As we approach our 100th year anniversary, Sue Slick reads up on one of the founding fathers of the museum, Theodore F. Thieme.
Long before J. Ottis Adams, William Forsyth, Otto Stark, T. C. Steele, and Richard Gruelle were dubbed the Hoosier Group, they were a band of unknown but earnest young artists strapped for cash and eager for any opportunity to replenish the funds they had spent on years of rigorous art training in Germany. Teaching was one option for gainful employment. Learn more about the beginnings of art in Fort Wayne in this "Historical Highlight"!
An exotic-sounding name keeps popping up in my world – Miss Blanche Hutto – compelling me to take a deep dive into Fort Wayne’s art history. Dive into Fort Wayne history with Collection Information Specialist Sue Slick to learn more about a teacher who inspired many artists!
Our current exhibit, 1026 West Berry Street, shines a light on the Fort Wayne Art School and when we return from the holidays we will begin working towards the 2019 Scholastic Art and Writing Awards and exhibit. This post remembers Fort Wayne native Bill Blass — king of fashion, handsome heartthrob, most available bachelor, darling of the fashion press — all words written about this icon of high fashion who had ties to both the Art School and to the Scholastic Awards.
It's installation week at FWMoA! If you visit us before Saturday you'll have to pardon our mess as this week we are installing the exhibit we’re calling 1026 West Berry Street – The Fort Wayne Art School. Read on to see what Suzanne Slick learned while curating this exhibition and how the community came together to contribute!
Did you know that there was a proposal to put the Fort Wayne Art School and Museum in Foster Park? Read on to follow Sue Slick on her journey to discover the multiple places we almost had our Art Museum located!
Whoever is shown in this painting, parts of it were painted well and parts of it show a great lack of skill or a disinterest in accurately depicting parts of the picture. This painting was commissioned to local painter Horace Rockwell, who made a modest living in the business of commercial portraiture and occasionally executed nearly life-sized family portraits like that of the Hanna family. Rockwell, exercising the style of the time that people should be depicted naturally and without idealization, paid special attention to the faces of the Hanna family and rather skillfully shows how these people probably looked in real life. Ironically, the bodies of these people look quite unnatural, lacking anatomically correct bone structure and proportion. Feet look more like wooden wedges, shoulders slump like shapeless sacks of flour, and the youngest Hanna in the portrait is shown to have only four toes. Rockwell has problems with his composition as well. An empty spot in the middle of the painting leaves an awkward division between the sitters, and almost no attention is paid to the background, which the artist has chosen to resolve by painting it a flat brown with no clue to tell us where this family is sitting.