Muybridge: Science as Art and Art as Scientific Study

Eadweard Muybridge (English 1830-1904), Plate 222. Stooping, lifting a water jar to head and turning, 1887, collotype; from Volume 4, Females (Nude) of Animal Locomotion: an electrophotographic investigation of consecutive phases of Animal Locomotion. Published by the University of Pennsylvania, Philadelphia, 1887. Gift of Mr. Jack Greenwald, 2001

Try going a week without movies or television.  Or, maybe try a day.

Now to take it a step further, imagine this: your exposure to moving images is basically zero.

Getting your mind cast in that frame will make the iconic photographic work of Eadweard Muybridge look like magic.

That’s how it seemed at the time.

In the 1870s, Muybridge was hired to use his photographic skills and ingenuity to settle an old argument.  Without the aid of cameras, no one could tell if all four of a galloping horse’s hooves were ever off the ground all at once.  Using numerous cameras placed along a pre-determined path, each lens was tripped to open as the animal ran past.

Moving pictures had not been invented.  The ability to create a dynamic movement through still images allowed a whole new level of vision, understanding and insight; people could now see things that they otherwise could not.

The final verdict?  Horses’ hooves do all leave the ground at one point in their gallop.

These photographs and the possible applications this technique held were a boon to science.  Today, these images are regarded as a fantastic combination of science and art.

After the initial horse-galloping photographs, Muybridge worked with the University of Pennsylvania on his influential work, “Animal Locomotion”.  This book includes over 700 images; less than 200 are of animals.  The vast majority are of humans performing various tasks, their movements recorded from different angles.

You can see four photographs from this book currently on display in  125 & 45: an interrogative spirit exhibition.

- Teresa Gregorio, Museum Monitor / Information Officer, McMaster Museum of Art

Triumphal Arch: Good Idea on Paper

Triumphal Arch of Maximilian I, 1515-1517. Albrecht Dürer (German 1471-1528) woodcuts in the collection of McMaster Museum of Art are highlighted.

The Holy Roman Emperor Maximilian I (born March 22 [today!], 1459 – Jan 12, 1519) was, like so many rulers, very concerned with his legacy.  There are plenty of (vain)glorious statues, churches, spires, columns, obelisks, and other such structures left to us throughout history by powerful figures; and Maximilian has certainly contributed this list.

Where he differs is in his contemporary cutting edge ideas; he used the power of the printing press.  Created only shortly before his time, this invention allowed for multiples to be made of texts and images.

This was revolutionary.  And inexpensive.  And portable.  And, very importantly, reproducible.

Albrecht Dürer (German 1471-1528) two untitled woodcuts from the Triumphal Arch of Maximilian I, 1515-1517. Gift of Herman Levy, Esq., O.B.E., 1984

Let’s say you’re Maximilian.  You have a vast empire over which to wield your authority and display your legacy. You can build a giant equestrian statue in front of the biggest church in the most populated city within your realm, but this costly endeavour, while very impressive and imposing, has a limited scope of influence. Your massive rural population, who may never visit your capital city, may never see this grandiose sight.

Triumphal arches have been used by numerous emperors and other heads of state for these sorts of proclamatory purposes.  They provide a large, flat and easily readable space upon which to illustrate whatever one wishes: Napoleon used his to honour war dead, inscribing on it the names of all French victories and generals. Constantine constructed his to celebrate his victory over Maxentius at the Battle of Milvian Bridge.

So, what did Maximilian do? He commissioned some of the top artists of his time to design an arch, filled with various narrative images and themes, but this arch was to be on paper!

The massive Triumphal Arch of Maximilian I was the largest print ever created.  Pieced together from 192 separate woodblock prints, this print measures a mighty 3.4 m x 2.9 m.  It was designed by a few artists; Albrecht Dürer is mainly credited with its creation, but in fact much of the design work fell to his assistants Hans Springinklee and Wolf Traut. Yet another artist, Albrecht Altdorfer, is credited specifically with the round towers which flank the arch.

Making sense of the masses of visual information which confronts the viewer might be daunting; breaking the aspects of the arch down into its themes helps to sort out the illustrative onslaught.

