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Opening on March 1, the New OrleansMuseum of Art will present a forty-yearretrospective of the work of GeorgeRodrigue, undoubtedly Louisiana’s mostfamous contemporary artist. The

exhibition will feature more than one hundred paintings,which survey the full range of his work: early landscapes,scenes of Cajun life, portraits of famous Louisianians, theemergence and evolution of the now iconic Blue Dog,and most recently hurricanes and nudes. WhileRodrigue’s work is quite familiar to New Orleanians, thecomprehensiveness of this retrospective will be a surpriseand pleasure to even his most devoted fans. And it mayconvince those who so far have resisted the charm andpower of his work that Rodrigue has made a uniquecontribution to the culture of Louisiana.

I first became aware of George Rodrigue in the early1970s when a buzz from Lafayette began reaching NewOrleans about a young artist who was reinventingLouisiana landscape painting of moss-draped oaks andwatery bayous, in the tradition of such late nineteenth-century masters as Richard Claque and William Buck.Rodrigue’s dark and moody landscape paintings werefollowed by something totally original: nostalgic

depictions of Cajun life from the early years of thetwentieth century. The 1976 publication of The Cajunsof George Rodrigue, illustrating one hundred-fifty six ofthese new compositions, was a major factor in hisgrowing reputation. In fact his paintings heralded theemergence of a Cajun revival that soon swept thecountry with its unique music, food, folktales, andimages of a bygone era. The new Cajun pride in itsindigenous culture and traditions was centered inLafayette, the capital of Cajun country.

At the same time, Cajun country experienced afinancial boon in the oil service industries, whichsupported the tremendous growth of off-shore oil andgas exploration in the Gulf of Mexico. The newly affluentowners and employees of the “oil patch” companieswere among Rodrigue’s most enthusiastic patrons,competing to purchase his Cajun scene paintings todecorate their offices and homes. Cajun country wasflexing new financial and cultural muscles, feelingindependent from the long dominance of New Orleans.

Rodrigue’sLouisiana:Cajuns,Blue Dogs,and BeyondKatrinaBY E. JOHN BULLARDThe Montine McDanielFreeman Director, NOMA

(continued on page 6)

ARTSQUARTERLYVOLUME XXX ISSUE 1 NEW ORLEANS MUSEUM OF ART JANUARY/FEBRUARY/MARCH 2008

A benefit of membership with the New Orleans Museum of Art

George Rodrigue(American, born 1944)

Aioli Dinner, 1971Oil on canvas, 32 x 46 inches

Collection of Jacques Rodrigueand Andre Rodrigue

2 NEW ORLEANS MUSEUM OF ART

• • •• • • •

ARTS QUARTERLY 3

1001 South Broad Street, New Orleans, Louisiana 70125Tel: 504.821.6326 E-mail: [email protected]


ARTSQUARTERLYVOLUME XXX ISSUE 1 NEW ORLEANS MUSEUM OF ART JANUARY/FEBRUARY/MARCH 2008

1 Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond KatrinaE. John Bullard

8 Living Color: Photographs by Judy CooperLisa Rotondo-McCord

10 Dog Gone!George Roland

11 Two New Photography Exhibitions to be Presented at NOMA

12 China in Japan: Chinese Subjects and Styles in Edo-periodJapanese PaintingLisa Rotondo-McCord

14 New Acquisition: An Early Pair of Haviland, Limoges,Porcelain CandelabraJohn Webster Keefe

16 New Acquisition: A Gift of Wedgwood Fairyland Lustre fromSydney and Walda BesthoffJohn Webster Keefe

18 New Acquisition: Pastoral Scene by George InnessThomas Bayer

20 The Power of a PictureHolly M. Wherry

22 Merci Bien: A Bouquet of ThanksVirginia Panno

22 Fabergé Egg Hunt

24 Forty-Second Odyssey Ball Premieres Whitecloud Collectionby Julie George

26 Love Conquers AllVirginia Panno

28 Join A Circle and Upgrade Your Support of NOMA

29 Contributions

30 Circles and Fellows of the New Orleans Museum of Art

32 Corporate Membership

33 Program Sponsors

34 Education Programs and Activities

38 Museum News

39 NOMA Calendar of Events

Editor/Art Director: Wanda O’ShelloAdvertising Manager: Karron LaneAssistants to the Editor: Aisha Champagne,M. Dreux Van Horn IIPrinting: Roberson Printing

Arts Quarterly (ISSN 0740-9214) ispublished by the New Orleans Museum ofArt, P.O. Box 19123, New Orleans, LA70179-0123. 504-658-4103. Advertising504-610-1279 or 504-658-4103.

© 2008, New Orleans Museumof Art. All rights reserved. Nopart of this magazine may bereproduced or reprinted withoutpermission of the publisher.

SUPPORT ACKNOWLEDGEMENT

The programs of the New OrleansMuseum of Art are supported by agrant from the Louisiana State ArtsCouncil through the Louisiana Divisionof the Arts and the NationalEndowment for the Arts.

Free admission for Louisiana residentsis sponsored by The Helis Foundationand the members of the New OrleansMuseum of Art.

From the directorThis year Arts

Quarterlycelebrates its

thirtieth anniversary.Once described as “oneof the most ambitiousmuseum publications,”Arts Quarterly has keptNOMA membersabreast of the

Museum’s many exhibitions, educationprograms and special events since 1978.

The original concept for Arts Quarterlywas developed by Dawn Dedeaux. Dawn andNOMA were pioneers in museum publishing.In 1978 few museums were producingmagazines since desktop publishing, whichtransformed the publishing industry, had notyet permeated museums.

Over the years, Arts Quarterly hasbecome an award-winning publication.Despite the exploding technology of thepersonal computer that has made nearly everymuseum a publishing house, Arts Quarterlycontinues to win acclaim as one of thecountry’s best art museum magazines.

In 1984 Dawn Dedeaux left Arts Quarterlyto pursue other interests, and the assistanteditor, Wanda O’Shello, was named editor.Under her direction, Arts Quarterly hascontinued to win awards and has maintainedthe excellence established by its foundingeditor.

Besides Arts Quarterly, NOMA’spublications office is responsible for manyother projects, including exhibition invitations,brochures, banners, labels, text panels andcatalogues. As head of the Museum’spublications office, Wanda O’Shellocoordinates all NOMA print and publishingprojects, most of which are beautifullydesigned by the Museum’s graphic designer,Aisha Champagne.

Since establishing its in-housepublications office in 1997, NOMA hasbecome a virtual publishing house. Recentexhibition catalogues include Blue WindsDancing: The Whitecloud Collection of NativeAmerican Art, Katrina—Days of Terror,Months of Anguish: Paintings by RollandGolden and the newly published Living Color:Photographs by Judy Cooper. Two additionaltitles will be published in 2008 in conjunctionwith the exhibitions The Opulent Object:Fabergé from the Daniel L. Hodges Collectionand English Georgian Silver from the Rose andGranger Collections, which will premiere atthis year’s Odyssey Ball in November. Thesehandsome publications are importantcontribtions to art historical research andbring national and international recognition toNOMA for which we all may take justifiablepride.

E. John Bullard

Articles appearing in any issue of Arts Quarterly do not necessarily reflect the opinion of the staff or the board oftrustees of the New Orleans Museum of Art.

The New Orleans Museum of Art andthe Besthoff Sculpture Garden are openWednesday through Sunday, from10 a.m. to 4:30 p.m. For information onupcoming exhibitions and events atNOMA, please call 504-658-4100 or visitour website at www.noma.org.

ARTS QUARTERLY 5

Recent Publications in the NOMA Shop

Katrina—Days of Terror, Months of Anguish:Paintings by Rolland Golden

Hardcover, 96 PagesISBN 978-0-89494-104-7

$32.95

Blue Winds DancingThe Whitecloud Collection of Native American Art

Hardcover, 144 PagesISBN 0-89494-099-6

$34.95

Living ColorPhotographs by Judy Cooper

Softcover, 56 PagesISBN 978-0-89494-105-4

$21.95

Stop by the NOMA ShopShop Open Wednesday – Sunday, 10 a.m. – 4:15 p.m. • 504-658-4133

Also available online at www.noma.org


This also was reflected in the emergence of politiciansfrom Cajun country, particularly Edwin Edwards, whowould control state politics for more than twenty years.

With an ebullient personality and natural marketingsavvy, George Rodrigue was early on a master at usingthe media to publicize his work. He found new ways toproject his paintings into nontraditional areas, bringinghis art to a broad popular audience. Beginning in theearly 1980s, Rodrigue began incorporating his Cajunpaintings into specially designed posters celebrating thefestivals that are a unique cultural feature of the smalltowns of southwest Louisiana. These have includedposters for the Festival Acadiens, the Breaux BridgeCrawfish Festival, the State Fairs in Baton Rouge andShreveport, and the Lafayette Mardi Gras.

During this same period Rodrigue began creating aseries of portraits of famous Louisianians: politicians likeHuey Long, writers like Walker Percy, and popularmusicians like Hank Williams and Louis Armstrong.Among his portraits that attracted the greatest mediaattention were those depicting recent Americanpresidents, beginning with Ronald Reagan and later BillClinton.

While by the mid-eighties Rodrigue was enjoyingconsiderable success, it was nothing like what overtookhim after he created the first image of a little blue dog. Itbegan with a book of Cajun ghost stories by ChrisSegura, titled Bayou, that Rodrigue illustrated in 1984.Among the stories was one about the loup-garou, aCajun werewolf, who was often evoked as a boogymanto scare children into obeying their parents. Rodrigue’soriginal image was of a small, scrappy dog with big ears,staring eyes and a shaggy coat of silver blue color. Thisfirst image and the many others that followed in the nextfew years were placed in the same landscape settingused in his Cajun paintings. Then the dog beganappearing in other contexts or against a blankbackground. In the nineties the dog becameprogressively more streamlined, featuring bolder colorsand smoother forms, thus achieving its ultimate iconicform.

The growing popularity of the Blue Dog promptedthe expansion of the marketing and sales of Rodrigue’swork both nationally and internationally, with galleries

(continued from page 1)

George Rodrigue (American, born 1944)Watchdog, 1984

Oil on canvas, 40 x 30 inchesPrivate collection

The first painting of the Blue Dog, createdfor Chris Segura’s children’s book Bayou

George Rodrigue (American, born 1944)Hank Williams, 1989Oil on canvas, 68 x 50 inchesPrivate collection

ARTS QUARTERLY 7

exclusively devoted to him opening in New Orleans in1989 and Carmel, California, in 1991, and later in Tokyoand Aspen. In 1993 Rodrigue joined a distinguishedgroup of contemporary artists, including Andy Warhol,another marketing master, who were commissioned tocreate advertisements for Absolut Vodka. Soon it seemedthat the Blue Dog was everywhere, one painting evenhanging on the back wall of the Central Perk coffeehouseset on the hit television sitcom Friends. In fact Rodrigue’swork has long been popular with many show businesspersonalities, collected by the likes of Whoopie Goldbergand Tom Brokow.

While an admirer of George Rodrigue’s Cajunpaintings, I resisted the appeal of the Blue Dog. I finallysuccumbed in 2000 when in a taxi on the way into Parisfrom the airport I saw dozens of highway billboardsfeaturing the Blue Dog as part of a European advertisingcampaign for Xerox® color inkjet printers. I realized thatthe enormous popularity of the Blue Dog should notkeep me from enjoying the special and unique qualitiesof these images.

Since then I have thought often about what makesthe Blue Dog such a phenomenal success. Dogs havelong been a popular subject in world art, from the tombsof ancient Egypt and China to today. In old masterEuropean paintings dogs are depicted as companions totheir human, often royal owners or portrayed alone,hunting, racing, or at rest. Dogs are popular characters inchildren’s books and in comic strips, most famouslyHergé’s Tintin series and Snoopy in Charles Schultz’sPeanuts. Even some of today’s most critically acclaimedcontemporary artists have used canines in one form oranother. Just think of Jeff Koons’s gigantic flower-coveredPuppy sculpture or William Wegman’s never-endingseries of photographs of his Weimaraners. Nearlyeveryone loves dogs and most have owned them aschildren or adults. We have warm and sentimentalmemories of cuddly puppies and loyal andcompanionable dogs.

In its innumerable repetitions and variations, theBlue Dog goes beyond these shared memories ofbeloved pets to become a universal symbol, a kind ofEveryman or Everydog. Seen straight on, in a seatedfrontal pose, the Blue Dog is unchanging and static, nomatter in what setting it finds itself. Each viewerinterprets its expression in different ways. For me theBlue Dog’s unflinching gaze can show both strength orstunned bewilderment. He is both strong and vulnerable,poised and alarmed. His dead pan expression remindsme of the silent film comedian Buster Keaton, known as“The Great Stoneface,” another classic Everyman who inhis naiveté and innocence triumphed over adversity.Most of all the Blue Dog makes us smile, which in NewOrleans’ post-Katrina environment is a prized emotion

These are some of the thoughts that visitors toGeorge Rodrigue’s retrospective may have as theyexamine the results of the forty-year career of this greatLouisiana-born-and-bred artist. If nothing else Rodriguehas demonstrated that an artist does not have to abandonhis home state to achieve success and acclaim. n

Rodrigue’s Louisiana: Cajuns, Blue Dogs, andBeyond Katrina is on view at NOMA March 1 throughJune 8, 2008. The exhibition, in a different format, wasorganized by the Dixon Gallery and Gardens, MemphisTennessee. The exhibition is sponsored in New Orleansby Lakeside Shopping Center and The FeilOrganization.

George Rodrigue (American, born 1944)Stacked, 2001

Acrylic on canvas, 71-3/4 x 47-1/2 inchesCollection of the New Orleans Museum of Art

Gift of Henry and Pat Shane. 2007.110


Photographic portraits of some of New Orleans’most colorful inhabitants comprise themajority of works in a new exhibition atNOMA, Living Color: Photographs by JudyCooper, on view in the Zita Marks Templeman

Galleries on NOMA’s second floor. These works, createdover a span of twenty years, document a photographer’sengagement with the personalities, and by extension, thecultural forces, that have contributed to the city’s rich anddiverse cultural heritage.

Born in Birmingham, Alabama, in 1938, Cooper firstcame to New Orleans in 1955 to attend Sophie NewcombCollege of Tulane University. An English major, shenonetheless took advantage of her junior year abroad tostudy in France, a decision that was to have a lastingimpact on her early professional career. After beinggraduated from Newcomb, Cooper received her M.A. inEnglish from Columbia University in New York City,returning to New Orleans for her doctoral studies inFrench and Italian literature at Tulane University.

Receiving her Ph.D. in 1969,Cooper taught French at LoyolaUniversity.

Teaching proved lesssatisfying than expected, andCooper began to explorealternate careers. By 1974, shehad left academe to pursue acareer as a professionalphotographer. “Since I hadalready completed my formaleducation when I decided tobecome a photographer, Ichose…the age-old route ofapprenticeship…I went to workwith two photographers, RonTodd and Allen Hess. Weformed a company called Muse,Inc. Most of our jobs were artrelated. We photographedpaintings for Ida Kohlmeyerand did installation photos forGalerie Simone Stern.”

By 1976, Cooper hadembarked on her career as aprofessional photographer,specializing in fine artsphotography. At the same time,she began to create portraits ofa broad range of NewOrleanians—from luminaries inthe social and cultural scene todrag queens, artists, friends andneighbors, church women andSecond Liners.

The fifty works in theexhibition are presented in fourchronological and thematicgroups: Women in Red, NewOrleans’ Characters, Twins, andNew Orleans Sunday.

In Women in Red (1988),Cooper’s first major series,elements of the artist’s matureindividual style, as well asthemes and motifs that recurthroughout her subsequentbody of work are readilyevident. Her documentaryapproach to her subjects—withthe face or upper body fillingmost of the picture frame andthe subject looking directly at

Living Color:Photographsby Judy Cooper

BY LISA ROTONDO-McCORDAssistant Director for Art,NOMA

Figure 1Judy Cooper (American, born 1938)The Bailey Twins, 1989From the series Women in RedHand-tinted silver gelatin print, 37-1/2 x 32 inchesCollection of the artist

ARTS QUARTERLY 9

the photographer (and thus, the viewer) was well-established. These are not casual or spontaneousphotographs in which a fleeting glimpse of life iscaptured. Rather, Cooper asks her subjects to pose. Shechooses them as subjects, but they choose how theypresent themselves—particularly in their clothes andsetting. Cooper clearly prefers to photograph her subjectsin the environment in which they feel most at home—many are seen in their living rooms, sitting in a favoritechair or standing in front of their fireplace as in TheBailey Twins, 1989 (fig. 1). If not in their own homes,Cooper’s subjects are seen in the environment thatspeaks most clearly to their identity—Second Liners, forexample, are photographed along the routes of theirannual parades in New Orleans.

