Paper + People is a blog about the Smith College Museum of Art’s collection of over 16,000 prints, drawings, and photographs. Here you will find a diverse array of posts written by museum staff, students, scholars, and other works on paper enthusiasts about anything pertaining to the collection: exhibitions, class visits, monthly Student Picks exhibitions, as well as research on and personal encounters with individual artworks. Any works you see featured here are available to view by appointment in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
Wednesday, February 12, 2014
Carle Vanloo, French (1705 - 1765). Title Page, from Six Figures Academiques, Desinees et Gravees par Carle Vanloo, peintre ordre du Roy et Professeur en son Academie Royal de Peintre et de Sculpture, 1735-1737. Etching on tinted antique laid heavy weight paper. Gift of Alphons P.A. Vorenkamp. Photography by Petegorsky/Gipe. SC 1938:11-3
When you think of art historians you do not immediately visualize George Clooney in that role. At least I don’t, but you might be surprised how adventurous, determined and devoted to art some of them are and were. The newly released film The Monuments Men highlights in a somewhat curiously lighthearted fashion the difficult and often dangerous work that was done by art historians during and after WWII. These men and women volunteered often without any kind of army experience, to go out in the field to protect and restitute Nazi looted art. They were culled from all kinds of museums and art institutions and Smith College was not left behind.
Yes, one of the most noteworthy ones was a woman, a Smithie of the class of 1922, Ardelia Ripley Hall. Listed here are some interesting articles worth reading about this remarkable Monuments woman:
Other Smith affiliated monuments men were former Smith museum directors Charles P. A. Parkhurst and Frederick Hall, and former art history Professor Alphonse Vorenkamp. These art historians, academics were sent to war torn countries. This was not without risk; some of these countries were still engaged in battle while others were reeling in the chaos of postwar recovery.
With permission of Smith College Archives
Vorenkamp, a Dutch Smith art history professor, was actually on sabbatical in his homeland Holland on the eve of the German invasion of Holland. It seems somewhat surreal to read his personal accounts about the academic research on Rembrandt he was doing, while around him museums were actively preparing themselves for war. His personal connections to these museums and their staff however, do give an interesting insight into these events. He writes:
“The director of the Mauritshuis, Professor Martin, the same who lectured at Smith last year, was proud of his new cement bombproof cellar and he dragged me downstairs to see his Paradise. I ain’t no Dante and Martin no Virgil, but at times I thought of old Doré just the same. At the moment I was in the Hague, it was the first week in January (Holland was invaded in May of that year) most of the paintings were down from the walls and stored in the Banks in the city and other secret places. The cellar was being finished the very minute. I saw it, with electric light we crawled into the place – Several feet cement on top of the room. Sticks representing the tallest and longest painting in the collection had told the architects who were coming to live there. By now, I suppose those cellars are filled with the treasures which were dispersed. It was the plan to recall the most important things. Professor Martin was cheerful enough. He told me, that in the years they hadn’t had such a beautiful chance to do the floors and walls and ceilings. He said if ever this place opens again, it is going to be spick and span.”
Vorenkamp managed to get out of Holland in the nick of time. He left his parents home on May 9th dodging an air raid and a demonstration on his way to Italy where he managed to catch a boat to the US. The next morning May 10th the Nazi bombed the city of Rotterdam and invaded Holland.
In May of 1945 Vorenkamp who had had some prior army experience was enlisted by the Dutch army as a Lieutenant Colonel.
He started his restitution work in Amsterdam and worked at the General Commissary for Economic Interests in Germany. He was made head of the subdivision of this office which was in charge of organizing the paperwork concerning stolen cultural objects, archives and libraries. They made a long list of works that were lost in Holland during the war and with that list he went off to Munich to function as chief liaison officer.
26 masterpieces taken on board American army plane. Vorenkamp in center with beret. With permission of Smith College Archives
There at the Munich Central Art Collecting Point, buildings formerly functioning as the headquarters of the Nazi party, the allied forces had amassed thousands of recovered Nazi loot. Vorenkamp was in charge overseeing the returns of art to Holland. This was no small feat since Hitler and his cronies had been extremely deliberate about their massive art theft. Hitler himself had been gathering art for his grand imagined hometown art museum in Linz, Austria. Many high ranking men like Goering collected out of mere greed. Ironically Goering’s favorite piece, for which he traded 150 artworks, was a “Vermeer” painting, which was later discovered to be a forgery painted by the infamous forger Han Van Meegeren.
After his work as a Monuments Man, Vorenkamp was officially knighted by the Dutch royal family.
Then-Princess Juliana and her husband Prince Bernard behind her, together with Alphonse Vorenkamp (center of three men) presumably after the knighting ceremony. With permission of Smith College Archives
On his return to America he organized a travelling exhibition of formally looted art in conjunction with the Dutch government. It was an exhibition of forty-eight 16th and 17th century Dutch works to thank America and in particular those institutions that had send people to help with the restitution effort.
Gilles Demarteau, Belgian (Demarteau 1722 - 1776); after Peter Paul Rubens, Flemish (Rubens 1577 - 1640). Samson Taken by the Philistines, n.d. Crayon manner printed in black and white on blue laid paper. Gift of Alphons P.A. Vorenkamp. Photography by Petegorsky/Gipe. SC 1938:11-1
Vorenkamp also leaves a small personal legacy behind in our Cunningham collection, since he donated a small group of carefully collected prints which are still frequently used in our classes and exhibitions. They and his remarkable story will be on view this Fall in our museum.
That is fascinating. I knew there were probably other, less documented, Smith monuments people. If there are any other ones I would love to hear about it? It is a shame you do not have that map anymore. thanks for sharing the story!
