Leslie Anderson will lead the museum’s relocation to the heart of Winter Park. Rollins College President Brooke Barnett announced today the appointment of Leslie Anderson as the new Bruce A. Beal Executive Director of the Rollins Museum of Art (RMA).…
This summer, visit the Rollins Museum of Art and you’ll not only get free admission to view engaging exhibitions, you’ll also get to create art of your own based on works from the Rollins Museum of Art collection! Designed by…
In August 2024 Rollins College Student Stella Morris(’26) began work as the Fred W. Hicks Curatorial Fellow at Rollins Museum of Art (RMA). Six months in “it feels like I’ve worked here for about two weeks and my whole life…
Dr. Anne C. Grey helps students Ayelin and Aliviah, Grade K with their art technique. Photo: John P. Burke
You can now explore Rollins Museum of Art on Bloomberg Connects, the free arts and culture app! Download our free digital guide on your phone or tablet for access to audio guides, tours and more! Our digital guide features: Prepare…
Enjoy Fall Fling, a FREE day of family fun at Rollins Museum of Art! With indoor and outdoor arts activities, story time, tours, performances and more Fall Fling is the perfect way to spend your Saturday. All events are open…
A few months ago, I read this comment from a visitor who experienced our Spanish language program Arte y Café Con la Curadora (Art and Coffee with the Curator): “Thank you for offering this in Spanish. Today I was able…
Jun Kaneko (Japanese, b. 1942)Untitled, 2003Glazed ceramicGift of Alan Ginsburg. 2017.17 Jun Kaneko Jun Kaneko was born in Nagoya, Japan in 1942, and he currently maintains a studio in Omaha, Nebraska. Kaneko is a pioneer in the realm of monumental ceramics,…
In person and online offerings beyond the walls of The Rollins Museum of Art
Elihu Vedder (American, 1836-1923), Superest Invictus Amor (Love Ever Present), 1887, Oil on canvas, 34 ¾ x 12 ¼ inches As I write this in mid-June, it has been just about thirteen months since my last entry in this blog.…
William Williams (American, 1727-1791) The (William) Denning Family, 1772, Oil on canvas, 35 ½ x 52 inches Benjamin West (American, 1738-1820), Mrs. Thomas Keyes and Her Daughter, c. 1806, Oil on panel, 33 x 23 ¼ inches A term one sometimes…
Peggy Bacon (American, 1895-1987) Lamentable Lunch, 1952, Gouache on paper, 7 . x 5 in. Gift of Anne M. Farr, 1997.7 This small work by American artist Peggy Bacon (1895-1987) has always intrigued me. The distinctive features of the man’s…
We do not know who drew this delicate ink and chalk drawing. We do know, however, that it is a copy of a woodcut from a book rather famous at the time, the Second Book on Perspective by Italian architect and theorist Sebastiano Serlio (published in 1545). Today, Serlio is remembered as the author of the first architectural treatise in a modern language to be printed with illustrations, also the first to devote an entire section to the theatre. That is where we find the source image for this drawing, titled The Tragic Scene. The drawing may have been a lesson in perspective (apprentices repeatedly copied works by other artists in order to master various skills, types of compositions, or media), or a point of departure for a different composition.
Gertrude Käsebier was an early supporter of the Pictorialism movement, which sought to reverse the idea that photography could not be painterly. Joining the likes of Alfred Stieglitz and Edward Steichen in the Photo Secession group, she adopted several older, labor-intensive printing styles, used alternative chemicals that yielded more nuanced tonal ranges, and reworked her plates with paintbrushes and other methods before printing. In the pictorialists’ hands, photography was art and being a photographer was a professionalized artistic craft.
Einar and Jamex were born in Guadalajara, Mexico in 1963 and 1960 respectively. They moved to the U.S. at a young age and attended school in California, where eventually they studied art and discovered their passion for glassmaking. Currently, the artists live and work on both sides of the US-Mexico border with homes and studios in Ensenada and San Diego. Attuned to their experiences and surroundings, their artistic vision is informed by their experiences as Border artists whose identity is neither exclusively Mexican nor American, but instead enriched by both. The complexities of identity are at the core of the brothers’ creations; symbolism, history and humor are often the avenues they employ to examine them.
