Civil  War  monument,  c.1895. 

terra  cotta,  3  3/8"  x  1"  x  2" 

37  Study  for  a  Civil  War  monument,  c.1895. 

terra  cotta,  3"  x  2%"  x  2%" 

38  Woman  at  wash  basin. 

clay,  3"  X  1%"  x  1%" 

39  Head  of  a  little  girl. 

clay,  4V2"  X  5"  x  2" 

40  Man  and  woman  embracing. 

clay,  23/4"  X  1"  X  1" 

41  River  god  with  water  spout 

terra  cotta,  3"  x  3"  x  1%" 

42  Half  length  figure  of  a  boy  blowing  a  shell 

plaster,  5"  x  2  1/8"  x  21/2" 

43  Study  for  Despair,  c.1897. 

clay.  3"  X  1%"  x  2V2" 

44  Study  for  The  Solitude  of  the  Soul,  c.1899. 

clay,  2  5/8"  x  1  3/8"  x  1  1/4" 

45  Standing  draped  figure. 

clay,  33/4"  X  ^V^^•  x  IV4" 

46  Standing  figure  in  frock  coat. 

clay,  4  1/8"  X  1  3/8"  x  1  3/8" 

47  Study  for  St.  Louis  Exposition  group  (never 
executed),  c.1903. 

terra  cotta,  4%"  x  6"  x  4" 


29 


48  Study  for  Figures  bearing  a  cotlin.  c.1905. 

clay,  3"  X  3"  x  2" 

49  Study  for  The  Blind,  c.1906. 

terra  cotta,  2y2"  x  4"  x  2" 

50  Standing  black  figure. 

clay,  black  varnish,  5Vi"  x  2Vi"  x  IVi" 

51  Standing  nude,  right  arm  to  shoulder. 

plaster,  8V2"  x  3"  x  3" 

52  Study  for  Eternal  Silence. 

terra  cotta,  8"  x  2'/!"  x  2'/;" 

53  Study  for  The  Fountain  of  Time,  five  sections, 
C.1909. 

terra  cotta,  2"  x  6V2"  x  1" 

54  Study  for  The  Fountain  of  the  Great  Lakes, 
c.1910. 

terra  cotta,  GVz"  x  AVt"  x  3" 

55  Study  for  Thatcher  Memorial  Fountain,  c.1916. 

clay,  black  varnish.  4'/2"  x  4y2"  x  4V2" 

56  Study  for  The  Fountain  of  Time,  two  sections, 
c.1917. 

plaster,  3"  x  20"  x  3" 

57  Half  length  figure  reading  a  book. 

clay,  3"  X  3"  x  2V4" 

58  Studies  for  Omaha  War  Memorial  {never 
executed),  c.1925:  The  Mourners. 

plaster,  green  over-color,  9V4"  x  8V4"  x  12V4" 

59  Soldier  and  sailor,  c.1925. 

plaster,  green  over-color,  S'/a"  x  2y2"  x  2y4" 


60  Two  soldiers  at  rest,  c.1925. 

plaster,  green  over-color.  8y2"  x  2'/^"  x  2V4' 
each 

61  Two  grrls  carrying  a  wreath,  c.1925. 

plaster,  green  over-color.  8"  x  5V4"  x  2V4" 

62  Studies  for  The  Founiam  of  Creation  (never 
executed),  c.1930:  Crouching  Man. 

terra  cotta,  4"  x  3"/i"  x  4" 

63  Crouching  man.  hand  on  knee,  c.1930. 

terra  cotta.  4'/2'  x  2V2"  x  3" 

64  Crouching  man,  hand  to  face,  c.1930. 

terra  cotta,  3'/i"  x  2V4"  x  3V4" 

65  Crouching  man.  arms  to  base,  c.1930. 

terra  cotta.  5"  x  2y4"  x  3V4" 

66  Crouching  woman,  c.1930. 

terra  cotta.  4"  x  2"  x  2%" 

67  Woman  leaning  to  left,  c.1930. 

terra  cotta.  4"  x  2"  x  2V4" 

68  Man  leaning  forward,  c.1930. 

terra  cotta.  7"  x  2%"  x  3" 

69  Man  leaning  forward,  c.1930. 

terra  cotta.  eva"  x  3"  x  3" 

70  Two  men  struggling,  c.1930. 

terra  cotta.  7V4"  x  6"  x  2  3/8" 

71  Man  and  woman  struggling,  c.1930. 

terra  cotta.  6%"  x  3V2"  x  2" 

72  Study  for  portrait  of  a  standing  man. 

plaster,  15"  x  5  5/8"  x  4  1/2' 


