uality and rarity of its holdings. Peters’s appointment follows an international search. She will assume her responsibilities at the CMA in April.

“Emily is an exceptional curator with a remarkable eye and creative approach. Her range of expertise and scholarly interests—which span five centuries and a panoply of graphic mediums—are admirable. We very much look forward to having Emily as a colleague in Cleveland,” said Director William M. Griswold.

As Curator of Prints and Drawings, Peters will oversee the care and development of the collection, working closely with the Director and Chief Curator on the identification and acquisition of works of art to augment the collection. Together with an Assistant or Associate Curator of Prints and Drawings—who will be appointed later this year—Peters will be responsible for exhibitions in the James and Hanna Bartlett Prints and Drawings Galleries; she will also curate special exhibitions in the Smith Foundation Hall and Gallery that highlight all aspects of European and American graphic art. Peters will also develop interpretive and didactic materials designed to appeal to broad audiences, helping to deepen visitors’ appreciation and understanding of graphic art.

The collections for which Peters will be responsible span more than 500 years of artistic production throughout Europe and the United States. Consisting of approximately 22,000 prints and 4,000 drawings, the collection is internationally known for its rarity and high quality. Areas of particular strength include Italian Renaissance drawings by Michelangelo and Raphael as well as a strong group of engravings and woodcuts by Albrecht Dürer. Highlights of the 17th century include drawings and a range of etched subjects by Rembrandt van Rijn, while an impressive group of early lithographs and celebrated drawings by Ingres and Degas stand out among the 19th-century holdings. The drawings collection is admired for watercolors by Blake, Turner and Palmer, and for luminous pastels by Cassatt and Redon. Among the highlights of modernism is a group of more than 50 German Expressionist prints and drawings by Miró, Picasso and Winslow Homer.

“I am honored to be joining the Cleveland Museum of Art at this exciting time,” said Peters. “Cleveland’s collection of prints and drawings is one of the finest in the United States, and I have long admired its many treasures as well as the important exhibitions and acquisitions presented by my predecessors at the museum. I look forward to thinking about new ways to present the collection and to working with my colleagues to augment its holdings in keeping with the CMA’s rich history of collecting. I am particularly looking forward to getting to know the vibrant community of prints and drawings supporters in Cleveland via the Print Club and the Painting and Drawing Society.”

Peters brings more than a decade of curatorial work and museum experience to the CMA. In 2005, she joined the curatorial team at the RISD Museum as Assistant Curator of Prints, Drawings and Photographs; in 2008, she was promoted to Associate Curator. A specialist of 15th- and 16th-century Netherlandish prints and drawings, Peters has mounted at RISD such diverse exhibitions as Design and Description: Renaissance and Baroque Drawings (2006); Urban America, 1930–1970 (2007); The Brilliant Line: Following the Early Modern Engraver 1480–1650 (2009); The Festive City (2014); and Landscape and Leisure: 19th-Century American Drawings from the Collection (2015). Along with organizing exhibitions, Peters has collaborated closely with her curatorial colleagues at RISD in planning the reinstallation of the museum’s European galleries, set to open in the fall of 2017.

the leading role.

In Berlin in the spring of 1878, the then twenty-one year-old Max Klinger (1857-1920) exhibited a series of fascinating drawings under the title Phantasien über einen gefundenen Handschuh, (Fantasies on a Found Glove). The young German artist had become obsessed with a lady’s glove left behind at a roller-skating rink in Berlin. The glove inspired ten prints with sensual undertones, printed in 1881. We see the glove as it is about to be picked up, as an unattainable object of desire and as a source of disturbing nightmares.

Comforting
The prints featuring the glove are one of Klinger’s best-known series. In the exhibition in the Print Room these etchings will be accompanied by some thirty other prints from the museum’s collection. One of them, Tote Mutter (Dead Mother) of 1889, shows the poignant image of a young woman who has died, lying on her death bed, with a small child sitting on her breast. The scene is as dramatic as it is comforting; the death of an individual may be terrible, but the human species will survive.

Max Klinger
Max Klinger was trained in Karlsruhe and also lived and worked in Munich, Brussels and Paris. In 1887 he met his great exemplar, Arnold Böcklin (1827-1901), in Berlin. After a number of years spent travelling through Europe, Klinger returned to Germany and settled in his birthplace, Leipzig, where he became an important figure in German cultural life.

Klinger was admired in his own time for his virtuosity and drawing skills. That these prints were in black and white was no accident; Klinger maintained that painting was intended to express beauty and to glorify the world. Printmaking, by contrast, was ideally suited to fantasy and to recording the dark side of life.

