Balancing Wanderlust with Stay-at-Home: Two Works by J. M. W. Turner
English landscape painter J. M. W. Turner found endless inspiration in his travels. On his journeys throughout the United Kingdom and Europe, Turner filled hundreds of sketchbooks with tens of thousands of drawings and watercolor sketches. Back in his studio, he used this material—along with his memory and imagination—to create detailed oil paintings and watercolors. The Taft Museum of Art has brilliant examples of both in its collection.
Solved: The Mystery of the Unknown Cabinet Maker
A slew of tantalizing questions surround this 18th Century furniture maker. First, was this the same Porter Clay who made the Taft Museum of Art’s early Kentucky sideboard? If so, where did Clay run off to? Was he captured? When did he come back to Lexington? Finally, did he avoid a jail sentence, and, if so, how? Such questions abound in an intriguing story featuring a runaway furniture maker, spiked with notes of nepotism and Kentucky luxury.
When an art object is going to be photographed for publication, it needs to look its best. One of the Taft’s treasures, the splendid but badly tarnished 17th-century Two-Handled Covered Cup, was brought to the Museum’s conservation lab to be cleaned and stabilized prior to photography (The Taft has a lab on site for the use of different contract conservators, each of whom specializes in certain kinds of art objects.)
Oz Visits the Queen City
In 1900, L. Frank Baum published The Wonderful Wizard of Oz, and the following year he began adapting the book as a musical for adults. The show premiered in Chicago in 1902, became a smash hit, opened on Broadway, and then toured until 1909. The Wizard of Oz opened in Cincinnati at the Grand Opera House on New Year’s Day, 1905.
The Power of Landscapes
In 1757, Irish statesman and philosopher Edmund Burke published On the Sublime and the Beautiful, which defined two different emotional responses to landscape in nature and in art. Burke stated that the beautiful is comforting and fosters pleasant and calm feelings—a placid lake, a perfectly formed seashell, a clear blue sky. On the opposite end of the spectrum, the sublime overwhelms with awe, terror, or danger—a steep precipice, a thunderstorm, a crashing waterfall. Burke explained that when experienced at a distance, such as translated through art, the sublime generates delight.
Limoges Enamels during the Reformation
Small and shiny, Limoges enamels glow like jewels in the Taft Museum of Art’s Medieval and Renaissance galleries. Workshops of skilled artisans in Limoges, France, produced these decorative objects by delicately fusing layers of vividly colored glass to copper. By the 16th century, influenced by the Italian Renaissance and aided by a newly developed enameling technique similar to painting, enamellers replaced medieval modes of decoration with dynamic storytelling.