70 


30 


Krannert  Art  Museum  Associates 


Benefactor  Members 

Miss  Janet  Eisnc 

Mr  and  Mrs  L  Scott  Kelley 

Patron  Members 

MfS  Maryann  Drost  Btlzer 
Mrs  Irene  Gullan  Slotlow 

Sustaining  Members 

M'    and  Ivlfs    Lewis  G    Barron 
Mr   and  Mrs  Carl  G  Dohme 

Sponsoring  Members 


Contributing  Members 

Mr   Waller  C  Alien 

Jannes  W  and  Beth  L  Armsey 

Mrs  Tnomas  E   Berger 

Ml   and  Mrs   Duane  Branigan 

Mr   and  Mrs  C  V  Donovan 

Rev  Edward  J   Duncan 

Mr  and  Mrs   Robert  Eisner,  Jr 

Dr  and  Mrs  James  B  Gillespie 

Mr   and  Mrs   Edwin  L   Goidwasser 

Dr  and  Mrs  Aldred  A   Heckman.  jr 

Mr   and  Mrs    David  D    Henry 

Mr   and  Mrs   H    Harvey  Hunt 

Mr  George  M.  irwin 

Mr  and  Mrs  William  L  Julian 

Dr  and  Mrs  Gerald  Lietz 

Mr  and  Mrs   Donald  Lindsay 

Mrs  Charles  F   Loeb 

Mr  and  Mrs  August  C  Meyer.  Jr 

Mr  and  Mrs  August  Meyer  Sr 

Dr   and  Mrs  Bruce  W  Miller 

Mrs  Erna  Nachum 

Mr  and  Mrs   Richard  Noel 

PSI  IOTA  XI 

Miss  Betsy  Ross 

Ms  Janice  M   Smitn 

Dr  and  Mrs  Robert  Twardock 

Mr  and  Mrs  Jeff  Wandell 

Participating  Members 

Mt^_.   James  Acheson 

Mrs  Scolt  Anderson 

Mr  and  Mrs  George  E  Anner 

Anonymous 

Mrs   Bette  L  Armstrong 

Mr  and  Mrs  Stanley  Balbach 

Mr   and  Mrs   Paul  R  Ballard 

Dr   and  Mrs  Carl  J    Belber 

Mrs    Ralph  Berkson 

Mrs  Eleanore  Bland 

Mr   and  Mrs   H   R   Bresee 

Mrs   Norns  L   Brookens 

Mrs  Robert  M  Coales 

Mrs   Elizabeth  G  Curzon 

Mr   and  Mrs   O   H    Oodson 

Mrs   Bernard  A   Dunn 

Dr  and  Mrs  J  E   Enckson 

Mr    and  Mrs    Philip  M    Faucelt,  Jr 

Dr   and  Mrs  J  Robert  Fleming 

Mr   and  Mrs  William  Fox 

Mr  and  Mrs.  J.  L.  Franklin 

Gladys  G  Fraser 

Mrs   Fredericka  Garrard 

Mr   and  Mrs   Robert  W    Harbeson 


Mr  and  Mrs   Morns  L   Hecker.  Jr 
Dr  and  Mrs  Charles  B   Hood.  Jr 
Mr  and  Mrs  William  R  Horsfall 
Mrs  George  E   Hunt,  Jr 

