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Cultural Background
Maria Raquel Morales
Untitled, 2006
Porcelain
TSCPL Permanent Collection, 2006.25
Morales grew up in Guatemala. Her doll figures are often inspired by the
spirits of loved ones, both friends and family, who disappeared and were never seen from again during the Guatemalan Civil War (1960-96).
During the war, extreme right-wing groups of self-appointed vigilantes, including the Secret Anti-Communist Army (ESA) and the White Hand
(Le Mano Blanca), tortured and murdered students, professionals and peasants suspected of involvement in leftist activities.
Wilhelm Lehmbruck 'Büste der Kniende' (Bust of a Kneeling Woman), 1911, Kunsthalle (Museum of Art), Hamburg, Germany
Drossis Leonidas (*1834 Tripolis or Nafplion - *1882 Naples)
Pinelope, 1873
Marble, 143 x 75 x 125 cm
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Λεωνίδας Δρόσης (1834 - 1882)
Πηνελόπη, 1873
Μάρμαρο, 143 x 75 x 125 cm
Δωρεά βασιλιά Γεωργίου Β΄, Αρ. έργου: Π.508
Wilhelm Lehmbruck 'Bildnis Herr F.' (Portrait of Mr. F.), 1913, Kunsthalle (Museum of Art), Hamburg, Germany
Cultural Background
"When we moved to Minidoka, all of my friends lived close to me."
Roger Shimomura
Memories of Childhood, 1999
Book: lithograph, typeset, various papers
TSCPL Permanent Collection, Library Foundation Purchase
During World War II, 120,000 Japanese Americans were illegally
interned. The images in this book are derived from a series of paintings about the artist’s experience as a child in the Minidoka Concentration Camp in Hunt, Idaho, during World War II.
Pablo Picasso 'Maske mit gebrochener Nase' (Mask with Broken Nose), 1905, Kunsthalle (Museum of Art), Hamburg, Germany
Pablo Picasso 'Maske mit gebrochener Nase' (Mask with Broken Nose), 1905, Kunsthalle (Museum of Art), Hamburg, Germany
Hatzis Vassilios (1870 - 1915)
The Harbor of Kavala, 1913
Oil on canvas, 25 x 45 cm
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Βασίλειος Χατζής (1870 - 1915)
Το λιμάνι της Καβάλας, 1913
Λάδι σε μουσαμά, 25 x 45 cm
Attributed to Mariotto Albertinelli (1474-1515)
Episode from the Genesis (?)
oil on panel
(Donation of the National Technical University of Athens, inv. no. 1095)
Permanent Collection of the National Gallery, Athens, Greece.
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Αποδίδεται στον Μαριότο Αλμπερτινέλι (1474-1515)
Επεισόδιο από τη Γένεση (;)
λάδι σε ξύλο
(Δωρεά Πολυτεχνείου, αρ. έργου 1095)
Μόνιμη συλλογή της Εθνικής Πινακοθήκης, Αθήνα.
Detail from:
Theodoros Vryzakis (1819-1878)
The Exodus from Missolonghi, 1853
oil on canvas
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Λεπτομέρια από:
Θεόδωρος Βρυζάκης (1819-1878)
Η έξοδος του Μεσολογγίου, 1853
λάδι σε μουσαμά
Cultural Background
Jaune Quick-To-See Smith
Sticky Mouth, 1993
Lithograph
TSCPL permanent collection, 1999.21
Jaune Quick-to-See Smith’s Salish, French Cree, and Shoshone ancestry informs her work. She regards herself as an ambassador between multiple cultures. Sticky Mouth, the title, is a translation of the Blackfeet word for bear, which refers to one of a bear’s favorite snacks—honey. In Native mythology, bears are messengers and in some cases seen as ancestral figures. Surrounding the bear are images of Native people, some of which are quite stereotypical.
Smith wants to educate people not only about where these stereotypes come from, but openly address these overgeneralizations. There is also a coyote figure, with which Smith identifies herself. Coyote is a “trickster” figure in Native culture. He’s a messenger. He warns people about dangers and the consequences of poor behavior. Here he is waving. Coyote is almost always irreverent. As someone who is navigating between multiple cultures, Smith can play that role perfectly. She’s able to make us laugh at things that aren’t appropriate, be delightful about it, but also certainly to make us think about it.