Cooper’s most explicit examination of identity issuesis in her Twins series. With its origination in The BaileyTwins in 1988, this idea found fullest expression in themid-1990s. Cooper attended the annual TwinsDaysfestival in Twinsburg, Ohio, for four years, creating heronly significant body of work that does not focus onresidents of New Orleans. Her portrait of identical twinbachelor farmers John and Bill Reiff (fig. 2) shows thebrothers after they have been awarded the prize for“most identical twins.” The brothers believed so stronglyin the concept of TwinsDays that they left the entirety oftheir considerable estate to TwinsDays to ensure itssurvival.

Clothes, in Cooper’s work, are embodiments ofpower, authority and cultural significance. From her firstseries, Women in Red, wherein women posed wearingred outfits, to her latest work, entitled New OrleansSunday, the clothes worn by Cooper’s subjects are asmuch a part of the wearer’s identity as their physicalappearance. Two discrete aspects of New OrleansAfrican-American culture are contained within the NewOrleans Sunday series; the “sacred,” portraits of churchwomen from Second Nazareth Baptist Church andSecond Zion Baptist Church in their elaborate hats anddresses, and the “secular,” the coordinated parade attireof the Social Aid and Pleasure Clubs. In Juanita, 2007(fig. 3), her subject’s powerful and defiant stanceprovides eloquent and encouraging testimony of theresilience of New Orleans popular culture. n

Living Color: Photographs by Judy Cooperis on view in the Zita Marks Templeman Galleriesfrom January 19 through May 11, 2008. Theexhibition is accompanied by an illustratedcatalogue. The exhibition and programming aresponsored, in part, by the Louisiana Endowment forthe Humanities. The catalogue is made possiblethrough the support of International Well TestersInc., and Robert and Jolie Shelton, and theLouisiana Endowment for the Humanities.

Figure 3Judy Cooper (American, born 1938)

Juanita, 2007From the series New Orleans Sunday

Color pigment print, 29-1/2 x 19-1/2 inchesCollection of the artist

Figure 2Judy Cooper (American, born 1938)

Most Identical Twins, 2000From the series Twins

Hand-tinted silver gelatin print23-1/2 x 23-1/2 inchesCollection of the artist


To coincide with the George Rodrigueretrospective (see cover story) and to paytribute to the celebrated Blue Dog (a Corgi,perhaps), NOMA is putting on its ownDOG SHOW. Chosen primarily from the

Museum’s collection of works on paper, which includes5,300 prints and drawings and 7,400 photographs, thesebest of breed will be on show through the spring.

Dogs are frequent visitors to the artist’s studio, oftenappearing as companions in portraiture. And artists, likeyou and I, can be very attached to their pets, wishing torecord their likeness. Of course dogs are convenientmodels, usually very obliging; they sit still.

The great Dutch printmaker Henrick Goltzius(1558-1617) allows the magnificent spaniel in his Portraitof Frisius (fig. 1) to dominate the composition. The NewOrleans favorite Robert Gordy (1933-1986) finds echoesof his love of pattern in the markings of the dogs (fig. 2).Elliot Erwitt (American, born 1928), a wonderful observerof the passing scene, is well known for his attention todogs and their relationship to humans (fig. 3); look fortwo examples here. The famous Weimaraner of WilliamWegman makes an appearance incognito.

Complemented by a few choice examples fromNOMA’s Asian art and decorative arts collections, aboutforty championship works of art will be on view. DOGSHOW is a light-hearted look at work by serious artists ina less-than-serious mood. n

DOG SHOW will be on view in the StaffordGallery on the Museum’s second floor, February 3to June 2, 2008. Rodrigue’s Louisiana: Cajuns,Blue Dogs, and Beyond Katrina will be on viewin the Museum’s Ella West Freeman GalleriesMarch 1 through June 8, 2008.

DOG GONE!This SpringNOMA is Goingto the DogsBY GEORGE ROLANDThe Doris Zemurray StoneCurator of Prints andDrawings, NOMA

Figure 1Hendrik Goltzius (Dutch, 1558–1617)

Son of Frisius, 1597Engraving, 14 x 10-1/4 inches

Collection of the New Orleans Museum of ArtMuseum Purchase, Mr. and Mrs. William B.

Burkenroad, Jr. Funds. 74.12

A gifted draftsman, extremely popular in his day,Goltzius was a versatile engraver, successfully imitatingthe many styles of Dutch, German and Italian masters.He also was known for his engraved portraits like this

one, dominated by a handsome spaniel.

Photo by Judy Cooper

Figure 2Robert Gordy, (American, 1933–1986)Dog, 1976Screenprint, 19 x 30 inchesCollection of the New Orleans Museum of ArtGift of the artist in memory of John Weinstock and LeClare Ratterree. 77.2

The longtime New Orleans favorite was a prolific printmaker. In this examplethe markings on the dalmatian echo the artist’s love of pattern-making.


Figure 3Elliot Erwitt (American, born 1928)

Untitled (Small dog in sweater), 1946Gelatin silver print, 16 x 20 inches

Collection of the New Orleans Museum of ArtMuseum Purchase through the National

Endowment for the Arts Grant. 75.76.119

Erwitt has snapped Marilyn Monroe, Grace Kelly andmore than a few dogs. In spite of weather warm

enough for sandals, the chihuahua has bundled up.

ARTS QUARTERLY 11

NOMA will present two exhibitionsorganized by the Museum’s new FreemanFamily Curator of Photography DiegoCortez. The first, entitled Ari Marcopoulos:Architectures, is on view January 19

through April 27, 2008, in NOMA’s P. Roussel Normanand William D. Norman, M.D. Gallery, located on thesecond floor.

Ari Marcopoulos is a celebrated photographer, filmartist and adventurist. This exhibition presents the artist’slarge-scale Xerox® and laser-jet prints. Marcopoulosexpands the usual boundaries of architecturalphotography to encompass graffiti (architecture indialogue), human bodies (flexible structures), skateboardramps (computer-generated moonscapes), artist studios(chaos) and architectural models (surrogates of reality).

Marcopoulos was born in Amsterdam in 1957 andlives in Sonoma, California. He has exhibited at MC, LosAngeles; P.S.1, New York City; Alleged Gallery, NewYork City; Mu, Eindhoven, Agnes B, Paris; KunsthalleBern and Shibuya Tower, Tokyo. Marcopoulos’numerous books include The Chance is Higher (2008),Flow (2007), Out And About (2005), Transition and Exits(2001), and Pass the Mic: Beastie Boys 1991-1996 (2001).

Ari Marcopoulos: Architectures is the first in themuseological exhibition series curated by Diego Cortez.The exhibition includes a catalogue-zine published byNieves, Zurich.

Opening on March 2 is A Curator’s Gift: PhotographyDonation by Diego Cortez to NOMA. The exhibition is onview through May 25 in the Museum’s Frederick R.Weisman Galleries for Contemporary Art, located on thesecond floor.

In accepting the position of The Freeman FamilyCurator of Photography at NOMA, Diego Cortez hasagreed to donate more than two hundred photographsfrom his personal collection to the Museum. Cortez toldNOMA Director E. John Bullard that he hoped this giftwould create a stronger foundation of images for theMuseum and better enable him to solicit furtherdonations from photo artists and collectors ofphotography.

Diego Cortez has worked as a free-lance curator andart adviser for twenty-five years. From 1998 to 2001, hedirected the Partobject Gallery in Carrboro, NorthCarolina, with his sister Kathy Hudson, where theypresented fifteen exhibitions of important internationalphotographers, many of whom are represented in thisgift.

Multiple works by Catherine Opie, Collier Schorr,Phyllis Galembo, Slater Bradley, John Waters andBernard Faucon are complimented by works by Africanphotographers Seydou Keita, Malick Sidibe and NabilBoutros. New Orleans photo artists include DawnDedeaux and Elizabeth Shannon.

Other American photographers include DeanSamashima, Dawoud Bey, Jean-Michel Basquiat, Philip-Lorca diCorcia, Larry Clark, Wendy Ewald, Nan Goldin,Allen Ginsberg, Cindy Sherman and Danny Lyons.European photographers include Joan Fontcuberta, PierreVerger, Jean Baudrillard, Joseph Beuys, WolfgangTillmans, Rineke Dijkstra, Helen Van Meene, NickWapplington and Boris Mikhailov. Japanesephotographers include Yasumasa Morimura, NobuyoshiAraki, Takashi Homma, Daido Moriyama, Enlightenment,Yoshitomo Nara, Katsumi Watanabe, Yurie Nagashimaand Shomei Tomatsu. Also included is Chinesephotographer, Rong Rong. n

Two NewPhotographyExhibitions tobe Presentedat NOMA

Ari Marcopoulos (Dutch, born 1957)Graf Temple, 2007Inkjet print, 30 x 40 inches

Seydou Keita (Malian, 1921-2001)Untitled (woman with sewing machine), circa 1955/1997

Gelatin silver print, 70 x 50 inchesCollection of the New Orleans Museum of Art

Gift of Diego Cortez


A benevolent wind spreads across the world

Written in strong and fluid calligraphicstyle, this statement forms one part ofthe calligraphy triptych (illustratedhere) by the Japanese O

-baku monk

Mokuan (1611-1684) on view inChina in Japan: Chinese Subjects and Styles in Edo-periodPainting, presented in NOMA’s Japanese gallery. Thisexhibition explores the multifaceted manifestations ofChinese influence during the Edo period (1615-1868),from the direct transmission of subject and style viaChinese émigré monk-artists such as Mokuan, who livedand worked in Japan in the second-half of theseventeenth century, to the indirect transfer of culturalideals, themes and subjects.

During the Edo period, the Tokugawa shogunateadopted a Neo-Confucian governmental philosophy andpolitical structure; consequently, numerous aspects ofChinese culture—philosophy, history, literature, art andmusic—were studied by Edo-period intellectuals.However, knowledge of China was gained primarilyindirectly. In order to preserve internal political stability,the Tokugawa Shoguns at first restricted and thenprohibited foreign travel, and restricted both thepresence and movement of foreigners in Japan.Exceptions were made for a small number of Chineseand Dutch traders confined to the port city of Nagasaki.At the fall of the Ming dynasty in 1644, a number ofChinese exiles were permitted to take refuge in Japan

and created a smallbut thrivingcommunity. Theseémigrés includeda small numberof monks,practitioners ofwhat is known inJapan as O

-baku

Zen. (The nameis taken fromthe Japanesepronunciation ofthe location oftheir temple insouthern China,Mount Huangbo.)In a rare andnotable exceptionto the prohibitionsbarring foreigners’residence anyplace outside ofNagasaki, theShogun permittedthe Chinese monksto establish atemple, Manpukuji,in Kyoto.

Mokuan wasone of thefounders ofManpukuji, andbecame its second

abbot. Several of the Chinese monks who served in thiscapacity were accomplished painters and calligraphers,specializing not only in Zen subjects but also in theliterati style of their homeland. Mokuan was greatlyrespected as a religious figure, and his calligraphy—as amanifestation of his learned and upright character—reached a broad and receptive audience. Both the styleof Mokuan’s calligraphy and the content of his writingsappealed to adherents, friends, artists and collectors, andhis single-line calligraphy, such as the one illustratedhere, was particularly sought after.

O-baku painting and calligraphy exerted a great

influence on contemporary Japanese artists, particularlythose in the nanga, or literati tradition of Japan. Severalearly nanga artists lived in or near Kyoto and had directaccess to the monks, their work and the Chinesematerials they brought with them. In China, the literatitradition had its origins in the Song dynasty (960-1279).This art, produced by China’s highly educated scholar-bureaucrats was prized for both its refinement andcreative freedom. The complex layering of knowledge ofculture, history, poetry and art present in the paintingand calligraphy was profoundly appealing to nangaartists, who sought to emulate the lifestyle and culture ofthe Chinese literati. Several of the monks were friendsand acquaintances of well-known artists in China, andbrought to Japan books that reproduced famous works ofart, as well as real works of painting and calligraphy. Assuch, they were direct conduits to contemporary Chineseart, and served as exemplars of the Ming style.

The style and practice of Chinese literati painting wasalso disseminated through other means—by the fewChinese professional and amateur painters who madetheir way to Nagasaki, and more widely by woodblockprint books that reproduced painting techniques andmotifs.

Nanga artists were not alone in their incorporation ofChinese subject matter and/or style; Edo painting isreplete with images of Chinese deities and traditionalsubjects, and calligraphers wrote Confucian aphorisms,Chinese-style poems and references to Chinese historyand culture. Although directly related to thegovernment’s endorsement of Neo-Confucianism, thisphenomenon also can be seen as a reflection of a partlyshared cultural heritage. The classical Chinese languagehad been for centuries the lingua franca of East Asia. Itscharacters formed the foundation of the Japanese writtenlanguage, and the well-educated elite from various EastAsian lands communicated with one another through thewritten word. Edo-period artists, no matter what theirartistic lineage or tradition, often incorporated Chinesesubjects and themes in their work. Whether respondingto the requests of their patrons for couplets exhortingone to filial piety, or familiar images of good fortune andgood luck, artists clearly found a wealth of referencesand allusions in this deep well. n

The hanging scrolls and screens on view inChina in Japan are drawn from the permanentcollection of the New Orleans Museum of Art andgenerous loans from the Gitter-Yelen Foundation ofNew Orleans. The exhibition is on view January 21to June 1, 2008

China in Japan:ChineseSubjectsand Stylesin Edo-periodJapanesePainting

BY LISA ROTONDO-McCORDAssistant Director for Art andCurator of Asian Art, NOMA

Mokuan (Japanese, born China1611-1684)

A Benevolent WindInk on paper, 49-5/8 x 15-1/2 inches

Collection of the New OrleansMuseum of Art

Gift of an anonymous donor. 79.222

ARTS QUARTERLY 13

Published by theNew OrleansMuseum of Art,one of the premiercultural institutionsin the South,ARTQUARTERLYis an award-winningmagazine, whosereaders sharesome very specificcharacteristics andaspirations:

an appreciation for fineart and fine life and aconcern for improvingor maintaining theirquality of life and theirdistinctive lifestyle.

In its 30th yearof publication,ARTQUARTERLY providesan effective medium toreach this elusive groupof consumers.

WHAT DO NEW ORLEANS’MOST DISCRIMINATING CONSUMERS READ?

To reach New Orleans most discriminating consumers,call our representative to reserve your space in ARTQUARTERLY,

504-610-1279 or 504-658-4103.


During the 1980s the decorative artsdepartment of the New Orleans Museumof Art reconstituted and greatly enlarged itscollection of Paris porcelains, eventuallyamassing the premier assemblage of such

wares in this country. More recently, the attention of thedepartment has been directed to the building of a smallbut choice group of Sèvres and Limoges porcelains. Thelatter area of concentration was recently richlyaugmented by the gift of Alabaman Dr. Wayne T. Mooreof a superb pair of Haviland, three-light candelabra(fig. 1). These were presented by Dr. Moore in memoryof his wife, Elizabeth Nelms Moore, whose family hadpurchased the candelabra during a visit to the New York“Crystal Palace” exhibition in 1854.

Although Haviland is today one of the best-knownnames in French porcelain production of the laternineteenth and early twentieth centuries, it was but afledgling firm at the time this ambitious pair wasproduced. In order to understand this phenomenonproperly, one must look back to the earlier nineteenth-century production of porcelains in France.

From the 1770s until the end of the Restauration in1830, Paris and the adjacent town of Sèvres had been theFrench centers of porcelain manufacture. The Sèvresproduction was not widely exported, with the result thatParis porcelains dominated the market. However, therising costs of space and labor, the difficulty of obtainingthe large quantities of fuel required, and thecomplications of importing and storing china clay andother related materials caused porcelain manufacturers tolook at alternative locations. One of these was theprovincial city of Limoges in which an influx of Americanentrepreneurs had inculcated a spirit of enterprise andexperiment. These businessmen stressed the need forefficient production utilizing modern technology in up-to-date facilities; they also pointed out the need for goodworking conditions and fair wages. The city of Limogeswas made further attractive by a railroad connecting it toParis in 1857 and the opening of a rail link to Montluçonin 1864.

The leading American entrepreneur in Limoges wasDavid Haviland (1814-1879), a New York City dealer inand importer of ceramics who had taken up residence in

Limoges in 1842 in order to overseethe production of French porcelainalternatives to the Englishcreamwares and ironstones thendominating the American market.Haviland had initially purchasedFrench wares he deemed suitablefor American taste and shippedthem to the parent company,Haviland Brothers and Company,New York, for sale. Realizing that amore practical approach would beto design molds incorporatingelements of traditional French andEnglish design while utilizingFrench china clay, David Havilandreorganized his firm in Limoges. By1847, Haviland’s business wasthriving, and he opened his owndecorating shop there. During thisperiod, Haviland proved to be abusinessman possessing the rarecombination of excellent taste,marketing savvy, a flair forinnovation, unflagging energy andthe ability to turn a profit. In 1853,the French government grantedpermission to Haviland for theconstruction of an independentporcelain factory. That facility wasin full production by May 1855.However, prior to that time,Haviland Brothers and Companyhad submitted these candelabra tothe New York “Crystal Palace”exhibition where they receivedhigh praise. So successful were theHaviland products at the expositionthat the firm was awarded acoveted gold medal.

