Cover: Viktor Schreckengost’s Jazz Bowl tells the story of a New York night on the town. Start- ing in Times Square at 3:30 in the morn- ing, we pass by high- rise buildings, visit the Cotton Club and Radio City Music Hall, and relax in a cocktail lounge (ca. 1930, h. 28.6 cm, diam. 41.3 cm, John L. Severance Fund 2000.65).

NOVEMBER 2000

Current Exhibitions

VIKTOR SCHRECKENGOST AND 20TH-CENTURY DESIGN

Gallery 101, November 12, 2000 through February 4, 2001 Retrospective of a versatile and prolific designer

Sponsored by Hahn Loeser and Parks LLP and The John P. Murphy Foundation

FROM REMBRANDT TO RAUSCHENBERG: RECENTLY ACQUIRED PRINTS

Galleries 109-112, through November 26 Important works by Cranach, Picasso, de Kooning, and many others

CIRCLES OF REFLECTION: THE GARTER COLLECTION OF CHINESE BRONZE MIRRORS

Gallery 113, through November 26 A survey of 2,000 years of this exquisite art

YASUHIRO ISHIMOTO PHOTOGRAPHS: TRACES OF MEMORY

Gallery 105, through January 3, 2001

Evocative images of clouds, leaves, and footprints

CLEVELAND BUILDS AN ART MUSEUM, 1884-1916

Lower Level/Education, through 2000 Photos and drawings from the archives document the 1916 building’s design and construction Supported by Patron Sponsors Leigh and Mary Carter

Roy Lichtenstein’s Foot and Hand epito- mizes the Pop Art genre that dominated printmaking in the 1960s. To describe bland consumerism, Lichtenstein chose banal subject matter and used commercial techniques like offset lithography (1964, 42.2 x 53.3 cm, Gift of Harvey and Penelope D. Buchanan 1997.253). In From Rembrandt

to Rauschenberg

CMA

From the Director

Dear Members,

You will find this a most eventful month at the museum, featuring two conferences, the opening of the Viktor Schreckengost exhibition, the award- ing of the Cleveland Arts Prize, and an evening with PBS television personality Sister Wendy.

The first of our two conferences is Saturday the 4th. Circles of Reflection: The Carter Collec- tion of Chinese Bronze Mirrors brings scholars from around the world to discuss the aesthetics, history, and conservation of the objects featured in our exhibition. Collector and donor Martha Carter offers a Friday-night keynote address. The following weekend, Saturday the 11th, is Success by Design: The Schreckengost Legacy, sponsored by the museum and our neighbor, the Cleveland Institute of Art. Viktor Schreckengost’s six de- cades of influential designs are delightful and in- spiring to all ages, and his long and prolific career is the focus of our exhibition, Viktor Schrecken- gost and 20th-Century Design, which opens on Sunday the 12th. The members party is Saturday night the 11th, with free preview days Friday evening the 10th and all day Saturday. New mem- ber orientations are the same weekend.

On the evening of Tuesday the 14th, we host the presentation of the 40th annual Cleveland Arts Prize. The prize honors creative artists whose ac- complishments have set the standard of excel- lence. The event also features the first Robert Bergman Prize. A patrons dinner and a dessert reception precede the eight o’clock ceremony. Call

Mary Maloney Reynolds at 440-423-1652 for reservations.

Two nights later, Sister Wendy Beckett, the British nun whose insightful and engaging PBS programs and books on art museums have enjoyed enduring popularity, arrives for a special talk on Thursday the 16th at 6:30. She will be interviewed by the Plain Dealer’s art critic Steven Litt. Tickets are required and may sell out (call the ticket cen- ter). Her newest series, on the great American museums, will air in the spring—and our mu- seum is one of those six great ones.

I note with sorrow the death on September 20 of Bob Dewey, a gifted artist and inspiring teacher who served for 25 years in the education division, most recently as coordinator of young people’s classes. His creativity, energy, warmth, and humor inspired us all. Most know him best through the many wonderful and innovative hands-on family art projects he created.

Finally, we bid farewell, congratulations, thanks, and good luck to Deputy Director Kate Sellers, who served admirably as acting direc- tor after the death of Robert Bergman. This month she becomes director of the Wadsworth Athene- um Museum of Art in Hartford, Connecticut.

incerely,

(fluc L2 (lec

Katharine Lee Reid, Director

Scaffolding on the east side of the 1916 building hints at the restoration work going on behind the construction wall, which has been decorated with panels cre- ated by dozens of area organizations and individuals. The project should be finished by the fall of 2002.

VIKTOR SCHRECKENGOST AND 20TH- CENTURY DESIGN November 12, 2000—February 4, 2001

NOVEMBER 2000

Master of Design

his November, for the first time in its history, the Cleveland Museum of Art will stage an exhibition of the work of a living Cleveland artist. Now 94, Viktor Schreckengost is the last major surviving master from the first age of modern industrial design. The son of a potter from Sebring, Ohio, about 60 miles south of Cleveland, Schrecken- gost attended the Cleveland School of Art (now known as the Cleveland Institute of Art) from 1925 to 1928, where he was first in his class and class president all four years. After graduation he continued his studies in Vienna, working un- Organized by the Cleveland Museum of Art, the exhibition is made possible by Hahn Loeser & Parks LLP and the John P. Murphy Foundation, with additional support from the Richard 4

der the potter Michael Powolny and the archi- tect Josef Hoffmann. On his return to the Unit- ed States in 1930, he pursued a double career, winning awards in art exhibitions while simul- taneously designing for mass production. From 1930 until the early 1970s, Schreck- engost exhibited paintings, pottery, and ceramic sculpture almost annually at the Cleveland Museum of Art’s May Show, as well as in major exhibitions around the country. Tom Turnquist, writing in American Art Pottery, re- cently declared that Schreckengost “has given to America some of the finest ceramic sculpture

Florsheim Art Fund, Northern Trust Company, Nottingham-Spirk Design Associates, Betty and Joe

Oros, Mr. and Mrs. Viktor Schreckengost, and a grant

from the National Endowment for the Arts.

