This week in objects conservation, we are working on several pieces of micromosaic jewelry made in Italy during the late-19th century.
Last month, three Northwestern scientists brought their highly specialized scanning and imaging equipment to the museum and spent a week in our Paintings/Objects lab.
If you’ve visited the Cincinnati Art Museum in the past few months, you might have noticed construction work on the museum’s first floor, just past the Great Hall, where Hiram Power’s marble sculpture of Eve Disconsolate once stood.
Preparations are well underway for the upcoming exhibition From Shanghai to Ohio: Woo Chong Yung (1898-1989). In fact, we have been developing the show for more than four years.
Something is afoot with these shoes! Can you put your finger (or toe) on the difference?
This iridescent green shade came to the lab in a box of fragments. Piece by piece, I built the individual fragments back into a shade.
This visitor favorite, Girl Eating Porridge, by French artist Adolphe William Bouguereau (1825–1905), was acquired by the museum in 1884, a mere ten years after the artist painted it.
If we look at just one example—the 1893 World’s Columbian Exposition held in Chicago—we can see how these celebrations of artistic and scientific achievements also communicated complex messages about identity and race.
In my post of November 30, I promised to explain what it took to improve the appearance and the mechanical condition of Emil Klauprecht’s 1830s lithograph, Galt House.
The main goal of the 10x10 Teen Art Expo is to highlight 7–12 graders' artwork—all created in a 10-inch-by-10-inch format—interpreting a theme the 10x10 Teen Volunteer Team chooses.
Check out some small wonders from the world of textile artwork!
These tiny ceramic fragments are part of a Japanese doll’s tea set. I am working on putting these pieces back together so that they can be displayed with their doll in the future.
As a curator, I’m often asked how long it takes to bring an exhibition together. The answer is . . . it varies.
Join us as we look back on our noteworthy milestones and accomplishments of the past year.
What happens to an exhibition’s display cases after a temporary show has ended and all the art has been de-installed?
This small painting by American artist Julian Alden Weir (1852–1919) was donated to the museum by the artist in 1911.
At first glance it is obvious the print has had a rough life.
We’ve got it all! All the width of this 1920s embroidered voile (fine soft sheer fabric), that is.
In early October, I was delighted to participate in a scholars’ day at the Detroit Institute of Arts (DIA). For those outside the museum biz, a scholars’ day is a convening of curators, academics, and sometimes expert collectors, artists, and gallerists, who gather to share a deep dive on an artist or movement featured in a special exhibition.
Several small copper alloy objects, pieces of jewelry and articles of adornment, are all showing signs of bronze disease.
These three portraits by 18th-century British artist Thomas Gainsborough are in the paintings conservation lab to be examined for the British catalog project.
In the Conservation Lab, we are working on this large ceramic jar from Dynasty I Egypt (3100–2900 BCE).
As the new Curatorial Assistant for South Asian Art, Islamic Art, and Antiquities, finding “my favorite piece here at the museum is a serious task! The possibilities for finding “the one” are endless.
This small round painting, attributed to the studio of the 17th century Dutch artist Frans Hals, was recently in the paintings conservation lab to have its discolored varnish removed.
An interesting artifact has entered the museum Archives, courtesy of Archivist/Records Manager Geoff Edwards. This glass paperweight holds a small photograph of the museum and the Cincinnati Art Academy (now located downtown).
We recently acquired a work by Woomin Kim, a young Korean-born artist who lives and works in Queens, New York.
There are few things more satisfying than seeing some really dramatic “before and after” photos when a conservation treatment is complete! Conservation of Elizabeth Hawes’ “flag dress” or Geographic (1940) has wrapped up, and now you can flip through a whole album of “before/after” pairs showing the transformations of many of the flags that cover the dress.
When asked about his philosophy behind the Terrace Café’s new fall menu, Executive Chef Yajan (“Yaj”) Upadhyaya gave a straightforward answer.
If you’ve been following our Conservation blog posts, you may have seen several updates as we carried out treatment over the past two years.
In 2019 and 2020 the museum received three prints by American artist Raphael Soyer (1899–1987), the first of his prints to enter the museum’s collection.