In 1851, Queen Victoria ofEngland’s husband, Albert thePrince Consort, had spearheadedthe development of the GreatExhibition of the Works Industry ofAll Nations, which was a hugeinternational success. Housed in a

New Acquisition:

“MostUnmistakablyFrench”1

An Early Pair ofHaviland,Limoges,PorcelainCandelabra

BY JOHN WEBSTER KEEFEThe RosaMary FoundationCurator of the Decorative Arts,NOMA

Figure 1Pair of Three-Light Candelabra,,

1852-53Hard-paste and biscuit porcelain:

cast, glazed, tinted andparcel-gilt; gilt-brass

France: Haviland Brothers andCompany, Limoges

Height 27-1/2 inches, width 9 inches,diameter (at base) 6-1/4 inchesCollection of the New Orleans

Museum of ArtGift of Dr. Wayne T. Moore in

memory of his wife, Elizabeth NelmsMoore (1927-2004). 2007.26.1-2

Produced in Limoges for HavilandBrothers and Company of New York,this elegant pair of candelabra in theRococo Revival taste was selected bythe Haviland firm for display at theNew York Crystal Palace Exhibition

in 1853-1854 at which they werechosen to illustrate the official

exhibition folio.


ARTS QUARTERLY 15

revolutionary structure of glass and cast-iron, the fairbecame popularly known as the “Crystal PalaceExhibition.” Americans were eager to host such aninternational event on United States soil, and plansensued for a similar Crystal Palace exhibition to bepresented in New York in 1853 to 1854. As an Americanbusinessman residing in Limoges, David Haviland wasnot about to let such an opportunity to promote his newporcelains pass unnoticed.

Americans had admired French fashion anddecorative arts since the late eighteenth century, and thatlongstanding esteem was bolstered by the establishmentof Napoléon III’s glittering Second Empire in 1852. Hisfashion plate wife, the Spanish-born Empress Eugénie,greatly admired eighteenth-century French design andwas quick to perceive that a revival of such design wouldadd an ancien régime patina to the newly establishedimperial throne. These Haviland candelabra with theireighteenth-century-inspired galants figures andasymmetrical bases in the rococo taste, elegantly recalledmodels of the Louis XV era while adding such new andtechnically astonishing features as an extreme height oftwenty-seven and one-half inches and the articulatedpendant bellflowers at the candlearms and centralsockets. Additionally, the candelabra incorporatedlavishly gilded glazed and biscuit porcelain figures,which imparted a rich textural contrast. It was no wonderthat these candelabra in the newly fashionable RococoRevival style were selected by the august compilers ofthe official New York exhibition folio for inclusion withinits pages (fig. 3).

With the benefit of perfect hindsight, one can seethat Haviland Brothers and Company cleverly selectedone of its most elegant designs to be sent to New York.That design heralded the rise of Limoges—and thesubsequent Haviland and Company of Limoges—as thecenter of French porcelain manufacture. That traditionhas continued to the present day while the newlyacquired candelabra bear mute testimony to thesplendor of French design during the years of theSecond Empire. n

NOTE:1. Benjamin Silliman and C.R. Goodrich, eds., “The Industry of All

Nations,” The New York Exhibition Illustrated, G.P. Putnam andCompany, New York, 1854, 110.

Figure 2Interior View of the New York Crystal Palace Exhibition

From the folio, The World of Science, Art and Industry Illustrated from Examples in the NewYork Exhibition, 1853-43, G.P. Putnam and Company, New York, 1854, between pages 10 and 11.

Collection of the New Orleans Museum of ArtGift of Dr. Wayne T. Moore in memory of his wife, Elizabeth Nelms Moore (1927-2004). 2007.27

Inspired by Sir Joseph Paxton’s revolutionary glass and cast-iron edifice at the 1851 GreatExhibition of the Works of Industry of All Nations held in Hyde Park, London, the New YorkCrystal Palace was designed by architects Carstensen and Gildmeister as a basic Greek cross

surmounted by a central dome of 100 feet in diameter and 123 feet in height. At the time, it wasthe largest dome to be constructed in this country. Of the interior space, two-thirds was dedicated

to the display of foreign goods and one-third to the manufactures of the United States.


Figure 3Page Illustrating a Pair of Three-Light Candelabrum and a Vase

EngravingFrom the folio The World of Science, Art and Industry Illustratedfrom Examples in the New York Exhibition, 1853-43, G.P. Putnam

and Company, New York, 1854, between pages 110. Collection of the New Orleans Museum of Art

Gift of Dr. Wayne T. Moore in memory of his wife, ElizabethNelms Moore (1927-2004). 2007.27

This engraving shows the pair of candelabra pictured in figure 1,which was included in the display of Haviland Brothers and

Company at the 1853 New York Crystal Palace Exhibition. Thecandelabra won high praise at the time as “rich and attractive”

and “most unmistakably French.”



Wares from the celebrated Wedgwoodpottery of Staffordshire have formedpart of the Museum’s permanentcollection since 1913. In that year,Eugenia Uhlhorn Harrod, one of the

first major donors of decorative arts, presented aWedgwood copy of the ancient Roman cameo glassPortland Vase. The Museum’s holdings of Wedgwoodassumed major status with the 1991 to 1993 gifts and1994 bequest of New Orleanian Irving Gerson’scollection of 107 pieces dating from the 1760s throughthe 1940s. In 2002, the bequest of the Frank WalkerWright, Jr. collection of twentieth-century Wedgwoodjasper boxes, tea wares and vases further enriched theassemblage. The recent gift of fifteen pieces ofWedgwood’s spectacular Fairyland Lustre from Sydneyand Walda Besthoff has imbued the collection with anew splendor.

Wedgwood’s Fairyland Lustres have achieved alegendary status during the last quarter-century and aretoday eagerly sought by an international group ofenthusiasts. In the years immediately preceding WorldWar I, the Wedgwood factory had acquired a reputationfor generally conservative design whose primary marketwas a traditional—and aging—segment of thepopulation. The Wedgwood board of directors waskeenly aware that sales had recently slipped and that thefirm needed to inject a new and dramatic quality into itsline. Any such new wares were intended to reviveWedgwood’s reputation as a stylesetter and innovator.Thus was the stage set for the entrance of Daisy Makeig-Jones (English 1881-1945), now widely considered to beamong the most original contributors to Wedgwood’smodern ceramics production.

The eldest of seven children born to Dr. WilliamMakeig-Jones of Rotherham, South Yorkshire, SusannahMargaretta Makeig-Jones was called Daisy all of her life.2

Even as a child, she showed a lively imagination anddelighted in reading fairy and folktales to her siblings.She also was intrigued by the worlds of fantasy, dreamsand make-believe and early developed a lively sense ofthe dramatic. These interests, combined with a strongand occasionally willful personality, were later to evolveinto eccentricities of dress and mannerism. Makeig-Jonestrained at the Torquay School of Art and was determinedto sidestep the traditional role of young Victorian womenby becoming independently employed. Through familyconnections, she met and persuaded Cecil Wedgwood,great-great-grandson of Josiah Wedgwood and managingdirector of the Wedgwood Company, to hire her as anapprentice in 1909. In 1911, Daisy was taken on staff totrain as a designer; three years later, she was accepted asa Wedgwood staff designer and provided with a studioadjoining that of the chief Wedgwood designer, JamesHodgkins. By 1920, Makeig-Jones was being hailed bythe local press as a “distinctly original designer.”

The area of ceramic production that captured youngDaisy’s attention was lustre ware, which had an 1,100-year-old history. The term lustre itself was derived fromthe Latin lustrare, to illumine. Such wares were perfectedin the Middle East around the ninth century A.D.; quicklyspread to Egypt and Persia; and were carried to NorthAfrica and hence to Spain in the twelfth or thirteenthcenturies. By 1550, Italian potters had perfected the art oflustre and produced important examples. Following thelate Renaissance, lustre fell from fashion and languisheduntil its revival in the mid-nineteenth century. Such firmsas the Carocci Company of Gubbio, Italy, reintroducedthe famed ruby lustres of the Renaissance during the

1850s. The later rise of the international art potterymovement stimulated development of a brilliant greeniridescent glaze by Hungarian Wilhelm Zsolnay. InFrance, Clément Massier dissolved copper in soft glazes,etching the fired glaze with hydrofluoric acid and re-firing the object in a smoke kiln to create both bright andmatte lustrous effects on the glaze. Massier’s techniquewas to appear later in the United States on the WellerPottery’s celebrated Art Nouveau Sicardo line developedby Massier’s onetime student Jacques Sicard andintroduced in 1903. In England, William De Morganrediscovered the technique of smoke-reduced metallicglazes and offered several new lustre colors including hisrenowned and distinctive red.

Given the Wedgwood pottery’s highly skilledtechnicians, Makeig-Jones judged that the glowingiridescences of traditional lustre could be extended torich shades of orange, red, violet purple, green and blueas well as a shimmering black. With her judgmentconfirmed, she commenced her drawings for FairylandLustre. Her sources were far-flung, ranging from ancientEtruscan, Greek and Roman to Celtic motifs derived fromthe sixth-century Book of Kells to African, Chinese,Japanese and Persian. The designs were backed byWedgwood’s commitment to the highest standards oftechnique and production; the result was a ware thatstood in marked contrast to the pottery’s traditionalofferings. Indeed, it appealed to an entirely newconsumer. This clientele was only recently affluent,younger, eager to forget the restrictions imposed byWorld War I, and notably eager to accept the avant-garde, stylish and unconventional. So fashionable didFairyland Lustre become by 1920 that the WedgwoodCompany was recognized in the ceramic trade asreassuming a lead in the production of an ornamentalware other then jasper. The new lustres assisted in theeconomic recovery of the Wedgwood firm, permitting itto again pay dividends on ordinary shares in 1922.

All of this was the more remarkable since thecomplex process of manufacturing Fairyland Lustrenecessitated their being expensive. A piece had to movefrom Makeig-Jones’ drawing board to an actual object inporcelain whose production involved draughtsmen,engravers, printers, stipplers, painters, lustrers, gildersand burnishers. A minimum of five firings was required,with the more elaborate pieces frequently requiringmore. A review of the 1923 Wedgwood price listestablishes that a ten-inch Fairyland Lustre bowl costseven English pounds sterling, eight shillings and sixpence when a forty-piece Wedgwood bone porcelain teaservice for twelve people retailed for four poundssterling, four shillings and three pence. To put the priceof Fairyland Lustre in further perspective, in that sameyear a vicuña overcoat, made of one of the world’s mostluxurious and costly fabrics, cost four English poundssterling.

In spite of success and fame from 1915 on, theappeal of Fairyland Lustre began to wane by the late1920s. Makeig-Jones was aging and had acquired afactory-wide reputation as an occasionally imperious andwillful eccentric. In 1931, Wedgwood’s managingdirector, Josiah Wedgwood, requested that she retire, awish totally ignored by Miss Makeig-Jones. During theensuing battle of wills, Wedgwood made it patently clearthat he was an admirer neither of Fairyland Lustre nor ofDaisy Makeig-Jones. This time, his request for herretirement was followed although a gradually diminishingquantity of Fairyland Lustre continued in production untilthe spring of 1941. At that time, all of the remaining

New Acquisition:

“CharminglyImaginativeand DistinctlyOriginal”1

A Gift ofWedgwoodFairyland Lustrefrom Sydney andWalda Besthoff

ARTS QUARTERLY 17

stock of these lustres was reduced in price and sold off,and production halted. Four years later, Daisy Makeig-Jones died at the age of sixty-four.

As always happens with elegant, expensive andhigh-style objects, Fairyland Lustre endured a period ofunjustified neglect for more than thirty years. During thattime, a small group of Wedgwood collectors continued toseek this ware; a cadre of connoisseurs and collectors notspecializing in Wedgwood ceramics began to rediscoverFairyland Lustres in the 1960s. A full resuscitation ofinterest was occasioned by the publication of Una desFontaines’ Wedgwood Fairyland Lustre in 1975. Thatvolume brought Fairyland Lustres to the attention of a farbroader public and created an international interest in

them. Since that time, Fairyland Lustres have achieved asteadily increasing renown, with collectors and theceramics collections of museums clamoring for them.Thanks to this recent magnificent gift from Sydney andWalda Besthoff, the New Orleans Museum of Art is ableto display some of the best of these fascinating ceramicsby one of the world’s most prominent producers. n

NOTES:1. Article on the Wedgwood pottery’s Fairyland Lustre in the

Stafford Sentinel, February 27, 1920.2. The use of a hyphen in the family name was a later addition

made by Dr. William Makeig-Jones and his wife Anne Tofield Reederafter Daisy’s birth.

THREE VASES (left to right): Vase 2465: “Imps on a Bridge and Tree House,” circa 1924;Covered Vase 2046: “Ghostly Wood,” circa 1923; Vase 3451: “Imps on a Bridge,” circa 1924-26Height 17 inches; 16 inches; 12 inchesCollection of the New Orleans Museum of ArtGift of Sydney and Walda Besthoff. 2007.70-.84

Makeig-Jones’s imps were introduced to the Fairyland Lustre line in 1924; they were inspired by the Kewpies createdby the American poetess-artist Rose O’Neill in 1909. The “Ghostly Wood” pattern illustrated the several apparitionsencountered in Makeig-Jones’s Land of Illusion; it was one of the most fantastical of the Fairyland designs.

The Besthoff Collection of Wedgwood Fairyland Lustre is now on display in the Norvin and Sue Pellerin Lobby onthe second floor of the Zemurray Wing.



On September 19, 2007, the board oftrustees of the New Orleans Museum ofArt unanimously agreed to add animportant work by the Americanlandscape painter George Inness (1825-

1894) to the Museum’s permanent collection. Thisacquisition is particularly significant on several levels.For one, the painting has been in a prominent NewOrleans private collection for nearly a century.Particularly now, at a time when so many of our city’sartistic riches have been destroyed or are in danger ofleaving with their owners, this acquisition attests to theMuseum’s commitment to its role as a guardian andpatron of our cultural possessions.

The painting, which is on view on NOMA’s second-floor mezzanine, was originally brought to New Orleansby the well-known local philanthropists, Mr. and Mrs.Samuel Zemurray, around 1917, to be a central focalpoint in their recently acquired great mansion at 2Audubon Place, now the home of the president ofTulane University. The work remained in the possessionof the family until it was purchased by the Museumfrom the succession of Samuel Zemurray’s grandson,Dr. Samuel Z. Stone, this year.

In addition to its important local history, the paintingis also a particularly fine example of George Inness’ workof the late 1850s. The two leading experts on the artist,Nicolai Cikovsky, the curator of art at the NationalGallery in Washington, DC, and Michael Quick, theauthor of the Inness catalogue raisonne, describe thispainting, respectively, as an “important early work” andan “exceptionally attractive example of its period.”

George Inness ranks among the truly great andquintessentially American painters whose unique visionof the landscape of his native country has transformedthe ways in which we see it ourselves. The paintersuccessfully embraced both the old artistic traditions ofEurope as well as the new pictorial language that hadbegun to develop in France and blended them intosomething uniquely American.

At the young age of eighteen, George Innessreceived his first professional training from a Frenchpainter named Regis Francois Gignoux (1816-1882), whohad settled in New York around 1840. The artist hadstudied in Europe with some of the notable proponentsof the Romantic movement. He also was a great admirerof seventeenth-century Dutch landscape painting and oldmasters in general. Once settled in, Gignoux associated

himself with the painters ofthe Hudson River School.Although never an organizedgroup, the Hudson RiverSchool was made up ofpainters like Thomas Cole,Asher B. Durand, ThomasDoughty and their followerswho, in the 1820s, hadspearheaded the establishmentof the tradition of a nationallandscape art. Hence, many ofInness’ paintings of the decadeafter 1843 echo, to varyingextents, the twin influences,transmitted through his teacherGignoux, of the landscapes ofthe old masters and theromantic Realism of theHudson River School. Largevistas and distant views,typical of the Hudson RiverSchool, coexist with depictionsof forest brooks rushing overboulders and under broken,gnarly trees reminiscent of thepainting of Jacob van Ruisdaelor Meindert Hobbema.