In 1938 Schreckengost made four exotic and beautiful heads, The Seasons, each in dif- ferent colors of clay, with writhing hair ornaments of plants appropriate to each season. This is Sum- mer (h. 45.3 cm, Col- lection of Viktor Schreckengost).

CMA

Schreckengost’s bright, bold, cheerful dinnerware schemes were strikingly different from the Victo- rian designs of the past. His 1935 “Flower Shop” pattern for American Limoges (based in Sebring)

of the [20th] century.” American Art & Crafts Quarterly has described him as “the most impor- tant living potter from the art pottery period.”

Schreckengost was only 26 when he pro- duced the most famous object of his career (see this month’s cover). In 1930, while working for Cowan Pottery in Cleveland, he was asked to make a punch bowl for a woman from New York. The piece is now consid- ered a masterpiece of art deco and an icon of the Jazz Age. Only af- ter completing the design did he learn that Eleanor Roosevelt had commissioned it.

In the area of industrial de- sign, Schreckengost’s achieve- ments are so disparate and wide ranging that they evoke not only admi- ration but awe. In 1933 he produced the first cab- over-engine truck for the White Motor Company in Cleveland. At the time, the length of a truck was limited by law to 42 feet. Anything taken off the front end added to the loading room at the back. His reconfiguration has been singled out as “perhaps the greatest single innovation in truck design.”

In 1933-34 Schreckengost introduced the first modern mass-produced dinnerware to be made in the United States. The success of his shapes and patterns showed that modern design could succeed in the marketplace. American Limoges had been running at one-third its nor- mal production, but the popularity of Schreck- engost’s designs brought the company back to full capacity in just four months.

America’s children benefited from Schreck- engost’s design genius in the field of bicycles and

was so popular that within a year 38 imitations had appeared, from places as distant as Czecho- slovakia and Japan (diam. 23.7 cm, Collection of Viktor Schreckengost).

toys. The Murray Ohio Manufacturing Compa- ny in Cleveland hired him to create a new bicycle for the 1939 New York World’s Fair. He would remain with the company for the next 30 years, producing a wide range of creative bicycle de- signs. He also revolutionized the pedal car field. Before his arrival on the scene, pedal cars were >» made like real cars, with pieces weld- : ed to a metal frame. Schreckengost realized that a pedal car could be stamped from a single sheet of metal and simply folded into shape. This new method dramat- ically cut costs, and changed ped- al cars from a toy for the very rich into an affordable item for middle- class families. When Schreckengost began working for Murray Ohio in 1938, its annual volume was less than $2 million a year. When he retired in 1972, the company’s annu- al volume had risen to over $400 million, and all its products were based on Schreckengost designs. In addition to his own work, Schreckengost has had enormous influence as a teacher. In 1932 he established the industrial design department of the Cleveland Institute of Art, which grew into what some consider the best program of its kind in the world. Over the years he has guided nearly 1,000 students who have gone on to produce bil- lions of dollars in successful products for Amer- ican industry. Schreckengost still teaches part time at the Institute, and has been connected with the design program for 75 years—by far the long- est such association in the history of the school.

@ Henry Adams, Curator of American Paintings

The Champion pedal car, first issued in 1938, brought the fun of a previously expensive toy to middle-class children (51 x 86 x 38 cm, Collection of Edward J. Karee).

The elegant Murray Mercury bicycle’s unusual features include the sculptural head, tank, and chain guard, which convey a feeling of speed

(I. 175.3 cm, Leon Dixon/National Bicycle History Archive of America).

NOVEMBER 2000

Acquisition

An Ancient Sports Celebrity

The date of Statuette of an Athlete, 570- 500 BC, is precisely the time when Greek sculptors and painters were experimenting with new ways to show the human figure in motion

(h. 21.5 cm, John L. Severance Fund 2000.6).

The Kouros from Anavysos, ca. 530 BC, demonstrates the archais Greek em- phasis on schematic surface detail. (Athens 3851)

CMA

uring the last decade of the sixth cen-

tury BC, ancient Greek sculptors made

a decisive breakthrough in the rep-

resentation of the human body. Ear- lier Greek statues of young men (kouro1) were stiffly posed, with superficial anatomical details rendered schematically; the finest of these statues display surface detail carved with great preci- sion. But as the sixth century BC drew to a close, anew sculptural conception inverted this empha- sis on the surface to one in which the figure is perceived to be animated from within. By the ear- ly fifth century BC, sculpted Greek figures ap- pear dramatically more naturalistic, their weight now shifted to one leg to allow use of the other. The angle of the shoulders and turn of the head subtly respond to the weight-shift shown in the hips as the statue presents a convincing illusion of a living, breathing individual. This revolution- ary transition in the way Greek sculptors con-

ceived of the human form led directly to the Classical style, which would greatly influence the art of Rome and subsequent European art to the present day.

