Cummer Resources

The Cummer Museum of Art & Gardens is committed to engage and inspire through the arts, gardens and education. A permanent collection of nearly 5,000 works of art on a riverfront campus offers more than 95,000 annual visitors a truly unique experience on the First Coast. Nationally recognized education programs serve adults and children of all abilities.

Art »
Upcoming Exhibitions
Past Exhibitions
European Collection
American Collection
Meissen Porcelain Collection
Antiquities
Special Collections
Gardens »
Upper Garden
English Garden
Olmsted Garden
Italian Garden
Season Highlights
Garden Ornaments
Education »
Art Connections
Classes
Tours
Programs
For Teachers
For Kids
Docents
Get Involved »
Join the Cummer
Benefits and Levels
Membership Groups
Our Partners
Make A Donation
Volunteer Opportunities
Internships
Employment

#5WomenArtists – Pauline Vallayer-Moutet

Mar

14

Can you name 5 women artists? It turns out, most people can’t. This simple question calls attention to the inequity women artists face, inspires conversation, and brings awareness to a larger audience. As a part of the #5WomenArtists initiative through the National Museum of Women in the Arts and in celebration of Women’s History Month, we will be highlighting women artists in the Cummer Collection. Museum founder Ninah Cummer was a supporter of women artists. Each of the artists we are highlighting this month will be from the original 60 pieces of artwork donated by Ninah Cummer, that are the foundation of our collection. To learn more about women artists, follow the National Museum of Women in the Arts on Facebook, Twitter, or Instagram, or follow #5WomenArtists. This post is the second of five that will be published this month as part of our #5WomenArtists series.

Pauline Vallayer-Moutet (French, 19th-20th century)

In a 1950 letter to London based art dealer Paul Wengraf, from whom she often purchased artworks, Mrs. Cummer decribes where she has hung some of her paintings:

“In my library are some of my dearest things […] On the right of this picture [1] is a painting of a French interior by Pauline Vallayer-Moutet[2]. The subject portrays two maids polishing the brasses, as only the French can do, and the strong light from a window, such as Vermeer would use in his pictures, streams into the room. And this, by the way, was my first investment in painting (the Paul King picture having been earlier acquired as a gift), and was purchased about 1905, nearly fifty years ago.”

To compare Vallayer-Moutet’s approach to that of the great Johannes Vermeer (1632 – 1675) speaks to how much Mrs. Cummer admired the French artist. The fact that French Interior (Two Girls Polishing Brass) was the first painting she purchased adds to our understanding of Mrs. Cummer as a collector.

Little is known about Vallayer-Moutet, who was a pupil of French artists Jules Joseph Lefebvre (1836 – 1912), Tony Robert-Fleury (1837 – 1911), and Jean-Paul Laurens (1838 – 1921). In 1900, she won the bronze medal at the Exposition Universelle (World Fair) in Paris and that same year became a member of the Association des artistes peintres, sculpteurs, architectes, graveurs et dessinateurs (Association of painters, sculptors, architects, printmakers and draftsmen). Her teacher, Robert-Fleury, was actually the President of the Association from 1908 to 1911, and famous painter William Adolphe Bouguereau — whose work is represented in the Museum’s permanent collection —served as President for 20 years (from 1885 to 1905).

Vallayer-Moutet often depicts scenes of domestic labor that focus on female protagonists such as maids or seamstresses. Her work was well received during her lifetime, and earned honors and prizes at numerous Salon, the most sought after art exhibition in Paris.

[1] Paul King (American, 1867 – 1947), Along the Strand, c. 1905, oil on canvas, 32 x 40 in., Bequest of Ninah M. H. Cummer, C.0.160.1.

[2] Pauline Vallayer-Moutet (French, 19-20th century), French Interior (Two Girls Polishing Brass), 19th century, oil on canvas, 25 ¾ x 21 ¼ in., Bequest of Ninah M. H. Cummer, C.0.159.1.