Yet, already then, Innessshowed very much his ownindependent artisticorientation. Rather than justcopying the old master modeor the visual devices of thepopular Hudson River School,he strove to find his ownpictorial language. He was farmore intrigued with thecoloring and compositionalmethods of the old masters

with whose works he was familiar than attempting torecord faithfully the natural appearances around him. Itwas art that interested him, not imitation. Unfortunately,this interest ran counter to the general notions of whatpainting should be. As a result, while his talent as a

New Acquisition:

Pastoral Sceneby George Inness(American,1825-1894)

BY THOMAS BAYER, Ph.D.

George Inness (American, 1825-1894)Pastoral Scene, 1857Oil on canvas, 40 x 50 inchesCollection of the New Orleans Museum of ArtMuseum purchase. 2007.29


perfectly composed, and Inness must have referred toany number of sketches made at different locations toarrange this imaginary view. The unusual and eye-catching group of trees on the left, for example, is themirror image of a group of trees in a watercolor sketchfrom the previous year (Catalogue Raisonne, no. 92.).This suggests that, indeed, the artist relied on on-the-spotsketches from which to construct his compositions. Notfaithfully recording nature, as the Hudson River Schoolpainters would have it, but, instead, Inness manipulatedher to achieve a specific mood.

To what extent the artist employed consciously thelanguage of symbols that was so popular, particularlyamong the old Dutch landscape painters, is difficult tosay. Dying trees, tree stumps, a boulder in a river,rushing torrents or quiet brooks would have beenpowerful reminders of the transience of life. But a directadoption of someone else’s visual vernacular to similarends seems at odds with Inness’ sense of independenceand artistic integrity. More likely, he remembered thesedevices and enjoyed them for the general mood they lentto a picture.

The indebtedness of Pastoral Scene to Inness’encounter with the paintings of the Barbizon School isless obvious than his employment of traditionalcompositional devices. To be true, in the foreground,there is the painterly handling and the delightful use ofimpasto and texture characteristic of many of theBarbizon painters’ works. However, the real Barbizonquality of this scene relies less on technical aspects buton the mood it conveys—an idyll of nature, man andbeast untainted by the harsh facts of city life and thecancer of industrialization. The feeling that urbanizationand industrial growth were beginning to rob mankind ofthe last vestiges of our earthly paradise, infused theartists of the Barbizon School with an almost religiousdevotion and messianic zeal towards their work To whatextent, or if at all, Inness shared their anxiety, is difficultto assess. At mid-century, when this painting wasexecuted, less than twenty percent of Americans lived incities and towns, i.e., settlements with a population ofmore than 2,000. The fear that industrial progress wasbecoming a real danger to the tranquil existence ofuntroubled farmers and village peasants, as was the casein Europe, was not vocalized in America until much laterin the century.

Nonetheless, Inness’ Pastoral Scene is a visual escapepar excellence into a bucolic idyll. Masterfully blendingcompositional and technical aspects, the canvas invitesthe viewer to partake in the timeless sensual andmeditative enjoyment of a cool summer morning,somewhere where nature, man and beast indeed existtogether in peaceful harmony. In a world where thepreservation and protection of our environment isbecoming an increasingly urgent matter of survival,Inness’ Pastoral Scene serves as a powerful reminder ofthe beauty we are risking to lose. n

Thomas Bayer has been an adjunct professor of art historyat Tulane University. His focus is on nineteenth-century art; hisarea of research is art market economics. He received his MA inart history in 1993 and his interdisciplinary Ph.D. in arthistory, history and economics in 2001, both from TulaneUniversity.

NOMA’s new Inness painting is now on display on thesecond-floor balcony in the Delgado building.

painter was clearly recognized by his contemporaries, hewas, at times, accused by critics of a certain artificialityand excessive reliance on earlier art.

By the year 1857, the date of the newly acquiredpainting, George Inness had already made two extendedtrips to Europe, and the effects of his exposure tocontemporary European painting began to manifestthemselves in his work. On his second journey in 1853-54, the artist had the opportunity to spend an extendedperiod of time in Paris and its environs. It was there thatInness first encountered the landscapes of the painters ofthe Barbizon School, a group of artists who, like he,were not content to work within the prevailing rules ofthe artistic establishment. Away from the hustle andbustle of Paris, they sought to immerse themselves in theeveryday, eternal truths of nature: sunlit clearings,reflecting foliage, forest pools and watering ponds, anature as yet unspoiled by human presence. Theirapproach to landscape painting was much indebted tothe great English painter John Constable (1776-1837),whose depictions of a pre-industrial, peaceful andharmonious country existence had caused such a stirwhen they were first introduced to French audiences atthe Paris Salon of 1824. Like Constable, the Barbizonpainters also went outdoors, pad in hand, to seek theirinspirations. Once back in the studios, they worked thesesketches into larger compositions. Rather than rigidlycopying nature, however, they poeticized her in an effortto convey some of the emotions of the moment,employing the rich effects of brush and pigment thatConstable’s painting had first introduced.

Upon his return to the United States, Inness did notsuddenly alter his work. He was too confident of apainter to be satisfied with the mere appropriation ofsomeone else’s visual vernacular. Instead, he took histime to internalize the observations he had made, and itwould be several years before the radical transformationthat his encounter with the Barbizon School had effectedbecame fully apparent.

The newly acquired canvas, entitled Pastoral Scene(Michael Quick, George Inness: A Catalogue Raisonne,Rutgers University Press, New Brunswick, New Jersey,and London, vol. I, p. 128, no 100.), is a particularly fineexample of this transitional phase. Clearly a major work(there are only two slightly larger paintings among thetwo dozen or so Inness did that year), Pastoral Scenereadily reveals the stylistic and aesthetic issues thatpreoccupied the artist during this time.

The natural ease with which this painting charms theeyes obfuscates a complex and superbly executedexercise in composition. The viewer’s space effortlesslymerges with the immediate foreground of deftly, broadlypainted weeds and saplings that lead the eye to thedying beech tree, the right border of the composition andcounter-balance to the dramatic tree grouping on the left.From there, the subtle diagonal of the slope of theriverbank pulls us to the center and middle ground of thescene. A second diagonal formed by the left bank drawsour eyes to the hazy coolness of the background. Therider and the cattle, the center of the composition, areneatly framed in a trapezoid formed by two sets ofparallel diagonals, one formed by the boulder in the riverand the small projection of land behind the rider, theother by the diagonals of the foreground slope and theleft river bank.

Such a carefully assembled combination of dynamicand stabilizing elements harks back to the works of theold masters Inness admired: Claude Lorrain, CasparPoussin or Meindert Hobbema. Nature is rarely that

ARTS QUARTERLY 19


One of the more destructive legacies of HurricaneKatrina is the psychological trauma that has lingereduntreated now for two and a half years after the storm.While the stresses of moving on have impacted entirefamilies, it is children in particular who have had greatdifficulty in expressing feelings of fear, anger, andfrustration, as these emotions are frequently difficult forthem to verbalize. Alternative methods of conventionaltherapy—especially art therapy—provide an outlet foryounger survivors to cope with their currentcircumstances and to release some of the pent upemotions and questions they have been unable to expressor ask. The New Orleans Museum of Art, with theassistance of a generous gift from the Prefecture of Hyogo,Japan, recently began a two-year art therapy program inthe public schools that will continue through May 2009.The following article was written by NOMA art therapist,Holly Wherry, MAAT, who has been working in the JohnDibert School since September. The young artists are notidentified in order to maintain their confidentiality.

Ihate Hurricane Katrina so bad, I just wanted todraw this picture, so I could get my anger out onher.” This is the eight-year-old artist’s explanationof her drawing pictured below. The drawing wasmade in a weekly art therapy group at her school

in which all of the child’s artwork has focused on thelosses she experienced before and during HurricaneKatrina. Through the creative outlet of art therapy, shehas learned the importance of safely releasing thesestrong emotions; she has gained power. Within theconfines of her art, she has control over her life. She candraw her experiences and express herself the way inwhich she wants. In this image, she draws herselfbattling Hurricane Katrina with a water cannon and awater gun. Signs of her struggle with Hurricane Katrinaare apparent as her house floods in the background, andlightning bolts represent her anger. She has shown theintensity of the hurricane as its red and grey lines loomthreateningly over her small figure. As this childdescribed her picture, she remembered leaving her houseand the many places she lived after Hurricane Katrina,but at the end of her story, she pointed to her drawingand proclaimed, “Katrina lost this time.” It is throughmoments like this that a child can begin to regain a senseof safety, security, and control.

This child, like many other children in New Orleans,never had the opportunity to talk about her HurricaneKatrina experiences. When given a chance, thesechildren are able to share their pain with each other, askquestions, and express their emotions in a way that leadsto their emotional healing. Thanks to a ground-breaking

The Powerof a Picture

BY HOLLY M. WHERRYArt Therapist, KatrinaInitiative, NOMA

“I hate Hurricane Katrina so bad, I just wanted to draw this picture, so I could get my angerout on her.” This is the eight-year-old artist’s explanation of her drawing, pictured here.

A participant in the Hyogo-NOMA Children’s Art Therapy Initiative

Drawing by a participant in the Hyogo-NOMA Children’s Art Therapy Initiative

program funded by the Hyogo Prefecture through theNew Orleans Museum of Art, a semester-long art therapyprogram will take place in several New Orleans publicand charter schools. The goal of this program is to useart to promote healing by helping children move throughthe grieving process, learn to express emotions, anddevelop coping skills. The Hyogo-NOMA Children’s ArtTherapy Initiative is unique in that it is the first arttherapy program organized by an art museum. Thisprogram is also distinctive for its ability to reach such alarge population of the school system, as all childrenwho live in New Orleans were affected by Katrina.Therefore, many children who continue to betraumatized, but have not been identified as havingemotional difficulties, will be able to participate in aprogram where they will receive the help they need.

Art therapy is a field that encompasses manydifferent schools of thought, with the underlying notionthat art-making is therapeutic. More specific to theHyogo-NOMA Children’s Art Therapy Initiative, arttherapy is used as a form of counseling, in which art,instead of words, is the main form of communication andexpression. Art therapy is especially helpful in processingtrauma. Trauma is stored visually in our memory, andthese memories can be difficult to access verbally.Although not limited to children, art therapy is especiallyhelpful for them as their vocabulary often is notdeveloped enough to process such complex emotions.Through this art therapy program, children also learn touse art as a coping skill in addition to other skills theywill need to continue to express themselves after theprogram concludes.

The Hyogo-NOMA Children’s Art Therapy Initiative iscurrently working with children in grades first throughsixth at the John Dibert School. NOMA has had a longrelationship with this neighborhood school, and thispartnership continues with Principal Keith Bartlett whostrongly believes that there is a great need for therapeuticintervention at the school. With support from the NOMAeducation department, art therapists Holly M. Wherry andCeleste Schexnaydre have been working with thechildren in small groups outside of the classroom duringthe school day. The Hyogo-NOMA Children’s ArtTherapy Initiative also works closely with a LSU HealthSciences Center Department of Psychiatry research team,whose services are donated by Drs. Howard and JoyOsofsky, longtime supporters of NOMA and, respectively,the Department Chair and Professor of Pediatrics andPsychiatry. Their role is to screen the children to assesstheir needs, evaluate the art therapy program, andprovide clinical feedback. Unfortunately, many of thechildren at John Dibert School have had no interventionprior to participating in the art therapy program and havehad no opportunities to discuss their Katrina experiences.Many of the family members have been traumatized aswell and are no longer able to provide a support systemfor their children. For many, access to therapy is limited.

Children in the art therapy program have beenassisted in different aspects of the healing process,including trust, loss, anger, sadness, acceptance, andcommunication. Sharing these experiences in a groupand knowing that they are not alone is a powerful andimportant part of healing. With the help of the Hyogo-NOMA Children’s Art Therapy Initiative, the students atJohn Dibert School continue to grow into emotionallyhealthy individuals as they recover from their trauma andlook forward to a hopeful future. n

ARTS QUARTERLY 21


The Twentieth Annual Art In Bloom will beheld April 2 through 6, 2008. This jointproject of the New Orleans Museum of Artand the Garden Study Club of New Orleansis a floral celebration of art and creativity.

This year’s theme “Merci Bien: A Bouquet of Thanks”will showcase floral tributes to the individuals, groupsand organizations from around the world who havecome to the aid of our beloved city.

The featured categories of Art In Bloom 2008 are:Garden Clubs, Artists, Exterior and Creative Designers,Bonsai/Ikebana, Movers and Shakers, ProfessionalDesigners and Young Artists. Inspiration comes fromdesignated artworks or an interpretation of the MerciBien theme. More than one hundred exhibitors takepart in this dazzling display of talent.

Proceeds from Art In Bloom benefit the educationalprojects and exhibitions at NOMA and the manycommunity projects of the Garden Study Club, such asNOMA’s Besthoff Sculpture Garden, City Park’sBotanical Garden and the gardens of Project Lazarus.

Co-chairing Art In Bloom are NOMA’s Dana Hanseland the Garden Study Club’s Anne Redd. The five-dayevent kicks off with an opening night patron andpreview party on Wednesday, April 2. Auction ChairsElaine Gleason and Sandra Wilson are pleased toannounce the donation of an original, mixed-mediaBlue Dog by renowned Louisiana artist GeorgeRodrigue, whose work will be on exhibit during Art InBloom. Proceeds from this one-of-a-kind item will benefitNOMA, as well as the numerous organizations in NewOrleans assisting in the rebuilding efforts.

Pam Hayne, Gen Trimble and Leah Whann arepleased to announce the Thursday lecturers, DorothyMcDaniel, 9:30 a.m. to 10:45 p.m., and Ian Prosser, 11:15a.m. to 12:30 p.m. Owner of Dorothy McDaniel’s FlowerMarket in Birmingham, Alabama, McDaniel’s floraldesigns have graced the pages of Southern Living,Southern Accents, Creative Ideas for Living and Porticomagazines. She has been a regular guest demonstratorfor Macy’s, Rich’s and Saks Fifth Avenue departmentstores. Her “Design Your Own Station” is a featuredcolumn in Southern Lady and her book, Dorothy’s SimplyBeautiful Flowers, provides a step-by-step guide tosimple, yet sophisticated arrangements.

Ian Prosser is the owner and operator of BotanicaInternational Design Studio in the Tampa Bay area. Bornin Scotland, Prosser has more than thirty yearsexperience in the floral industry. He has designed for

many dignitaries, including HRH Queen Elizabeth II andthe British Royal Family. Prosser participated in theinaugural decorations of both President Bill Clinton andPresident George W. Bush. A member of the FTD DesignTeam, he travels the country demonstrating and teachingfloral design to his peers.

So many provided the much needed manpower,supplies and funding to New Orleans in its time of need.So many generous hearts buoyed our breaking ones.“Merci Bien: A Bouquet of Thanks” attempts to express acity’s gratitude through a favorite springtime tradition, ArtIn Bloom. Flowers, fun and a good party—how veryNew Orleans. n

Merci Bien:A Bouquetof Thanks

BY VIRGINIA PANNONVC Reporter

Proceeds from George Rodrigue’s Flowers of Love (2007)will benefit NOMA and other organizations in New

Orleans assisting in the city’s rebuilding efforts.

Hop on over to NOMA’s Sydney and WaldaBesthoff Sculpture Garden on Sunday,March 9. Now in its third year, the FabergéEgg Hunt is a very popular family event.The younger crowd will be entertained

with music, storytelling, face-painting and crafts galore,while doting parents and grandparents enjoyrefreshments in the lush, outdoor setting. Excitementculminates with the egg hunt, organized by age groupand special prizes. A certain furry friend pays a visit, too.For ticket information, call (504) 658-4121 or visitwww.noma.org. n

FabergéEgg Hunt

ARTS QUARTERLY 23

WAYS OF GIVING The future of the New Orleans Museum of Art depends to a largedegree on the foresight and generosity of today’s visionaries—

our members—who are willing to consider new ways to make gifts.Here are a few suggested methods of making a difference for NOMA:

GIFT OF CASH OR MARKETABLE SECURITIESGifts may be restricted to a designated program or applied toNOMA’s general operating fund.

GIFT OF LIFE INSURANCEName NOMA as policy owner and beneficiary and receiveimmediate tax deductions on your premium.

GIFT OF PROPERTYGifts of real estate, boats, or artwork provide NOMA withmarketable assets and may enable you to avoid capital gains taxes.

NAMED ENDOWMENT FUNDThe principal of a fund established in your name—or for someoneyou wish to honor or memorialize—is managed for growth, whilethe income from the fund supports Museum programs.

CHARITABLE REMAINDER TRUST/CHARITABLE LEAD TRUSTProvide NOMA or yourself with a steady income stream and, with aremainder trust, leave a significant future gift to NOMA. Botharrangements entitle you to considerable tax savings.

BEQUESTSName NOMA as a beneficiary in your will and make a lastingcontribution to the Museum.

For more information about any of these suggested methods of giving to NOMA, call (504) 658-4101.