Mrs    Kenni  James 

Mr  and  Mrs  Eldon  L  Johnson 

Dr  and  Mrs  William  S  Johnson 

Mr  and  Mrs  William  E   Kappaut 

Mrs  Stanley  L   Kaufman 

Mr   and  Mrs   Jack  G   Keller 

Mr   and  Mrs  John  R  Kelley 

Mr  and  Mrs   David  Lazarus 

Mr   William  M   Leach,  Jr 

Dr   and  Mrs   Norman  D   Levme 

Mr   and  Mrs  Robert  T   Martin 

Mrs  David  W   McBride 

Mrs  Alice  Ann  McKmney 

Mrs  David  W   Morse 

Mrs  Wallace  M   Mulliken 

Mr  and  Mrs  Saburo  Muroga 

Cdr  and  Mrs   Leonard  A  Nettnm 

Ms   Vera  Nofttz 

Mrs   Marc  C  Norton 

Mr   and  Mrs  Abraham  Olefsky 

Mrs   Donald  Porter 

Mr  and  Mrs.  Edwin  C  Rae 

Mrs  Cecilia  W   Rapp 

Mrs  Phylhs  D   Richmond 

Mr   and  Mrs   John  Ritter 

Dorolhy  B  Slavich 

Mrs  Portia  A  Smith 

Mr   Robert  B  Smith 

Mrs,  Greswold  VanDyke 

Mr  and  Mrs  Albert  Wallenberg 

Mr  and  Mrs  Robert  A  Watts 

Mrs    Evelyn  J   Weber 

Dr  George  H  Woodruff 

Mrs    ElQijise  A    Worthy 

Family  Members 

Mr  and  Mrs  Felix  Albrecht 

Jane  and  John  Anderson 

Mr  and  Mrs  James  B  Andrews.  Jr 

Mr  and  Mrs  Richard  J  Arnoutd 

Mrs   Robert  Atkins 

Dr  and  Mrs.  Russell  L   Baker 

Mr  and  Mrs   Ralph  W   Barber 

Mr  and  Mrs   Norman  W  Barnetl 

Donald  and  Suzanne  Bartlelt 

Mr  and  Mrs   Paul  T  Bateman 

Mr  and  Mrs  George  Balzli 

Mr  and  Mrs   Richard  J   Bellon 

Mane  and  Robert  Bohi 

Profs  Vincent  and  Barbara  Bowen 

Mr  and  Mrs   R   D  Bradle 

Mr  and  Mrs  Royall  Brandis 

Mr  and  Mrs  Jack  Bnscoe 

Mr  and  Mrs   Harry  S   Broudy 

Mr  and  Mrs  W  N   Bruce 

Mr   and  Mrs   Edward  M    Bruner 

Mr  and  Mrs.  Richard  Burwash 

Mr    and  Mrs    Ross  M    Camp 

Mr  and  Mrs  James  D  Campbell 

Dr  and  Mrs  Jeffrey  B  Carter 

Mr  and  Mrs  William  E  Cofel 

Mr  and  Mrs  James  CuHum 

Mr  and  Mrs.  William  C  Dallenbach 

Mr  and  Mrs  Georges  Deschamps 

Mr   and  Mrs.  David  L   Diana 

Mr  and  Mrs  Robert  C  Dickey 

Mrs  Alice  Brown  Dodds 

Dr  and  Mrs  John  B   Downs 


Mr  and  Mrs   L  E   Doyle 

Mr  and  Mrs  Daniel  Drucker 

Mr   and  Mrs   Adrian  J    Durant.  Jr 

Lee  and  Euline  Eilbracht 

Dr,  and  Mrs   E   Richard  Ensrud 

Mr.  and  Mrs    Robert  W    Evans 

Mr   and  Mrs    Ben  B   Ewing 

Mr  and  Mrs  Don  A   Fischer 

Mr  and  Mrs  Charles  E   Flynn 

Mr,  and  Mrs   Rudolf  A   Frasca 

Dr  and  Mrs  Wendell  Freeman 

Frances  and  Stanley  Friedman 

Mr  and  Mrs  Donald  H   Fntts 

Mr  and  Mrs  William  H   Froom 

Dr  and  Mrs   Henry  Gans 

Mr  and  Mrs  William  t  Goodman 

Dr,  and  Mrs   Simeon  Grater 

Borie  and  Gunilla  Guslatsson 

Mr  and  Mrs  Glen  Hanson 

Mr  and  Mrs  Thomas  J   Hanralty 

Mr   and  Mrs   Nelson  E   Hartnch 

Dr  and  Mrs  Alan  W   Haussermann 

Dr,  and  Mrs   Ford  Haussermann 

Dr  and  Mrs  Edward  Hays 

Mr  and  Mrs   Donald  M   Henderson 

Mr   and  Mrs,  Lou  Henson 

Dr  and  Mrs  Greg  Hewitt 

Mr  and  Mrs   Robert  C   HiUibran 

Mr  and  Mrs   Howard  Hobbs 

Peter  and  Joan  Hood 

Mr  and  Mrs  Harold  Hornbeak 

Dr   and  Mrs  John  H   Houseworth 

Mr   and  Mrs  Robert  W   Howell 

Mr   and  Mrs  Charles  H   Humm 

Mr  and  Mrs  Robert  S  Hutchens 

Dr   and  Mrs  W   F   Hutchinson 

Mr   and  Mrs   Edward  J.  Hynds,  Jr 

Mr   and  Mrs  Floyd  S   Ingersoll 