The central arch’s theme is “Honour and Might”.  This section features a grand family tree, populated by ancestors’ portraits and shields of arms.  The left arch is “Praise”, and the right “Nobility”; these two areas are decorated with events from Maximilian’s life, accompanied by explanatory text.  The outermost towers show scenes from the emperor’s private life, though how private this private life really was is another story.

The McMaster Museum of Art has ten woodcuts from Maximilian’s arch; they come from various parts of the finished piece, including a good number of battle scenes and illustrations from the right arch of Nobility.

- Teresa Gregorio, Museum Monitor / Information Officer, McMaster Museum of Art

Albrecht Dürer (German 1471-1528) Untitled woodcut from the Triumphal Arch of Maximilian I, 1515-1517. Gift of Herman Levy, Esq., O.B.E., 1984

One of Caesar’s Coins

Julius Caesar was murdered on this day in 44 B.C. by members of the Roman Senate.

Silver Denarius, 47 BCE, C. Julius Caesar, Gift of Dr. A.G. McKay, Hamilton, ON, 2004

While Caesar was fighting the Pompeians in North Africa, 47 BCE, a traveling military mint struck a large quantity of these denarii. On many of his coins, including this one from McMaster’s collection, Julius Caesar proudly proclaimed his divine ancestry from the goddess Venus by presenting her image.

On the obverse is the diademed profile of Venus, adorned with jewellery, in a border of dots. On the reverse, is Aeneas in his moment of flight from the burning ruins of Troy, carrying both his father and the embodiment of Minerva/Athena’s protection of that city, the palladium, to safety. The word “CAESAR” is written alongside him.

For more information about it or other coins in McMaster’s Bruce Brace Coin collection, please see the McMaster Coin Database 2005

Art in Transit, Part 1: Loans

This is the first in a series of short posts, looking at art in transit and how to make the journey safe—everything from the criteria for deciding if a work can be shipped at all, to packing considerations, to the role of the courier. It draws on the expertise of MMA staff, especially Julie Bronson (Collections Administrator) and Jennifer Petteplace (Installation and Preservation Officer) as well as handbooks on Museum standards from some of the largest institutions in North America.

Alexej von Jawlensky (Russian 1864-1941) Murnauer Landschaft mit drei Heuhocken / Murnau Landscape with Three Haystacks, 1908-1909, oil on cardboard, Levy Bequest Purchase, 1995 was one of 3 works recently loaned to the National Gallery of Canada

Part I:  Consenting to Loan Art

The McMaster Museum of Art loans works in its collection to exhibitions at major galleries around the globe. Recent loans within Canada include works of art by Otto Dix, Alexej von Jawlensky, Shelagh Keeley, William Kurelek, Henri Matisse, Ben Nicholson and Egon Schiele.

The decision to loan artwork is not taken lightly—the more a work is moved and handled, the greater the risk of damage. Here are some of the criteria that must first be considered:

1. The Condition and Fragility of the Artwork

Is it stable (no loose paint, no history of instability) and in good condition?
Is it particularly sensitive to changes in temperature, humidity, vibrations and shock?
Has work recently been exhibited? Prolonged light exposure is a problem for some materials and pigments and must be considered. (See Light, Ultraviolet and Infrared article from Canadian Conservation Insitute.) 
If the Museum receives a loan request for a delicate work, the Museum may request advice from CCI (Canadian Conservation Institute) or call in a conservator at the expensive of the borrower to determine if the artwork is stable enough to travel.
A full condition report is prepared by the Museum and institutions it lends to before any art is packed and after it is unpacked (that’s 4 reports for a work loaned to an exhibition and then returned.)

2. The Number of Venues

3. The Environmental conditions and security of the destination venue(s)

Before consenting to loans, the MMA requires a detailed Facility Report. For Canadian Museums, much of the facility criteria is assessed by the Department of Canadian Heritage’s for their list of Cultural Property Designated Institutions.

4. Shipping and Packing Requirements – for significant loans we would want the borrower to assume the cost of constructing a crate, pay for a courier to go with it, and ship it on a direct run, to eliminate multiple stops. The borrower also assumes all insurance from door to door (nail to nail).

Art Ed: When Painting Meets Music

One of the best things about working in a museum is creating fun activities for young visitors.  I get to be a kid again!

There’s been many tours given and activities written over the years, but the ones that seem to be the most enjoyed by visitors always include music.