A large bronze statuette of a striding male athlete, recently acquired by the museum, uniquely illustrates this key moment when Greek sculptors were transforming old conventions and moving toward a radically new understanding of the structure of the human body. The increasingly accurate depiction of internal, counterbalancing forces, brilliantly demonstrated by this statuette,

began to endow sculpted figures with a relaxed naturalism original to Greek art. With right arm raised, perhaps to hold a javelin, the athlete’s dynamic and open pose is charged with a tor- sion and tension noticeably removed from the work of sculptors of the previous generation. The statuette is an extremely rare example of a fleet- ing time of productive experimentation in which fresh insights were dismantling venerated can- ons in the birth of a new style.

The subject of the statuette is as Greek as its style. From the eighth century BC onward, the Greeks celebrated athletic skill and prowess in numerous games conducted throughout the Greek world. The Olympian, Isthmian, and Nem- ean games attracted athletes from various city- states to compete in honor of the gods for personal renown. Victorious Olympic athletes became widely famous in their own time, basking in the celebrity bestowed by their countrymen. It is pos- sible that the statuette represents a pentathlete— an athlete expert in the javelin-throw, the long jump, the discus, the foot race, and wrestling. His nudity and short hairstyle are in keeping with this identification. The Greeks considered the perfected athletic body to be a reflection of gen- eral excellence (arete). That this notion linked mind and body is demonstrated by the fact that the philosophical schools of Plato and Aristot- le—The Academy and The Lyceum—were orig- inally gymnasia. For the Greeks, sport and education were closely allied.

i Michael Bennett, Associate Curator of Greek and Roman Art

In a break from earlier conventions, Greek sculpture of the early fifth cen- tury BC displays a relaxed naturalism. The weight-shift see in the pose of the Kritios Boy, ca. 490- 80 BC, became a hallmark of the Classical style. (Acropolis 698).

From Peacocks to Picasso

NOVEMBER 2000

ncient mosaics, radiant screens, pro-

vocative paintings—that’s what you'll

find in the exhibitions scheduled for

2001. Our first offering will be Anti- och: The Lost Ancient City (March 25—June 3). A thriving military, commercial, and artistic center, in its heyday Antioch (founded in 300 BC) was one of the world’s most important cities. Yet because it was buried by an earthquake and abandoned in AD 526, Antioch is the least known of the great cities of the Roman and early Christian world. Excavations at the site have uncovered about 90 build- ings and 300 floor mosaics from a variety of public and private structures. In this exhibition, objects that have survived the vicissitudes of time— sculpture, frescoes, glass, metalwork, pottery, coins, weights, and, most important, mosaics, an art form that reached its peak in Antioch—will be brought together from American, European,

Mosaic with Peacocks once decorated the floor of a private house in Antioch (c. AD 526-40, marble and limestone tesserae, 116.8 x 381 cm, Worcester

ANTTOGH: THE LOST ANGIENT Giiy March 25—June 3, 2001

UNFOLDING BEAUTY: JAPANESE SCREENS FROM THE CLEVELAND MUSEUM OF ART

July 15—-September 16, 2001

PICASSO: THE ARTISTS: STUDIO October 21, 2001—January 6, 2002

Major exhibitions for 2001

and Near Eastern museums and private collec- tions to recreate the experience of daily life in a city that deserves to be remembered. The ex- hibition is organized by the Worcester Art Mu- seum in Massachusetts.

Summer will feature Unfolding Beauty: Jap- anese Screens from the Cleveland Museum of Art (July 15—September 16). Dating from the late 15th through the early 19th centuries, the museum’s collection of Japanese folding screens (bydbu) fea- tures a variety of painting styles, sub- jects, and formats. The two major stylistic approaches were the colorful, native “Japanese style” and the monochromat- ic “Chinese style,” which emphasized the schol- arly skills of calligraphy and ink painting. Subjects range from birds, flowers, lions, tigers, and grasses, to literary themes. The screens will be accompanied by a number of hanging scrolls, since Japanese artists worked in various formats

Art Museum 1936.23). In the Roman world, pea- cocks were associated with immortality.

Both the Antioch and Picasso exhibitions will

have admission fees and paid audio tours. Mem- bers receive free admission to all special exhi- bitions as well as discounted audio tours, so be sure to renew your membership by mailing in your renewal form or calling the ticket center.

CMA

Pampas Grasses is one of the remarkable works in Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art (1573-1615, ink, color, and gold on paper, w. 348.8 cm, John L. Severance

La Vie (Life), Picasso’s great meditation on life and love from 1903, is set in the artist’s studio (oil on canvas, 196.2 x 129.2 cm, Gift of the Hanna Fund 1945.24).

Fund 1984.43). In Japanese painting and litera- ture, pampas grasses signal the autumn season. This pair of byObu represents the earliest example of the subject known in this format.

with equal artistic freedom. About 30 screens from the collection (some displayed for the first time) will be shown in two rotations, each approx- imately four weeks in length.

Next year’s third major exhibition is devoted to the theme of the artist’s studio in the work of Pablo Picasso. Among the many presentations of Picasso’s work, there has never been a major exhibition focusing on one of his oeuvre’s most important unifying ideas. Co-organized with the Wadsworth Atheneum Museum of Art in Hart- ford, Connecticut, Picasso: The Artist’s Studio (October 21, 2001—January 6, 2002) will dem- onstrate that from the first years of his career to the last years of his life, and through the full gamut of his styles and subjects, Picasso regu- larly explored the studio as the primary site of creative expression. The exhibition and accom- panying catalogue will highlight the central place of this theme in Picasso’s art and present the remarkable variety of ways in which he explored it—through portraiture, still lifes, interiors, land- scapes, and allegories of artists and work. For Picasso, the artist’s studio was the crossroads of all that occurred in his life and contemporary society.