Georges Braque 'Brot, Austern und Karaffe' (Bread, Oysters and Carafe), 1937, Kunsthalle (Museum of Art), Hamburg, Germany
Konstantinos Volanakis (1837-1907)
A) Top painting:
Outside the harbor, c. 1872
oil on canvas
Έξω από το λιμάνι, π. 1872
λάδι σε μουσαμά
Β) Bottom painting:
Before the storm, c. 1883-1885
oil on wood
Πριν την καταιγίδα, π. 1883-1885
λάδι σε ξύλο
Hatzis Vassilios (1870 - 1915)
Boat-yard with Boat, π. 1910
Oil on canvas, 50 x 66 cm
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Βασίλειος Χατζής (1870 - 1915)
Καράβι στο καρνάγιο, π. 1910
Λάδι σε μουσαμά, 50 x 66 cm
Zavitzianos Markos (1884 - 1923)
On the Balcony, Not Set
Oil on wood panel, 38 x 30 cm
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Μάρκος Ζαβιτσιάνος (1884 - 1923)
Στο μπαλκόνι, Not Set
Λάδι σε ξύλο, 38 x 30 cm
Commingling Contemporary: Selections from the Permanent CollectionApril 12 -June 22, 2012April 12 Opening reception, 6 pm, 103 Garland HallSelections from the Permanent Collection will be featured in this annual exhibit. The Sarah Moody Gallery of Art Permanent Collection was initiated in the late 1960s with an emphasis on modern and contemporary art, particularly in photography and works on paper. In recent years collecting has expanded to include painting and sculpture. Internationally known artists represented in the collection include Sally Mann, Elizabeth Murray, Chuck Close, Lee Krasner, Carrie Mae Weems, Wassily Kandinsky, Luis Jimenez, Samuel Mockbee,Robert Kushner, Jim Dine, Judy Pfaff , William Christenberry (UA MA 1966) and Walker Evans.
Smithsonian Institution NATIONAL PORTRAIT GALLERY at 8th and F Street, NW, Washington DC on Sunday afternoon, 9 February 2014 by Elvert Barnes Photography
Portrait of Frederick Douglass
Douglass (1818-1895) by an unidentified artist. Courtesy National Portrait Gallery, Smithsonian Institution, Washington, D.C. Although this portrait is attributed to an unidentified artist, Dolly Stetson’s letter of April 15, 1845 suggests that Elisha Hammond, a member of the Northampton Association, painted Douglass’ portrait during Douglass’es visit to the Association in 1845.
Visit NPG / PERMANENT COLLECTION website at www.npg.si.edu/collection/permanent.html
Elvert Barnes FEBRUARY 2014 BLACK HISTORY MONTH Project
Minerva Visits the Muses (Parnassus), c. 1700
Attributed to Gerard Lairesse (1640-1711)
oil on canvas
Permanent Collection of the National Gallery, Athens, Greece.
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Η Αθηνά επισκέπτεται τις Μούσες (Παρνασσός), π. 1700
Αποδίδεται στον Χέραρ Λερές (1640-1711)
λάδι σε μουσαμά
Detail from:
Theodoros Vryzakis (1819-1878)
The Exodus from Missolonghi, 1853
oil on canvas
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Λεπτομέρια από:
Θεόδωρος Βρυζάκης (1819-1878)
Η έξοδος του Μεσολογγίου, 1853
λάδι σε μουσαμά
CLOCKWISE FROM TOP:
76/150: Lasker Award, Albert Lasker Group Award to the Menninger Foundation, 1955, The American Public Health Association; For a sustained and rightly productive attack against mental disease bearing fruit in better hospitals, better trained staffs and greatly improved care of the patient.
75/150: Albo Glass, Untitled (raspberry vessel), 2004, glass, Gift of the Biofeedback Society of Kansas to honor Patricia Norris, PhD and Steven Fahrion PhD, for their contributions to the field of psychophysiology and biofeedback.
83/150: Dr. Cotter Hirschberg, How to Talk about… book, How the Body Works. Cotter Hirschberg was a child psychiatrist at the Menninger Clinic, and wrote a series of these books about talking with children. They included anger, fear, going to doctors, and body functions.
78/150: Menninger Bulletin, Mary Huntoon’s articles on art therapy 1949 “The Creative Arts in Therapy” in Bulletin of the Menninger Clinic, 13:198-203 (reviewed by a psychoanalytical journal in Calcutta)
79/150: Menninger Bulletin, Mary Huntoon, 1953 “Art therapy for patients in the acute section of Winter VA Hospital.” VA Department of Medicine and Surgery Information Bulletin, 10, 29-32.
80/150: Menninger Bulletin, Dr. C. F. Menninger, Karl A. Menninger, William C. Menninger: brochure on research on poliomyelitis, 1923
81/150: Menninger Bulletin, C. F. Menninger, MD, The Modern Conception of Diabetes Mellitus, 1921
84/150: Samuel Crumbine: “Don’t Spit on the Sidewalk” brick, early 20th c.