Our History Art Contest, sponsored by CoxCommunications and Cox Media, will bepresented at the New Orleans Museum ofArt from January 26 through March 16.This competition allows students from

kindergarten through twelfth grade to submit artworkthat reflects their choice of the most influential person orevent throughout history. Now in its twelfth year, thisannual event is the only program of its kind in Louisiana.

Students representing more than four hundredpublic, parochial and private schools throughoutJefferson, Orleans, St. Bernard and St. Charles parishes,submitted works of art for consideration. The entrieswere judged on the following criteria: quality of line or

paint application, completeness of composition,expression of artwork and originality and creativity. Inaddition to the first-place winners, additional scholarshipsand prizes also are awarded to second through fourthplaces in each of the five categories. Each school thatsubmits the first-place entry receives art equipment fortheir classroom.

Winners were selected by a panel of judges and willbe awarded cash scholarships and prizes for theirrespective school at a special recognition dinner/awardsbanquet at the New Orleans Museum of Art on January20. Cox will distribute a total of five thousand dollars inscholarship money, and the work of the top twentyfinalists will be exhibited at NOMA. n

Our HistoryArt ContestExhibitionShowcasesWork of AreaSchoolchildren

The New Orleans Museum of Art was honoredto be a recipient of a prestigious IMLS(Institute of Museum and Library Sciences)Conservation Project Support grant in 2005for the removal of art from its ground-level

art storage facility to newly reconfigured spaces withinthe upper levels of the Museum. This project, which wasextended until March 2008, is nearing completion.Thousands of works of art have been examined byoutside conservators, photographed and moved to new

storage facilities. Lynn Harrington, of ArtifactsInternational, and Chicago Conservation Center, Chicago,Illinois, have been the lead conservators in a process bywhich each object’s condition was assessed prior to itsrelocation.

In 2007, NOMA received a second IMLS ConservationProject Support grant to fund the purchase of additionalcompact shelving to re-house our collections of furniture,textiles and ethnographic art collections. The retrofittingof these spaces will begin in March 2008. n

IMLS SponsorsNOMA’sPost-KatrinaArt RelocationProjects


This is the best Odyssey Ball ever!” proudlyproclaimed Louis Wilson, in hischaracteristically exuberant style, as hewatched the hundreds of happy guestsenjoying the Forty-Second Odyssey Ball on

the night of Saturday, November 10, 2007. Louis and hiswife, Sandra, were the co-chairs of this spectacularevent—kudos to them, their committee, and thehardworking ladies of the NOMA Volunteer Committee.This was an unforgettable evening. The ball wasgenerously underwritten by a grant from the LeadSponsor, the Lupin Foundation, and a donation fromA.T.&T.

Odyssey Ball previewed two unique and beautifulexhibitions—Blue Winds Dancing: The WhitecloudCollection of Native American Art and Katrina–Days ofTerror, Months of Anguish: Paintings by Rolland Golden.Dramatic decorations by the event designers of BlaineKern, Jr.’s Mardi Gras Productions highlighted the NativeAmerican themes. The front doors of the Museum werecovered by a gigantic teepee. The Great Hall wasmagically transformed into a woodland scene—thestrongest focus of the Blue Winds Dancing exhibitionbeing the southern woodlands. Human “statues”costumed as warriors and forest animals, and onemagnificent tree (the costumed masker was on stilts),added drama to the gala. Huge dreamcatchers and vinesfloated above the dance floor. The Yellow Moon Drumand Dance Troupe performed at the patron party, settingthe mood for exhibition viewing. Patron party guestsreceived a delicious gift of chocolates, compliments ofLee Michaels Fine Jewelry and Chopard.

And there was so much more. The cuisine, by theWindsor Court Hotel, was delightfully presented andtruly delicious. Odyssey Ball is famous for its music, andthis year was no exception. The ball’s loyal supporterThe House of Blues returned this year, recreating itsFoundation Room in one courtyard, and a cabaret in thecafé area, in which well-known chanteuse TheresaAndersson performed. Blain Kern, Jr.’s Mardi Gras

Productions and Generations Hall teamed up to createthe “Longhouse Lounge” in the other courtyard. There,guests enjoyed the Stiletto Vodka martini bar,compliments of Republic National Distributing Company,and a musical performance by Cocoa Creppel andCannes Brulees. But the musical “main event” took placein the Great Hall, where Rockin’ Dopsie and the ZydecoTwisters rocked the house. Several people commentedthat they had never seen so many people dancing atOdyssey Ball. The dance floor was packed all evening.

There were more than 120 fabulous items in theauction, which was the most successful Odyssey Ballauction ever. Art, antiques, jewelry and trips tempted thebidders. There was even a live auction, featuring AdamMarcus as our dynamic auctioneer. The luxurious itemsin the live auction included: a Chopard diamondnecklace donated by Chopard and Lee Michaels FineJewelry; a one-week stay at a six-bedroom house inMoonlight Basin, Montana, donated by NOMA’sDevelopment Associate Kristin Jochem and her family; asigned artist’s proof entitled Aioli Dinner with Blue Dog,donated by Mr. and Mrs. George Rodrigue; a rail partycomplete with champagne, and catering by SouthernHospitality caterers, donated by New Orleans Public BeltRailroad; the “Music Package”—a Willie Nelson guitar,plus tickets and backstage passes to his concert, donatedby Juli Miller Hart, combined with a one-of-a-kind chairautographed by local musicians, donated by Where Y’Atmagazine; and a stay at the Merona Resort and Spa inMexico, donated by the Windsor Court.

We hope to see you at Odyssey Ball 2008, which willbe chaired by Mimi and Claude Schlesinger. Thank youto all of NOMA’s patrons and volunteers who madepossible the stunning and unforgettable evening ofOdyssey Ball 2007. We also are grateful to those localbusinesses who generously helped ensure the ball’ssuccess: Blaine Kern, Jr.’s Mardi Gras Productions, NewOrleans Event Rentals, Generations Hall, House of Blues,Postlethwaite & Netterville, and Republic NationalDistributing Company. n

Forty-SecondOdyssey BallPremieresWhitecloudCollection

BY JULIE GEORGENVC Reporter

PHOTOS BY JUDY COOPER

LEFT:NOMA Director E. John Bullard,

NOMA Deputy Director JacquelineSullivan, Wendy and Geroge Rodrigue

RIGHT:NOMA Trustee Dr. E. Ralph Lupin,

Pam Halter, 2007 Odyssey Ball ChairsSandra and Louis Wilson

LEFT:The Whitecloud Family:Simone, Elena, Jacques,Mercedes, Saint, Renée,

Karen Whitecloud Raymond

RIGHT:2008 NVC Chair Brenda Vorhoff,

Michael D. Moffitt

LEFT:Mercedes Whitecloud, NOMA DirectorE. John Bullard, Rita Benson LeBlanc

RIGHT:Barbara Currier, NOMA TrusteePaul J. Leaman, Jr.

LEFT:Daisy Tarver and NOMA Curator ofNative American Art Paul Tarver

RIGHT:Rolland and Stella Golden

E. A. Stafford and R. M. Rathlé, Jr.Mr. and Mrs. Charles S. Reily, Jr.Mr. and Mrs. E.M. SimmonsMr. and Mrs. Harry StahelMrs Sol B. Stern, Jr.

CHOCTAW*Alex Berger FoundationSteven CullanBill Elliott RealtyJohn FishbackMrs. Denise MonteleoneGregory Holt and Lucy BurnettCharles HollingerRosemary James and Joseph DeSalvoLandis Construction Co., LLCIvan Cyle LopezLynn LukerKaren Cotton MaczewskiMr. and Mrs. Adam MarcusBrenda MaitlandCole PrattWarren RoeschAl SchwarzenbergBridget SealsMrs. Sandra G. ThomasMichael ValentinoDeborah Vinson

NOTE:Patrons received after program print deadline.

2007 Odyssey Ball Patrons

Sally E. RichardsGeorge and Wendy RodrigueAimée and Mike Siegal

HORSE WARRIORSSydney and Walda BesthoffE. John BullardEdgar and Alva ChaseMr. and Mrs. Prescott N. DunbarJohn and Barbara GirardHarry T. Howard IIIMrs. Killian L. HugerMr. and Mrs. Eric JohnsonMr. and Mrs. Charles Buck MayerMr. and Mrs. Stephen MicletteMichael Moffitt and Brenda VorhoffMr. and Mrs. William D. Norman Jr.Mr. and Mrs. Rick S. ReesFrançoise B. RichardsonHenry and Pat ShaneMs. Patricia StrachanMs. Jude SwensonPhyllis M. TaylorMargie and Sandy VillereMrs. John N. Weinstock

DRUMMERSMr. and Mrs. Ralph O. BrennanMr. William Perry Brown IIIMr. Stephen W. ClaytonMr. and Mrs. Richard W. Freeman, Jr.Mr. and Mrs. James M. GeorgeMr. and Mrs. James O. GundlachIberia BankMr. and Mrs. R. King MillingDrs. Howard and Joy OsofskyMr. and Mrs. R. Hunter Pierson

COUNCIL OF CHIEFSAT&T

DREAM CATCHERSMr. and Mrs. Lawrence D. GarveyGoldring Family FoundationGloria S. KabacoffHouse of BluesPaula L. MaherMs. Kay McArdleMr. and Mrs. William G. McArdle, Jr.Mrs. Mercedes B. WhitecloudLouis and Sandra A. Wilson, Jr.

THUNDERBIRDSInternational Well Testers, Inc.Lee Michaels Fine Jewelry and ChopardMathes Brierre ArchitectsMorris BartDebra and Robert Patrick

TURQUOISE AND SILVER FEATHERSMr. and Mrs. John D. BertuzziCapital OneEskew + Dumez + Ripple Frishhertz Electric CompanyDana and Steve HanselMr. and Mrs. Fred HeebePaul J. Leaman, Jr.Mr. and Mrs. John C. MartinRegions BankMr. and Mrs. Joe D. Smith, Jr.Tulane University Department of Orthopaedics

NOMA WARRIORSChevronLarry and Marla Garvey

ARTS QUARTERLY 25


On Friday, September 28, 2007, more thanone thousand partygoers filled NOMA’sSydney and Walda Besthoff SculptureGarden for LOVE in the Garden. ChairmanBrenda Vorhoff and her hardworking

committee garnered rave reviews for this exhilarating fallevent.

Guests entering the candle-lit patron party,underwritten by Three Fold Consultants, LLC, weregreeted by event Chairman Brenda Vorhoff and NOMAVolunteer Committee Chair Kay McArdle. Kineticdecorations in colors of valentine red and white poppedagainst the lush gardens. Balmy breezes and starry skiesaccented the merry-making while the Dave Mahoney Trioand Louisiana Spice quickened the beat.

Restaurant Chairs Kimberly Zibilich and Joni Diazgarnered more than thirty local eateries, providing thedelicious food stations interspersed along the Garden’sfootpaths. The signature “LOVE-tini” cocktail in its ownmini-martini glass sated thirsts.

LOVE in the Garden honored a dozen local artists,who were featured, along with their impressive works, ina stunning outdoor video presentation. NOMA DirectorE. John Bullard introduced the honorees: Natalie Boos,Robert Cook, Bill Hemmerling, Steve Martin, TerranceOsborne, Jean Sidenberg, Ron Bechet, Fredrick Guess,Steve Kline, Nell Mabry, Louis Sahuc and Sidonie Villere.Party-goers were spellbound as the artistic videos lit upthe night. Special thanks to NVC’s Ellen Miclette andBarbara Ballard for taking the power point presentationto another level. They added the wow factor.

Lucky auction winner of the Aucoin Hart Circle ofLove diamond pendant was Celeste Jeffrey, wife ofJimmy Jeffrey, Besthoff Sculpture Garden Manager. Everypartygoer deemed the event a huge success. Love reallydid conquer all.

LOVE in the Garden gratefully acknowledges thefollowing participants:

RESTAURANTS FOR LOVEAcme Oyster HouseCafé DegasCanseco’sCarretta’sChops Bistro and Martini BarCorky’s Bar-B-Q Court of Two SistersDitcharo’s Eleven 79Five HappinessGalatoire'sGrand Isle RestaurantHard Rock CaféHighlights CateringLeParvenu RestaurantLucy’sMandina’sThe Melting PotMona’s CaféMr. Mudbug, Inc. Muriel’s Jackson SquareNick’s Snowballs and GelatoThe Pelican Club Restaurant

LoveConquersAll

BY VIRGINIA PANNONVC Reporter

LOVE in the Garden-honored artists Robert Cook, Steve Kline, Steve Martin, Louis Sahuc,Natalie Boos, Ron Bechet, Sidonie Villere, Nell Mabry, Bill Hemmerling, Jean Sidenberg,Fredrick Guess and Terrance Osborne surround NVC’s Ellen Miclette

TOP:Elizabeth Ryan, LOVE in the Garden Chair

Brenda Vorhoff, Francine Godchaux

MIDDLE:Craig Martin, NVC Chair Kay McArdle and

NOMA President Sydney Besthoff

BOTTOM:Former NVC Chairs Judy David,

Janet Frischhertz, Julie George and Ann Duffy

Peristyle RestaurantP.F. Changs China BistroPigéon Caterers/Carnival BrandsRalph’s on the Park7 on FultonSmokin’ Turkey CateringSouthern CandymakersThe Steak Knife Restaurant and BarTable OneTomatillo’sTony Morans/Jean LaffitesVega Tapas Café and CateringWhole Foods MarketZea Restaurant

SUPPORTERSCragmar Construction, LLCMrs. Ellis MintzMs. Kay McArdle

CONTRIBUTORSAucoin Hart JewelersBaptist Community MinistriesBarriere Construction Co., LLCMr. and Mrs. John O. BertuzziSydney and Walda BesthoffJanet and Jimmy FrischhertzMs. Jo Ann GreenbergMr. and Mrs. John W. HallInternational Well Testers, Inc.Mr. Paul Leaman, Jr.M. G. and Paula Maher FoundationMetairie Bank and Trust CompanySteve and Ellen MicletteMichael Moffitt and Brenda Vorhoff Debra and Robert PatrickMr. and Mrs. R. Hunter Pierson, Jr.Ms. Sally E. RichardsFrançoise B. RichardsonThe Sanctuary, Crosby Development Co.Stephen and Julie SaussyMrs. Harold H. StreamDiane and Hughes WalmsleyLouis and Sandra WilsonMr. and Mrs. Keith Zibilich

SPECIAL THANKS TO:Allied WasteCC Rents and Pam BerriganDocuMartEarthsaversGW FinsGeorge Freegard/Performance Food GroupFrischhertz ElectricKentwood Spring WaterLancômeLouisiana Coca-Cola Bottling Co., Ltd.Mini Sports Balls—minisportsballs.comRay Pecot/Service LineRepublic National Distributing Co.VIECO LLC.—promotionplace.com

ARTS QUARTERLY 27


The Board of Trustees of the NewOrleans Museum of Art cordiallyinvites you to upgrade your supportand become a member of thePatron’s Circle, Director’s Circle

or President’s Circle.These categories, our most prestigious levels

of annual giving, are comprised of individualswho contribute $5,000, $10,000 or $20,000 eachyear in unrestricted funds.

NOMA is pleased to extend uniqueprivileges including Fellows and Collector’sSociety memberships to those who demonstratetheir commitment at these levels. We are mostgrateful for your generous and continuingsupport.

President’s Circle $20,000

Director’s Circle $10,000

Patron’s Circle $5,000

GENERAL MEMBERSHIP PRIVELEGES, PLUS:

• Free admission to the Museum andSculpture Garden plus free admission foradditional guests when accompanied by thedonor

• Reciprocal membership in major artmuseums across the U.S. and Canada

• Complimentary membership in The Fellowsand Collector’s Society

• All Members Previews of special exhibitions;with prior arrangement, Circle membersmay bring additional guests

• An opportunity to have a private tour withthe Director or Curator of a collection orspecial exhibition of your choice, withcomplimentary beverages in the WoldenbergBoard Room, for a party of up to sixindividuals, at a mutually agreed upon time

• An invitation to attend a private dinner withthe Board President, Museum Director and aprivate collector in a major city

• A special dinner in a private collector’shome

• For private parties, elegant private galleriesare available for rental

• Invitations to attend behind-the-scenesevents with Museum curators

• Advance announcements for special travelprograms

• Annual listing on Donor Wall as a memberof the Circle group

• Special recognition in Arts Quarterly

• Two complimentary publications selectedby the Museum

• An opportunity to use an elegant privategallery with the rental fee waived

• Complimentary use of Woldenberg BoardRoom during Museum hours

_________________________________________

These circles recognize cumulative giving ina calendar year, restricted to gifts of AnnualAppeal and membership dues. Contributions tocapital projects and special events do notapply._________________________________________

For further information on NOMA’s Circles,please call 504-658-4100. n

Join the Circlesand UpgradeYour Supportof NOMA

ARTS QUARTERLY 29

The New Orleans Museum of Arthas established a number ofspecial funds for gifts in honor ofor in memory of friends or familymembers or to commemorate an

event. Recipients or their families will benotified of the gift and will be acknowledgedin Arts Quarterly.

