Arts & Sciences Magazine

WINTER CALENDAR • GENEOLOGY RESEARCH MEETS ART RESARCH • FORT JEFFERSON & MORE

FROM THE MUSEUM OF ARTS AND SCIENCES, IN ASSOCIATION WITH THE SMITHSONIAN INSTITUTIONWINTER 2010

on the coverTiffany-Inspired Romeo and Juliette

Stained Glass Door Early 20th century

On long term loan from the collection of Joseph and Leslie Mihalak, 2009

vol. 30 no. 1contents

4 FROM THE DIRECTOR

8 MEMBERSHIP NEWS

9 VOLUNTEER OF THE QUARTER

10 A NEW LOOK A REINSTALLATION OF BOUCHELLE INTERNATIONAL DECORATIvE ARTS GALLERy

16 GUILD NEWS

18 SUMMER EXHIBITIONS & CALENDAR SECTION

24 FORT JEFFERSON REFLECTIONS ON THE DRy TORTUGAS

28 GENEOLOGY RESEARCH MEETS ART RESEARCH

32 SCIENCE NEWS

34 THE AWE-INSPRING LANDSCAPES OF CHARLES CHRISTIAN EISELE

Museum and this community runs deep. She often isn’t thanked or acknowledged enough, and it is a rare opportunity when I am able to publicly thank her for her service. I hope each of you express your gratitude to her for her service as Board president in ad-dition to the many other worthy organizations she has been very involved with in the past. It is people like Debbie that make Volusia County a better place each and every day.

Lastly, I would like to especially thank those of you who contributed to the Museum’s end of year appeal or who have upgraded your memberships recently. This support is greatly needed and is particularly critical at this time in the Museum’s history.

Sincerely,

Wayne D. Atherholt

FROM THE EXECUTIVE DIRECTOR

Dear Friends,The opening of Reflections: Paintings of Florida 1865-1965 From the Collection of Cici and Hyatt Brown was nothing short of spectacular. This exhibition is one that is core to the muse-um’s mission of educating our members, guests and school children about Florida history, art history and the environment. There are lessons to be learned from each and every painting in this exhibition.

I invite you to participate in the January Sympo-sium on this exhibition that is a key component of the museum’s life-long learning opportuni-ties. This weekend-long celebration is one that I hope you will take advantage of as members.

If you have not visited the museum lately, I strongly urge you to do so. Our Planetarium has reopened after the flood, and we are working on bringing other galleries back until we announce a long-term solution to the flood-ing problem. The Dow Gallery of American Art, The Bouchelle Center for the Study of International Decorative Arts and the Shulte Gallery of Chinese Art have recently been re-designed and look outstanding. The upgraded lighting and the new installation in the Gary R. Libby Lobby of selections from Cici and Hyatt

Brown’s collection are equally stunning as is the completely new landscaping design and irrigation system that was recently completed in the north entry court.

We continue to work each day at making your Museum a better place and in so doing we hope we offer inspiration to each of our guests in many ways. Recently one of our Trust-ees relayed a story to me about her daughter visiting the Museum on a field trip. She said her daughter raved about the museum and the class she took here and that she really wanted to come back because she was so inspired. It is stories such as this that keep us focused on providing the best experience possible for our members and guests despite the zero-funding this past year from the State of Florida for our facility.

I would like to personally thank Representative John Mica, County Council Chairman Frank Bruno and Florida Senator Evelyn Lynn for their interest and dedication to helping the Museum find a long-term solution to the flood-prone West Wing. Our outgoing Board president, Debbie Allen, has been especially helpful these past two years and her service to the