Oskar Kokoschka 'Mädchen mit Tonpuppe' (Girl with Clay Doll), 1922, Kunsthalle (Museum of Art), Hamburg, Germany
Unknown, Venetian School, 17th century
Samson and Detilah
oil on canvas
(Georgios Averoff Bequest)
Permanent Collection of the National Gallery, Athens, Greece.
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Αγνωστος, Σχολή της Βενετίας, 17ος αιώνας
Σαμφών και Δαλιδά
λάδι σε μουσαμά
(Κληροδότημα Γιωργίου Αβέρων)
Μόνιμη συλλογή της Εθνικής Πινακοθήκης, Αθήνα.
Altamouras Ioannis (1852 - 1878)
Copenhagen Harbour, 1874
Oil on canvas, 39 x 65 cm
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Ιωάννης Αλταμούρας (1852 - 1878)
Το λιμάνι της Κοπεγχάγης, 1874
Λάδι σε μουσαμά, 39 x 65 cm
Social Issues—Foreign Aid
Ingrid Lilligren
Foreign Aid, Part A
Stoneware
Topeka Competition 27 Juror's Award and Friends of the Library Purchase Award, 2005.11
In this piece, Lilligren uses Braille as a symbol of cultural, social and
political blindness.
The Braille writing on this vessel doubles as holes, rendering the
container useless and rather “leaky”. The more you put in, the more
you lose. What does this say about American foreign aid investment?
Text on the cylinder executed in Braille:
"Gwen Ifill recently interviewed the Carters on PBS. Jimmy Carter made the remark that for every dollar of Foreign Aid the U. S. donated, Norway was giving seventeen. I decided to investigate. What I found was illuminating. The U.S. is dead last
of 22 industrialized nations in foreign aid donations relative to gross domestic product. What a shame. The internet has thousands of sites with statistics, most of them quite alarming. I once read a definition of beauty as a purely aesthetic response, a disinterested observation, objective and objectifying. Statistics too put us at a remove. How can we put a face on the numbers we read about daily? How much cultural and personal identity have we invested in the remove that disinterested beauty and compressed data provides? If we define beauty to include engagement, could or would our relationship to the world and its issues change?" -I.L.
Frank Peers
Spring, c. 1920s
woodcut
Gift of Ester L. Peers
1977.016.025
Frank Peers was a Topeka printer who designed book plates, Christmas cards and various art prints.
In these prints it is easy to see the characteristic of the Art Deco style: sharply angular and geometric lines, often devoid of any decoration, suggestion of speed and movement, and an understated and restrained elegance.
Peers had stripped his female images down to simple lines and geometric shapes. There is a simple yet understated elegance to these forms.
In his cityscapes, Peers highlights a true Art Deco invention, the skyscraper. His angular lines and geometric forms combine to create a modern cityscape with a wonderful sense of movement.
DETAIL
Joanne Price
Palm Tree Story, 2010
Text adapted from Latin American Folktales: Stories from Hispanic and Indian Tradition
Paper, letterpress, engraving
Edition of 100
TSCPL Permanent Collection
The Palm Tree Story is a Columbian oral tale chronicling a little boy’s quest to help three men who had set out to find their fortunes. Along the way the boy encounters continual resistance and rejection from the three men, but he endures their trials and outwits an old woman with evil intentions. The boy guides the men to a fortuitous future despite their cruelty.
Emilio Vedova 'Berlin 33/63' 1963, Galerie der Gegenwart (Museum of Contemporary Art), Kunsthalle, Hamburg, Germany
Joanne Price
Palm Tree Story, 2010
Text adapted from Latin American Folktales: Stories from Hispanic and Indian Tradition
Paper, letterpress, engraving
Edition of 100
TSCPL Permanent Collection
The Palm Tree Story is a Columbian oral tale chronicling a little boy’s quest to help three men who had set out to find their fortunes. Along the way the boy encounters continual resistance and rejection from the three men, but he endures their trials and outwits an old woman with evil intentions. The boy guides the men to a fortuitous future despite their cruelty.