Klinger’s work was of profound influence on the generation of artists that followed him. He is sometimes seen as the link between nineteenth-century Symbolism and the early Surrealists of the twentieth century. It was the Greek-Italian painter Giorgio de Chirico (1888-1978) who was most impressed by Klinger’s mysterious power of expression.

r kurze Zeit und bei stark reduziertem Licht gezeigt. Können/sollen Reproduktionen kostbare Werke auf Papier in Ausstellungen und Sammlungspräsentationen ersetzen?

Doch welche Konsequenzen hat das für unsere Wahrnehmung der Originale? Wie ist es in einem derartigen Fall um die vielbeschworene Aura des Kunstwerks bestellt? Erübrigt sich der Besuch im Museum, wenn man die reproduzierten Werke bequemer und detaillierter zu Hause am Bildschirm betrachten kann?

Für die Urteilsbildung über Kunst seit der frühen Neuzeit spielten (druckgrafische) Reproduktionen eine entscheidende Rolle. Die Fotografie mit ihren Möglichkeiten, etwa Details zu zeigen oder zu schönen, hat unsere Erwartungen an das Original verändert. Muss das Verhältnis zwischen Original und Reproduktion grundsätzlich neu bewertet werden?

Sieben Experten, Papierrestauratoren und Konservatoren, Leiter/innen Grafischer Sammlungen, Autoren, Kuratoren und Kulturwissenschaftler, äußern sich in diesem Symposium zu ihren Erfahrungen mit dem Ausstellen von Kunst auf Papier und dem Einsatz von Reproduktionen und diskutieren über mögliche Konsequenzen für die Ausstellungspraxis.


Ort
Museum Schloss Moyland

Preis
39 €, ermäßigt 29 € (inkl. Teilnahmegebühr, Museumseintritt, Pausengetränke sowie Mittagsimbiss)

Anmeldung
bis 21.3.2017 unter info@moyland.de
Bei Rücktritt bis zum Anmeldeschluss werden nach Anmeldung
15 € einbehalten, bei Nichterscheinen nach der Anmeldefrist
wird die Gebühr zu 100 % einbehalten.

Konzeption und Organisation
Dr. Barbara Strieder, Leiterin Grafische Sammlung, Stiftung Museum Schloss Moyland

TAGUNGSPROGRAMM

9.30 Uhr, Begrüßung
Dr. Bettina Paust, Künstlerische Leitung

9.45 Uhr, Einführung in das Tagungsthema
Dr. Barbara Strieder, Leiterin Grafische Sammlung

Impulsvorträge
10.00 Uhr, Original und Reproduktion – Über einen Gegensatz, der keiner ist
Prof. Dr. Wolfgang Ullrich, Autor und Kulturwissenschaftler, Leipzig

11.30 Uhr, Faksimile als Chance für den internationalen Kulturdialog im
Medium der Ausstellung
Wolfger Pöhlmann, Freier Kurator und Sachbuchautor, München

12.15 Uhr, Liebe ohne Leiden – Zum Ausstellen von Kunstwerken auf Papier
Dipl.-Rest. Georg Josef Dietz, Leiter Abteilung Konservierung/Restaurierung, Kupferstichkabinett Berlin

Berichte aus der Praxis
14.45 Uhr, Der Einsatz von Reproduktionen am Beispiel des Block Beuys
Dr. Mechthild Haas, Leiterin Graphische Sammlung, Hessisches Landesmuseum Darmstadt

15.20 Uhr, Einsatz von Faksimiles in der Berlinischen Galerie
Maria Bortfeldt, Foto- und Papierrestauratorin, Berlinische Galerie

16.45 Uhr, Konsequenzen für die Ausstellungspraxis?
Podiumsgespräch der Referenten und anschließender Schlussdiskussion im Plenum

res that printmaking will remain one of the school's core artistic disciplines.

The Bryans' gift bolsters PAFA's ability to provide the highest level of artistic training through its state-of-the-art printmaking shop and innovative programs, continue its legacy of educating generations of artists, and ensure the ongoing relevance and contemporary potential of this vital artistic medium.

Located on the sixth floor of the Samuel M.V. Hamilton Building, the Julie Jensen Bryan and Robert Bryan Printmaking Shop provides students with the equipment and personalized instruction to gain mastery in an array of printmaking forms, including woodcut and relief, etching, dry point and other intaglio processes, plate and stone lithography, as well as screenprinting, letterpress, book arts, and digital media.

The Bryan Printmaking Shop is also home to exciting events and programs, such as the Annual Student Print Sale and PAFA PRESS, which sponsors collaborative edition printing and other experimental print programs in partnership with professional artists and faculty master printers.

rgest permanent collection additions in the museum’s history.