 

Comments Off on #5WomenArtists – Pauline Vallayer-Moutet

Distinguished Lecture: P. Allen Smith

Mar

06

P. Allen Smith is an author, television host, entrepreneur, and conservationist, who has a passion for American style. On Wednesday, March 22, Smith will present ‘Naturally: The Love of Gardening’ from 11 a.m. to 1 p.m. at the Cummer Museum of Art & Gardens as part of the Museum’s ongoing Distinguished Lecture series. He has a passion for American style; inspired by the ferme ornée concept for Monticello, Allen created his own Moss Mountain Farm as a demonstration ground for principles of good design, conservation, and stewardship. Take a virtual tour of Moss Mountain over lunch and see how Allen is creating a new chapter in the evolution of the classic American farm.

Smith uses his Arkansas home, Moss Mountain Farm, which The New York Times hails as a “stunning estate,” as an epicenter for promoting the local food movement, organic gardening, and the preservation of heritage poultry breeds. Smith created his farm to serve as a place of inspiration, education, and conservation and provides visitors from around the country locally sourced meals to introduce them to an expression of the regional cuisine.

Moss Mountain Farm is grounded in historic precedent, inspired by regional influences and guided by modern-day innovation—all of which are helping to write a new chapter in the evolution of the classic American farm and a celebration of the cuisine of the South.

In 2009, Smith founded the Heritage Poultry Conservancy, which is dedicated to the preservation and support of threatened breeds and strains of domestic poultry. In addition, he strives to educate future generations through his work with Kids Plant It Earth. The curriculum he developed for the program teaches students about being good stewards of the planet through gardening.

Smith studied garden history and design at the University of Manchester in England, is an honorary member of the Garden Club of America and recipient of their Medal of Honor, is a fellow of the Royal Horticultural Society, and a former board member of the Royal Oak Society. His work is featured in national publications, highlighted at key events and commemorated in bestselling titles including “P. Allen Smith’s Garden Home” and “P. Allen Smith’s Seasonal Recipes from the Garden,” which is a nod to his love for organic, regional cuisine. His media company, Hortus Ltd, produces three national, award-winning television shows: Garden Home (which has enjoyed 15 seasons on PBS, aired in Jacksonville on WJCT), Garden to Table, also on Public Television, and Garden Style, now in its 17th season of syndication (aired in Jacksonville on RLTV).

Smith is the author of “Seasonal Recipes from the Garden,” which showcases the bounty of each season with recipes arranged according to when ingredients are at their garden-fresh best. He features 120 Southern recipes peppered with wit, personal anecdotes, gardening tips, and cooking tricks. He also includes a short how-to guide in the back of the book which includes information about the food he grows in his garden and some simple ideas on how readers can do the same. This book will be available for purchase at the Cummer Shop, and Smith will be available to autograph the purchase prior to his lecture.

Join us for lunch and an engaging conversation with P. Allen Smith on March 22 as part of our Garden Month festivities. The cost for Museum Members is $45 and Non-Members can attend for $55. Registration is required.

Comments Off on Distinguished Lecture: P. Allen Smith

#5WomenArtists – Elizabeth Gulland

Mar

02

Can you name 5 women artists? It turns out, most people can’t. This simple questions calls attention to the inequity women artists face, inspires conversation, and brings awareness to a larger audience. As a part of the #5WomenArtists initiative through the National Museum of Women in the Arts and in celebration of Women’s History Month, we will be highlighting women artists in the Cummer Collection. It turns out, Museum founder Ninah Cummer supported at least 5 women artists. Each of the artists we are highlighting this month will be from the original 60 pieces of artwork donated by Ninah Cummer, that are the foundation of our collection. To learn more about women artists, follow the National Museum of Women in the Arts on Facebook, Twitter, or Instagram, or follow #5WomenArtists. This blog is the first of five that will be published this month.

Elizabeth Gulland was a talented painter and a gifted engraver known mainly for her mezzotint portraits. The mezzotint technique — appreciated for its subtle gradations of light and shade — was exceptionally successful in 18th century England. Originally from Edinburgh, Scotland, Gulland worked primarily in Bushey, England, while studying under prolific portrait painter, Hubert von Herkomer (1849 – 1914). She exhibited her work regularly from the early 1880s until 1910, in venues as prestigious as The Royal Academy in London and the Royal Scottish Academy in Edinburgh.