Georgios Iakovidis (1853-1932)
Grassy Meadow, c. 1885-1890
oil on canvas
(Collection of the Euripidis Koutlidis Foundation)
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Γεώργιος Ιακωβίδης (1853-1932)
Χορταριασμένο λιβάδι, π. 1885-1890
λάδι σε μουσαμά
(Συλλογή Ιδρύματος Ευριπίδη Κουτλίδη)
CLOCKWISE FROM TOP (not including photos):
Oil lamp, Ghana, Akan. Aluminum. African villages use whatever materials are available. This lamp was made from an empty tomato paste container. On loan from Laura Dalrymple and Jim Harris, Straw coil, Africa. Woven straw, used as a pad to carry loads on one’s head. On loan from Gary K. Clarke, Cowabunga Safaris. Paddles, Kenya, Njemps tribe, Lake Baringo (Great Rift Valley region). On loan from Gary K. Clarke, Cowabunga Safaris, Large and small brooms, Liberia, Loma. Large broom on loan from Laura Dalrymple and Jim Harris. Smaller broom on loan from Diana Hawks, Axe and adze, Ghana. Steel, wood. On loan from Laura Dalrymple and Jim Harris.
Left to right:
Kente cloth. Ghana, Asante. On loan from Tim and Jett Elmer. Face mask. Ivory Coast (Cote d'Ivoire), Senufo. Gift of Dr. Cotter and Jeanne Hirschberg.
According to artic.edu/aic: "The Londonderry Vase was one of the most ambitious undertakings of the imperial porcelain manufactory at Sèvres. With its commanding contours, monumental size, symmetrical decorations, and unabashed splendor, the vase is a superb example of the Empire style, inspired by Roman imperial art. Designed while Napoleon was emperor by his chief architect Charles Percier but produced after the Restoration, it was presented by Louis XVIII to the second marquess of Londonderry on the eve of the 1814 Congress of Vienna."
René Magritte 'Die Schnelle Hoffnung' (L'espoir rapide) (Swift Hope), 1927, Kunsthalle (Museum of Art), Hamburg, Germany
(Lousy photo...)
K.M. Vitzthum & Co. and F.M. Spencer and Sons (builders)
Thos G. Williamson & Co. (architect)
Boeger Studio (photographers)
First National Bank of Topeka
1932
The First National Bank of Topeka opened it newest building on June 5, 1932. It was the only example of an Art Deco skyscraper in Topeka.
In these pictures of opening day, you can see many Art Deco details. Look at the tops of the windows to see the ziggurat pattern popular during this time. The hand railing on the second floor and the clerestory have a repetitive geometric pattern of chevrons. The use of many different construction materials such as glass, marble, metal, and wood was also characteristic of the Art Deco style.
The 1932 building was imploded in 1996. Some of the
wonderful Art Deco architectural details were saved. You can find some of the details here in the Library. The decorative bronze panels outside of the Millennium Café were from the building’s elevators and the light fixtures over the Library’s dock were from the exterior of the First National Bank.
Hatzikyriakos-Ghikas Nikos (1906 - 1994)
Athens Houses, 1927 - 1928
Oil on canvas, 60,5 x 105 cm
Inv. no: Π.7309
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Νίκος Χατζηκυριάκος Γκίκας (1906 - 1994)
Σπίτια της Αθήνας, 1927 - 1928
Λάδι σε μουσαμά, 60,5 x 105 cm
Δωρεά του καλλιτέχνη, Αρ. έργου: Π.7309
Maria Raquel Morales
Topeka KS
Untitled (2006)
Stoneware
Mulvane Mountain Plains Art Fair purchase
2006.25
Lindsay Smith
"Symbol #7" (2004)
TSCPL Permanent Collection, 2004.36.2
Curate This! is a mentorship program where area high school students are instructed in the various skills needed to work in a gallery workplace.
Part classroom and part independent study, we are willing to work with instructors to monitor student progress and credit her/him for grading purposes.
Contact our museum educator, Betsy Roe, if you or someone you know is interested in participating in 2014: 785-580-4577 (or) eroe@tscpl.org.
Abstraction: Cityscape
Piet Mondrian
Composition, 1939
Serigraph
TSCPL Permanent Collection, 1963.638
In past times when one lived in contact with nature, abstraction was easy; it was done unconsciously. Now in our denaturalized age abstraction becomes an effort.
— Piet Mondrian, painter and printmaker
How can you tell that each of these prints are part of a city?
Can you find the buildings and roads?
Are you flying overhead or walking down the street?
In October 2010 the MoA (Museum of Art Seoul National University) in Korea acquired FF Scala for its permanent collection, the ‘Design and Crafts’ collection. It was the first time the museum made an aquisition of a typeface.
The exhibition ‘MoA Invites 2011’ took place from 19 January 2011 untill 2 February 2011, showing all new aquisitions of last year, including FF Scala. One of the nice things is that the museum actually uses FF Scala in its printed matter: the english text in the catalogue is set in it.
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