The Antioch and Picasso exhibitions have admission fees, but are free to museum members.

@ Katherine Solender, Exhibitions Manager

| Am Cuba

NOVEMBER 2000

1 Wednesday

Gallery Talk 1:30 179th-Century French Art of the Academy. Pat Ashton

Lantern Workshop 6:30-8:30 also No- vember 8 and 15 (red twig dogwood and paper); Fridays 6:30-8:30 the 3rd, 10th, and 17th (pierced tin); and Sundays 2:00-4:00 the 5th, 12th, and 19th (split reed and tissue paper). Attend as many sessions as you want. Children under 15 must register and attend with someone older. $15/individual for one lantern, $40/family for one lantern per person; $10 each additional lantern

Lecture 7:00 Luxury and Daily Life in the Byzantine Empire. Eunice Maguire, Cura- tor of the Archaeological Collection at Johns Hopkins University

Film 7:00 South: Ernest Shackleton and the Endurance Expedition (Britain, 1919/ 98, color-toned b&w, silent with music, 88 min.) directed by Frank Hurley, with

Ernest Shackleton. Our biggest hit of the year returns for an unprecedented third time! Sir Ernest Shackleton’s 1914 Ant- arctic expedition ended when his ship was crushed in ice, prompting an incred- ible two-year odyssey to safety during which not one man was lost! Shot by the expedition’s official photographer, and fully restored by the British Film Institute. $4 CMA members and kids 12 & under, $6 others

2 Thursday

First Thursday Curatorial consultation for members only, by appointment Highlights Tour 1:30 CMA Favorites

3 Friday

Highlights Tour 1:30 CMA Favorites Gallery Talk 6:00 79th-Century French Art of the Academy. Pat Ashton Keynote Address 6:30 Martha Carter prefaces Saturday’s symposium on the Carter collection of bronze mirrors Lantern Workshop 6:30-8:30 Pierced tin. Fee. See November 1

Film 7:00 Chac: The Rain God (Mexico/ USA, 1975, color, subtitles, 95 min.) di- rected by Rolando Klein. The Mayan Indians of Chiapas, Mexico, star in this dazzling work of folk mythology set in a drought-ravaged village. Cleveland re- vival premiere of a newly restored 35mm color print! Repeats Sunday the 5th at 2:00. $4 CMA members, $6 others VIVA! Concert 7:30 Flamenco de la Luna: La Macanita and Concha Vargas. This U.S. premiere brings together for the first time two of Spain’s finest female flamenco artists. Singer La Macanita and her ensemble of gypsy musicians join dancer Concha Vargas for a performance that passes from the melancholy of “deep song” to festive exhilaration with passion and grace. Tickets $26 and $22 for CMA members, $30 and $26 others

4 Saturday

International Symposium 9:00-4:00 Circles of Reflection: The Carter Collec- tion of Chinese Bronze Mirrors. Tickets $35, $25 members, $5 students and faculty with ID, at the ticket center. Session 1: Moderator, Ju-hsi Chou, Cu- rator of Chinese Art; with Eugene Wang, Department of Fine Arts, Harvard Univer- sity, Arthur M. Sackler Museum; Susanne Cahill, History Department, University of California, San Diego; Grace Chuan-ying Yen, Academia Sinica, Taipei, Taiwan; and discussants Claudia Brown, School of Art, Arizona State University, and Chui- mei Ho, Field Museum, Chicago

Session 2: Moderator, D. Bruce Christman, Chief Conservator; with Caroline Schulten, Merton College, Ox- ford University, England; Tom Chase, Washington, D.C., formerly of the Freer Gallery of Art; and discussant Charles Mason

Gallery Talk 10:30 The Flowering of the Renaissance. Mary Woodward Highlights Tour 1:30 CMA Favorites

Right: Viktor Schreckengost and a couple of his toy creations

November Events

5 Sunday

Glenville Day 2:00-5:00 Gallery talks and activities for the Glenville neighborhood Gallery Talk 1:30 79th-Century French Art of the Academy. Pat Ashton

Film 2:00 Chac: The Rain God (see No- vember 3). $4 CMA members, $6 others Family Art Project 2:00-4:30 Viktor’s Toys. Viktor Schreckengost designed bicycles, toys, animal sculptures, flash- lights, chairs, and more. Create a project inspired by this amazing artist

Lantern Workshop 2:00-4:00 Split reed and tissue paper. Fee. See November 1 Concert 2:30 Trio Luwigana. Darko Brlek, clarinet; Vladimir Mlinaric, piano; Igor Skerjanec, cello. Based in Ljubljana, Slovenia, the trio makes its Cleveland debut performing works by Brahms (Trio in A minor, Op. 116), Gorecki (Recitatives and Ariosos “Lerchenmusik,” Op. 53), and Glinka (Trio “Pathétiqgue” in D minor)

7 Tuesday Highlights Tour 1:30 CMA Favorites

8 Wednesday

Gallery Talk 1:30 The Great Striptease of Modern Art, 1860s—1960s. Debbie Apple-Presser

Lantern Workshop 6:30-8:30 Red twig dogwood and paper. Fee. See November 1 Film 6:30 Tabu (USA, 1931, b&w, 82 min.) directed by F. W. Murnau. The last movie from the director of Nosferatu and Sunrise is a South Seas drama about a pearl fisherman and a woman deemed untouchable by the gods. Preceded at 6:30 by Alfred Hitchcock's Bon Voyage and Aventure Malgache (Britain, 1944, b&w, 57 min.), two long-suppressed thrillers made to honor the WWII French Resistance. $4 CMA members, $6 others Preconcert Lecture 6:30 Richard Rodda gives a free talk in the recital hall