4 ARTS & SCIENCES MAGAZINE

2010 BOARD OF TRUSTEESBarbara Coleman, President

Deborah B. Allen, Past PresidentAllison Zacharias, Vice President

Julie Freidus, Assistant Vice PresidentBarbara Young, Assistant Vice President

Melinda Dawson, SecretaryChristine Lydecker, Treasurer

Andrew Young, Assistant TreasurerCici Brown, Representative

Dr. Kim Klancke, Representative Thomas Hart, Legal Advisor

JoAnne Eaton-Morris, Guild RepresentativeRabbi Barry Altman

Daniel AmbroseDr. Donald Keene

Dr. Thurman Gillespy, Jr.Pat Heller-Jackson

Janet JacobsHarvey Morse

Ellen O’ShaughnesseyCarol Lively Platig

Michael SlickJill WarrenJim Weite

Diane WelchTerrence WhiteLinda WilliamsThomas Zane

HONORARY TRUSTEESMiriam Blickman

Anderson Bouchelle (Deceased)J. Hyatt Brown

Alys Clancy (Deceased)Tippen Davidson (Deceased)

Susan FeiblemanHerbert Kerman

Chapman Root (Deceased)Jan Thompson (Deceased)

REPRESENTATIVES

Museum GuildJoAnne Eaton-Morriss, President

Junior LeagueAmy Workowski

Cuban FoundationTere Batista

Root FoundationJohn Root

MAJOR SPONSORSGOLD

AT&T Real Yellow Pages ®Brown & Brown, Inc.

Mr. and Mrs. J. Hyatt BrownThomas and Peggie Hart

Stuart and Lisa SixmaTravel Host MagazineWDSC Channel 15

Zgraph, Inc.

SILVERBenedict Advertising

Daytona Beach News-JournalDaytona International Speedway

Encore Catering of Central FloridaDr. and Mrs. Thurman Gillespy, Jr.Halifax Community Health Systems

NASCAR ®Gene and Diane Rogers

BRONZEBahama House

Best Western Aku Tiki InnCobb & Cole

Coca-Cola Bottling Company of Daytona BeachConsolidated Tomoka Land Co.

Embry-Riddle Aeronautical UniversityFlorida Hospital Ormond Memorial

Guild of the Museum of Arts and SciencesConsuelo and Richard Hartmann

Hilton Garden InnHouligan’s - A Spirited Sports Grill

Dr. and Mrs. Kim KlanckeGary R. Libby

Mercedes-Benz of Daytona BeachDavid and Toni Slick

Trustees of the Museum of Arts and SciencesUniversity of Central Florida

Reflections Reception From Left: Wayne D. Atherholt & Deborah Allen; Leigh Keno, Cici Brown, Hyatt Brown & Wayne D. Atherholt

ARTS & SCIENCES MAGAZINE 5

Executive Director

WAYNE DAVID ATHERHOLT

Administration Staff

PATTIE PARDEE, Administrative Assistant to the Executive DirectorCHRISTINA LANE, Marketing and Communications Director

ERIC GOIRE, Operations DirectorLENORE WELTY, Administrator, Dow Museum of Historic HousesSTACY MARTORELLA, Membership and Volunteer Coordinator

ISRAEL TAYLOR, Physical Plant AssistantDAN MAYNARD, MaintenanceLYDIA KENNEDY, BookkeeperMARGE SIGERSON, Librarian

PATRICIA COURNOYER, Visitor Services CoordinatorJENNIFER GILL, Visitor ServicesBETTY TURCO, Visitor Services

JAMES ALFORD, SecurityHOWARD HALPIN, JR., Security

MARK HART, SecurityMARK LINSKENS, Security

LEONARD MOORE, SecurityROY SHAFFER, JR., Security

DOMINICK USTICA, Security

Curatorial Staff

CYNTHIA DUVAL, Chief Curator and Curator of Decorative ArtsJAMES “JAY” WILLIAMS, Gary R. Libby Curator of Art

J.”ZACH” ZACHARIAS, Senior Curator of Education and Curator of HistoryLUIS ZENGOTITA, Children’s Museum Coordinator

SETH MAYO, Planetarium and Group Tour CoordinatorERIC MAUK, Collections Manager and Registrar