Mrs. Cummer was especially fond of Gulland’s talent, buying three of her mezzotint portraits in the 1930s. The engraving below is a reproduction of a painting by famed society portraitist George Ramsey (1834 – 1902).

Comments Off on #5WomenArtists – Elizabeth Gulland

Preview of Garden Month

Feb

24

WRITTEN BY SARAH JACKSON, ADVANCEMENT INTERN

This years Garden Month is filled with exciting events for the whole family. Stop by the Museum this March for a fun-filled month. The festivities begin on Saturday, March 4, with the Garden Month Kickoff and Plant Sale. Celebrate the coming of spring at this free family day, by purchasing new plants from local vendors and enjoying plein air painting, live music, family art activities, and garden tours throughout the day. No registration is required for this event.

Then, on March 9, join Laura Haley for a Floral Arranging class to learn how to create beautiful arrangements using materials found at your local grocery store. On Friday, March 10, you will be able to relax under the stars in the beautiful Cummer Gardens with a concert, starring The Chris Thomas Band. Guests may bring chairs, picnics, and beverages, or you can place an order for pick-up at the Cummer Café.

On March 15, guests can enjoy an insightful Talks & Tea with a discussion by Director of Education Lynn Norris, on Constance Spry: The Woman Who Made Flower Arranging an Art. You can also join Lynn on March 21 as she takes you on a journey through the History of Western Art.

Wednesday, March 22 brings a Distinguished Lecture with P. Allen Smith who has a passion for American style. Smith is a television host, designer, gardening and lifestyle expert, and is one of America’s most recognized garden and design experts, through his public television programs: P. Allen Smith’s Garden Home, P. Allen Smith’s Garden Style, and P. Allen Smith’s Garden to Table. He is the author of numerous garden-related books, including “Bringing the Garden Indoors: Container, Crafts, and Bouquets for Every Room” and the cookbook “Seasonal Recipes from the Garden.” Inspired by the ferme ornee concept for Monticello, Smith created his own Moss Mountain Farm as a demonstration ground for principles of good design, conservation, and stewardship. Take a virtual tour of Moss Mountain and see how Smith is creating a new chapter in the evolution of the classic American farm. You won’t want to miss this lecture.

“Seasonal Recipes from the Garden,” showcases the bounty of each season with recipes arranged according to when ingredients are at their garden-fresh best. He features 120 Southern recipes peppered with wit, personal anecdotes, gardening tips, and cooking tricks. He also includes a short how-to guide in the back of the book which includes information about the food he grows in his garden and some simple ideas on how readers can do the same. This book will be available for purchase at the Cummer Shop, and Smith will be available to autograph the purchase prior to his lecture.

On Saturday, March 25, join the Museum for Garden Conservancy’s Open Days Program. Guests will be able to tour a number of private gardens throughout the Riverside neighborhood, and knowledgeable volunteers will be on hand in each garden to answer your questions throughout the day.

Garden Month wraps up on Tuesday, March 28, with the third of a four part lecture series: The Search for Paradise: A History of Western Gardens, 19th and Early 20th Century English Gardens. Join Director of Education Lynn Norris and explore the era of country house gardens, designed by J.C. Loudon, William Robinson, Gertrude Jekyll, and Vita Sackville-West, followed by a walk through the Cummer Gardens.

You won’t want to miss any of these events!

 

 

 

 

 

 

Comments Off on Preview of Garden Month

Ready or Not

Feb

16

As a way to continue the conversations around LIFT, the artists involved, and the content of the artwork, this series of blogs will be looking at the artists’ work moving forward, their future exhibitions, and the direction their artwork has taken since creating pieces for the LIFT exhibition.

WRITTEN BY SHAWANA BROOKS, GUEST CONTRIBUTOR

The Rooms Where it Happens

Firmly nestled in one of Jacksonville’s esteemed boroughs, Springfield, all things are stirring around the house. Springfield is the home of Porchfest, a new mural, and soon two new breweries; it’s redeveloping. The neighborhood feels different, and Anthony Aiuppy, Thony to those who know him best, loves this area. He is proud to call Jacksonville his home. Thony’s home studio is marginally off limits to his beautiful children, who are currently demanding his attention. Melissa, a pianist and a teacher, is managing the chaos of expressive artistic children who range in ages. The oldest and youngest tinker around with the ivories showing off their skills, while Melissa and her middle child rest comfortably on their couch. Artists are all around, figuratively and literally, as the Auippys are quite the art collectors themselves.