Gala Concert 7:30 The Ysaye String Quartet with Franklin Cohen, clarinet. Luc-Marie Aguera and Guillaume Sutre, violin; Miguel Da Silva, viola; Francois Salque, cello. In its Cleveland debut, one of the world’s premier quartets is joined by Cleveland Orchestra principal clarinet- ist Franklin Cohen for Mozart's Quintet in A major for Clarinet and Strings, K. 581. Also quartets by Haydn (Quartet in C

major, Op. 74. No. 1) and Debussy (String Quartet in G minor, Op. 10). $20 or $18; CMA and Musart Society members, se- nior citizens, and students $16 or $14; special student rate at the door only $5 Archaeology Lecture 7:30 Mayan Ar- chaeology. Peter Dunham, Cleveland State University

9 Thursday Highlights Tour 1:30 CMA Favorites

10 Friday

Highlights Tour 1:30 CMA Favorites Members Preview Day 5:00-9:00 Viktor Schreckengost

Gallery Talk 6:00 The Great Striptease of Modern Art, 1860s—1960s. Debbie Apple-Presser

New Members Orientation 6:15-7:30 Lantern Workshop 6:30-8:30 Pierced tin. Fee. See November 1

Film 7:00 Pastor Hall (Britain, 1940, b&w, 97 min.) directed by John and Ray Boulting. This powerful drama tells of a village minister in prewar Germany whose resistance to the Nazis lands him in Dachau. Pastor Hall was one of the first movies to depict German concentra- tion camps, but the camp scenes were censored in then-isolationist America. This reissue marks the U.S. premiere of the uncut version. From Ernst Toller’s play. Cleveland revival premiere. Repeats Sunday the 12th at 2:00. $4 CMA mem- bers, $6 others

11 Saturday

Members Preview Day

Viktor Schreckengost

Symposium 9:00-3:00 Success by Design: The Schreckengost Legacy, spon- sored by the museum and the Cleveland Institute of Art. Free tickets available at the ticket center. Distinguished alumni of the Cleveland Institute of Art and stu- dents of Viktor Schreckengost will present their perceptions of Viktor’s impact on their designs

New Members Orientation 10:15—11:30 Gallery Talk 10:30 Baroque Art. Pat Ashton

Highlights Tour 1:30 CMA Favorites Members Party 7:00-10:00 Viktor Schreckengost. Tickets required

Music

Hear two Gala Musie concerts: On Wednesday the 8th at 7:30, The Ysaye String Quartet with the Cleveland Orchestra’s_ principal _ clarinetist Franklin Cohen perform works in- cluding Mozart’s Quintet in A major for Clarinet and Strings. Then on Wednesday the 15th at 7:30, the Bos- ton Camerata (Joel Cohen, director) perform Carmina Burana. Tickets $20 or $18 with discounts for CMA and Musart Society members, seniors, and students. Free preconcert lectures in the recital hall are at 6:30.

The free Musart Matinée Series is Sunday afternoons at 2:30. On the 5th is Trio Luwigana from Ljubljana, Slovenia, with works by Mozart, Merku, and Zemlinsky. On the 12th, the Oxford String Quartet with violist Kirsten Docter perform Brahms’ Quintet in G major. On the 19th, Gary Ciepluch leads The University Circle Wind Ensemble with violinist Julian Ross and organist Karel Paukert in music by Donald Freund and Miloslav Kabelét. And Karel Paukert offers a lecture/demonstration on the 26th: Harpsichord, Positive Organ, and “Grand Orgue.” Re- corded selections from museum concerts air Mondays from 10:00 to 11:00 on WCLV (95.5 FM). Programs sub- ject to change.

Two VIVA! Concerts enliven Gartner Auditorium this month: The U.S. de- but of Flamenco de la Luna brings passionate flamenco music and dance on Friday the 3rd at 7:30 (nearly sold out; $26 and $22 for CMA members, $30 and $26 others). Then on Friday the 17th at 7:30, Fado: Passion Songs of Portugal brings vocalist Misia and an ensemble in their Cleveland debut with traditional Por- tuguese music ($22 and $19 for CMA members, $26 and $22 others).

We also announce Echoes from Eternity: Great Masters of Persian Classical Music, Wednesday, Febru- ary 28, 2001, at 7:30, with tenor Mohammad Reza Shajarian, Iranian instrumentalist Hossein Alizadeh, and multi-instrumen- talist Kayhan Kalhor in this exclusive Midwest engage- ment. Homayoun Shajarian accompanies them on per- cussion ($27 and $24 for CMA members, $30 and $27 others). Because this event will be very popular with the Midwest region’s Persian community, members should be sure to order tickets early.

12 Sunday

Highlights Tour 1:30 CMA Favorites Lecture 1:30 The Art of Dining in the Byzantine Empire. Henry Maguire, Johns Hopkins University

Film 2:00 Pastor Hall (see November 10). $4 CMA members, $6 others

Family Art Project 2:00-4:30 Viktor’s Toys. See Sunday the 5th

Lantern Workshop 2:00-4:00 Split reed and tissue paper. Fee. See November 1 Concert 2:30 Oxford String Quartet with Kirsten Docter, viola. Jeffrey Multer and Harvey Thurmer, violin; Mary Harris, viola; Steven Shumway, cello. These five impeccable musicians perform Brahms’ Quintet in G major and quartets by Mozart and Shostakovich

14 Tuesday Highlights Tour 1:30 CMA Favorites

15 Wednesday

Highlights Tour 1:30 CMA Favorites Lantern Workshop 6:30-8:30 Red twig dogwood and paper. Fee. See November 1 Preconcert Lecture 6:30 Ross Duffin gives a free talk in the recital hall

Film 7:00 Winstanley (Britain, 1975, b&w, 96 min.) directed by Kevin Brownlow and Andrew Mollo. A beautiful b&w re-creation of the Reformation-era conflict between the Diggers, a communal religious sect led by Gerard Winstanley, and affluent villagers threat- ened by their use of “common land.” $4 CMA members, $6 others

Gala Concert 7:30 Boston Camerata, Joel Cohen, director. Carmina Burana: Medieval songs from the Benediktbeuren manuscript. Hear “America’s most impor- tant early music ensemble” (Le Monde, Paris) perform from the original 13th- century Carmina Burana manuscript. Founded in 1954, the Boston Camerata is internationally acclaimed for its unique programming and superb performances. General admission $20 or $18; CMA and Musart Society members, senior citizens, and students $16 or $14; special student rate at the door only $5

16 Thursday

Highlights Tour 1:30 CMA Favorites Special Event 6:30 A Chat with Sister Wendy. $25 CMA members, $35 others

17 Friday

Highlights Tour 1:30 CMA Favorites Gallery Talk 6:00 Viktor Schreckengost and 20th-Century Design. Jean Graves Lecture 6:30 Viktor Schreckengost and 20th-Century Design. Henry Adams, Curator of American Paintings

Lantern Workshop 6:30-8:30 Pierced tin. Fee. See November 1

Film 7:00 Edge of the World (Britain, 1937, b&w, 81 min.) directed by Michael Powell. Two friends are torn apart by their struggle to survive the harsh ele- ments on the isolated Shetland Isles. Filmed on location. New 35mm print! Cleveland revival premiere. Repeats Sun- day the 19th at 2:00. $4 CMA members, $6 others

VIVA! Concert 7:30 Fado: Passion Songs of Portugal. Acclaimed throughout Eu- rope for her heart-rending renditions of fado ("fate” songs of yearning and irre- vocable destiny), vocalist Misia (Warner/ Erato) is one of Portugal’s finest singers of the genre. Working with Portugal's most influential contemporary writers, Misia sings with such depth of feeling that no English translation is necessary. Cleveland debut. Tickets $22 and $19 for CMA members, $26 and $22 others

18 Saturday

All-day Drawing Workshop 10:30- 4:00. Sun-Hee Choi's intensive class is for beginners to advanced students ($20 for CMA members, others $40; fee includes materials and parking; limit 15). Call ext. 461 to register by Friday the 17th Gallery Talk 10:30 God Help Us: Expres- sions of Divine Intervention. Frank Isphording

Highlights Tour 1:30 CMA Favorites

/ Aovember Events

The first of Two Consecutive Weekend Symposia is on Saturday the 4th, 9:00-4:00: Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Tickets are $35, $25 members, $5 students and faculty with ID,

at the ticket center. A keynote address at 6:30 on Friday evening is offered by Martha Carter, the collector and _, donor. The symposium takes place in two sessions; 4 the first is curatorial in focus and is moderated /

by Ju-hsi Chou, curator of Chinese art. The a df

afternoon session, moderated by Chief Conservator Bruce Christman, exam- ines conservation issues. Sponsored by the Chiang Ching-kuo Foundation for f International Scholarly Exchange { (USA). The following weekend, Satur- day the 11th, 9:00-3:00, is Success by Design: The Schreckengost Legacy,

co-sponsored by the Cleveland Insti-

tute of Art. Free tickets available at | the ticket center. Distinguished alumni of the Institute of Art as well as students of Viktor Schreckengost will present their perceptions of Viktor’s impact on their designs.

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ys 5

A toy plane design by Viktor Schreckengost and an eighth-cen- tury bronze mirror from the Carter collection.

19 Sunday

Gallery Talk 1:30 Viktor Schreckengost and 20th-Century Design. Jean Graves Film 2:00 Edge of the World (see No- vember 17). $4 CMA members, $6 others Lantern Workshop 2:00-4:00 Split reed and tissue paper. Fee. See November 1 If These Walls Could Talk 2:00-3:00 The Magic Bow. Native American tales Concert 2:30 The University Circle Wind Ensemble, Gary Ciepluch, director with Julian Ross, violin and Karel Paukert, organ. Music by Donald Freund and Miloslav Kabelac

Family Express 3:00-4:30 Fantastic Animals. Have fun looking at animals designed by Viktor Schreckengost and other artists, then create your own ani- mal pull-toy in this free hands-on drop-in family workshop

21 Tuesday Highlights Tour 1:30 CMA Favorites

22 Wednesday

Gallery Talk 1:30 Viktor Schreckengost and 20th-Century Design. Kate Hoffmeyer

Film 7:00 Films by Eleanor Antin and Philip Haas (USA and Britain, 1984-1992, b&w and color, total 97 min.) Two mock Soviet silent movies by American perfor- mance artist and filmmaker Eleanor Antin (featuring her alter ego Eleanora Antinova), and two short documentaries on modern artists by Philip Haas. In- cludes: Antin’s From the Archives of Modern Art (1987) and The Last Night of Rasputin (1989) and Haas’s Scenes and Songs from Boyd Webb (1984) and The Singing Sculpture (1992), with Gilbert & George. $4 CMA members, $6 others

23 Thursday Museum Closed Thanksgiving

24 Friday

Highlights Tour 1:30 CMA Favorites Gallery Talk 6:00 Viktor Schreckengost and 20th-Century Design. Shannon Masterson

Film 7:30 Antonio Gaudi (Japan/Spain, 1985, color, subtitles, 72 min.) directed by Hiroshi Teshigahara. One of our all- time favorites returns! A roving camera and evocative music by Toru Takemitsu pay exquisite tribute to the work of the great Catalan architect Gaudi (1852- 1926), whose fantastic structures influ- enced Picasso, Miro, and Dali. Repeats Sunday the 26th at 2:00. $4 CMA mem- bers, $6 others

25 Saturday Highlights Tour 1:30 CMA Favorites

26 Sunday

Gallery Talk 1:30 Viktor Schreckengost and 20th-Century Design. Shannon Masterson

Film 2:00 Antonio Gaudi (see November 24). $4 CMA members, $6 others Family Art Project 2:00-4:30 Viktor’s Toys. See Sunday the 5th

Curator’s Recital 2:30 Kare! Paukert. Lecture/demonstration: Harpsichord, Positive Organ, and “Grand Orgue”

28 Tuesday Highlights Tour 1:30 CMA Favorites

29 Wednesday

Gallery Talk 1:30 Seeing the Light: Painting the Invisible. Frank Isphording Lecture 7:00 Toy Story Iil: The Schreckengost Influence on Toy Design. Nina Friedlander Gibans

Film 6:30 / Am Cuba (USSR/Cuba, 1964, b&w, subtitles, 141 min.) directed by Mikhail Kalatozov. Feverish, flamboyant, deliriously cinematic multi-part agitprop epic about the decadent excesses of Batista’s Cuba and the fomenting revolu- tion. “Fantastically exotic...Suggest Eisenstein filtered through La Dolce Vita with an Afro-Cuban pulse.” —The NY Times. $4 CMA members, $6 others

30 Thursday Highlights Tour 1:30 CMA Favorites

Museum News

Take Note

During Faces of Impressionism, you might have noticed greeters in the lobby, iden- tifiable by their cheerful smiles and yel- low shirts. This On-Site Membership Team was created specifically to help our audience during this busy exhibition. Thanks to the generosity of our visitors, the hard work of our ticket center, and the initiative of this new on-site staff, the Cleveland Museum of Art now boasts over 30,000 members!

New Members Orientations are Friday the 10th, 6:15-7:30 and Saturday the 11th, 10:15-11:30.

During our annual Members Shop- ping Days, November 10-12, museum members receive 25% off regularly priced merchandise such as cards, calen- dars, and giftware. Additionally, we offer complimentary gift wrapping of purchases made this weekend.

Opening the same weekend is the exhibition Viktor Schreckengost and 20th-Century Design. Members Preview Days for this show are Friday the 10th from 5:00 to 9:00 and during regular museum hours on Saturday, November 11. The Schreckengost Pre- view Party is that evening, Saturday the 11th, from 7:00-10:00 pm (tickets re- quired). Be sure to take advantage of our Members Shopping Days discount of 25% off this evening, as the stores will offer special merchandise celebrating Cleveland’s own artist.

One of Viktor Schreckengost’s be- loved local projects is the monumental sculpture he created for Cleveland’s zoo. In honor of Viktor Schreckengost and 20th-Century Design, the Cleveland Metroparks Zoo is offering CMA mem- bers a 10% discount on zoo member- ships through November 30.

Learn about the upcoming exhibition Antioch: The Lost Ancient City in your own neighborhood with a free, 45- minute Speakers Bureau slide presenta- tion. The Speakers Bureau sends repre- sentatives throughout the community to speak to groups about the museum and its activities. For reservations, contact Thomasine Clark at the museum by phone at ext. 588 or by e-mail at tclark@cma-oh.org.

Planning to Give

Save the date: The Estate Planning Seminar for Collectors is Saturday morning, November 18 at 10:30. Collec- tors of art, antiques, books, cars, and any other type of collectable should be sure to attend this seminar focusing on the special estate planning concerns facing collectors. The seminar is led by Karen L. Jackson, the museum's senior planned giving officer, with presenters Diane De Grazia, chief curator, and Bob Jackson, art collector and attorney. The seminar and parking are free. To regis- ter, call ext. 586 or fax your name, ad- dress, and phone number to 216-231- 6565 under the heading “Estate Planning for Collectors.”

As the end of the year approaches, it is a wise time to consider contributing to the Cleveland Museum of Art’s Annual Fund. Your charitable gift not only pro- vides funds to care for our permanent collection, but also serves as a tax- deductible donation. For information, please call 216-421-7340, ext. 596.

The Holidays Are Coming! Please consider giving the present of member- ship, the tax-deductible gift that gives all year long. If you're looking for gifts for those who are already members, we suggest ordering store gift certificates.

Now in Store

An interpretation of Monet’s Water Lilies in rich, high-quality enamel jewelry. Both pieces are

hand enameled on 22k gold plate. Pin: $25; members $21.25 Earrings (pierced): $22; members $18.70

Ohio Arts Council

\A STATE AGENCY THAT SUPPORTS PUBLIC PROGRAMS IN THE ARTS

CMA

Special Interest Groups Support Museum Activity

Most museum members have a special area of interest—a particular medium or period that holds a powerful attraction. The museum’s special interest groups can help you turn curiosity into connoisseur- ship with programs designed around fostering deep appreciation of your cho- sen area. Get to know curators, share experiences with fellow aficlonados— even take trips to see important exhibi- tions and collections. Join one of these groups and you not only support the museum’s activity in that area, but you and other members also contribute im- measurably to the cultural life of the community by enhancing the level of connoisseurship in Cleveland.