BONNIE JONES, Conservator – PaintingsED VAN HOOSE, Conservator – Furniture

Executive Director EmeritusGARY R. LIBBY

Executive DirectorWAYNE DAVID ATHERHOLT

EditorCHRISTINA LANE

Contributing WritersCYNTHIA DUVAL

JOANNE EATON-MORRISSJIM KOTAS

STACY MARTORELLAJAY WILLIAMS

ZACH ZACHARIASArt Director

NIKKI MASTANDO, MASTANDO MEDIA

ABOUT THE MUSEUM OF ARTS AND SCIENCESThe Museum of Arts and Sciences is a not-for-profit educational in-stitution, chartered by the State of Florida in 1962 and accredited by the American Association of Museums. Museum collections and research include Cuban and Florida art, American Fine and Deco-rative Arts, European Fine and Decorative Arts, pre-Columbian and African artifacts, Pleistocene fossils, Florida history and regional natural history. Permanent and changing exhibitions, lectures, class-es, and museum trips highlight educational programs. The museum houses changing arts and sciences exhibition galleries, permanent collection galleries, a gallery of American art, paintings, decora-tive arts and furniture, a Prehistory of Florida wing, Cuban Fine and Folk Art Museum, a planetarium, library, the Frischer Sculpture Garden, maintains nature trails in a 90-acre preserve in adjacent Tuscawilla Park, and operates a Historic House Museum on a 150-acre preserve.

Major museum programs and activities for members, school children and the general public are supported by grants from the Institute of Museum and Library Services, an agency of the Federal Government; the National Endowment for the Arts; Florida Arts Council, Division of Cultural Affairs and Division of Historical Resources, Florida Department of State; the Volusia County School Board; the Guild of the Museum of Arts and Sciences; and the Junior League of Daytona Beach, Inc.

MUSEUM HOURS:9 a.m. - 5 p.m. Tuesday through Saturday11 a.m. - 5 p.m. Sundays

A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, AP-PROVAL OR RECOMMENDATION BY THE STATE. THE TOLL FREE NUMBER IS 1.800.435.7352.

The Museum of Arts and Sciences is committed to the Americans with Disabilities Act by making our facility and programs acces-sible to all people. If you have any special requirements, sugges-tions, or recommendations, please contact our representative, Wayne D. Atherholt, at 386.255.0285. If you prefer, you may contact the Volusia County Cultural Advisory Board representative at 386.257.6000, or the Division of Cultural Affairs, The Capitol, Tallahassee 850.487.2980, or TT 850.488.5779. If you do not receive a reply within two weeks, you are encouraged to call the Division of Cultural Affairs in Tallahassee.

The Museum of Arts and Sciences is recognized by the State of Florida as a major cultural institution and receives major funding from the State of Florida through the Florida Department of State, the Florida Arts Council, the Division of Historical Resources and Division of Cultural Affairs.

Arts & Sciences is published quarterly by the Museum of Arts & Sciences, 352 S. Nova Road, Daytona Beach, Florida 32114,

telephone 386.255.0285, web site www.moas.org. Income from contributors helps offset a portion of the expense involved in the

production of this publication.

ADVERTISING INQUIRIESAll inquiries regarding advertising should be directed to

the MOAS Marketing Department at 386.255.0285, ext. 320.


Executive Director

WAYNE DAVID ATHERHOLT

Administration Staff

PATTIE PARDEE, Administrative Assistant to the Executive DirectorCHRISTINA LANE, Marketing and Communications Director

ERIC GOIRE, Operations DirectorLENORE WELTY, Administrator, Dow Museum of Historic HousesSTACY MARTORELLA, Membership and Volunteer Coordinator

ISRAEL TAYLOR, Physical Plant AssistantDAN MAYNARD, MaintenanceLYDIA KENNEDY, BookkeeperMARGE SIGERSON, Librarian

PATRICIA COURNOYER, Visitor Services CoordinatorJENNIFER GILL, Visitor ServicesBETTY TURCO, Visitor Services

JAMES ALFORD, SecurityHOWARD HALPIN, JR., Security

MARK HART, SecurityMARK LINSKENS, Security

LEONARD MOORE, SecurityROY SHAFFER, JR., Security

DOMINICK USTICA, Security

Curatorial Staff

CYNTHIA DUVAL, Chief Curator and Curator of Decorative ArtsJAMES “JAY” WILLIAMS, Gary R. Libby Curator of Art

