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).
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.
Over a couple of weeks, I examined, cleaned, and rehoused a series of sixteenth-century prints by Léonard Gaultier (circa 1561–circa 1630).
In 2005 the museum received a gift of Japanese art that includes ceramics, paintings, and prints. Now that our Curator of Prints Kristin Spangenberg has finished researching the 35 prints in this gift, I am reviewing their needs before moving them to their permanent storage locations.
This week, the museum installed a twenty-first century take on the monumental “roll-up” map.
A recent bequest of 20th-century American prints and paintings includes this view of Cincinnati by Laurence Sisson (1928–2015). Painted in watercolor with pen and black ink, the scene captures downtown buildings overlooking the Ohio River as Sisson saw them in 1954.
Paper conservation often involves undoing repairs by others who don’t have the knowledge or materials needed to best preserve the art. I recently examined a drawing by Cincinnati artist John Ruthven (1924 – 2020) with a long tear that had been mended with pressure sensitive tape, often referred to as “Scotch tape.”
A larger portion of the painting is currently on view in New York until May 7, after which the scroll will travel to the Asian Art Museum in San Francisco and be on exhibit June 16–September 18, 2023.
See these and other woodcut prints (including Himeji Castle in the Morning, a variation of the print seen here) by seven members of the talented Yoshida family spanning most of the twentieth century until April 9, 2023.
It truly takes a team to make an exhibition. This
The lesser-known book, The Book of Thel, is now featured in an exhibit in Milwaukee, Wisconsin.
When private owners generously allow the museum to display their pieces, the conservators sometimes need to put a little effort into stabilizing them before they go into the gallery. This was the case with a monumental woodcut print by Albrecht Dürer that will soon be seen in the Unlocking an Art Deco Bedroom by Joseph Urban exhibit.
Our paper conservator’s challenge is to remove enough yellow discoloration from the paper so that it is closer to its original color and more closely matches the other prints in the group.
Mexican Printmakers 1920s to 1950s is on display until August 14, where you can see this print and learn about Aguirre and his fellow artists.
A group of illustrations of Brothers Grimm fairy tales were prepared for matting.
The Fashion and Textile Collection has a new gift! And it’s part of a set!
Shown here is a painting by Wu Zhongxiong that was selected by the Curator of Asian art to include in our next grant application.
The print is now on its way to the Smithsonian Museum of American Art in Washington, D.C. with three other Cincinnati Art Museum pieces for exhibit in Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano.
Early this year the museum was given this portrait of the 17th century English writer Dr. Samuel Johnson.
Our paper conservator and our curator of East Asian art have been examining paintings from storage so we can add information to the curatorial and conservation files.
This print came to the paper lab because the original framing method had encouraged distortions to form across the top of the paper.
An amazing transformation took place this summer in the Paper Lab.
In celebration of his 133rd birthday, let’s take a closer look at Duchamp’s intaglio print of a cubist-style coffee grinder currently undergoing conservation in the Paper Lab.
This year the Cincinnati Art Museum is again supporting the Contemporary Arts Center by lending a book to their newly opened exhibit, “Tania Candiani: Sounding Labor, Silent Bodies”.
Staff members have been very active in the museum galleries for the past month. One of the cases that was due for its regular rotation is the hanging scroll case in Gallery 138.
Our paper conservator has not been in the lab since March, but she is still working on the collection.
Our paper conservator has been in the darkroom capturing images of watermarks from some of our Old Master prints.
This drawing recently came to the paper lab to have some old paper remnants removed. The drawing is on the back of a letter, and some of the writing was obscured.
Oil paintings do not usually come to the Paper Lab, but occasionally the conservators share projects, and that is the case here.
Sometimes an artist presents us with something that looks good from the front, but when we turn it over we notice that there are problems that can’t be seen when the art is hanging on a wall.