Thony’s paintings are in good company on the walls. There are works of art from artists Steve Williams, Tom Hager, and Madeline Peck Wagner. “We don’t really have storage for paintings, so I just hang them around my house,” he says. Paintings cover their walls from the living room to the den and flow into their kitchen. The paintings in the place where he eats show Thony’s real hunger. He has been experimenting with his Worker Series.

Since September 26, 2016 he’s been doing weekly art classes with children. He does not deny he has been influenced; he is elated by the full circle of now being in an exhibition (LIFT) with his former and favorite art professor, Dustin Harewood. He is upping his technique. More colorful backgrounds are occurring than the muted palette he has been establishing as his signature style. It feels exciting and new, but still Thony. He’s marrying his Southern Gothic narrative to his Worker Series.

“I know what it’s like to work a graveyard shift. I didn’t go to college until I was 25. My creative process comes from my background in manual labor. Making art is a manual labor job.”

The physicality in artmaking is always there. Yet it is not the perception. [Artists are still lampooned as if they are young men in Paris, sitting idly, and drawing beautiful women.] In Thony’s truth it is more like being a blue-collar worker. There is physical labor that goes into using the tools to building frames, stretching canvases, and mounting them down. “There’s a lot of sweat and blood.”

Don’t Stop ‘Til You Get Enough

The father of three is already focused on his artwork for 2018. “I am going to continue my theme with the ‘Workers’, but more like in the narrative form, like the paintings from the Cummer Museum.” His smaller works are snapshots of that southern living, and paintings like the ones in LIFT, let him give a fuller narrative to his art. “I like the way that both of them work. It kind of fills in the space. There is something going on in that space.”

At the time of this interview, Thony was getting ready for two shows, one solo. In the exhibition Till We Have Faces at the Karpeles Manuscript Museum, he will be revisiting more than 50 of his paintings. The other is a group show, A More Perfect Union: Explorations for Human Rights, which opened February 3 at the Space Gallery. Thony loves the idea of displaying art close to home. A mixture of southern landscapes, plantation houses, drawings, and his Worker series will line the walls of the Karpeles, while in A More Perfect Union, he will be reunited in displaying art with fellow LIFT artists Overstreet Ducasse, Princess Simpson Rashid, Chip Southworth, and Roosevelt Watson III. By the end of February all three shows will come down.

Working Day and Night

“An hour in the morning is worth two in the evening” – Chinese Proverb

A friend recently inquired about how he juggles it all – “It doesn’t feel like it’s a lot when you are doing your calling.” Thony credits the Cultural Council for allowing him to take the Creative Capital workshop. Out of it he developed some creative planning skills. “That really helped me to schedule and maximize the time I have,” he said. Thony would rather paint in the morning rather than at night, the time where most artists thrive, but he knows that’s when he needs to be resting.

“We plan our lives. We have a family monthly calendar. I have a weekly planner and then within it I have a daily calendar, so I know what days I have studio time and I know what days I have a date night, and I know like, family.”

As the coffee maker goes off in the morning, “I hear that thing, I’m up. I’m awake, alert, and I got coffee.”

Even his studio time is well-calculated, “From about 5 or 5:30 a.m. to 7:30 or 8:00 a.m., that’s studio time.” He lives by his own adage, “If you don’t plan it, I don’t think you will be able to do much.” And there isn’t much Thony isn’t doing. Not only is he in a successful and nationally-recognized exhibition, he himself was recently acquired by the Museum of Contemporary Art in Jacksonville, as the J. Wayne and Delores Barr Weaver Educator. This is where Thony has shifted his focus. Less nostalgia than necessity has Thony seeing Jacksonville as one big “Choose Your Own Adventure” book.

His choice is for the Downtown Core to become the main place for arts education integration; he’d love art to be a focused core subject. STEM is picking up STEAM, and if you are on Laura Street on a weekday, you will see yellow school buses filled with curious children flooding the doors of MOCA being welcomed by “The Weaver” educator. At 36, teaching is Thony’s true calling.

