While walking the west wing galleries where the collections are on view, one can't miss the the sculpture of Brahma in the center of the exhibition. The object, acquired by the Cleveland Museum of Art in 2007, was actually first titled Shiva as Brahma before being renamed Brahma. Why the name change? We asked Sonya Quintanilla, George P. Bickford curator of Indian and Southeast Asian art, to talk about the history and identity of this particular work of art.
Over the years the look, feel, and location of the Cleveland Museum of Art’s galleries featuring Asian artwork has transformed around the Seated Amitayus Buddha. See the transformation of the Asian-focused art galleries from 1916 through today in this special photo blog.
The Cleveland Museum of Art's Indian and Southeast Asian collection is rated as one of the leading collections in this area, both nationally and internationally. With the grand opening of the building and completion of the renovation and expansion project, the collection, along with the museum's distinguished collection of Chinese art, is on view once again. Just before the opening, we caught up with Sonya Quintanilla, George P. Bickford curator of Indian and Southeast Asian art, to talk about some of the highlights in the new west wing galleries! She shares with us an in-depth background on four of the must-see works in the collection.
The Cleveland Museum of Art's Indian and Southeast Asian collection is rated as one of the leading collections in this area, both nationally and internationally. To add to its collection, the museum is pleased to announce a significant acquisition of the Catherine Glynn Benkaim and Ralph Benkaim Collection of Deccan and Mughal Paintings.
The Cleveland Museum of Art announced today the acquisition of the Catherine Glynn Benkaim and Ralph Benkaim Collection of Deccan and Mughal Paintings, an unparalleled private collection of 95 works from India’s major Islamic courts. The Benkaim Collection contains extremely rare folios and has been represented in many publications, exhibitions and research projects on Indian painting for the last several decades. The acquisition, made possible in part through the support of an anonymous donor, immediately elevates the museum to a world-class leader in this field.
The great 19th century American landscape painter, Thomas Cole, said that “the frame is the soul of the painting.” And for many Clevelanders, the soul of local, artistic practice was ushered in with the Cleveland School movement, a period of intense artistic growth and achievement that spanned the turn of the 19th century through the 1950s. Help us realize new, custom-built frames for this piece and others in the Cleveland School collection.
Opening on Sunday, November 10, Disembodied: Portrait Miniatures and Their Contemporary Relatives reawakens the spirit of these works, which are removed by hundreds of years from the hands into which they were originally placed.
As part of the ongoing review of its collections, the Cleveland Museum of Art has identified two objects in its collection for deaccession through public auction: Rufino Tamayo’s Women Reaching for the Moon and La Rosa by Matta. In keeping with the museum’s policy and the accepted guidelines established by the AAMD, all proceeds from the sale of this artwork will be used for future art acquisitions.
It is clear from examples that survive from the Middle Ages and early Renaissance, that the crucifix, in the hands of a great artist, achieved the status of a consummate work of art. The Cleveland Museum of Art possesses a beautiful example of a large-scale, painted crucifix made in Pisa during the 1230s. The majestic Cleveland crucifix is one of the few elaborate painted Italian crosses in the United States.
In a unique partnership between Lakeland Community College, the Cleveland Museum of Art, and the Laura and Alvin Siegal Lifelong Learning Program, a three session mini-course this month will deepen the connections between fine arts, film, and graphic fiction. The course, co-developed by the CMA, consists of three 90 minute weekly live video conferences, which explore the origins, genres, and influences of graphic fiction and narrative.