Dr   and  Mrs  Michael  E   Irwin 

Mr  and  Mrs  David  C  Johnson 

Stan  Johnson  and  Suzanne  Trupm 

Mr  and  Mrs  Alexis  J   Katsmas 

Mr  and  Mrs   Robert  D   Katz 

Mr  and  Mrs   Rolland  Kelley 

Mr  and  Mrs  Seichi  Konzo 

Mr  and  Mrs  Aaron  Kuriand 

Mr  and  Mrs  Wayne  LaFave 

Dr   and  Mrs  J   M   Laidlaw 

Mr  and  Mrs  Alan  K   Laing 

Mr   and  Mrs  T  E   Larson 

Dr  and  Mrs  A.  H,  Leavilt 

Mr  and  Mrs  Charles  O  Lee 

Mr  and  Mrs   N  J   Leonard 

Mr   and  Mrs  Raymond  M   Leuthold 

Mr  and  Mrs  Arthur  L,  Lewis 

Mr  and  Mrs  Ralph  Marlowe  Line 

Mr   and  Mrs   Robert  F    Long 

Mr  and  Mrs  Ross  J   Martin 

Mr  and  Mrs  Jack  D   May 

Dr   and  Mrs  Riley  J  McCuHey 

Mr  and  Mrs  C  Garfield  McDade 

Mr  and  Mrs,  W  H   McPherson 

Mrs   Jean  L   Merrill 

Richard  and  Anna  Merntt 

Dr  and  Mrs  George  Andrew  Miller 

Mr  and  Mrs  George  S   Miller 

Mr  and  Mrs  Wendell  E   Miller 

Mr   and  Mrs   Burton  A  Milligan 

Mr  and  Mrs,  Reid  T.  Milner 

Mr  and  Mrs   Paul  E   Mohn 

Mr  and  Mrs  Brant  R   Moore 

Mr  and  Mrs.  L  A  Morningstar 

Dr   and  Mrs.  Robert  D   Mussey 


Mr  and  Mrs   Frank  H   Mynard,  Jr 

Mr  and  Mrs  Alan  Nudo 

Mr  and  Mrs  Edward  M  Ogen 

Mr  and  Mrs  Conrad  A,  Olson 

Mr  and  Mrs  Thomas  Page 

Joyce  and  Bill  Paquette 

Mr  and  Mrs   Richard  J.  Parkhill 

Mr  and  Mrs   David  Payne 

Mr  and  Mrs  Hobart  L  Peer 

Dr  Carlos  PerezManzano 

Mr  and  Mrs  Raymond  Perlman 

Mr  and  Mrs  Daniel  J   Pernno 

Mr  and  Mrs  David  Pines 

Mr  and  Mrs  Thomas  A  Pnckett 

Mr   and  Mrs   Hoyle  B  Puckett 

Mr  and  Mrs  J  C   Rettberg 

Mr  and  Mrs  E  J  Riehle 

Mr,  and  Mrs  Warren  L  Rittenhouse 

Mr.  and  Mrs  Wyndham  J  Roberts 

Mr  and  Mrs  Kyle  Robeson 

Mr  and  Mrs,  Robert  W.  Rogers 

Dr  and  Mrs  Charles  F  Roland 

Dr  and  Mrs  Donald  Ross 

Mr   and  Mrs   Mark  L  Sapoznik 

Mr   and  Mrs  Waller  C  Schrader 

Tim  Sehy  Family 

Dr  and  Mrs  Grover  L  Seitzinger 

Mr  and  Mrs  Lester  Seligman 

Dr  and  Mrs  John  A  Shadduck 

Mr  and  Mrs  J   R  Shipley 

Mrs  Pessie  Shippei 

Mrs  Jack  L  Simpson 

Mr  and  Mrs  Arthur  J.  Skellon 

Mr  and  Mrs   Harold  R  Snyder 

Mr  and  Mrs   Henri  Slegemeier 

Dr   Frederick  Sleigmann 

Mr   and  Mrs,  Jack  Stiltinger 

Mr  and  Mrs  O  Stokes 

Mr   and  Mrs   Edward  Tepper 

Mr  and  Mrs  James  G  Thomas 

Robert,  Peggy,  and  Missy  Thompson 

Mr   and  Mrs   W   Trenchard 

Ralph  and  Carolyn  Trimble 

Mr  and  Mrs  R   R  Tryon 

Mrs  I   F  Vaughan 

Diane  and  Robert  Waaler 

Mr  and  Mrs  Harold  D.  Webb 

Dr  and  Mrs  Michael  J  Weber 

Mr  and  Mrs  Saul  S  Weinberg 

Mr  and  Mrs  Leo  Weisel 

Mr  and  Mrs  Allen  S  Wetter 

Mr  and  Mrs  Paul  J  Wells 

Mr   and  Mrs   David  Whippo 

Mr  and  Mrs   Robert  M,  Whitney 

Mrs.  Anthony  J   Yales 

Mr  and  Mrs  Charles  B,  Younger.  Ill 

Dr  and  Mrs  Joseph  A  Zaiar.  Jr 

Individual  Members 

Mrs  Anthony  R   Ackerman 
Mrs  Donald  R  Aideen 
Ms  Frances  P  Alien 
Ms   Dorothy  R   Altman 
Miss  Ruth  Mane  Anderson 
Mrs  Wells  A  Anderson 
Mrs    Katherine  P   Andert 
Mary  H   Arbenz 
Mr    M.  J,  Archer 
Mrs  Ludwig  F  Audneth 
Mrs.  Peter  Axel 
Mrs  Paitiel  J  Bach 
Mrs  John  Bardeen 


Mrs  Mildred  N  Barnes 

Mrs-  John  Barr 

Mrs.  Ralph  W  Barrymore 

Mrs.  John  H   Barth 

Mrs  Charles  R,  Bash 

Mrs  Elmer  C  Bash 

Ms  Grace  Beckett 

Mrs   Norton  M   Bedford 

Mrs   Delores  Behrens 

Mrs  Nancy  G  Bell 

Ms  Andrea  H   Belter 

Mr  Clarence  A  Berdahl 

Mrs  B|Ornar  Bergethon 

Mrs  Allen  Beyter 

Mrs  Charles  J  Birkeland 

Mrs  Gertrude  V  Black 

Mary  Alice  Black 

Mrs   Frances  Bloomfieid 

Mrs  J   P  Booz 

Mrs   Hardin  M   Boutware 

Mrs,  Charles  E   Bowen 

Ms  Candace  Branigan 

Mrs.  Frederick  Brash 

Mrs  Paul  Bresee 

Mrs  Gerald  D   Brighton 

Mrs.  Isidore  Brill 

Mrs   Donna  Brinkmeyer 

Ms.  Leslie  L   Brown 

Mrs   J   Bryan  Brubaker 

Mrs   Robert  Brunner 

Mrs    Fred  Bryant 

Mrs.  W   D  Buddemeier 

Mrs,  Lewis  Burtis 

Mrs   Ralph  S  Burwash 

Mrs   Helen  B  Cahn 

Mrs  Stewart  S  Cairns 

Mrs  Joseph  H  Cannon 

Mr  Kenneth  Carls 

Mrs.  Robert  J   Carr 

Mr  Michael  Carragher 

Mrs  Sandra  R  Casserly 

Mrs  Robert  Castelo 

Mrs  Suzanne  H  Chamberlm 

Mrs  J  G  Chambers 

Mrs  Mildred  P  Chester 

Mrs   Muriel  B  Chnstison 

Mrs   Lewis  Clausen 

Mrs   Finch  Cone 

Mr  David  J  Cook 

Mrs  Jack  C  Cooley 

Mrs  Beverly  CoHrell 

Mrs  William  H  Coughlin 

Mrs  John  E  Cnbbet 

Ms,  Helen  Curley 

Mrs  J,  W,  Daily 

Helen  M   Dangerfield 

Mr  C.  F  Danielson 

Mrs  James  H   Davis 

Mrs.  M  T  Davisson 

Mrs   H    S   Dawson 

Mrs  Henrietta  A  DeBoer 

Mrs  Zetda  Derber 

Mrs  Ray  Dickerson 

Mrs  Ruth  G   Dobbins 

Mrs  Tern  P  Oodson 

Mrs  Thomas  J   Dolan 

Mrs   Marianne  Dorner 

Mrs  John  Douglas 

Ms.  Eunice  M  Dowse 

Mrs,  Richard  E   Dukes 

Ms.  Martha  Duniap 

Mrs.  Bernice  C  Eastman 

Mrs.  James  R   Edwards 


31 


Mrs   John  A   E<}wardS 
Mr  Micrviei  R  Empiage 
Ms  ftnooa  R  Engei 
Mrs  James  S  Erickson 
Mrs  CampDeii  Evans 
Miss  Martria  G   Ewing 
Mrs   Harlan  Faiior 
Mrs   Viclor  FelOman 
Mrs  N  V  FiiDey 
Ms  Sarah  J  Frsher 
Mrs   Ruth  L   Eosnaugh 
Mrs  FreO  W  Foster 
Mrs   Marion  P   Freernan 
Mrs   Theodore  H    Frtson 
Ms   Kalhryn  H   Gardner 
Mrs   Carol  Garner 
Mrs  Nei)  F  Garvey 
Mrs  Winifred  D  Gerber 
Mrs  Royal  A  Gettmann 
Mrs  Cesare  Gianiurco 
Mrs  Scoll  Goidlhwaite 
Ms  Margaret  Goodyear 
Mr   Atvin  G   Gordon 
Mr  Samuel  K  Gove 
Mrs  Eugene  Grandone 
Mrs  Carol  Ann  Green 
Mrs  Frederick  S  Green 
Mrs  Paul  Green 
Mrs  Carl  Greenslein 
Mrs  Gordon  S  Gregory 
Mrs  George  A  GrubO 
Mrs  H  S  Gutowsky 
Mrs  Gillwrl  P  Haight 
Mrs  Harold  w  Hake 
Mrs  Mark  Hale 
Mrs  John  Hailiwanger 
Mrs  Joseph  Hamburg 
Mrs  John  Hamilton 
Mrs  Paul  Hannagan 
Mrs  Thomas  Harrington 
Mr  w  Edward  Harris 
Miss  Mary  E  Harrison 
Mrs  Richard  Hellrich 
Mrs  John  L  Heller 
Mrs  Phihp  Hickman 
Mrs  Harold  Highland 
Mr    Harry  H    Hilton 
Mrs   Jerry  Hirsch 
Mrs   Maxine  Hixson 
Mrs  Anita  Hodge 
Ms  Zeima  Hon 
Mrs   Mary  Ellen  Honnold 
Mrs  B  Smith  Hopkins 
Ms  Hazel  I  Horlon 
Mrs   R   E    Hosier 
Mrs  Jessie  Howard 
Mrs   W   R   Howe 
Mrs  Wailis  I  Hoyle 
Ms  Laura  J  Hueisler 
Mrs   Merrill  Huffman 
Mrs  Betty  Hughes 
Mrs  E  Linden  Hursinga 
Mrs  Miriam  K  Hunt 
Mrs  J  McVicker  Hunt 
Mrs  David  P  Hunter 
Mrs    Morris  D    Hunter 
Mrs  B  C  Hurd 
Mrs  Theodore  Hymowitz 
Mrs  Miriam  Genevieve  Iben 
Mrs  Stanley  Ikenberry 
Mrs  Myra  Ingram 
Mrs  Burton  Ingwersen 
Mrs  Robert  litner 
Mrs  Shirley  Jenkins 
Mrs  Harry  E  Johnson 
Mrs  Helen  S  Johnston 
Mrs  Joan  F  Johnston 
Mrs  Geneva  M  Jones 
Mrs   E   C   Jordan 
Mrs  Richard  Jorgensen 
Mrs  William  Judy 
Mrs  Paula  H  Kaisinas 
Mrs  John  T  Kearns 
Mrs  Waller  Keith 
Mrs  James  Keil 
Mrs  Thomas  Kelso 
Mrs  S  Charles  Kendeigh 
Mrs  Michael  J  Kerber 
Mr   Kurt  A  Klein 
Mrs  T  G  Knapcenberger 