J.”ZACH” ZACHARIAS, Senior Curator of Education and Curator of HistoryLUIS ZENGOTITA, Children’s Museum Coordinator

SETH MAYO, Planetarium and Group Tour CoordinatorERIC MAUK, Collections Manager and Registrar

BONNIE JONES, Conservator – PaintingsED VAN HOOSE, Conservator – Furniture

Executive Director EmeritusGARY R. LIBBY

Executive DirectorWAYNE DAVID ATHERHOLT

EditorCHRISTINA LANE

Contributing WritersCYNTHIA DUVAL

JOANNE EATON-MORRISSJIM KOTAS

STACY MARTORELLAJAY WILLIAMS

ZACH ZACHARIASArt Director

NIKKI MASTANDO, MASTANDO MEDIA

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Opening of ReflectionsOn November 21, 2009, the museum hosted the Gala Opening for Reflections: Paintings of Florida 1865 to 1965, From the Collection of Cici and Hyatt Brown. At the event, Volusia County Council Chairman, Frank Bruno, and MOAS Board President, Deborah Allen, read a proclamation from the County Council of Volusia County proclaiming November 21st as Cici and Hyatt Brown Day in Volusia County.

MEMBERSHIP NEWS


MEMBERSHIP LEVELS & FEES$ 20.00 Student$ 25.00 Senior Citizen Single$ 30.00 Single$ 35.00 Senior Citizen Couple$ 60.00 Family (up to 2 adults and children in same household)$ 100.00 Family Plus (up to 4 adults and children in same household)$ 125.00 Friend of MOAS$ 250.00 Corporate

For more museum images and news, join us on Facebook! visit www.moas.org and click the link on our homepage.

Meet the New Membership & Volunteer CoordinatorWe would like to introduce the new Membership and Volunteer Coordi-nator, Stacy Martorella. A native Floridian, Stacy brings experience from The Harn Museum of Art in Gainesville and The Museum of Florida History in Tallahassee. She has a Bachelor’s degree in Art His-tory from the University of Florida. Come in and welcome our newest addition to the MOAS team. Stacy is busy learning her new job, but is always excited about meeting the museum’s members and volunteers as well as welcoming new ones. If you’ve been thinking about volun-teering at MOAS, Stacy would love to find a place to incorporate your unique talents.

Become a MOAS Member!3 Ways to Join...Online - www.moas.org By Phone - 386.255.0285In Person - 352 S. Nova Rd. Daytona Beach, FL 32114

RENAISSANCE SOCIETY LEVELS & FEES$ 200.00 Galileo$ 500.00 Copernicus$ 1,000.00 Michelangelo$ 5,000.00 DaVinci$10,000.00 Medici Lifetime Membership (one time donation)

Jay Williams, Hyatt Brown,

Gary R. Libby, Ann and John Surovek

Leigh Keno,Cici Brown, and George Arnold

Amy HamiltonVolunteer of the Quarter

Amy has lived in Port Orange most of her life. She is currently a senior at Flagler College majoring in His-tory and minors in Psychology and International Stud-ies. She is involved in many clubs on campus and is a member of Psi Chi, Alpha Chi, and Omicron Delta. Volunteering has always been a big part of her life. She began an annual clothing drive at Flagler College to benefit local families, volunteers with youth groups, and planned the 2008 St. Augustine World AIDS Day memorial.

Amy enjoys working with children so being an education intern over the summer for MOAS was per-fect for her. She helped with the museum’s Summer Learning Institute program, where she taught several classes. She plans to continue her education in graduate school studying public history.

When she is not in class, Amy enjoys reading, theatre, and swimming.


For more museum images and news, join us on Facebook! visit www.moas.org and click the link on our homepage.

