The Rollins Museum of Art owns a collection of superb examples of works by members of the Bloomsbury Group, a group of associated English writers, intellectuals, philosophers, and artists in the early 20th century, most based in London. Among them…
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…
Samuel Aye-Gboyin is one of only six finalists chosen to have works on view in both the UCF Art Gallery and Rollins Museum of Art as part of the Pathways 2024: Carlos Malamud Prize exhibition. The prize offers a pathway…
How The Secret, Alachua, FL by photographer Michael Bühler-Rose helps expand our sense of what cultural exchange might mean.
Enjoy Spring Fling, a FREE day of family fun at Rollins Museum of Art! With indoor and outdoor arts activities, story time, tours, performances and more Spring Fling is the perfect way to spend your Saturday. All events are open…
As an academic museum, we know how essential hands-on experience is for developing the skills necessary for a successful career. Rollins Museum of Art is proud to offer work-study positions to Rollins College students like Art History and Classical Studies…
In person and online offerings beyond the walls of The Rollins Museum of Art
Gain insights into the works of American Photographer Carrie Mae Weems that are featured in the permanent collection at The Rollins Museum of Art.
Carrie Mae Weems (American, b. 1963) Untitled (Woman with Daughter), From the Kitchen Table Series, 1990 Silver prints, triptych 28 1/4 x 28 1/4 inches each. The Alfond Collection of Contemporary Art, Rollins Museum of Art. Gift of Barbara ’68 and Theodore ’68 Alfond, 2014.1.26. © Carrie Mae Weems. Image courtesy of the artist and Jack Shaiman Gallery, New York.
Carmen Herrera has been described as a “quiet warrior of her art” in her uncompromising commitment to abstraction over decades of scant recognition.(1) Born in Havana in 1915, she later moved to New York and then, in 1948, to Paris,…
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…
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.