Mrs  Charles  W  Kneoier 
Ms   Betty  Ann  Knight 
Mrs  Charles  A  Knudson 
Mrs   Philip  KOU 
Mrs  Curtis  Krock 
Mrs    Hermenia  M   Kruidenier 
Mrs  Gienna  H  Lamkin 
Ms  Martha  Landis 
Mrs   Larry  R   Lane 
Dorothy  H  Lange 

Mrs    Palrick  R    Laughlin 

Mrs  Donald  R  Lai 
Mrs  George  A  Legg 
Ella  C  Leooeri 

Mrs    Harold  H    Lerch 

Mrs  DavK)  W  Leslie 
Mrs  Ezra  Levin 
Mrs  Louis  Liay 
Mrs  David  F   Lmowes 
Mr    Harry  LKwin 

Mrs  D  Philip  Locklin 

Ms  Ruth  Lorbe 

Mrs  Klara  Lueschen 

Mis  John  Lykins 

Mrs   Guy  Mam 

Mrs   Dillon  E    Mapother 

Mrs  Sadye  Marco 

Mrs  Richard  R  Marsh 

Mrs   Victor  G   Marty 

Mrs   OoiOlhy  McAndrews 

Ms  Patricia  McCandless 

Mrs   L   B   McCarlhy 

Mrs  Robert  W  McCloy 

Mrs  Dean  McCumber 

Mrs   Hazel  McGarry 

Mrs  James  E  McGiniy 

Mrs   J   C   McGregor 

Mrs  Jack  H  McKenzie 

Mrs  Clyde  Meachum 

Mrs  John  Messinger 

Mrs  George  H  Miiey 

Ms  Velda  A  Millard 

Kenneth  R   Miller 

Mrs  Douglas  C  Mills 

Mrs  Carol  Mittleman 

Ms  Ann  Lee  Morgan 

Mrs   Albert  Mulliken 

Mrs   Jean  Murphy 

Mrs  Judith  A  Murray 

Mrs  A  I  Nelson 

Mrs  Willard  Nelson 

Mrs   V  C   Norman 

Mrs   Wayne  Nornck 

Mrs   Patricia  A   Orrill 

Mrs  William  w  Owens 

Mrs  William  Painter 

Mrs  Earl  Parkhiii 

Mrs    Marilyn  8   Parkhill 

Mrs  Thomas  P  Parkinson 

Mrs  Theodore  Pease 

Mrs  H  E  Peterson 

Mrs   Walter  Peterson 

Mrs  Stanley  H  Pierce 

Mrs  Clarence  H  Plankenhorn 

Mr  Travis  B  Poole,  Jr 

Mrs   G   L    Porter 

Mrs  Norman  Powell 

Mrs    Leonora  Ouill 

Mrs  Robert  Randolph 

Ms  Cordelia  Reed 

Mrs  John  hi  Remsen 

Ms  Norma  M  Richards 

Mrs   Jack  Riley 

Mrs   Errol  0    Rodda 

Mrs  A  G  Roeske 

Mrs  Evelyn  Rogers 

Mrs  Lisle  A  Rose 

Ms  Catherine  M  Rowan 

Ms  Ruth  M  Rumer 

Mrs  Joseph  A  Russell 

Mrs  George  Sandwell 

Mrs  Lucy  Sanford 

Mrs  Richard  T  Scanlan 

Ms  Muriel  Scheinman 

Mrs  Kirsten  C  SchousBoe 

Mrs  Helen  B  Schowengetdl 

Mrs  Harold  W  Scoll 

Ms  K  Virginia  Seidel 

Mrs  Kenneth  C  Sensenbrenner 

Mrs  William  H  Severns 


Mrs  Heten  R  Shaptand 
Mrs  JoAnne  Shapiand 
Mrs  Robert  Shapiand 
Mrs   Myron  StX)lem 
Mrs    Frank  Shuman 
M'   R  Band  Shuman 
Mrs   Elma  M    Shurtz 
Mrs   Richard  C   Shurtz 
Ms  Dorothy  H  Sides 
Mrs  Chester  P  Siess 
Mrs  Roy  K  Simons 
Mrs  Virginia  M  Simpson 