For information on NOMA special funds,call (504) 658-4100. Donations for all fundsshould be mailed to the New Orleans Museumof Art, P.O. Box 19123, New Orleans,Louisiana 70179-0123. n

KATRINA RECOVERY

FUND

IN HONOR OF

JOHN BULLARD’S BIRTHDAY:Bonnie Pitman

STELLA AND ROLLAND GOLDEN’S ANNIVERSARY:Betty Guillaud

IN MEMORY OF

FLORENCE LAZARUS ADLER:Mr. and Mrs. Winston Lill

LIBRARY FUND

IN HONOR OF

THEO HELLER’S BIRTHDAY:Carol RosenMr. and Mrs. Irwin IsaacsonDr. and Mrs. J. Terry SerguaDr. and Mrs. W. J. DeFee, IIICarol B. WiseJane M. Kohlman

MACKY AND JEFFREY’S MARRIAGE:Celia L. Katz

WILLIAM FAGALY’S BIRTHDAY:John C. Abajian and Scott Simmons

JOHN BULLARD’S BIRTHDAY:John C. Abajian and Scott Simmons

JANE PHILLIPS’S BIRTHDAY:Bertha FermanMargot S. Garon

IN MEMORY OF

RICHARD WALLIN BOEBEL:Dorian Bennett

C O N T R I B U T I O N SEDUARDO MARVEZ-VALLES:Dorian Bennett

EMMET PARKERSON:Phyllis Taylor

CLARA SHOLES:Dorian Bennett

MILDRED BROWN LEGER:Christopher Ralston

BEN LUBEL:Nancy and Andre Wogan

JOHN T. SCOTT:Joyce and Bernard Mayer

LILLIAN ROUSSEL:Suzanne Schram

ROBERT BARRON, III:John C. Abajian and Scott SimmonsDr. and Mrs. Robert EdgertonHolly Edgerton McCollumMr. and Mrs. William Beaty, Jr.Frank Gagnard

ELEANOR KOHLMEYER:Mrs. S. Herbert HirschBrucie PoiteventMr. and Mrs. John ClemmerJoel WeinstockSusan and Jimmy GundlachCarol B. WiseJanis BerensonSally M. BrunsJane N. KohlmannPam and Rick CantorJulanne and Irwin IssacsonJane Bories and Sam CorenswetSue MengeNikkie and H. Merritt Lane, Jr.Mr. and Mrs. Julian GoodJohn F. HeimerdingerMargaret and Milton BrownPhyllis Brown Feibelman

SUZANNE SCHNETL:Joel and Bert Myers

LAZARD GOLDBLUM:Mr. and Mrs. Peter Briant

NVC FLOWER FUND

IN HONOR OF

ANN GAUTHIER:NOMA Volunteer Committee

RON BECHET:NOMA Volunteer Committee

AUSIKLIS OZOLS:NOMA Volunteer Committee

JERRY INGOLIA’S BIRTHDAY:Rosemarie Fowler

FOR THE LOVE OF FLOWERS

New Orleans Lawn Gardeners

IN MEMORY OF

HERMAN MOYSE:Margie ScheurmannDon and Betty KernDiane WalmsleyCammie and Charles MayerCarol Hall

ALBERTA MELANCON CARTER:Ann Duffy and John Skinner

PEGGY GULOTTA:Merlyn Weilbaecher

CHARLENE WILLIAMS:NOMA Volunteer Committee

NVC GENERAL FUND

IN HONOR OF

MILLIE HAWKSHEAD:ExxonMobil

MARIE (MICKEY) GREVE:ExxonMobil

PHOTOGRAPHY FUND

IN MEMORY OF

ANTHONY TORRES:Mr. and Mrs. Harry Rosenberg

MARCIE KOCH:Mr. and Mrs. Harry Rosenberg

BARBARA KITTRELL HOGUE:Mr. and Mrs. Harry Rosenberg


The two most prestigious levels ofannual giving in the support of theNew Orleans Museum of Art are theCircles and the Fellows. We inviteyou to consider upgrading your

support of NOMA and join the following Circlesand Fellows of the New Orleans Museum ofArt. For information, please call 504-658-4100. n

CIRCLES

PRESIDENT’S CIRCLEMrs. Jack R. AronMr. and Mrs. John D. BertuzziMr. and Mrs. Sydney J. Besthoff IIIThe Booth-Bricker FundMr. and Mrs. Ralph O. BrennanMr. and Mrs. John H. Bryan IIICollins C. Diboll Private FoundationMr. and Mrs. David F. EdwardsMr. and Mrs. S. Stewart FarnetMr. and Mrs. Ludovico S. FeoliMr. and Mrs. Stephen A. HanselHelis FoundationMrs. Killian L. Huger, Jr.Mr. and Mrs. David A. KersteinMr. Paul J. Leaman, Jr.Mrs. Paula L. MaherMr. and Mrs. Charles B. MayerMrs. Robert NimsMr. and Mrs. Gray S. ParkerMr. and Mrs. Charles S. Reily, Jr.Mrs. Françoise B. RichardsonMr. and Mrs. George RodrigueMr. and Mrs. Benjamin M. RosenMs. Adrea D. Heebe and Mr. Dominick A. Russo, Jr.Mr. and Mrs. Robert SheltonMrs. Patrick F. TaylorMrs. John N. WeinstockZemurray Foundation

DIRECTOR’S CIRCLEMr. and Mrs. F. Macnaughton Ball, Jr.Mr. and Mrs. Prescott N. DunbarMs. Tina Freeman and Mr. Philip WoollamMr. and Mrs. Lawrence D. GarveyMrs. Harry GreenbergMrs. John D. GuthrieHeymann-Wolf FoundationMrs. Charles W. IrelandMr. and Mrs. Erik F. JohnsenMr. and Mrs. Peter R. Monrose, Jr.Mr. and Mrs. Robert J. PatrickDr. and Mrs. James F. PierceMrs. Margaret B. SoniatMr. and Mrs. Harry C. StahelDr. and Mrs. Richard L. StrubMr. and Mrs. St. Denis J. VillereMrs. Nan S. Wier

PATRON’S CIRCLEMr. and Mrs. Wayne F. AmedeeMr. and Mrs. Clark W. Boyce, Jr.Mr. E. John Bullard IIIMr. and Mrs. William K. ChristovichDr. and Mrs. Isidore Cohn, Jr.Mr. and Mrs. Richard W. Freeman

Mr. and Mrs. James J. FrischhertzMr. and Mrs. Edward N. GeorgeDr. and Mrs. Herbert E. KaufmanDr. E. Ralph LupinMr. and Mrs. Edward C. MathesMr. and Mrs. R. King MillingMs. Karyn E. MurphyMr. and Mrs. Richard E. O’KrepkiDr. and Mrs. Edward F. RenwickMr. and Mrs. R. Randolph Richmond, Jr.Mr. and Mrs. Brian A. SchneiderMr. and Mrs. Edward ShearerMr. and Mrs. Michael J. SiegelMr. and Mrs. Bruce L. SoltisMr. and Mrs. James L. TaylorMr. and Mrs. Louis A. Wilson, Jr.

FELLOWS

Mrs. Adele L. AdattoDr. and Mrs. Kenneth N. AdattoMr. and Mrs. Richard AdkersonDr. H. Russell AlbrightMrs. Moira AmbroseMrs. Jack R. AndersonMrs. Jimi AndersonMrs. H. W. BaileyMs. Roberta P. BarteeMr. and Mrs. Beauregard L. BassichMr. Robert M. Becnel and Ms. Diane K. ZinkMr. and Mrs. Edward B. Benjamin, Jr.Mr. and Mrs. W. Mente BenjaminMr. and Mrs. Dorian M. BennettMr. and Mrs. Michael A. BerensonMrs. Marian Mayer BerkettMs. Virginia Besthoff and Ms. Nancy AronsonDr. Siddharth K. BhansaliMrs. Janet BlockerMr. Harry J. Blumenthal, Jr.Mr. and Mrs. Henry J. BodenheimerMr. and Mrs. Robert H. BohMr. and Mrs. Donald T. BollingerMr. R. Carey Bond and Mr. Henry LambertMrs. Jane Bories and Mr. Sam CorenswetDr. and Mrs. John C. Bowen IIIMs. Jean M. BraggMs. Ella and Ms. Dorothy BrennanDr. and Mrs. Joseph BrennerMr. and Mrs. Edgar E. Bright, Jr.Dr. Stephen Brint and Mr. Mark BrownMr. and Mrs. B. Temple Brown, Jr.Mr. and Mrs. Perry S. BrownMr. and Mrs. Christopher BrunoMs. Pamela R. BurckProfessor and Mrs. Morris E. BurkaMr. Harold H. BurnsMr. Steven CallanMr. and Mrs. Joseph C. CanizaroMr. and Mrs. Carlo Capomazza di CampolattaroMr. and Mrs. Michael CarbineMr. and Mrs. Kenneth M. CarterDr. and Mrs. Edgar L. Chase IIIDr. Victor P. ChisesiMr. John A. ChrestiaMr. Stephen W. Clayton and Mr. W. P. Brown IIIMr. and Mrs. John ClemmerMr. and Mrs. James J. Coleman, Sr.

Circles andFellows of theNew OrleansMuseum of Art

Ms. Sally E. RichardsMr. and Mrs. Leon H. RittenbergMr. and Mrs. John K. Roberts, Jr.Mr. and Mrs. James C. RoddyMr. Andre RodrigueMr. Jacques RodrigueMr. Arthur RogerMr. and Mrs. Edward RosenMr. and Mrs. Paul S. Rosenblum, Sr.Dr. and Mrs. J. William RosenthalMr. and Mrs. Louie J. Roussel IIIMr. and Mrs. Hallam L. RuarkMrs. Basil J. Rusovich, Jr.Ms. Nadine C. RussellMr. and Mrs. William RyanMiss Courtney-Anne SarpyMr. and Mrs. Brian A. SchneiderMr. and Mrs. Richard Schornstein, Jr.Dr. Milton W. SeilerMr. and Mrs. Aaron Selber, Jr.Mr. and Mrs. William H. Shane, Jr.Mr. and Mrs. Lester ShapiroMrs. Shepard H. ShushanMr. and Mrs. Edward M. SimmonsMr. and Mrs. Richard L. SimmonsDr. and Mrs. Julian H. SimsMr. and Mrs. John SinnottMrs. Evald L. SkauMr. and Mrs. Timothy C. SlaterMrs. James Carlos SmithMr. and Mrs. Joe D. Smith, Jr.Mr. and Mrs. Rodney R. SmithMr. and Mrs. Charles A. SnyderMr. and Mrs. Stephen L. SontheimerMs. E. Alexandra Stafford and

Mr. Raymond M. RathleMs. Mary Holmes StephensDr. and Mrs. SterneDr. and Mrs. Harold M. StokesMrs. Harold H. Stream, Jr.Dr. Nia K. TerezakisDr. and Mrs. Karl TornyosMr. and Mrs. Hugh Uhalt, Jr.Mr. and Mrs. Bernard Van der LindenMr. and Mrs. George G. VillereMr. and Mrs. R. Preston WailesMrs. Floyd A. WallisMr. and Mrs. Albert J. Ward, Jr.Mr. and Mrs. Hugo WedemeyerDr. and Mrs. Rudolph F. Weichert IIIDr. and Mrs. Robert G. WeilbaecherAmbassador and Mrs. John G. WeinmannMr. Thomas P. WesterveltMr. Charles Lewis Whited, Jr.Mrs. James A. WysockiMr. Robert J. A. Williams and

Mrs. Norris WilliamsMrs. Warren WirthMr. and Mrs. Joseph Young, Jr.Mr. and Mrs. Robert E. YoungMs. Helen H. Wisdom and Dr. Jack S. Zoller

Mr. and Mrs. Harold B. JudellMrs. Arthur L. Jung, Jr.Mrs. Gloria S. KabacoffDr. Nina KellyMs. Allison KendrickMr. and Mrs. E. James Kock, Jr.Mr. and Mrs. Donald J. LabauveMr. and Mrs. John P. LabordeMr. and Mrs. Charles W. Lane IIIMrs. James M. Lapeyre, Sr.Mr. and Mrs. James M. Lapeyre, Jr.Mr. and Mrs. Sidney W. LassenMr. and Mrs. John H. LawrenceMrs. Rita Benson LeBlancMr. Victor C. Leglise, Sr.Mr. and Mrs. Thomas B. LemannDr. Edward D. Levy, Jr.Mr. and Mrs. Frank L. LevyDr. and Mrs. Samuel LoganMr. Edward B. Ludwig, Jr.Dr. and Mrs. George D. LyonsDr. Cris MandryMr. and Mrs. Adam B. MarcusMrs. Shirley R. MasinterMr. and Mrs. Bernard MasonMr. and Mrs. George H. Massey, Jr.Ms. Kay McArdleMs. Elizabeth R. McCallMr. and Mrs. John McCollamMr. and Mrs. William McCollam, Jr.Mr. and Mrs. Gerald D. McInvaleDr. and Mrs. Alvin S. MerlinMr. Robert W. MerrickMr. and Mrs. Michael J. MestayerMr. and Mrs. Albert MintzMrs. Bernard D. MintzMrs. Ellis MintzMr. and Mrs. Saul A. MintzMr. and Mrs. Donald P. MitchellMrs. Louise MoffettMr. Michael D. MoffittMs. Stephany S. MonteleoneDr. and Mrs. Lee Roy Morgan, Jr.Mr. and Mrs. Walter MortonMrs. Andree MossMr. and Mrs. J. Frederick Muller, Jr.Dr. and Mrs. Bert MyersMrs. Elizabeth S. NaltyMs. Carolyn NelsonMrs. Isidore Newman IIMrs. Ulisse NolanMr. and Mrs. John B. NolandMr. and Mrs. W. D. Norman, Jr.Dr. and Mrs. John L. OchsnerMr. Roger H. OgdenDr. Sanford L. PailetKaryl Pierce PaxtonMr. and Mrs. Norvin L. PellerinMr. and Mrs. Jerome PepperDr. Quinn PepperMrs. Ben J. PhillipsMr. and Mrs. John PhillipsMr. and Mrs. R. Hunter Pierson, Jr.Mr. and Mrs. Dick H. Piner, Jr.Mr. and Mrs. O. Miles Pollard, Jr.Mr. and Mrs. Lawrence H. PughMr. and Mrs. Arthur C. PulitzerMrs. James W. Reily, Jr.Mr. and Mrs. James J. Reiss, Jr.

Mr. and Mrs. Thomas B. ColemanMrs. John J. Colomb, Jr.Ms. Shirley Colomb and Don ClausingMr. Barry J. Cooper and Mr. Stuart H. SmithMs. Erika Cooper and Mr. Billy TiemannMr. and Mrs. Orlin CoreyMs. Jeanette CornnamMr. and Mrs. Rufus P. CressendMr. and Mrs. Richard M. Currence, Jr.Mr. and Mrs. Charles B. Davis IIIMs. Sheila DavlinJohn W. Deming and Bertie Murphy Deming

FoundationMr. and Mrs. Con G. DemmasMr. and Mrs. George Denegre, Jr.Drs. Raja W. and Nina DhurandharMrs. Albert S. Dittmann, Jr.Mr. and Mrs. Clancy DuBosDr. Clayton B. EdisenMrs. Eleanor T. FarnsworthDr. and Mrs. K. Barton FarrisMr. and Mrs. C. Allen FavrotMr. and Mrs. D. Blair FavrotMr. and Mrs. H. M. Favrot, Jr.Mr. and Mrs. Thomas B. FavrotMr. and Mrs. Edward FeinmanMr. and Mrs. Darwin C. FennerMrs. Irving FermanMr. Randy FertelMs. Natalie FieldingMrs. Julia FishelsonMs. Anne A. FitzhughMr. and Mrs. Richard B. FoxMr. and Mrs. Timothy FrancisMr. and Mrs. Louis M. FreemanMrs. Gore FriedrichsMr. and Mrs. Louis L. FriersonDr. and Mrs. Harold A. Fuselier, Jr.Mrs. Anne GauthierDr. and Mrs. Charles F. GenreMrs. Dennis A. GeorgesDr. Kurt A. Gitter and Mrs. Alice Rae YelenMrs. Luba B. GladeMrs. Louis A. GlazerMrs. Frederick A. GottesmanDr. and Mrs. Warren L. GottsegenMr. Richard A. GoulaMr. and Mrs. Mason GrangerMrs. Harold S. Grehan, Jr.Ms. Susan Talley and Mr. James C. Gulotta, Jr.Mr. and Mrs. James O. GundlachMr. and Mrs. John W. HallMr. and Mrs. Hamp H. HanksMr. and Mrs. Harry S. HardinMrs. Robert B. HaspelMrs. H. Lloyd Hawkins, Jr.Mr. and Mrs. Edward M. HellerMr. and Mrs. Theo M. HellerMrs. R. L. HindermannMrs. S. Herbert HirschMrs. William H. HodgesDr. Larry H. HollierMr. Harry T. Howard IIIMr. and Mrs. Harley B. Howcott, Jr.Mr. and Mrs. Arthur W. Huguley IIIMr. and Mrs. Merl HuntsingerMr. and Mrs. Lawrence IsraelMr. and Mrs. Marvin L. JacobsDr. Ronald A. Javitch

ARTS QUARTERLY 31


Jones, Walker, Waechter,Poitevent, Carrere &Denegre

New Orleans SaintsReagan Equipment Co., Inc.Tidewater, Inc.Whitney National BankWilloughby Associates,

LimitedWindsor Court Hotel

Gambit Communications, Inc.

