THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, October 27, 1996 TAG: 9610280200
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
SOURCE: BY TERESA ANNAS, STAFF WRITER
LENGTH: 222 lines
WHAT WOULD LOOK to anyone like a miniature, comprehensive museum in itself opened this weekend at The Chrysler Museum of Art. Called ``Treasures for the Community: The Chrysler Collects 1989-1996,'' it's actually an exhibit of a wide range of sumptuous art works acquired by the museum since 1989.
Housed in a series of first-floor galleries, the show - like the larger museum - moves along chronologically from ancient times to the present, mixing art glass, ceramics, furniture, photography, European and American prints, drawings and paintings.
It could look like a spending spree - a flagrant display of extravagance for a museum that earlier this year announced an operations deficit. In fact, of the 214 pieces on view, 80 percent were completely or partially donated, said Jeff Harrison, the museum's chief curator. And any museum cash used to purchase art came from special endowment funds earmarked for art acquisitions.
The works on exhibit were carefully chosen from the 2,500 or so works added to the now 30,000-piece collection in the last seven years.
In the years, that is, since the death of chief benefactor and collector Walter P. Chrysler Jr.
``This is a real victory for the community,'' stressed Harrison, ``because so much of this material has come from the community. And the exhibit itself is a kind of gift back to the community.''
Today, to celebrate the 25th anniversary of Chrysler's bringing his collection to Norfolk, the museum stages a huge family-oriented party. Complete with clowns, storytellers and children's choruses, the event takes place both inside the museum and on the grounds.
To understand the significance of the party, and of the ``Treasures'' exhibit, a touch of history is needed.
In 1971, Chrysler brought his encyclopedic collection of world-class art to the former Norfolk Museum of Arts and Sciences. From then on, the renamed institution's greatest patron pretty much took care of acquisitions.
He was a major art shopper, toting back dozens of works in his Chrysler station wagon from a single buying trip. He was a smart and possibly fearless collector who bought a vast range, from European paintings to American art glass.
Then, in September 1988 at age 79, he died.
Five months later, when the newly expanded and renovated Chrysler Museum was reopened in early 1989, then-board president Thomas H. Willcox Jr. said: ``We have got to replace Walter Chrysler as a donor. For the last 10 years, he has been in the forefront in making (art) gifts to the museum.
``We hope everyone now realizes that Mr. Chrysler's influence is at an end.''
Oriana McKinnon, chair of the museum's collections committee, said she felt ``very definitely, the community has come forward'' since 1989.
``Of course, any institution is continually in need of reaching out and drawing in more people. But this show speaks for itself, in one respect. And that is, the numbers of people who have become very involved and caught up in the museum, and want very much to support it.''
A museum remains vital by continuing to build and refine its collections, she said. ``I think you'll find that most of the museums that are well thought of are very definitely active in collecting. That is considered a charge of any really fine museum - not only to conserve objects already owned and to display them well in unique and interesting ways, but to continue to grow.
``Certainly, we would hope to be right among those.''
``Museums for a New Century,'' a 1984 report published by the American Association of Museums, outlined the complex issues surrounding collecting, but generally called it an enterprise ``fundamental to museums'' that ``must continue,'' adding that ``American museums are still young.''
So many of the labels found throughout ``Treasures'' bear the names of philanthropists, people excited enough by the prospect of enhancing a great collection to help with a purchase.
Names like Renee and Arthur Diamonstein, Henry Clay Hofheimer II, Annie and Art Sandler, Richard and Leah Waitzer.
And they're not all local. There are Mike and Annie Belkin of Novelty, Ohio, who gave a 1992 Paul Stankard paperweight. And Alexandra R. Marshall of Houston, Texas, who donated a 1993 Frederic Weber photograph that utilizes an old photo of the atomic bomb exploding at Hiroshima.
And there are the museum's support groups, like Mowbray Arch Society, the Glass Associates and the Photography Alliance. Helping the Chrysler collect is among these organizations' aims; in appreciation, labels by their gifts are marked with gold stars.
Apparently, such patronage is being passed down through the generations. Numerous labels note the gifts are from the children of longtime donors who passed the hat among themselves to buy a work in their parents' name.
An example is a very rare circa 1610 gilt cup in the shape of a pineapple, given in 1995 by the children of Oriana and Arnold McKinnon. Oriana McKinnon said she didn't object to her and her husband's names being used to illustrate the point - ``not if it encourages others to do the same.''
``So many beautiful things have come into the collection,'' McKinnon said. ``And the interesting and rewarding thing is to look at what the community and the curators have done to enhance what Walter left us. I mean, it shows what we've done in the last 25 years.
``I think that's a remarkable thing.''
Much of what's on display has never been shown, said Harrison, leading a visitor last week through the gallery installation in progress.
Works were selected by the curators - Brooks Johnson, photography; Mark Clark, decorative art; Nick Clark, American art; Gary Baker, glass; Trinkett Clark, the former curator of 20th century art; and finally, Harrison, who is in charge of the European art collection.
The first gallery contains ancient worlds, non-Western and Renaissance art - but includes a 1933 bronze bust of a very young Walter Chrysler by the American sculptor June Harrah - a 1990 museum purchase.
``It showed up at auction, and we bought it,'' Harrison said. The reason for the acquisition was obvious enough - here was an artwork depicting the museum's primary patron. But most additions to the collection either filled a gap or built on an existing strength.