Ciena  K  Slater 

Mr   William  Slichler 

Mrs   Kenneth  W   Smith 

Mrs  Robert  Smith 

Mrs   M   G   Snyder 

Mrs  Joan  Sozen 

Mrs   Charles  H   Spaulding 

Mrs   William  D   Sprick 

Mrs   W   L   Sprirtger 

Mrs  S  C  Staley 

Ms  Holly  Slec 

Mr  James  R  Stegeman 

Mrs   Arnold  Stem 

Miss  Bertha  A  Steinbeck 

Mrs  Sylvia  Steiner 

Dr  Stephen  A  Stenz 

Mrs  Charles  L  Stewart 

Mrs  H  Sheldon  Slillwell 

Mrs  Virginia  Stipes 

Mr  David  Stukel 

Mrs  Giles  Sullivan 

Mrs  James  A  Sullivan 

Mrs  Stephen  N  Tager 

Mrs  Manie  Tepper 

Mrs  Vivian  B  Terrill 

Mrs   Richard  L   Thies 

Mrs  Loll  Thomas 

Mr   Robert  E  Thomas 

Mr  William  Thomas 

Mrs  Edward  C  Thompson 

Ms  Ruth  P  Thompson 

Mrs  Robert  L  Thorslenson 

Mrs  Sharon  S  Tiebout 

Mrs  George  T   Timmons 

Mrs  Peter  T  Tomaras 

Ms  Shirley  Traugott 

Mrs  Robert  H  Tuchel 

Mrs  Stewart  L  Tuckey 

Mrs   Velma  Tuxhorn 

Mr  J  Russell  Vaky 

Mrs  Janann  D  Vance 

Mrs  Joseph  s  Vandemark 

Dr  Anne  E   VanDyke 

Mrs  Andrea  Van  Proyen 

Ms  Cynthia  J  Voekl 

Mrs  Morion  Wagman 

Mrs  Dianne  Wagner 

Mrs  James  S  Walker 

Mrs  Charleen  Walsh 

Mrs  John  H  Walter 

Mrs  James  P  Warfield 

Mrs  Charles  M  Webber 

Belly  Ruth  Weber 

Mrs  Wayne  Weber 

Mrs  Frances  Welch 

Mrs  Scoll  Welier 

Mrs  Glen  W  Wensch 

Mrs  James  H  Wheat 

Mrs  Howard  White 

Mrs  Lucien  While 

Dr  Emma  May  Brittin  Whilelord 

Mrs  G  Weston  Whitimgham 

Mrs  B  B  Wiese 

Mrs  Virgil  C  Wikoll 

Mrs  Louis  M  Wiidman 

Leona  Williams 

Mrs   Mary  J   Williams 

Mrs  Thomas  R  Wilson 

Mrs  Judith  Winters 

Mrs  Roger  L  Yarbrough 

Mrs  Charles  B  Younger 

Mrs  William  Youngerman 

Ms  Debbie  Zeiier 

Mrs  Jeaneile  Zimmerly 

Mrs  Marilyn  Zimmerman 


Contributors  to  the 
Collections  and 
Endowments 


Founders 

Class  o(  1908 

Mr  H  Cliflord  Brown 

Mr  John  Needles  Chester 

Mr  William  B  Greene 

Mr  Frederick  A  Jorgensen 

Mr  Williann  S  Kinkead 

Mr  and  Mrs  Hernnan  C  Krannerl 

Mrs  Kalhenne  Trees  Livezey 

Mr  and  Mrs  Harlan  E   Mtxjre 

Mr  and  Mrs  Fred  Olsen 

Mr  and  Mrs  George  S  Trees 

Mr  and  Mrs  Merle  J  Trees 

Donors 

Mr  Max  ACramovilz 

Mr  Samuel  M  Adier 

Mr  George  P  Bickford 

Mrs  Mane  Ann  Caro 

Mr  and  Mrs  Herman  E  Cooper 

Mr   Richard  J  Falelti 

The  Ford  Foundation 

Mr  George  L  Goldstein 

Mr  George  M   Irwm 

Mrs  William  E  Kappaul 

Mr   I  Austin  Kelly.  Ill 

Mr  Joseph  H   King 

Mr  Samuel  M  Kootz 

Mrs  Dean  McCumber 

Mr  Louis  Moss 

Mr   and  Mrs   Morne  A   Moss 

Mrs  Addison  Parker 

Mr  Charles  S  Pillsbury 

Mr  and  Mrs.  Allen  S  Welier 

Mr  and  Mrs  William  C  Wenninger 

Supporters 

Mr  John  L  Alden 

Mr  Albert  L  Arenberg 

Mr  Himan  Brown 

Mrs  Clyde  Butler 

Mr  Charles  N  Cadwell 

Miss  Janet  Eisner 

Mr  and  Mrs  Spencer  Ewing 

Federal  Works  Agency 

Works  Progress  Administration 
Mrs  Paul  Kent 
Mrs  Gertrude  McCue 
Mrs  Stacy  Rankin 
Mr  and  Mrs  Marvin  D  Rosenberg 
Mr   Peter  Rubel 
Mr  George  W  Sanlord 
Mr  Sherlock  Swann 
Estate  of  Lorado  Tati 


32 


University  of  Illinois 


Administration 

President  of  the  Universily  of  Illinois 
Stanley  0   Ikenbecry 

Chancellor  of  tfie  University  of  Illinois 
at  Urbana-Champaign 
John  E  Cribbel 