Associated Office SystemsBrian Schneider CompanyColumbus Properties, LLCLemle & KelleherThe Sydney and Walda

Besthoff Foundation

Dooky Chase’s RestaurantEmirau PartnersEnergy Partners, Ltd.Gulf Coast Bank IPC New Orleans 1, LLCMcDermott International Inc.McIlhenny CompanyMPressOreck CorporationThe Schon Charitable

Foundation

CORPORATE MEMBERSHIP

J. Aron and Company, Inc.Barriere Construction

Company, Inc.Boh Bros. Construction

Company, Inc.Christie’s Fine Art

AuctioneersCooper T. Smith Stevedoring

Company, Inc. Dorian M. Bennett, Inc.Eskew + Dumez + RippleThe Laitram CorporationM. S. Rau Antiques, LLCMagnolia Marketing CompanyThe Monteleone HotelMurphy Exploration &

Production Co.Neal Auction Company, Inc.New Orleans Auction

Galleries, Inc.New Orleans SilversmithsRathborne Companies, LLCRegions BankThe Soniat HouseTaylor Energy CompanyThe Times-Picayune

A Gallery for Fine PhotographyBaker CAC, Inc.Bowie Lumber AssociatesDauphine OrleansDelta Petroleum Co., Inc.E. N. Bisso and Son, Inc.Fidelity Homestead

AssociationHunt Forest Products, Inc.

Le Richelieu Motor HotelLIFT ProductionsMignon Faget, Ltd.Milling Benson Woodward

L.L.P.Sisung Securities CorporationTeri Galleries Ltd. Tujague’s RestaurantURS Corporation Waters, Parkerson & Co., Inc.

Delgado Community CollegeDillard University Loyola UniversityOur Lady of Holy Cross

CollegeSaint Scholastica Academy

(High School) Southeastern Louisiana

University, HammondSouthern University of New

OrleansTulane UniversityUniversity of Louisiana at

LafayetteUniversity of New OrleansXavier University

KPMGRoyal Antiques, Ltd.The Steeg Law Firm LLCWaggonner and Ball

Architects901 So. Peters St. LLC

A. L. Lowe Picture FramingCompany

Aquatic GardensAs You Like It Silver ShopBaker, Donelson, Bearman,

Caldwell & BerkowitzBolton FordCatherine G. BienvenuDreyfus-Cortney, Inc.Dupuy Storage & Forwarding

CorporationGrant Rivers LLCGulf Coast BankHirsch Investment

Management, L.L.C.James A. Mounger, A

Professional LawCorporation

Jon AntiquesJuneau Odenwald Roofing

GUARANTOR

MASTER

ASSOCIATE

We are deeply grateful to the followingmember firms whose investment in theMuseum makes it possible for NOMA to

pay dividends in service to the public, to thebusiness community, to the City of New Orleans,to the greater metropolitan area and to the State ofLouisiana.

PATRON

LEADER

CONTRIBUTOR

UNIVERSITY MEMBERS

BENEFACTOR

ARTS QUARTERLY 33

PROGRAM SPONSORS

$34,999 - $20,000

ELIZABETH F. CHENEY FOUNDATION:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

JOE W. AND DOROTHY DORSETT BROWN FOUNDATION:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

JONES, WALKER, WAECHTER, POINTEVENT, CARRERE & DENEGRE L.L.P.:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

LLOYD A. FRY FOUNDATION:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

OFFICE OF THE LIEUTENANT GOVERNOR/LOUISIANA DEPARTMENT OFCULTURE, RECREATION AND TOURISM:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

THE ROSAMARY FOUNDATION:Family WorkshopsHandbook of School Programs

$100,000 +THE AZBY FUND:General Operating SupportBesthoff Sculpture Garden Operating SupportSecurity Equipment

FREEPORT-MCMORAN FOUNDATION:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceTitle Sponsor

THE HELIS FOUNDATION:Free Admission for Louisiana Residents

LAKESIDE SHOPPING CENTER AND THE FEIL ORGANIZATON:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

LOUIS ARMSTRONG NEW ORLEANS INTERNATIONAL AIRPORT:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

THE PATRICK F. TAYLOR FOUNDATION:Taylor NOMA Scholars Program

WDSU NEWSCHANNEL 6:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

ZEMURRAY FOUNDATION:General Operating Support

Annual operating support for NOMA’s exhibitions, the “Van Go,” free admission for Louisiana residents, family workshops, films, lectures, art classesand numerous other special programs enjoyed by visitors from throughout the city, the state, the country, and, indeed, the world, are made

possible through the generosity of our many sponsors. The New Orleans Museum of Art and its thousands of visitors are deeply grateful to thesefriends for their continued commitment.

If you would like additional information on sponsorship, please contact the Museum’s development department, (504) 658-4100. n

$9,999 - $5,000

MR. AND MRS. MORRIS BART III:Odyssey Ball 2007

LEE MICHAELS FINE JEWELRY AND CHOPARD:Odyssey Ball 2007

LOUISIANA ENDOWMENT FOR THE HUMANITIES:Living Color: Photographs by Judy CooperExhibition, Programming and Catalogue Support

MATHES BRIERRE ARCHITECTS:Odyssey Ball 2007

JERI NIMS:Odyssey Ball 2007

DEBRA AND ROBERT PATRICK:Odyssey Ball 2007

THREE FOLD CONSULTANTS, LLC:LOVE in the Garden 2007

THE TUNICA-BILOXI TRIBE OF LOUISIANA AND PARAGON CASINORESORT:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

$19,999 - $10,000AT&T:Odyssey Ball 2007

GAYLE AND TOM BENSON:Odyssey Ball 2007

BRINKER INTERNATIONAL, INC.:French Heritage Society’s Katrina Heritage Rescue Fund,West Palm Beach

THE CUDD FOUNDATION:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

DOWNMAN FAMILY FOUNDATION:NOMA Exhibitions

MR. AND MRS. LAWRENCE D. GARVEY:Odyssey Ball 2007

GOLDRING FAMILY FOUNDATION:Odyssey Ball 2007

GREATER LAKESIDE CORPORATION:Odyssey Ball 2007

$99,999 – $50,000BLANCHARD AND COMPANY, INC.:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

THE BOOTH-BRICKER FUND:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition Support

CAPITAL ONE:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceNOMA Members Day Sponsor

CHEVRON:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition SupportHandbook of School ProgramsTeacher’s Packets

LOUISIANA DIVISION OF THE ARTS:General Operating Support

THE LUPIN FOUNDATION:General Operating SupportOdyssey Ball 2007

BECOMEA NOMASPONSOR

SHERATON NEW ORLEANS HOTEL:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition SupportBlue Winds Dancing: The Whitecloud Collectionof Native American ArtExhibition Support

THAW CHARITABLE TRUST:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

THE GPOA FOUNDATION:Educational Pre-Visit Video of African Art Collection

HOUSE OF BLUES FOUNDATION ROOM:Odyssey Ball 2007

INTERNATIONAL WELL TESTERS, INC. ANDJOLIE AND ROBERT SHELTON:Living Color: Photographs by Judy CooperExhibition Catalogue SupportOdyssey Ball 2007

GLORIA S. KABACOFF:Odyssey Ball 2007

TAMMY AND BLAINE KERN, JR. MARDI GRAS PRODUCTIONS:Odyssey Ball 2007

THE MCILHENNY COMPANY AND THE GUSTAF WESTFELDTMCILHENNY FAMILY FOUNDATION:Blue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition Support

PAULA L. MAHER:Odyssey Ball 2007

MS. KAY MCARDLE:Odyssey Ball 2007

MR. AND MRS. WILLIAM G. MCARDLE, JR.:Odyssey Ball 2007

NEW ORLEANS METROPOLITAN CONVENTION VISITORS BUREAU:Odyssey Ball 2007

MRS. MERCEDES B. WHITECLOUD:Odyssey Ball 2007

RUBY K. WORNER CHARITABLE TRUST:Femme, femme, femme: Paintings of Women in FrenchSociety from Daumier to Picasso from the Museums of FranceExhibition SupportBlue Winds Dancing: The Whitecloud Collectionof Native American ArtCatalogue and Exhibition SupportEducational Support

SHELL EXPLORATION & PRODUCTION COMPANY:Van Go, NOMA’s Museum-on-WheelsEducational Programming

SANDRA AND LOUIS A. WILSON, JR.:Odyssey Ball 2007

NOMA EDUCATION:


Sunday, March 30, 2 p.m.

Tales from deep in the bayou willthrill audiences of all ages. StorytellerMary LeCompte will delight visitorswith the traditional Cajun legend of theLoup Garou and other captivating talesfrom George Rodrigue’s Acadiana.Cajun storytelling is presented inconjunction with the exhibitionRodrigue’s Louisiana: Cajuns, BlueDogs, and Beyond Katrina, on view atNOMA March 1 through June 8, 2008.

This program is free with Museumadmission and open to the public. n

CajunStorytelling

NOMA offers Sunday afternoon artworkshops designed as a collaborativeventure in which children and theiradult companion create an art projecttogether. Children should be betweenfive and twelve years old and must beaccompanied by an adult. After a tourof NOMA’s collection to view artworksrelated to the workshop, participantswill create their own project.

The cost of the workshop is $10per family for Museum members and$15 for nonmembers plus Museumadmission. All art supplies are providedby NOMA. Pre-registration isrequested. For more information,contact [email protected] or call504-658-4128.

Sunday, January 62 p.m. – 4 p.m.

Symbolic Triptych

Many of the objects on display inthe exhibition Blue Winds Dancing:The Whitecloud Collection of NativeAmerican Art were inspired by natural

elements. Animals such as birds, snakesand alligators are often signified withsymbolic forms. Cane, pine, straw andanimal hide are among the materialsused to create these representations ofthe natural world. After examining theworks on view, participants in thisworkshop will create their own symbolsfor the world around them. Using foamboard and natural objects, students willcreate a three-part painting symbolic oftheir own life.

Sunday, February 172 p.m. – 4 p.m.

Clay Coil Pots

One of the earliest types of potterywas the coil pot, made by coiling longropes of clay in a spiral. The coils werepinched together carefully and bakedoutside in a shallow pit to produce ahard vessel. Many Native Americancultures used the pots to hold water andstore food. Participants will learn amodern version of this potterytechnique; and, after studying Native

American mythology and symbols fromBlue Winds Dancing: The WhitecloudCollection of Native American Art, theywill develop their own iconography foruse in the decoration of their pots. n

FamilyWorkshopsPre-registrationis requested forNOMA’s Family

Workshops.Childrenmust be

accompaniedby an adult.

NOMA will present two family workshopsin conjunction with the exhibition

Blue Winds Dancing: The WhitecloudCollection of Native American Art,

on view through February 17, 2008.

With a grant from the Ruby K.Worner Charitable Trust to facilitate aprogramming partnership with theJefferson Parish Library during theexhibition Blue Winds Dancing: TheWhitecloud Collection of NativeAmerican Art, a complementaryselection of Native American art fromNOMA’s permanent collection is on

view at the Jefferson Parish Librarythrough February. Additionally, Dr.Cory Willmott, who will be lecturing atNOMA on Sunday, January 13 (see“Lectures” on next page for moreinformation), will offer another talk—”Second Skins: A History of ChippewaHide and Textile Arts”—at the JeffersonLibrary on Saturday, January 12.

For more information aboutthese and other programs at theJefferson Parish Library, please call504-838-1100.

Blue Winds Dancing: TheWhitecloud Collection of NativeAmerican Art in on view at the NewOrleans Museum of Art throughFebruary 17, 2008. n

CollaborativeCommunityPartnership

George Rodrigue(American, born 1944)On My Master’s Grave, 1988Oil on canvas, 30 x 24 inchesPrivate collection

ARTS QUARTERLY 35

PROGRAMS & ACTIVITIESFilm are presented in NOMA’s

Stern Auditorium and are free withMuseum admission. Please note that thefilm on March 19 is at 6 p.m., insteadof the usual 2 p.m. screening.

For more information, pleasecontact [email protected] or call504-658-4113.

Saturday, January 12, 2 p.m.

Smoke Signals(1998, 88 min., Rated PG-13)

On a Coeur d’Alene, Idaho,reservation, not much changes—untilthe estranged father of Victor Joseph(Adam Beach) dies in Arizona, andVictor must collect the crematedremains. Victor can’t afford the fare,but annoying Thomas Builds-the-Fire(Evan Adams) will give Victor a loan…if he can tag along. This tender tale ofself-discovery is based on acclaimedauthor Sherman Alexie’s short stories,The Lone Ranger and Tonto Fistfight inHeaven, and it is the first film written,directed, and acted completely byAmerican Indians.

Saturday, February 16, 2 p.m.

The Education of Little Tree(1998, 112 min., Rated PG)

James Cromwell stars in thisheartwarming adaptation of theacclaimed best-seller about an eight-year-old Cherokee boy in Tennessee’sSmokey Mountains during the 1930s.Little Tree (Joseph Ashton) is sent to

live with his mountain-dwellinggrandparents after the loss of hismother and father. His new life is filledwith joy, discovery, setbacks, triumphsand good friends like mysticalCherokee seer Willow John (GrahamGreene).

Wednesday, March 19, 6 p.m.

Dance for a Chicken:Cajun Mardi Gras(1993, 60 min., Not Rated)

This award-winning film brimsover with stunning images of carnivalplay and a rich soundtrack of hot Cajunmusic. Cajun filmmaker Pat Mire givesus an inside look at the colorful, ruralCajun Mardi Gras. Every year beforeLent, processions of masked andcostumed revelers, often on horseback,go from house to house gatheringingredients for communal gumbos incommunities across rural southwestLouisiana. The often-unruly participantsin this ancient tradition play as beggars,fools, and thieves as they raidfarmsteads and perform in exchangefor charity or, in other words, “dancefor a chicken.” n

Films

NOMA will present thefilm The Education of

Little Tree on Saturday,February 16, at 2 p.m.

NOMA lectures are intended tocomplement our permanent andtraveling exhibitions. These events willtake place in the Museum’s SternAuditorium. All lectures are free withMuseum admission. For information,contact [email protected] or call504-658-4113.

Sunday, January 6, 2 p.m.

After the Flood

by Robert Polidori, Photographer

Canadian-born artist RobertPolidori will discuss the works fromhis exhibition New Orleans After theFlood: Photographs by Robert Polidori,which was on view in 2006 at theMetropolitan Museum of Art inNew York City. His stirring, yetcontemplative, photographs of post-Katrina New Orleans reveal a formalbeauty in the mud-caked belongingsand discarded mementos captured inhis powerful images.

Sunday, January 13, 2 p.m.

Cosmological Motifs inChippewa Art in theWhitecloud Collection

by Dr. Cory Willmott, AssistantProfessor of Anthropology,Southern Illinois UniversityEdwardsville

Historically, the Chippewa traverseda beautifully wooded and rockylandscape speckled with small lakesand rivers that drained into the GreatLakes. For the Chippewa, this delightfullandscape was the Middle World in acosmology that also included the Upperand Lower Worlds. Dr. Willmott’spresentation will focus on the ways inwhich male and female Chippewa artistsdepicted these three cosmologicalworlds in motifs and mediumsappropriate to their genders. She willfurther explain how these motifsembodied the powers they representand thereby enlivened Chippewa livesand rituals with spiritual presence.

Saturday, February 9, 2 p.m.

Gallery Walk-through of BlueWinds Dancing: TheWhitecloud Collection ofNative American Art

by Paul Tarver, Curator ofNative American Art, NOMA,and Mercedes Whitecloud,Collector

Paul Tarver, NOMA’s curator ofNative American art, and MercedesWhitecloud, collector, will informallydiscuss the objects in the currentexhibition and answer questions fromthe participants as they walk throughthe galleries. Space is limited.