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Frederick Carl Frieske; The Pirogue, 1926

a ne

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EXHIBIT FEATURE

Frederick Carl Frieske; The Pirogue, 1926

continued on next page


A Reinstallation of the Bouchelle Center for the Study of

International Decorative Arts Cynthia Duval, Chief Curator and Curator of Decorative Arts

From the Carrera marble statue of a classical maiden at the gallery entrance, to the richly-colored Tiffany-inspired Romeo and Juliet glass door at the rear, this new Bouchelle

gallery installation is a feast of the decorative arts. By the juxtaposition of the wide range of varied art objects –

some on display for the first time, the aim of the reinstallation is to create a meaningful experience for the visitor through comparison and contrast of shape, historic

affiliation, design element, color and material. Against royal purple walls, a treasure trove of precious woods, the

soft gleam of gold and silver, and the luster of antique mirrors sets the stage for angled cases that flaunt their

lovely wares.Visitors are drawn into a seemingly magical interior and carried effortlessly back in time and space.

OPPOSITE PAGE:Antonio Canova (1757- 1822)

Dancing figure, white carrara marble, circa 1810Gift of Kenneth Worcester Dow and Mary Mohan Dow, 1996

RIGHT:The Bouchelle Center for the Study of International Decorative Arts


The white marble statue after Antonio Canova (1757-1822), the leading early 19th century sculptor who became of-ficial sculptor of the Court of Napoleon, once stood in this country’s oldest court-yard: that of Flagler’s Ponce de Leon ho-tel in St. Augustine. Purchased by Ken-neth Worchester Dow, it was donated to the museum in 1996. The statue can be seen in situ, recorded in the Abbott Fuller Graves painting Seated at the Monument currently in the Ford Gallery;

one of the unique examples of Florida paintings from the collection of CiCi and Hyatt Brown that will remain at MOAS until the end of May. 2010.

The Romeo and Juliet door is a generous long-term loan to the museum by Joseph and Leslie Mihalak. Louis Comfort Tif-fany (1848-1933), was an inspiration to designers, artisans and craftsmen alike; a leading light for the American Art Nouveau movement; a winner of

international awards, and a great Euro-pean traveler from whence many of his ideas flowed.

He was enthralled with Paris, and with Egypt, North Africa, and Spain from which he absorbed the intricacies of Moorish architecture, and was influ-enced by the experimental glass pro-duced by Loetz and Gallé to start his own glassworks in Long Island in 1885. There, he experimented in hand blown

“Each artifact in this

installation is a fine

example of what it

purports to be, and

this is surely what this

gallery is all about.”

Pierre Thomire, pair of gilt-bronze and malachite classical urns, circa 1810 Gift of Kenneth Worcester Dow and Mary Mohan Dow, 1991

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shapes inspired by natural forms, and with the effects of iridescence found on ancient Roman glass, in which lead con-tent and damp had broken down the surface of the long-buried pieces, cre-ating glimmering rainbow effects and dazzling greenish-gold hues. He called his experimental iridescent glass “Favr-ile”, after the Olde English “Fabrile”, meaning “craft-related.”

As a designer, he concentrated on form rather than on surface pattern, and one of his floriform Jack-in-the-Pulpit vases, with its tall slender stem and open mouth can be seen in the large display case just inside the gallery entrance, as well as another example of his floriform cre-ativity donated to the museum by Alan and Carla Topper in honor of Henrietta Amber Brandt. The same case contains other richly turquoise blue and golden iridescent Tiffany examples, along with the museum’s collection of Russian enamels. Enamel is a vitreous substance colored with metallic oxides. On these charming egg-form boxes, kovshs and cups, the pastel blue enamels interlaced with gold reflect the works of Russia’s pre-eminent jeweler and goldsmith: Pe-ter Carl Fabergé (1846-1920), famed for the objects of fantasy he created for Tsar Alexander III and the beautiful Tsarina.

In the case, there is just one significant example by Fabergé; a small superbly cast and modeled silver dog with cabo-chon ruby eyes which sits alert on a lapis lazuli pillow of startling blue. Fabergé was descended from French Huguenots who fled religious persecution in Catho-lic France, to settle in Prussia in 1685. The origin of the family name was Favri, and the family were country folk from the quiet village of La Bouteille, province of Picardy, near the Belgian border. Mi-grating across Europe, the family settled in St. Petersburg in the 1840’s, where Peter Carl’s father, Gustave, established a goldsmithing and jewelry business. In 1870, at the age of twenty four, Peter

14 ARTS & SCIENCES MAGAZINE14 ARTS & SCIENCES MAGAZINE


Carl became head of the firm, his par-ents retired to Dresden; but not until his brother, Agathon, joined him, sometime after 1882 did the flourishing but rather traditional company turn to the produc-tion of luxury and fantasy objects.

