adult programs - minneapolis institute of...
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Adult Programs
winter 2010
Want to enrich your overall art
knowledge? Put the right side of
your brain to better creative use?
Get to know other art lovers?
Take a seminar, or try your hand
at sketching in the galleries,
guided by top-notch instructors.
Gain new insight at lectures
led by art experts who are
passionate about their subjects.
Hear contemporary artists.
We’ve got a full calendar of
choices for you.
Click to jump to:
• Art History Seminars
• Sketching in the Galleries
• Lectures
• registration
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Art History SeminarsArt history seminars
are ideal for those
who desire a more
comprehensive or
in-depth experience
with the art and
culture of a particular
area. Art history
newcomers and
veterans alike will
gain insight on a broad
array of interesting
topics related to the
museum’s collection or
special exhibitions.
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Gustave Courbet, French, 1819–77, Deer in the Forest (detail), 1868, oil on canvas, gift of James J. Hill
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Saturday, January 91–4 p.m., Pillsbury AuditoriumJulie L’enfant
Beginning with the French Revolution of 1789,
Paris was the scene of artistic revolutions
that led to modern art. After a backward
glance at the ancien régime, we’ll explore the
social, political, and aesthetic ideas of the
Neoclassical movement as shaped by its leader,
Jacques-Louis David.
First we’ll explore the Romantic spirit through
the works of Théodore Géricault and Eugène
Delacroix. Then we’ll trace the rise of realism
through the July Monarchy (1830–48), with a
look at developments in the art of the Salon,
as well as the politically conscious work of
the Barbizon school. Artists such as Gustave
Courbet, Honoré Daumier, and Félix Nadar will
illustrate the impact of a burgeoning popular
culture and developments in photography on
mid-19th-century Realism.
Julie L’Enfant is an associate professor of art history and Chair of Liberal Arts at the College of Visual Arts, St. Paul.
$45; $30 for MiA members. to reserve tickets, call (612) 870-6323 or register online.
Art HiStOrY SeMinAr...
French Art 1750–1850
Antoine Watteau, Actor Standing with Head Turned to the Right, 1719–20, The John R. Van Derlip Fund
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Click to jump back to the beginningwinter 2010
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Saturday, January 231–4 p.m., Pillsbury AuditoriumMark Stansbury O’Donnell
Two millennia ago, Greek and Roman writers were already
compiling lists of great artworks, including the Seven
Wonders of the Ancient World. Ancient works of art were
also much admired by Renaissance and modern artists,
but the first reactions to objects like the Parthenon
sculptures were decidedly less than enthusiastic. While
these are now regarded as masterpieces of Greek art, did
the Greeks view them as such?
Together, we’ll explore what Greek and Roman viewers
considered to be the critical ingredients of a masterpiece
and what survives from the works they coveted. Next,
we’ll consider what we regard today as masterpieces
of ancient art and how our standards and Top 10 lists
compare. Along the way, we’ll look at highlights of the
major antiquities collections in Paris, New York, London,
Berlin, Munich, Rome, and Athens.
Mark Stansbury O’Donnell is a professor of art history at the University of St. Thomas.
Roman, The Doryphoros, 120–50 B.C., pentelic marble, The John R. Van Derlip Fund and gift of funds from Bruce B. Dayton, an anonymous donor, Mr. and Mrs. Kenneth Dayton, Mr. and Mrs. W. John Driscoll, Mr. and Mrs. Alfred Harrison, Mr. and Mrs. John Andrus, Mr. and Mrs. Judson Dayton, Mr. and Mrs. Stephen Keating, Mr. and Mrs. Pierce McNally, Mr. and Mrs. Donald Dayton, Mr. and Mrs. Wayne MacFarlane, and many other generous friends of the Institute
$45; $30 for MiA members. to reserve tickets, call (612) 870-6323 or register online.
Art HiStOrY SeMinAr...
What Makes a Classical Masterpiece?
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Saturday, February 61–4 p.m., Pillsbury AuditoriumKathleen ryor
Since they first captured the imaginations of
Europeans in the 19th century, Japanese prints
have been treasured and accorded the status of
fine art by Western collectors. Yet pictures of the
floating world, or ukiyo-e, were an integral part
of popular culture in Japan and functioned as
illustrations, advertisements, and souvenirs.