This week we rolled out our most recent music activity: Changing Perspectives.  Grade 7/8 students are all seated in front of one artwork, and asked to think of a title for this artwork.

The twist? They get to listen to several music clips, and see how the changing songs may change their perspective on the artwork.

My favourite moments from this past week’s activity: The enthusiasm shown by so many of the participants, their creative responses (such as “Depressing Splendor”, “Let Loose”, Dreams Gone Bad (homesick)” and “Uphill Journey”, and the fact that I might have created a brand new Pogues fan.

Betty Goodwin, The Colour of White, 2000

The artwork looked at:
Colour of White, by Betty Goodwin (shown inset, details below)
The music listened to:
“Party Rock Anthem” by LMFAO
“Hedwig’s Theme”
“Moby Dick” by Led Zepplin
“Kodo” by the Yoshida Brothers
“Winter” by Vivaldi
“Dirty Old Town” by the Pogues

Which song got the largest reaction?
Absolutely, it was Hedwig’s Theme, the theme song from the Harry Potter movies.

- Teresa Gregorio, Museum Monitor / Information Officer

Image: Betty Goodwin,The Colour of White, 2000, Purchased with funds from the Hatch Bequest, the Adam Sudar Fund, the Walter & Duncan Gordon Foundation Trust and the Canada Council, 2004. McMaster Museum of Art Collection.

Group of 7 inspires Group of 15

Last week, Ms. Wilson’s Grade 3 students from Lee Academy came for a tour of the galleries and a behind the scenes look at some of the Group of Seven paintings in McMaster’s collection. Inspired, they went to work on their own group masterpiece, “Changing Seasons”. Have a look…

The inspiration: selected works by Group of 7 members (and a Tom Thomson painting)
in this mini exhibition for visiting student group

The achievement: 'Changing Seasons', 2012
by Lee Academy's Group of 15

- Nicole Knibb, Education Co-ordinator, McMaster Museum of Art

Claude Monet’s Room with a View of Waterloo Bridge

Claude Monet (French 1840-1926) Waterloo Bridge, Effet de Soleil, 1903, oil on canvas. Gift of Herman Levy, Esq., O.B.E., 1984. Collection of McMaster Museum of Art, McMaster University.

When Claude Monet visited London, he stayed at the Savoy Hotel in a room overlooking the Thames, its bridges and buildings of Westminster. From his balcony, he painted over 100 canvases, captivated by the fog, the factory smoke and the changing light effects.

McMaster is proud to have one of these paintings, Monet’s Waterloo Bridge in its collection. This much loved and requested painting is featured in our current exhibition 125 & 45: an interrogative spirit until August 25, 2012.

Several years ago, McMaster University Art History Professor Dr. Paul Walton added some historical, topographical research to the Museum’s files about the work. His annotated maps and images provide a fascinating look at the topography of 1903, and the changes in the city of London and the bridge itself between 1903 and today.

Coincidentally, one of Monet’s pastel drawings of Waterloo Bridge returned to the very room of its origins and was exhibited in the Monet Suite at the Savoy late last year. More on that.

A recent photograph of Waterloo Bridge. Photo ©wallyg on Flickr http://www.flickr.com/photos/wallyg/302722361/

Shooting van Gogh

Photographer Lynton Gardiner shoots Van Gogh at McMaster Museum of Art

Photographer Lynton Gardiner visited the McMaster Museum of Art yesterday to shoot super high resolution images with a Phase One iQ180 Digital Back 80MP Camera of nine key collection paintings, as part of an ongoing painting analysis research project. With the images he captures, researchers can zoom in and even the finest cracks in the paint surface will appear crystal clear.

Now based in Toronto, Gardiner’s impressive background in the field includes years of experience as staff photographer at the Metropolitan Museum of Art and the Montreal Museum of Fine Arts. Here are a few snapshots of him at work yesterday:

Phase One Camera and Tintoretto, McMaster Museum of Art

Loss, Hope, Healing and the Art of Greg Staats

Greg Staats giving opening remarks at MMA Reception, Nov 17, 2011

Don’t miss GREG STAATS ARTIST’S TALK, this Thursday November 24 at 6 pm at the McMaster Museum of Art. Admission is Free!