“They made a mistake in the 70s and now they are like arts should be core subjects and they are cramming it down kids throats! You have a whole generation of adults in this city who never ever got arts education. It was stripped from schools, there were no field trips.”

Art appreciation has to be taught and developed; what happens when those adults have children? Most don’t have cultural context to identify how the arts could affect the community. The arts are viewed as soft subjects or inferior; this can be your perspective if your exposure to art was taking a liberal arts class to pass your undergraduate studies. Arts aren’t valued and artists even less as Thony sees the issue, “There’s a problem here!” There was an incident recently at MOCA where a photo was viewed as indecent. The community came out and showed their support and stood with MOCA, which rolled into a believing-in-MOCA campaign. Thony’s belief is that incidents like this can be tempered in the future by more art education.

“I like educating kids, but also adults. Part of teaching to me is to equip parents so that if they don’t know a style or certain artists, they won’t be dismissive of art.”

That might be the most important thing Thony will ever do for the city, “Like ever!”

You Betta Work

“Our city has no identity,” says Thony. He knows there is no perfect solution to fixing this problem… well maybe one. “Stick around instead of just dipping out. OK. Instead of trying to go to a larger market where the resources are tapped out, stay here. Yes there are some hoops, but you can basically do whatever you want to do creatively.” There is this perception of Jacksonville being a big little town or the next big city. He is preaching to the choir, “This city has opportunities, but you have to get to the point where you make your own.” Thony is beyond committed to making this a better community. “I’m in place I would have never thought I would be last year,” referring to his new gig at MOCA.

In 2015, Thony was hustling, he had several exhibitions, “I was creating a ton of work.” He was teaching adult classes, teaching at Reddi Arts, art camps, and at University of North Florida. He wasn’t satisfied, but he kept pushing. Being a demonstrating artist with the Cummer Museum, especially during the VSA Festival had its privileges.

He was affected by teaching in communities where poverty is abundant but not always evident. When your socioeconomic status is light your awareness of that can be dulled by your environment. He learned a lot working with those students. “I didn’t know not to say boy.” It was a learning lesson for all. It made his intensity for justice grow deeper. He is trying to live by the words of MLK by not judging someone by the color of their skin but the content of their character.

You can see that in the work in LIFT, particularly in the piece Stony the Road. It was at one of those “hustling” exhibitions where then Cummer Museum Director Hope McMath gave him the beginnings of what LIFT would be. She vocalized her intention for his work to be a part of the exhibition. Maybe that is why Thony was one of the first artists to fully complete his work. At the shared meeting of participating artists, all were dumbstruck around the room when he voiced he was finished. Most of the artists were in the middle of their works, and one had not even begun.

He is under no allusion that Jacksonville will be adopting these thought processes anytime soon. As an exhibiting artist he knows the necessity of doing exhibitions outside of your city. But you will not hear him bad-mouthing Jacksonville in the process. A very audible voice came to Thony while at church off of McDuff Avenue. It said, “You need to be for the city.” It freaked him out and rightly so. Ever since graduating from Savannah College of Art and Design, he has tried to leave Jacksonville. The old mafia cliché wouldn’t turn him loose; he was locked in. His belief is that as a society we place an intrinsic value on art but not on financially providing sustainability. He recounts a story of a gallery (X Nylo) where he used to help curate shows and provide the necessary resumé-building skill of exhibiting artists in Springfield. “I loved doing that, providing opportunities for artists. But dollars… money.” It’s no secret that galleries are hard to sustain here. The collector’s list is short, and the perception again is people think they cannot afford to buy artwork. “There is no market, unless your gallery is also attached to a frame shop.”  The gallery had two seasons and then ran out of resources. “Shops close up. You have to have the lights on and have a key for someone to see your stuff.”

This is the reality. There are artists here short-selling others but that goes with educating. Thony is ready to teach.

“I could go anywhere I want to, but here I get to stay and I get to play, and I have a part to make something happen. I’m here to live, work, and make cool stuff.”

Thony knows he is being called; Jacksonville needs an Ambassador to say, “I am staying here,” but who?