Today, we’ll examine both the development of
style and subject matter in Japanese prints
within the socio-economic context of the
17th–19th centuries. Themes we’ll explore include:
the construction of sexual desire through both
allusive and explicit imagery, the relationship of
popular literature and contemporary events to
print illustrations, and the connection between
woodblock prints and the Japanese theater.
Kathleen Ryor is a professor and Chair of the Department of Art History at Carleton College, Northfield.
Utamaro Kitagawa and J u– zaburo– Tsutaya, Courtesan Konosumi, 1793–94, color woodblock print, Bequest of Richard P. Gale
$45; $30 for MiA members. to reserve tickets, call (612) 870-6323 or register online.
Art HiStOrY SeMinAr...
Japanese Woodblock Prints & Popular Culture
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
$45; $30 for MiA members. to reserve tickets, call (612) 870-6323 or register online.
Saturday, March 61–4 p.m., Pillsbury AuditoriumAnna tahinci
With sculpture being an art of
multiples, a sculptor first works
on a model (usually in clay or
plaster) and then has it cast in
bronze. In this seminar, we’ll learn
how to examine bronze sculptures
in order to discover precious
inscriptions (foundry marks, cast
numbers, and signatures) that
help assess their authenticity,
determine their date of casting,
the number of the bronze edition,
and the identity of the foundry.
Artistic, financial, and legal issues
related to bronze casting will also
be discussed.
Anna Tahinci, Ph.D., has worked at the Musée Rodin, the Musée d’Orsay, the Musée du Louvre, and the Harvard Art Museum. She has taught at Boston University Paris, at the Alliance Française, and at the University of Minnesota.
Art HiStOrY SeMinAr...
Bronzes & Bric-a-Brac: Sculpture in the Age of Mechanical Reproduction
Henri Matisse, Large Seated Nude, c. 1923–25, bronze, Gift of the Dayton Hudson Corporation © Succession H. Matisse / Artists Rights Society (ARS), New York
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
winter 2010
Sketching in the Galleries Experienced sketchers or newcomers—both are welcome!
You’ll get the basics in our weekly workshops, led by artists
who offer plenty of individual instruction. Sessions begin with
a short lecture, discussion, and slide show to highlight specific
technical, historical, and stylistic issues. Then you’ll move
into the galleries to draw from artworks in the permanent
collection and select special exhibitions.
inStruCtOr: Kenneth P. Wenzel received an M.F.A. from the
San Francisco Art Institute and a B.F.A. from the School of the
Visual Arts in New York. His work has been exhibited widely.
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MAteriALS LiStPaper: Pad of 11” x 14” or larger medium •weight white paper for drawing with a variety of media, including pencilSeveral blending stumps•
Any and/or all of the following drawing materials:
Graphite drawing pencils (several each) •of grades HB, 2B, 4B, 6BKneaded eraser•Small pencil sharpener with container •for shavingsColor pencils: Berol Prismacolor Thick •Lead Art Pencils or equivalent (set of 12, more if desired)Oil pastels: Set of 12 or more. Pentel •and Panda brands are student-grade materials. Rembrandt is professional grade. Choose what feels right for you. Small packet of dry facial tissue•Moistened wipes to clean hands•
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Location: Classroom 114 & museum galleries.Fee per session: $30; $22 MiA members. to register, call (612) 870-6323 or register online.
winter 2010Click to jump back to the beginning
SKetCHinG in tHe GALLerieS...
Exploring the Figure
Saturdays
January 9–30
10:15 a.m. to 1:15 p.m.
Since the cave paintings at Lascaux, figural drawing has been
a consuming passion of artists. Together, we’ll practice some
of its most important elements, including gesture drawing,
a technique where one works rapidly and freely to capture
a subject’s sense of movement and life, and blocking, an
approach in which one draws the underlying geometry of the
subject’s contours. We’ll also practice creating volume and
mass with value to construct more accurate representations
of forms. And we’ll explore a subject’s context, critical to
expression and communication.