A long time cataloger in Neilson library, Hazel Palmer was a member of s similar group. To the best of my knowledge she was part of a US Military government group responsible for ensuring the safety of cultural artifacts in areas of Italy liberated from the Nazis.
Hazel retired in the mid 1980's and would be in her mid 90's if she is still with us.
During her service she acquired a silk escape map of southern Europe from an OSS officer. I had the good fortune to examine that item. Later on Hazel sent it to me as a gift. Sadly it is no longer in my possession.
Monday, February 3, 2014
Student Picks is a SCMA program in which Smith students organize their own one-day art show using our collection of works on paper. This month’s student curator and guest blogger Kenny Clarke '17 discusses her show “Soulful Rebellion: The artwork known as graffiti” which will be on view THIS FRIDAY, February 7 from 12-4 PM in the Cunningham Center for the Study of Prints, Drawings, and Photographs. We hope to see you here!
Richard Estes, American (1932 - ). Subway from the portfolio Urban Landscapes III, 1981. Silkscreen printed in color on white Fabriano cotton paper. Gift of Janice Carlson Oresman, class of 1955. Photography by Petegorsky/Gipe. SC 1982:32-1
I have always been interested in graffiti as an artwork. When others think of graffiti they think of the defacement of property, gang initiations and signs. I, on the other hand, think of beautiful rebellious art that tells a gripping story.
Aaron Siskind, American (1903 - 1999). Lithuanian Shoemaker 3, 1957. Gelatin silver print. Gift of Lynn Hecht Schafran, class of 1962. Photography by Petegorsky/Gipe. SC 2003:43-3j
Gary Simmons, American (1964 - ). Flaming Boom Box, 2005. Four color lithograph printed on white Pescia paper. Purchased with the Elizabeth Halsey Dock, class of 1933, Fund. Photography by Petegorsky/Gipe. SC 2007:5-1
I chose graffiti to show people what I fell in love with. Just like any other form of art, graffiti can invoke a great range of feelings. I wanted my audience to understand the difference between the art of graffiti and simply defacing property.
Elliott Erwitt, American born France (1928 - ). Southern Charm, Alabama, from Photographs: Elliott Erwitt, 1951-1968. Gelatin silver print. Gift of James Hunter. Photography by Petegorsky/Gipe. SC 1979:46-9
Thank you so much to Margaret Kurkoski and the Cunningham Center for making this show possible.
Wednesday, January 29, 2014
President McCartney views paintings in the permanent collection of the Museum of Art.
This past semester, the Smith College community welcomed our new president, Kathleen McCartney, with open arms. The Museum celebrated her recent inauguration with ART STORIES, a special exhibition featuring art that has left a lasting impression on the widespread Smith community.
We received stories from faculty and staff, alumnae and students. Highlighted here are select stories about works on paper, usually housed in the Cunningham Center.
Andy Warhol – Vote McGovern
Andy Warhol. American (1930 - 1987). Vote McGovern, 1972. 16-color screen print on Arches 88 paper. Purchased. Photography by Petegorsky/Gipe. SC 1973:6
From Jean K. Dudek, Smith College class of 1979: “‘Vote McGovern’ is a portrait of Richard Nixon. It is not, shall we say, flattering. His face is green. Julie Nixon is an alumna from the class of 1970, before this work was created. I wonder if any other father of a Smithie has his portrait in the Smith College Museum of Art.”
From Haley Crockett, Smith College student, class of 2015: “This past January term I worked as a teacher's aide as part of a Hampshire course called K-12 Teaching Pre-practicum. I worked in 9th and 10th grade English and writing classrooms. The 9th grade students had an assignment to compare works of art, and the teacher I was working with, Ms. Strauss, allowed me to choose the works in the museum that the student would compare.”
Justin Lieberman. American (1977 - ). Candles, 2012. Ink, watercolor, marker and collage on very thick, rough, white paper. Gift of Suzi Schiffer Parrasch, class of 1982, and Franklin Parrasch on the occassion of her 30th reunion. Photography by Petegorsky/Gipe. SC 2012:22
“As soon as I saw the monster's exhibit I knew the students would love how vibrant and modern the works were. It was incredible to see students who were usually causing trouble in the classroom engaged and calling to their friends to look at the ‘super awesome’ paintings and pictures of monsters. The visit to the museum with the students was my favorite part of my teaching pre-practicum experience.”
C.A. Lane - Lane's Telescopic View of Great Exhibition of 1851
C.A. Lane, British. Lane's Telescopic View of Great Exhibition of 1851. Engraving printed in color on paper folded into a book-like object. Purchased. Photography by Petegorsky/Gipe. SC 1951:136.
From Janis Mink, Smith College class of 1977: “I loved my 19th century architecture class with Helen Searing. For her class I did a report on a large glass building constructed in Hyde Park for the Great Exhibition of the Works of Industry of All Nations, 1851. It turned out that the Smith Museum had a paper mock-up of the building, which I brought to class and showed.”
View through the viewfinder of “Lane's Telescopic View of Great Exhibition of 1851”
“The Crystal Palace is an important work for the history of modern architecture, as it was an innovative work that used pre-fabrication and pushed glass production to the extreme. It was visionary, as well as environmentally sensitive and poetic, as its length was 1851 feet, corresponding to the year, it spanned the crowns of Hyde Park trees, including them in its interior space and preventing their felling, and it could be broken down and reassembled in another location after the temporary exhibit. And it was not built by an architect!”
ART STORIES will be on view until February 9, 2014. You can find more personal accounts from the Smith community in the Nixon Gallery, second floor, and spread throughout the Smith College Museum of Art.