The art of Greg Staats (b. Ohsweken, Ontario, Six Nations of the Grand River Territory) has to do with the restorative and reflective nature of the ancient Haudenosaunee Ceremony of Condolence – a ceremony to help people recover from loss and renew their spirit. For more than twenty years, Staats has addressed loss of family, land, culture and the Mohawk language, through his art, primarily photographic and video works.

Says Richard (Rick) W. Hill Sr. (Tuscarora), “He has turned an ancient ceremony into a form of personal healing and developed a sophisticated restorative aesthetic as a result.”

While the Staats’ images are highly personal, they resonate with viewers, regardless of their frame of reference or their understanding of Staats’ cultural context. A barren tree, an empty chair, a monolith, a forest – arranged in sequence, his images are evocative. They suggest a story and begin a conversation.

Greg Staats’ exhibition liminal disturbance continues at the McMaster Museum of Art until January 28, 2012

Omai – Portrait of an 18th century South Sea Islander

It was no small thing to undertake a sea voyage in the 18^th century.  Many months and dangers faced any person who travelled aboard a ship.  In 1710, five First Nations men set out to meet Queen Anne of England – only four survived the journey¹.

And yet, many people continued to make this risky choice.  Europe was in an age of enlightenment, exploration, philosophical inquiry and scientific method.  There was a social and cultural drive to expand their worldview.

It was on one of these voyages of exploration that the crew of Captain James Cook encountered Omai.  The ship Adventure sailed by Omai’s home island of Raiatea (near Tahiti) in 1773. He was invited to join the expedition and sail to London; he acted as a sort of diplomat, becoming the first South Sea Islands person to visit Britain.

In London Omai was something of a celebrity; he spent his time within the highest circles of society, dining, visiting, travelling and impressing Londoners with his apparent natural graces, genteel behaviour and charm.  With Rosseauian ideals of the corruptive effect of civilization and society upon people, Omai seemed to prove a popular point; those who live outside the effect of ‘civilization’ are naturally good.

Omai was a sought-after dinner guest; more than one written account describes his strength, intelligence and appearance. One particular fan wrote,

“He was dressed according to the fashion of his Country, & is a very good looking man – my Father says he has quite an interesting Countenance. He appeared to have uncommon spirits, & laughed very heartily many Times. He speaks very few English words – & Capt. Furneaux a few Otaheite words. – they had got Mr Banks there, on purpose to speak to him – but Mr Banks has almost forgot what he knew of that language.”²

Omai was also a sought-after artistic subject; his life story was dramatized by a popular playwright; he had his portrait taken by a number of artists, including Sir Joshua Reynolds³, William Parry and Nathanial Dance.  (You can see Dance’s portrait of Omai on display at the MMA til January 7, 2012.)

Being a darling of society has an expiry date: the London scene lost its attraction to Omai, and on Captain Cook’s third voyage in 1776 Omai was returned to the South Seas.  It was not his home island on which he resettled; instead he was taken to Huaheine.  The British built him a manor house and gardens in the English style and departed in November 1777, leaving him with various European goods such as port wine, muskets, crockery, a suit of armour and even some animals.

When the Bounty sailed to Tahiti in 1789, Captain Bligh was told Omai had died only two years after his arrival in 1777.  Omai would have been around 30 years old.

Visit Omai in the MMA’s exhibit “First Contact? Artists of the Cook Voyages”, on display until January 7, 2012.

Other resources:

http://www.captcook-ne.co.uk/ccne/themes/omai.htm

http://www.nla.gov.au/exhibitions/omai/section1/arcadia.html
____________
¹Portraits painted to commemorate these men’s trip to London were included in the recent exhibition at the MMA, “The Long 18^th Century: Rising to the Occasion.”

² Fanny Burney, from her journal   http://www.tate.org.uk/britain/exhibitions/reynolds/pdf/8_what_the_papers_said.pdf

Note of interest: In some South Seas languages, it was common to add a vowel sound preceding one’s name (this sound was a linguistic article).  This led the British who encountered Omai to believe his name was Omai; in fact, his name was Mai.  The O sound was the preceding article sound.  Thus Tahiti, in Fanny Burney’s journal entry, is called Otaheite.

³ http://www.tate.org.uk/britain/exhibitions/reynolds/c_omai.shtm

- Teresa Gregorio,
McMaster Museum of Art