The Weisman acquisition further strengthens the museum’s Japanese holdings and represents a broad spectrum of artists across the history of Japanese printmaking. The collection spans four centuries and includes colorful Edo and Osaka ukiyo-e woodcuts, shin hanga (new prints) and sōsaku hanga (creative prints). Thematically, the prints represent fine examples of bijinga or beautiful women, theatrical prints of actors, literature and legend, landscape, bird prints and surimono (privately printed prints).

Selections from the Weisman collection will be featured in the upcoming special exhibition "Dressed to Kill: Japanese Arms & Armor". In 2006, the Weismans donated 82 prints, which were featured in the exhibition "Public Spectacles, Personal Pleasures: Four Centuries of Japanese Prints from a Cincinnati Collection."

been generously promised by Milwaukeeans Susee and James Wiechmann. The gift encompasses the full range of Chéret’s innovative output from his bold, expressive posters advertising theatrical events, social gatherings and a myriad of products; to designs for book covers and menus; to intimate lithographic studies of his models. Often referred to as the “father of the modern poster,” Chéret inspired many other important artists of his time including Henri de Toulouse-Lautrec and Pierre Bonnard.

“Susee and I are thrilled to add our Jules Chéret poster collection to the Museum’s treasures where it can be shared by all,” said James Wiechmann. “These posters that lit up the streets of Paris in the late 1800s will now shine in the galleries of our Milwaukee Art Museum and those of other Museums as they are exhibited around the country.”

The Wiechmanns were lenders to the Museum’s popular 2012 exhibition, Posters of Paris: Toulouse-Lautrec and His Contemporaries, and from there began an important relationship with the institution. In addition to the promised gift of their Chéret collection, the Wiechmanns have underscored their commitment by underwriting a curatorial position. Thanks to their generosity Britany L. Salsbury will join the Museum in February as associate curator of prints and drawings.

Salsbury comes from the Museum of Art, Rhode Island School of Design where she has been the Andrew W. Mellon curatorial fellow in the Prints, Drawings and Photographs department since 2015. During her tenure she worked on a major exhibition scheduled to open in June 2017 entitled Altered States: Etching in Late 19th Century Paris, which has an accompanying publication. She also developed a number of exhibitions including Inventing Impressionism (2016), and regularly instructed classes from RISD and Brown University on the history of works on paper in the museum’s print study room. Salsbury’s experience includes positions at the Metropolitan Museum of Art, the Morgan Library & Museum and the Art Institute of Chicago.

stability, liberty, and beauty. This image-making is celebrated in a new Yale Law Library exhibition, "Representing the Law in the Most Serene Republic: Images of Authority from Renaissance Venice," on view from September 20 through January 11, 2017.

Drawing primarily on the outstanding collection of Italian law books in the Yale Law Library's Rare Book Collection, the exhibition features 25 objects of remarkable splendor and historical significance. These include illuminated manuscripts, illustrated books, prints, drawings, coins, and medals, eight of which are on loan from the Yale University Art Gallery and three reproduced from an exceptional Renaissance album of watercolors in the Beinecke Library.

During the fifteenth and sixteenth centuries, Venice played a central role in the political and economic affairs of Europe, ruling an empire that extended from northern Italy, down the Adriatic, to the eastern Mediterranean. By the year 1500, Venice could claim that it had been a sovereign republic for more than a millennium. Indeed, the city was so highly esteemed for its stable government, selfless leaders, and free citizens that it came to be known as "La Serenissima," the Most Serene Republic.

The exhibition introduces the significant offices and symbols of the Venetian state, and explains how laws were crafted, debated, publicized, and broken. Its protagonists are the doge and highest magistrates of Venice, the governors appointed to rule the Republic’s territories, the lawmakers in the Senate, and the lawbreakers consigned to prison or the galleys—all of them illustrated in finely executed illuminations, drawings, prints, and numismatic portraits.

The exhibition is curated by Christopher Platts (History of Art, Yale University) and Michael Widener (Rare Book Librarian, Yale Law Library).

ate Heard (Royal Collection Trust) and David Alexander (Honorary Keeper of British Prints, Fitzwilliam Museum). There will be a curator-led tour of the exhibition An Amateur’s Passion and visits to additional material in the Graham Robertson Study Room.

Lunch not included, but tea and coffee provided.
Booking essential, tel: 01223 332904 or email: education@fitzmuseum.cam.ac.uk

were created during an extraordinary moment in the history of prints, when unprecedented economic prosperity and patronage elevated printmaking in the Dutch Republic during the 17th century, an era known as the Golden Age. While art imported from southern Europe and Dutch colonial outposts in Asia saturated the burgeoning market, newly wealthy collectors also demanded contemporary Dutch prints. Rembrandt and his peers responded with traditional biblical and mythological subjects, but also familiar landscapes and character studies inspired by daily life.