Greatest Love of All

The assimilation of a general blanketed whiteness in America has denigrated the Sicilian heritage of the Auippy name, “It originally had an “a” at the end, but at Ellis Island they Amercanized it, and put a y.” Auippa no more. This country has had a long history at removing culture and heritage by attaching last names to its non-citizens. Some are immigrants, others were forced into assimilation never having the opportunity to immigrate; forced to continue to bear the name of their former oppressors as now inclusionary citizens. America’s history has never been as shiny as we would like to remember it. “They actually mention my Great Uncle in the movie CasinoJoey Doves.’ I’ve got it bad on both sides. On my Mom’s side I’m like 16th-generation descendant of Jessie James. Bad blood. But we don’t talk about that,” he laughs. Yes family history is complicated and rarely do we like discussing our faults.

Museums can be safe spaces to engage these difficult topics. The background of art opens the viewer up to feelings that are often not vocalized. It’s why Thony appreciates the programming the Cummer Museum has offered during the run of LIFT. It’s in one of these programs he forged a deeper bond with artists Ingrid Damiani, Princess Simpson Rashid, and Roosevelt Watson III. “I gained two sisters and a brother.” They performed under the tutelage of Folio Weekly’s Best Actress of 2016, Barbara Colaciello. Thony reflects on how this exhibition changed his world and his view of community. Not only do you need an “I” but you need a “U” for community.

“I think that [Martin Luther] King hits it, and I personally aspire to it; I want it to be my default. I love people. I hope people are honest enough when I’m being a jerkface. Some of the LIFT stuff is unconscious bias, but YOU have to learn from that.”

Museums and libraries are learning how to help people curate those conversations. Barbara Colaciello will again weave something together for the closing day of the exhibition to be held on February 12, 2017. Too often, Black heritage is told by others, who shape the narrative based on their perspective, creating an inauthentic view of our collective history. Though contemporary elements are necessary to help redevelop that intention, it is good to reach out to the greater community and ask a question before assuming you have the answer. As LIFT is getting closer to lifting off, other exhibitions around the city, like the black-women-centric-focused exhibition KESHA: A Black Female Experience of Identity and Race, at the Main Library in the JMS Gallery on the 1st floor, will continue those conversations. It will be interesting to see how Jacksonville will be viewed in a few months. History is happening here all the time. Thony hopes to see more progression and inclusion. He is focused on birthing new collectors. The children of today will be his future,

“That’s why I’m in the job I’m at. I am on a mission to provide more opportunities for families to get engaged in the cultural world around us, mainly through Contemporary Art. It’s the most diverse.”

Comments { 1 }

Distinguished Lecture: Dr. Katie Hanson

Feb

14

WRITTEN BY ASSOCIATE CURATOR NELDA DAMIANO

Jean-Léon Gérôme, ‘The Marble Work’ (‘Le Travail du Marbre’), 1890, Oil on canvas, 19 7/8 x 15 9/16 inches, © Dahesh Museum of Art, 1995.104.

With thousands of works on view at the official Salon exhibition in Paris, how could an artist stand out and gain renown? Within the confines of Academic training, how could a painter not just distinguish himself but achieve international acclaim? Highlighting the work of Alexandre Cabanel and Jean-Léon Gérôme — two painters featured in Academic Splendor: Nineteenth-Century Masterworks from the Dahesh Museum of Art — Dr. Katie Hanson will explore how artists did just that. She will also share some (perhaps unexpected!) points of contact between these Academic artists and key figures of the avant-garde.

Dr. Katie Hanson is Assistant Curator at the Museum of Fine Arts, Boston, where she is responsible for the European paintings post-1800 and recently curated the special exhibition Pairing Picasso. She is currently organizing the touring exhibition La Parisienne: Portraying Women in the Capital of Culture, 1715-1965. She holds an MA from Williams College and Ph.D. from the Graduate Center of the City University of New York. Her publications include contributions to exhibition catalogues and scholarly journals addressing artists from Jean-Honoré Fragonard to Henri Matisse.

Dr. Hanson will speak at the Cummer Museum on Thursday, February 16 from 6:30 to 8:30. Cost for Members is $30, Non-Members $40, and registration is required.

 

Comments Off on Distinguished Lecture: Dr. Katie Hanson