A focus of the next gallery is a large mid-17th century garland painting by Jan Philips van Thielen. ``Despite its size, it's an intimate image,'' noted Harrison, moving in for close inspection. ``It's a great work of art.''
Prior to the 1994 purchase of the van Thielen, the museum owned no still lifes painted before the mid-18th century, he said.
One display case holds five 18th century Worcester porcelain objects - among the 60 Worcester items given by Henry Clay Hofheimer II to the museum in 1994 and 1995, he said. The extensive gift built on a collection of 166 works donated since 1976 by Hofheimer and his wife Elise to the city of Norfolk and exhibited at the museum.
A striking female bust sculpted in marble by the Norfolk-born neoclassical artist Alexander Galt marks the entrance to the 19th century galleries. Near the Galt, American pressed and blown-molded glass is installed near an American still-life painting by Thomas Badger.
Eventually, Harrison arrived at a gallery containing related works. Its contents are a reminder of the detective work that goes on behind the scenes.
A Paul Signac Neo-Impressionist painting, the 1905 ``Lagoon of Saint Mark, Venice,'' given by Chrysler in 1977, hangs next to a same-sized study for the painting, purchased in 1991 with assistance from the Diamonsteins. A 1936 Reginald Marsh painting of a fan dancer, given by Chrysler in 1971, is installed next to the artist's etching after that painting, a 1990 museum purchase.
Obtaining such kin material is catnip to a curator - it can shed light on the artists' working process. But finding such working drawings and after-the-fact prints can be like spotting a four-leaf clover: It requires a lot of looking, and a little luck.
Month after month, the Chrysler's curators troll the auction catalogs and check in with galleries and scholars, in hopes of running across any of hundreds of works on their wish lists, Harrison said. They regularly beat the pavement in New York, charging in and out of galleries, trying to make use of a few short days. They personally raise the bidding paddle in the major auction houses, hoping for low prices on pieces they yearn to buy for the museum - pieces that could help round out some aspect of their collecting areas.
``It's tremendously thrilling,'' Harrison said. ``It's the thrill of the chase, and the thrill of discovery.'' And of the capture.
``I can't afford to buy works of art. But I'm in the very fortunate position of collecting masterpieces for the institution I work for. And it's great fun.'' ILLUSTRATION: Color photos
BILL TIERNAN/The Virginian-Pilot
TOP: Exhibit designer Jim Armbruster supervises lighting of an 1883
sculpture by Louis-Ernest Barrias.
ABOVE: Curators, from left, Brooks Johnson, Mark Clark and Jeff
Harrison helped put together ``Treasures for the Community: The
Chrysler Collects 1989-1996.''
Graphics
Photos
SAMPLES OF THE EXHIBIT
FENCES
(Beverly Buchanan, 1991)
JAMES I COVERED PINEAPPLE CUP
(Unknown London maker, ca. 1610)
STILL LIFE WITH FRUIT AND WINE
(Thomas Badger, ca. 1817)
CANOPIC JAR: JAVAN MUNTJAC, 1995
William Morris
PORTRAIT OF A LADY HOLDING A FLOWER, 1650
Ferdinand Bol
GIOACCHINO ANTONIO ROSSINI, 1856
Nadar (Gaspard-Felix Tournachon)
[For complete text, please see microfilm]
THE CHRYSLER CELEBRATES
THE PARTY
What: The Chrysler Museum of Art's 25th anniversary celebration,
commemorating the quarter-century since Walter P. Chrysler Jr.
brought his art collection to Norfolk.
When: from 1 to 5 p.m. today.
Where: on the grounds and inside the museum, 245 W. Olney Road,
Norfolk.
What's to do? Outside, find folk dancers, zoo animals,
marionettes and more. A car raffle at 4 p.m., followed by cake
cutting. Inside, The Hurrah Players (1:30 p.m.), storyteller Lynn
Ruehlmann (2 p.m.), Bay Youth Orchestra (2:30 p.m.), Centerstage
Children's Theater (3:30 p.m.) and more.
How much: Family admission (two adults and up to four children)
to this event is $12; $10 for members. Otherwise, entry is $4 for
adults, $2.50 for youngsters.
Call: 664-6200
THE EXHIBIT
What: ``Treasures for the Community: The Chrysler Collects
1989-1996,'' a new show that features some 200 recent acquisitions.
Where: The Chrysler Museum of Art
When: through March 2
Hours: Gallery hours are 10 a.m. to 4 p.m. Tuesday through
Saturday, 1 to 5 p.m. Sunday.
How much: Admission is $4 adults, $2 for students, and ages 60
and older. Free to ages 5 and younger, for members, and on
Wednesdays.
Call: 664-6200
THE LECTURES
The Chrysler's curators are giving free lectures related to the
``Treasures'' exhibit during the show's run. All talks are set for
Wednesdays; for 6 p.m. slide lectures, held in the theater,
``Treasures'' reopens at 5 p.m. The 1 p.m. talks are gallery tours.
Jeff Harrison, European art - 6 p.m. Nov. 6; 1 p.m. Nov. 13.
Brooks Johnson, photography - 6 p.m. Nov. 20; 1 p.m. Jan. 8.
Mark Clark, decorative art - 6 p.m. Dec. 18; 1 p.m. Dec. 11.
H. Nichols B. Clark, American art - 6 p.m. Jan. 15; 1 p.m. Feb.
19.
Gary Baker, glass - 6 p.m. Feb. 5; 1 p.m. Jan. 22. by CNB