SeSSiOnS
January 9: Gesture Drawing
January 16: Blocking in a Drawing
January 23: Shading in a Drawing
January 30: Background
Pablo Picasso, Reclining Woman, 1920, graphite, Bequest of Putnam Dana McMillan, © Estate of Pablo Picasso / Artists Rights Society (ARS), New York
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Location: Classroom 114 & museum galleries.Fee per session: $30; $22 MiA members. to register, call (612) 870-6323 or register online.
winter 2010Click to jump back to the beginning
Saturdays
January 9–30
1:45 to 4:45 p.m.
Space is a critical visual element the artist needs to understand and
control. This understanding starts with real space, as used by the
sculptor and architect, then extends to implied and pictorial space.
Space is a powerful visual element that can be manipulated for
expressive purposes. We’ll look at engaging examples from art history
in which artists used highly altered spatial expressions effectively. Also,
you’ll be challenged to explore your personal interpretation of space.
Edward Hopper, Double House, Gloucester, c. 1925, black conté crayon, gift of the Reverend Richard L. Hillstrom in memory of Martin and Alma Hillstrom
SKetCHinG in tHe GALLerieS...
Space in the Visual Arts
SeSSiOnS
January 9: Real Space
January 16: Implied Space
January 23: Pictorial Space
January 30: Using Space
Expressively
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Saturdays
February 6–27
10:15 a.m. to 1:15 p.m.
In drawing, we translate the
three-dimensional world
we live in into the two-
dimensional surface of the
paper through shapes. Seeing
and representing shapes are
critical parts of learning to
draw. In this class, we’ll explore
and define geometric shapes,
the basis of more complex
visual understanding, as well
as more organic and complex
volumes.
SeSSiOnS
February 6: Geometric Shapes
February 13: Organic Shapes
February 20: The Cube &
the Sphere
February 27: The Cylinder,
Cone & Pyramid
Sir George Clausen, A Little Rustic, 19th century, pen and brown ink, The William Hood Dunwoody Fund
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Location: Classroom 114 & museum galleries.Fee per session: $30; $22 MiA members. to register, call (612) 870-6323 or register online.
winter 2010Click to jump back to the beginning
SKetCHinG in tHe GALLerieS...
Shape & Volume
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Rockwell Kent, Macy Island, Strait of Magellan, 1922, pen and ink, John DeLaittre Memorial Collection, gift of funds from Mrs. Horace Ropes
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Location: Classroom 114 & museum galleries.Fee per session: $30; $22 MiA members. to register, call (612) 870-6323 or register online.
winter 2010Click to jump back to the beginning
SKetCHinG in tHe GALLerieS...
Defining Content
Saturdays
February 6–27
1:45 to 4:45 p.m.
Whether pencil on paper, paint on canvas, clay on a wheel, or
found objects assembled together, art is a physical manifestation
of form. The artist creates form from raw materials to express
and communicate emotions and ideas. Together, we’ll discuss the
importance of manipulating the drawing media to create form. We’ll
also explore the intersection of form and theme to deepen our
understanding of the integral connection of form and content. And
we’ll look at some dominant themes found in the visual arts and
various approaches used to communicate them historically.
SeSSiOnS
February 6: Form
February 13: Historic Themes
February 20: Form to Content
February 27: Finding Themes
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
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LecturesLectures are ideal for those who
desire a more comprehensive
or in-depth experience with the
art and culture of a particular
area. Art history newcomers and
veterans alike will gain insight
on a broad array of interesting
topics related to the museum’s
collection or special exhibitions.
Click to jump back to the beginningwinter 2010
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
thursday, February 256 p.m., Pillsbury Auditoriumtimothy Standring
Hear a fascinating revisionist overview
about this important 17th-century
artist, who painted the MIA’s own The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua.
Timothy Standring will discuss how
Castiglione, called “Il Grechetto,” was
considered an outsider in his time. He
will also illuminate the artist’s working
methods, both internally with his studio
practices and externally with his client
relationships.
Timothy Standring, Ph.D., is Gates Foundation Curator of Painting & Sculpture at the Denver Art Museum.