Blue Winds Dancing: TheWhitecloud Collection of NativeAmerican Art is on view at the NewOrleans Museum of Art throughFebruary 17, 2008.

Lectures


NOMA EDUCATION:Sunday, February 17, 2 p.m.The Beauty of Diversity:The Aesthetics of theWhitecloud Collection ofNative American Art

by Dr. Mary Jo Watson,Director of the School of Art,University of Oklahoma

Tribal communities across theUnited States have developed distinctand specialized aesthetic expressions,which are evident in both thefunctional and decorative objects theyproduce. Drawing upon the variousNative American cultures representedin the Museum’s current exhibition,Blue Winds Dancing: The WhitecloudCollection of Native American Art,Dr. Watson will explore the artisticcanons of the geographic regions aswell as the distinctive motifs andinfluences that distinguish one groupfrom another.

Sunday, February 24, 2 p.m.

Living Color: Photographsby Judy Cooper

Panel Discussion Moderatedby Jacqueline Bishop, Artist

Photographer Judy Coopercaptures the character of her subjectswhile also providing an importantdocument of the costume, dress andaccessory that make local traditionscome alive. Catalogue essayistJacqueline Bishop joins four paneliststo discuss the role of clothing as“finery” and how costume is used as astatement of personality and identitywithin a cultural context.

Programming for Living Color:Photographs by Judy Cooper issponsored, in part, by the LouisianaEndowment for the Humanities.

The exhibition is on view at theNew Orleans Museum of Art January 19through May 11, 2008.


Rodrigue’s Louisiana:Cajuns, Blue Dogs andBeyond Katrina

by George & Wendy Rodrigue

Join George and Wendy Rodriguefor an animated lecture exploring theartist’s career and the process behindthe creation of his iconic image, theBlue Dog. George Rodrigue willdemonstrate his painting technique forthe audience while his wife and arthistorian, Wendy Rodrigue, discusseshis work. This event is free, but seatingis limited. Please arrive early, as ticketswill be distributed on a first-come, first-served basis.


The Science of Optics:The History of Art

by Dr. Charles M. Falco, Chairof Condensed Matter Physics,College of Optical Sciences,University of Arizona, Tucson

Recently, renowned artist DavidHockney made the controversial claimthat artists of the Renaissance, eventhose as prominent as Jan van Eyckand Giovanni Bellini, must have usedoptical aids to produce their paintings.However, many art historians insistedthere was no supporting evidence forsuch a remarkable assertion. In his talk,Dr. Falco will present the evidence heand Hockney discovered during thisunusual collaboration between artistand scientist. These revelationsconvincingly demonstrate opticalinstruments were in use by artistsnearly two hundred years earlier thancommonly thought possible, andaccount for the remarkabletransformation in the reality of portraitsthat occurred in the early fifteenthcentury.

Lectures(continued)

George Rodrigue (American, born 1944)Broken Limb, 1975Oil on canvas, 24 x 30 inchesPrivate collection

ARTS QUARTERLY 37

PROGRAMS & ACTIVITIESSunday, April 6, 2 p.m.

Conversations with theKeepers of Culture

Panel Discussion Moderatedby Don Marshall, ExecutiveDirector, New Orleans Jazzand Heritage Foundation

Don Marshall, executive directorof the New Orleans Jazz and HeritageFoundation, moderates a panelfeaturing the leaders of areaorganizations charged with thepreservation and perpetuation ofdistinctly New Orleans traditions. Thisdiscussion will spotlight thedetermination and dedication of thesegroups and their myriad challenges in apost-Katrina environment.

This program is presented inconjunction with the exhibition LivingColor: Photographs by Judy Cooper, onview at NOMA January 19 throughMay 11, 2008.

Programming for Living Color:Photographs by Judy Cooper issponsored, in part, by the LouisianaEndowment for the Humanities. n

Admission for teacher workshopsis free for all area educators, but pre-registration is required. Please call504-658-4128 for registration or moreinformation.

Tuesday, January 224 p.m. – 6 p.m.

Art Therapy InformationSession and Activity

In conjunction with theHyogo/NOMA Katrina Art TherapyInitiative, NOMA art therapist Holly M.Wherry, MAAT, will provide aninformative session on the field of arttherapy and how it can assist childrenin dealing with issues of trauma, grief,and loss. This workshop will be

specifically designed for educators, withparticular emphasis on identifyingsymptoms in children exhibitinglingering post-traumatic classroombehavior. Teachers will be providedinformational packets and participate inan example of a therapeutic art activity.

Tuesday, March 44 p.m. – 6 p.m.

Rodrigue’s Louisiana:Cajuns, Blue Dogs, andBeyond Katrina

George and Wendy Rodrigue willpresent an overview to the artist’sexhibition at NOMA, which is on viewMarch 1 through June 8, 2008, and willprovide information about Rodrigue’s

history, development, and inspirationsthroughout his career. The workshopwill conclude with the opportunity foreducators to preview the exhibitionwith the artist, and educational packetswill be provided for participants. n

TeacherWorkshops

The education department is nowaccepting applications for a new andexciting docent opportunity for winter2008. Special Exhibition Docents willbe trained to provide tours of theexhibition Rodrigue’s Louisiana:Cajuns, Blue Dogs, and Beyond

Katrina. Special Exhibition Docents willbe required to attend three eveningtraining classes in February, as well asone morning training session withMaster Docents on March 3, 2008.Special Exhibition Docents will committo leading guided tours to school age

groups one day a week for theduration of the exhibition. No priorexperience in art history is required. Ifyou are interested in this program,please contact the associate curator ofeducation at 658-4113 for anapplication. n

SpecialExhibitionDocentProgram

RIGHT:George Rodrigue(American, born 1944)Isidore, 2002Oil on canvas24 x 24 inchesPrivate collection

Judy Cooper (American, born 1938)The Prince of Wales Social Aid and Pleasure Club, 2006

From the series New Orleans Sunday; color pigment print on canvas, 34 x 37-1/2 inchesCollection of the artist


ART DIVISION

PRESENTATION IN CHINAIn late November 2007, NOMA

Director E. John Bullard andAssistant Director for Art andCurator of Asian Art Lisa Rotondo-McCord, were invited to speakbefore a meeting of the Art MuseumProfessionals of Henan Province.This annual conference bringstogether the Directors and AssistantDirectors of all the major museumsand cultural institutions in Henan,China’s most populous province.Mr. Bullard spoke on the history ofNOMA and discussed such issues asthe role of special exhibitions,membership, fund raising andbuilding a collection throughdonations and acquisitions. Ms.Rotondo-McCord gave an overviewof NOMA’s Chinese collection.

BOARD OF TRUSTEES

BOARD OF TRUSTEESMEETING SCHEDULE

NOMA’s board of trustees willmeet on Wednesday, January 16,February 20, and March 19, at4 p.m.

NVCNVC GENERAL MEETING ISFEBRUARY 11 AT 10:30 A.M.

Plan to attend the NVC generalmembership meeting in the NOMAStern Auditorium on Monday,February 11, at 10:30 a.m. A lightlunch will follow. ChairmanBrenda Vorhoff will reveal theexciting 2008 NVC calendar,including the NVC Fabergé EggHunt on March 4. Volunteersignup sheets will be available forthis fun weekend event. Look fordetails on the website,www.noma.org.

NEW NVC CHAIRS ANNOUNCEDBrenda Vorhoff assumes her

duties as 2008 NVC chair onJanuary 1. She will be assisted byChair-Elect Diane Walmsley, Vice-Chair of Activities Carol Hall, Vice-Chair of Fundraising MargaretKessels, Vice-Chair of Membership

MUSEUM NEWS MUSEUM NEWS MUSEUM

Cammie Mayer, RecordingSecretary Betty Kern,Corresponding Secretary PamRogers, Treasurer Ellen Micletteand Parliamentarian ElizabethRyan. The two At-LargeRepresentatives are Jean Taylorand Janet Frischhertz.

JOIN THE NVCJoining the NOMA Volunteer

Committee is an excellent way toaid in the recovery of NewOrleans while gaining bothknowledge and friendships.Through its many functionsthroughout the year, the NVCplays a vital fund-raising rolewithin NOMA. Lectures, studiovisits, home tours, galas andchildren’s activities are among thebenefits a NVC membershipprovides.

STUDIO SALONStudio Salon Chairs Sally

Richards and Cary Alden scoredanother triumph with their fall visitto the New Orleans Academy ofFine Arts. Director and FounderAuseklis Ozols was the amiablehost and tour guide. This dynamicduo is already planning theirspring function. Watch your mailfor details.

FLOWER FUNDFlower Fund Chairmen Carol

Hall and Jerrye St. Martinannounce the Flower Fund Coffeewill be held on January 15 from 10a.m. to noon, by invitation. KennyRabalais, owner of The PlantGallery, will speak on “ContainerGardening for Today’s Lifestyle.”Flower fund teams are responsiblefor the beautiful floralarrangements that grace the urnsin NOMA’s Great Hall. The coffeeis a thank you for their helpduring the previous year.Interested in joining a Flowerteam? A commitment of at leastone Monday morning a year isrequired. No experience necessary,just a love of flowers. n

SENIOR STAFFE. John Bullard, The Montine McDaniel Freeman DirectorJacqueline L. Sullivan, Deputy DirectorSarah L. McCoy, Director for Development and External AffairsLisa Rotondo-McCord, Assistant Director for Art/Curator of Asian ArtJoanna Sternberg, Assistant Director for EducationGail Asprodites, ControllerAisha Champagne, Graphics Coordinator/WebmasterSheila Cork, Librarian/Grants OfficerDiego Cortez, The Freeman Family Curator of PhotographyMarilyn Dittmann, Senior Development AssociateWilliam A. Fagaly, The Françoise Billion Richardson Curator of African ArtAnthony Graffeo, Chief of SecurityJimmy Jeffrey, Sculpture Garden ManagerJennifer Ickes, Assistant RegistrarKristin Jochem, Development Associate for NVCJohn W. Keefe, The RosaMary Foundation Curator of The Decorative ArtsElizabeth Levy, Membership SecretaryKatherine Marquette, Education SecretaryKarl Oelkers, Computer CoordinatorWanda O’Shello, Publications Coordinator/Arts Quarterly EditorMarney N. Robinson, Associate Curator of EducationGeorge Roland, The Doris Zemurray Stone Curator of Prints and DrawingsPaul Tarver, Registrar/Curator of Native American and Pre-Columbian ArtPatricia Trautman, Museum Shop ManagerLaura Wallis, Development for Membership and Annual AppealHolly M. Wherry, Art Therapist, Katrina InitiativeAlice Rae Yelen, Principal Curator for Education

NOMA BOARD OF TRUSTEESSydney J. Besthoff III, PresidentMrs. Edward George, Vice-PresidentE. Ralph Lupin, M.D., Vice-PresidentMrs. James Frischhertz, Vice-PresidentWilliam Aaron, TreasurerMrs. Françoise Billion Richardson, Assistant TreasurerCharles A. Snyder, SecretaryMrs. John BertuzziIsidore Cohn, Jr., M.D.Leonard DavisS. Stewart FarnetMrs. Ludovico FeoliTimothy FrancisTina FreemanLee HamptonStephen H. HanselEdward F. HaroldHenry LambertPaul J. Leaman, Jr.Edward C. MathesMrs. Charles B. MayerKay McArdleCouncilmember Shelly MiduraMrs. R. King MillingMichael MoffittMayor C. Ray NaginMrs. Robert J. PatrickR. Hunter PiersonThomas Reese, Ph.D.Mrs. James ReissMichael J. SiegelMrs. Lynes R. SlossMrs. James Lyle TaylorMrs. Patrick F. TaylorMrs. Brenda VorhoffLouis A. Wilson, Jr.

HONORARY LIFE TRUSTEES H. Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar B. Chase, Jr.Prescott N. DunbarMrs. Richard W. Freeman, Jr.Kurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerRichard W. Levy, M.D.J. Thomas LewisMrs. Paula L. MaherMrs. J. Frederick Muller, Jr.Mrs. Jeri NimsMrs. Charles S. ReilyMrs. Françoise Billion RichardsonR. Randolph Richmond, Jr.Mrs. Frederick M. StaffordHarry C. StahelMr. and Mrs. Moise S. Steeg, Jr.Mrs. Harold H. StreamMrs. John N. Weinstock

NATIONAL TRUSTEESJoseph BailloMrs. Carmel CohenMrs. Mason GrangerJerry HeymanHerbert Kaufman, M.D.Mrs. James PierceMrs. Benjamin RosenMrs. Robert SheltonMs. Debra ShrieverMrs. Henry H. Weldon

ARTS QUARTERLY 39

NOMA EXHIBITION SCHEDULE

Home Is Where the Art Is: Zita Marks Templeman(1918-2005)–Artist, Collector, Benefactor

Through January 6, 2008

Blue Winds Dancing:The Whitecloud Collection of Native American Art

Through February 17, 2008

Katrina—Days of Terror, Months of Anguish: Paintings by Rolland GoldenThrough February 17, 2008

Louisiana: Where Land Meets WaterThrough March 2, 2008

Ari Marcopoulous: ArchitecturesJanuary 19 – April 27, 2008

Living Color: Photographs by Judy CooperJanuary 19 – May 11, 2008

Rodrigue’s Louisiana: Cajuns, Blue Dogs, and Beyond KatrinaMarch 1 – June 8, 2008

Dog ShowMarch 1 – June 8, 2008

A Curator’s Gift: Contemporary Photography from Diego CortezMarch 1 – May 25, 2008

For further information on upcoming exhibitions and events at theNew Orleans Museum of Art, call (504) 658-4100,

or visit our website at www.noma.org.

NOMA Calendar of Events

SUNDAY, 2 p.m., Family Workshop, “Symbolic Triptych”

2 p.m., Lecture, “After the Flood” by Robert Polidori,Photographer

SATURDAY, 2 p.m., Film, Smoke Signals (1998, 88 min.,Rated PG-13)

SUNDAY, 2 p.m., Lecture, “Cosmological Motifs inChippewa Art in the Whitecloud Collection” by Dr. CoryWillmott, Assistant Professor of Anthropology, SouthernIllinois University Edwardsville

WEDNESDAY, 4 p.m., NOMA Board of Trustees Meeting

FRIDAY, 6 p.m. to 9 p.m., NOMA Members ExhibitionPreview—Living Color: Photographs by Judy Cooper and AriMarcopoulous: Architectures

SATURDAY, Opening Day—Living Color: Photographs byJudy Cooper and Ari Marcopoulous: Architectures

TUESDAY, 4 p.m. to 6 p.m., Teacher Workshop, “ArtTherapy Information Session and Activity”

SATURDAY, Opening Day—Our History Art Contest

JANUARY

SATURDAY, 2 p.m., Exhibition Walk-through of BlueWinds Dancing: The Whitecloud Collection of NativeAmerican Art” by Paul Tarver, Curator of Native AmericanArt, NOMA, and Mercedes Whitecloud, Collector

SATURDAY, 2 p.m., Film, The Education of Little Tree(1998, 112 min., Rated PG)

SUNDAY, 2 p.m., Family Workshop, “Clay Coil Pots”

2 p.m., Lecture, “The Beauty of Diversity: The Aesthetics ofthe Whitecloud Collection of Native American Art” by Dr.Mary Jo Watson, Director of the School of Art, University ofOklahoma


SUNDAY, 2 p.m., Panel Discussion, “Living Color:Photographs by Judy Cooper” moderated by JacquelineBishop, Artist

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SATURDAY, Opening Day—Rodrigue’s Louisiana: Cajuns, Blue Dogs, and BeyondKatrina and Dog Show

6 p.m. to 9 p.m., NOMA Members Preview—Rodrigue’s Louisiana: Cajuns, Blue Dogs,and Beyond Katrina and Dog Show

SUNDAY, 2 p.m., Lecture, “Rodrigue’s Louisiana: Cajuns, Blue Dogs, and BeyondKatrina” by George and Wendy Rodrigue

TUESDAY, 4 p.m. to 6 p.m., Teacher Workshop, “Rodrigue’s Louisiana: Cajuns, BlueDogs, and Beyond Katrina”

SUNDAY, 2 p.m., “The Science of Optics: The History of Art” by Dr. Charles M.Falco, Chair of Condensed Matter Physics, College of Optical Sciences, University ofArizona, Tucson


6 p.m., Film, Dance for a Chicken: Cajun Mardi Gras (1993, 60 min., Not Rated)

SUNDAY, Happy Easter—Museum Closed

SUNDAY, 2 p.m., Cajun Storytelling by Mary LeCompte

MARCH

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Post Office Box 19123New Orleans, Louisiana 70179-0123

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Documents

new cajun pride

new orleanians

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long dominance of new

new photography exhibitions

ofthese new compositions

cajun revival

cajun scene paintings