CLEVELAND (January 14, 2013) – On January 21, 2013, the Cleveland Museum of Art will open Gallery One, a unique, interactive gallery that blends art, technology and interpretation to inspire visitors to explore the museum’s renowned collections. This revolutionary space features the largest multi-touch screen in the United States, which displays images of over 3,500 objects from the museum’s world-renowned permanent collection.
After a seven-year hiatus, the Cleveland Museum of Art’s late medieval, Renaissance and Islamic collections have returned to public view. The artwork is showcased in the recently renovated galleries of the first level of the museum’s original 1916 Beaux-Arts building, designed by Hubbell and Benes. Within each historical area, objects are organized thematically and incorporate a variety of media. The installations are presented in integrated displays that foster an understanding of the social and historical contexts within which these works of art were produced.
This extremely rare Romanesque wood sculpture depicts the Virgin Mary’s role in important Christian doctrine. It belongs to a type known as Sedes Sapientiae (the Throne of Wisdom). The subject shows the Virgin Mary’s role as principal mediator between God and man in the Incarnation, the moment in which Christ became human. In this sculpture, Mary is seated frontally and hieratically on a throne.
With the Christmas holiday season in full swing, we asked Heather Lemonedes, Curator of Drawings, to discuss inspirations and influences of Madonna and Child imagery in the work of Mary Cassatt. Mary Cassatt and the Feminine Ideal in 19th-Century Paris is on view through January 21, 2013.
According to a chapter on Featherwork in Wari: Lords of the Ancient Andes, textiles covered with brilliant feathers of rain forest birds are among the most striking works create by textile artists in Pre-Columbia Peru. Let’s take a more detailed looked at one of the examples from our permanent collection that is on view in the exhibition.
A suite of five vivid, larger-than-life paintings in Gallery 201 may have caught your eye as you entered from the south door during the Solstice party—2003.6.1 (Polyhymnia, Muse of Eloquence) through 2003.6.5 (Clio, Muse of History)—all painted by artist Charles Meynier between 1798 and 1800.
Way back in 2008, when the Cleveland Museum of Art reopened a good portion of its permanent collection to the public, some friends and I decided to spend an afternoon checking out the galleries. Stepping into the brand new entrance to the 1916 building, the first thing we were greeted with was Jeptha Wade’s Portrait of Nathaniel Olds, a man from the 1830s wearing what appeared to be a sweet pair of sunglasses: