Adopts Timken Museum of Art

Changing times are bringing new life to Timken Museum of Art.

 

For the past 2 years, it has been known for its permanent collections of European old masters, Russian icons and American masterpieces has steadily changed its environment and exhibitions, attracting new visitors to discover what many call one of the finest small museums in the country.

 

We've been focused on three ES: educate, excite, and experience. We've been focusing on bringing people into the collections by providing a lot more information about the collections and hosting events and exhibitions that engage them with the art. Since they're here, they see the collection, said Megan Pogue, who took over the museums as executive director in May 2015.

 

Rococo Rivals and Revivals, the museum's newest exhibition, opens Sept. 21 and combines paintings of old masters with contemporary pieces inspired by the style.

 

In his collection of porcelain figurines, Chris Antemann reworks sensuous Rococo themes of romance and courtship with a modern twist. Furthermore, she is working on a piece based on Jean-Honore Fragonard's Blindman's Buff.

 

British-Nigerian artist Yinka Shonibare inspired The Swing, a painting by Fragonard, with his Swing Headless. Shonibare, who explores racial and social division in her work, has taken a scene of a woman on a swing, with one man pushing her and another in the bushes trying to see up her billowing dress, and created a life-size sculpture of the headless woman in batik African fabric.

 

It's mostly about the relationship between contemporary artists and how they have embraced certain elements of the Rococo as if they were living through the same era we are, said Derrick Cartwright, Timkens' director of curatorial affairs.

 

It is important to note that in spite of the contemporary works being a subtheme of the exhibition, the exhibition is primarily devoted to Fragonard, Boucher and Watteau, the three principal painters of the Rococo era. There is a collection of Fragonard and Boucher at the museum. Timken obtained Watteau's The Italian Comedians through a loan exchange with the National Gallery of Art. It was the ability to showcase all three Rococo artists side by side that led to the creation of the show.

 

The artists competed with each other. They all knew each other. Fragonard was Bouchers student. Boucher greatly admired Watteau's work. Cartwright noted that they all liked one another and considered themselves rivals. A show that explores French art in the 18th century is this show.

 

The exhibit, in the museum's special exhibition gallery, will feature 15 pieces as well as period background music by San Diego Symphony violinist Nuvi Mehta, pre-concert lecturer.

 

In Cartwright's opinion, it's not a big show, but rather something anyone can come in and spend an hour or two enjoying without feeling overwhelmed by the art.

 

Timkens has made an effort to become a more welcoming institution through these kinds of exhibits. We intend to have three temporary shows annually based on loans or pieces from the collection, with an installation by a local artist for the summer show.

 

Since it is the only free museum in Balboa Park, the museum has always been accessible, but the galleries were only accessible through turnstiles and security desks.

 

In the last few years, the lobby has been renovated to have a concierge desk, a gift shop, and seating areas. To accommodate the crowds attending the free lectures held alongside the exhibitions, a replica of a 16th-century statue by Giambologna was removed from the rotunda. It is estimated that 250000 people visited Timken in 2017, up 35 percent from 2016. Lectures routinely draw 100 visitors.

 

With Jewels of the Season, the lobby area sparkles in December. San Diego State University students installed ornaments designed by local artists Florence Hord and Elizabeth Schlappi beyond their Christmas trees.

 

As a result, we went from a tree in the corner that had been there for more than 30 years to 35,000 visitors last December, said Pogue. Timken's ornaments have now become a fun new tradition, and they've served as an excellent entry point for the museum.

 

A user-friendly approach also extends to the collection, with informational plaques placed in three out of the six galleries.

 

The didactic labels have been added methodically to each gallery, said Pogue.

 

It was for a long time that the Timken had nothing more than the plaque on the painting and that was the only information accessible to the public, Cartwright said. We owe something more to visitors for whom this may be their only museum visit each year. As much as possible, Megan and I want to share information and interest.

 

Earlier this year, the museum developed an app to help accomplish this. For now, it has the basic catalog information, but Pogue said, "Our goal is to create a great visitor experience," so technology is a priority on the future list, along with major improvements to the app, as well as finding fun and engaging ways for people to connect with the collection.

 

Among the collection, St. Bartholomew is the only Rembrandt on public display in San Diego. A majority of the museum's art belongs to Anne and Amy Putnam, who started buying paintings in the 1920s.