The Contemporary Art Society of the Cleveland Museum of Art explores the art of our time. Purpose: Encourage, support, and stimulate the collection and study of the visual arts at the museum and among members.

Annual dues $125 Contributing $250

Friends of Photography is for museum members who are interested in photog- raphy and dedicated to the growth of the museum’s photography collection. Purpose: Cultivate knowledge of the art and history of photography, promote private collecting, and generate funds with which to acquire works for the museum.

Annual dues

Individual $100 Household $150 Patron $250 Benefactor $500

For more information about these two groups, please call the museum's depart- ment of contemporary art or photogra- phy (both ext. 405).

The Musart Society supports the great tradition of music at the museum. The society makes possible the Musart and Gala series of concerts and the AKI new music festival, and helps to build and maintain the museum's outstanding collection of keyboard instruments.

Annual dues $25 Sustaining $50 Patron $100 Benefactor $200+

For more information, please call the department of musical arts (ext. 282).

The Painting and Drawing Society concentrates on European and American old master and early modern paintings and drawings before 1945. Purpose: Encourage collecting and educate mem- bers. Chief Curator Diane De Grazia, Curator of American Paintings Henry Adams, Associate Curator of Paintings William Robinson, and Associate Curator of Drawings Carter Foster act as liaisons.

Initiation fee $200 Annual dues

Single members $150 Family members $200 Young members

(under age 40) $100 Patron $300

For more information, please call Lynn Cameron (ext. 420).

The Print Club of Cleveland augments by purchase and gift the print collection of the museum, stimulates interest and appreciation of old master through con- temporary prints, and encourages private collecting. The club offers lectures and educational programs, and sponsors the annual Fine Print Fair. Membership is limited to 250.

Initiation fee $150 Annual dues $200 Benefactor $300

For more information, please call the department of prints and drawings (ext. 241).

The Textile Art Alliance supports the department of textiles. Purpose: Encour- age and maintain interest in the textile arts, generate funds with which to ac- quire works for the museum, and further understanding and appreciation of tex- tiles by offering lectures, workshops, and exhibitions.

Annual dues

Student $10 Active $25 Sustaining $50 Patron $75

For more information, please call the department of textiles (ext. 256).

The Trideca Society focuses on progres- sive design from the middle of the 19th century to the present day. Its activities include slide-lectures delivered by special- ists and visits to relevant exhibitions, artist studios, private collections, and architec- tural sites in the vicinity of Cleveland and in more distant locales.

Annual dues

Individual $75

Household $100

For more information, please call Carol Ciulla (ext. 413).

Young Friends is a group of more than 300 museum members between the ages of 21 and 39. Purpose: Encourage appreciation, understanding, and support of the museum, its collections, and role in the community. Monthly educational and quarterly social events, volunteer oppor- tunities, and an annual gala fundraiser give young professionals numerous op- tions for involvement and leadership.

Annual dues

Single $15

Couple $25

For more information, please call Connie Breth (ext. 595).

The Cleveland Museum of Art 11150 East Boulevard in University Circle Cleveland, Ohio 44106-1797

Dated Material Do Not Delay

Admission Main Telephones to the 216-421-7340 museum is 1-888-CMA-0033 free TDD: 216-421-0018

Website www.clevelandart.org Specific Services Membership, ext. 268 membership@cma-oh.org

Ticket center, 216-421-7350 or 1-888-—CMA-0033 (closes at 8:00 on Wednesday and Friday)

Museum Store, 216-421-0931

Oasis Restaurant brunch reserva- tions, 216-229-6216

Lost & found, ext. 275

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General Museum Hours Tuesday, Thursday, Saturday, Sunday 10:00-5:00 Wednesday, Friday 10:00—9:00 Closed Mondays (some holidays excepted), July 4, Thanksgiving, December 25, and January 1

Still Lifes Café Hours Closes one hour before museum

Oasis Restaurant Hours Sunday brunch 11:00-2:30 Reservations recommended; call 216-229-6216

Ingalls Library Hours (members and scholars ages 18 and over) Tuesday—Saturday 10:00-5:00, Wednesday until 9:00. Slide Library by appoint- ment only (ext. 545)

Print Study Room Hours By appointment only (ext. 242) Tuesday—Friday 10:00-11:30 and 1:30-4:45

Members Magazine (ISSN 1081-7042) Vol. 40 no. 9, November 2000. Published monthly except July and August by the Cleveland Museum of Art at Cleveland, Ohio 44106

Editing and design: Laurence Channing, Gregory M. Donley, and Kathleen Mills

Photography: Howard T. Agriesti, Gary Kirchenbauer, and Gregory M. Donley

Digital scanning: Janet Burke

Production: Charles Szabla

Make a twig and paper lantern for the Winter Lights Lantern Festival

Periodicals postage paid at Cleveland, Ohio

Parking

Parking deck: $5 flat rate; $3 after 5:00. Surface lot: 90¢ per half-hour to $7 maximum. Free for senior citizens and disabled permit holders on Tuesdays. Both lots $3 after 5:00

Sight & Sound

Audio guide of the collection. Free to members, $4 others, $3 students and seniors. Check out the new entries from the Robert P. Bergman Memorial Gallery.

POSTMASTER: Send address changes to The Cleveland Museum of Art Members Magazine at the Cleveland Museum of Art, Cleveland, Ohio 44106. Subscription in- cluded in membership fee. Periodicals postage paid at Cleveland, Ohio