Vice  Cfiancellor  for  Acadennic  Affairs 
Edwin  L  Goldwasser 

Dean  of  the  College  of  Fine  and  Applied  Arts 
Jack  H   McKenzie 

Krannert  Art  Museum 

Director 

Stephen  S   Prokopolf 

Assistant  Director 
Maik  M  Johnson 

Research  Curator 
iviargaret  M   Sullivan 

Registrar 
Kathleen  Jones 

Business  Secretary 
Annette  E.  Karsh 

Membership  Secretary 
Pamela  Cooper 

Graduate  Assistant 
fvlarilyn  (i^unski 

Preparators 
Steve  fylcCarthy 
David  Shutt 

Keeper  of  European  Collections 
Mark  M  Johnson 

Keeper  of  Ancient  and  Eastern  Collections 
Margaret  M   Sullivan 

Consultant  In  Conservation 
Alfred  Jakstas 

Consultant  in  Ancient  Art 
John  D.  Cooney 

Consultant  in  Decorative  Arts 
Carl  C.  Dauterman 

Security 

Susan  Calza 

Kent  Carrico 

Sylvia  Herakovich 

Joan  Hicks 

Sherman  Hoffman 

Donald  Mateiowsky 

Linus  Ogene 

James  Player 

Charles  Schlatter 

John  Seckman 

David  Stepanczuk 

University  of  Illinois  Police 

Assistance  w/ith  Special  Projects 
Faculty  in  the  School  of  Architecture 
and  School  of  Art  and  Design 

Building  and  Grounds  Service 
Division  of  Operation  and  Maintenance 


Docents 

Garland  Remsen,  Coordinator 

Nancy  Lohuis,  Scheduler 

Helen  B  Cahn 

Jean  Edw/ards 

Betty  Faucett 

Alice  Fox 

Clare  Hausserman 

Kenni  James 

Charlotte  Johnson 

Adion  Jorgensen 

Paula  Katsinas 

Bonnie  Kelley 

Jane  Kelley 

Jean  Murphy 

Rosann  Noel 

Ginny  Retlberg 

Lucy  Sanford 

Nell  Shapland 

Judi  Thompson 

Shirley  Traugott 

Ann  Tryon 

Dianne  Wagner 

Charlotte  Wandell 

Betty  Weber 

Judith  Winters 

Suzanne  Younger 


All  photographs  are  by  the  University 
Photographic  Services  or  from  the 
University  Archives 


Bulletin 

Layout  and  Production   Raymond  Perlman 
Paper       Cover,  10  point  Kromekote 

Text.  Basis  80  Warren's  Patina  Matte 
Type         Helvetica 
Printing    Crouse  Printing 

Champaign,  Illinois 


The  Council  Executive  Committee  1982-83 

Mrs  Sandra  Casserly.  President 

Mrs.  August  Meyer,  Jr  ,  Vice-President 

Mrs.  James  E.  Welch,  Secretary 

Mrs.  Kyle  Robeson.  Treasurer 

Mrs.  Richard  Jorgensen.  Council  Membership  Chairman 

Mrs  George  Miller.  Krannert  Art  Museum  Associates 

Membership  Chairman 
Mrs  Charles  Younger.  III.  Krannert  Art  Museum  Associates 

Membership  Deputy  Chairman 
Mrs  James  Cullum.  Public  Information  Chairman 
Mrs.  Wayne  Weber.  Public  Information  Deputy  Chairman 
Mrs   Louis  Liay.  Reception  Chairman 
Mrs  William  Kappauf.  Reception  Deputy  Chairman 
Mrs.  William  Johnson.  Trip  Chairman 
Mrs  Chester  Keller.  Trip  Co-Deputy  Chairman 
Mrs.  David  McBride,  Trip  Co-Deputy  Chairman 
Mrs.  Richard  Helfrich.  Program  Chairman 
Mrs  James  Edwards.  Past  President 
Mr   Mark  M   Johnson.  Krannert  Art  Museum  Representative 


Gallery  Hours 

Tuesday  through  Saturday.  9  00  a  m  -5  00  p  m 

Sunday  2:00-5  00  p  m 

Beginning  January  16,  1983: 

Tuesday,  10:00  a.m. -5  00  p  m 

Wednesday.  10:00  am. -8:00  p  m 

Thursday.  Friday.  Saturday.  10:00  a.m. -5:00  p  m 

Sunday.  2:00-5  00  pm 

Admission  free 

Reservations 

Those  desiring  guided  visits  may 

make  reservations  by  calling 

217/333-1860 


Bulletin  of  the  Krannert  Art  Museum 
University  of  Illinois.  Urbana-Champaign 
Volume  VIII.  Number  2.  1983 
The  Bulletin  of  the  Krannert  Art  Museum 
IS  published  twice  a  year  by  the  Krannert 
Art  Museum,  University  of  Illinois,  Urbana- 
Champaign.  500  E   Peabody  Drive.  Champaign. 
61820  Printed  in  the  United  States  ol  America. 

Copyright  i?'  1983  by  the  Board  of  Trustees  of 
the  University  of  Illinois,  all  rights  reserved- 
International  Standard  Serial  Number  0195-3435 
Indexed  in  RILA,  International  Repertory  of  the 
Literature  of  Art 


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