This Agnes Lynch Anderson and Roger Lewis
Anderson Lecture is co-presented by the Department
of Public Programs and the Paintings Curatorial
Council of the Minneapolis Institute of Arts.
Il Grechetto (Giovanni Benedetto Castiglione), The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua, 1650Oil on canvas, The Putnam Dana McMillan Fund
$5; free for MiA members. to reserve tickets, call (612) 870-6323 or register online.
.LeCture...
An Artist More Feared than Loved: Giovanni Benedetto Castiglione
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Click to jump back to the beginningwinter 2010
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Saturday, March 13 2 p.m., Pillsbury Auditorium Marco Breuer
Hear Marco Breuer, the latest artist
featured in the MIA’s New Pictures
series of international photography,
discuss his abstract photography in a
short presentation and conversation
with David E. Little, the series curator.
Breuer’s experimental artworks ask
the fundamental question: What is
a photograph? Most of us think of
photographs as resulting from using
a camera to frame a scene, clicking
the shutter, and then developing the
negative. Breuer, however, creates
photographs by scraping, burning,
shooting, embossing, sanding,
cutting, and composting (yes,
composting!) light-sensitive paper to
make unique prints.
Breuer’s abstract images will go
on view February 18 in the Perlman
Gallery (262). In the days leading up
to this lecture, Breuer will transform
the gallery into a darkroom and
create a site-specific installation that
conjures the photographic process.
This transformation will be among the
topics discussed in the lecture.
$5; free for MiA members. to reserve tickets, call (612) 870-6323 or register online.
.LeCture...
New Pictures 2: Marco Breuer on Abstract Photography
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Marco Breuer, German, born 1966, Spin (E-197), 2008Cyanotype on Fabriano paper, courtesy Von Lintel Gallery, New York
Click to jump back to the beginningwinter 2010
Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
Saturday, March 2711 a.m., Pillsbury AuditoriumJohn r. Hale
More than 2,000 years ago, male and
female Greek and Roman divers plunged
to depths of more than 100 feet to recover
art objects and other treasures from
shipwreck sites. Their successors have
continued to explore the floor of the Medi-
terranean Sea for sunken ships, cargoes,
harbors, and other submerged structures,
most recently aided by scuba gear, remote
operated vehicles (ROVs), bathyscaphs,
sidescan sonar, magnetometers, and other
equipment. Still, many classical underwater
sites still remain to be located, mapped,
and excavated.
Hear an overview of this fascinating field,
which will illustrate many of the most
important artworks recovered from the
sea (including the famous bronze god from
Artemision) and shows current technology
in use during the Persian Wars Shipwreck
Survey, in which John Hale participated as
an archaeologist.
John Hale, Ph.D., is Director of Liberal Studies, College of Arts and Sciences and Adjunct Professor of Archaeology, Depart-ment of Anthropology at the University of Louisville, Kentucky.
Free! no reservations required.
.LeCture...
In Poseidon’s Realm: Underwater Archaeology in the Mediterranean
Greek, Attica, Black-Figure Neck Amphora, Attributed to the Painter of Vatican 359, c. 540 B.C., The Ethel Morrison Van Derlip Fund
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Click to jump back to the beginningAdult Programs registration
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FOur eASY wAYS tO reGiSter
OnLine
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BY PHOne
(612) 870-6323 or toll-free (888) 642-2787, ext. 6323,
Monday through Friday, 9 a.m. – 4:30 p.m.
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in PerSOn
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Minneapolis Institute of Arts 2400 Third Avenue South Minneapolis, MN 55404 Phone (612) 870-6323 Fax (612) 870-3253 www.artsmia.org
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minneapolis institute of Arts
2400 Third Avenue south
minneapolis, mN 55404
or fAx To:
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witHDrAwALS & reFunD POLiCY
A full refund is granted if a class is canceled by the
museum. A refund amounting to 50 percent of the
tuition fee is made when a student withdraws 14 days
or more before the first class. No refunds or transfers
will be made after that time.
To listen to a recorded message indicating class times,
dates, and tuition, please call (612) 870-6555.
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