Other highlights in the gallery include high quality objets d’art of the French Empire style, seen to great effect in a pair of classical-style gilt-bronze urns in one of the tall cases at the rear by Pierre-Philippe Thomire (1781-1843), a French sculptor who became the most prominent bronzier (producer of orna-mental gilt-bronze objects and furniture mounts), of the first French Empire. He was a neo-classicist; his work related to the Napoleonic system of symbols derived from Roman prototypes, that matured around 1804 and with which Napoleon surrounded himself as an em-phasis of his strength and victories. The urns are decorated in relief with scenes of centaurs, a fabulous mythological race of half-man half-beast; the mala-chite bases applied with triumphal gilt-bronze foliate wreaths.

In the same case sits a neo-classical Na-poleonic gilt-brass foliate circlet to be worn on the head; a lovely confection in the form of intertwined oak leaves with acorns, and laurel. To ancient Rome as to Napoleon, the oak and laurel were seen as symbols of strength; they were the trees of Jupiter, the multi-faceted de-ity who is not only associated with the violence of thunder and lightning, but also with protection in battle. The lau-rel also represented the radiant glory of Apollo, mythological Greek god,

son of the mighty Zeus. Adopted by the Napoleonic Court, such symbolism was gradually introduced by designers onto household furnishings, thus allying ordinary mortals with the greatness of Napoleon himself. A typical example of the spreading of power images through foliate wreaths and circlets can be seen in the gallery through the gilt-brass decorative element surrounding the cir-cular mirror flanked by swan motifs on the charming mahogany Empire dress-ing table. The swan was also an impor-tant mythological element, recalling the story of Zeus, supreme Greek god and dispenser of good and evil. He is most famed for falling in love with Leda, wife of Tyudareus, King of Sparta; turning himself into a swan to seduce her. Greek design allied to swan-necked ornament can also be examined on the Tiffany crystal harp-form clock with gold strings on display; a fine example of the American Empire-style. Greece, after Ottoman oppression from the mid 16th century, was in the news because of its triumphal War of Independence (1821-1827). Thus for various historical reasons, the ancient world was a domi-nating force in the 19th century world of design and ornament. Also in the gal-lery, a superb pair of gilt-bronze Greek-style female Caryatid figures hold aloft candle supports, flanking a French late 18th century neo-classical cylinder desk of importance. This large desk is con-structed along the lines of restrained classicism as interpreted by the Scottish architect Robert Adam (1728-1792), whose European travels were the cata-lyst for on-going production of furniture

built on architectural concepts. The desk is superbly decorated on each side and on the upper section with typical Adam-influenced restraint in a patterning of veneered parquetry of several colored woods. The upper section and cylinder front are decorated with bucolic scenes in marquetry; the whole further decorat-ed with marquetry floral bouquets and raised on low, straight, classical feet.

The term “parquetry” comes from the French parqueter, meaning a design of geometric shapes (ref. parquet wood floor; “un parquet” is a floor plank). The term “marquetry” also derives from the French, this time relating to the picto-rial design of natural and human forms. Marquetry and parquetry decorations are versions of inlay; the art of mak-ing pictures and designs with thin slices of wood, shell or precious materials, known to date back to Asia Minor from about 350 B.C. The slices were cut with hand-held jig saws and veneered (stuck) onto the furniture carcass with a fluid glue made from boiling animal bones and sinews.

Other fine decorative arts in the gallery include the best-of-the-best examples of both European and American cut and colored glass; ceramics that range from the lovely warmth of terra-cotta, to the delicacy of fine porcelain (my own fa-vorite is the small white porcelain fig-ure of a recumbent Sphinx made by Sèvres); marvelously wrought examples of the silver and goldsmith’s art; gems that glow with subtle hues and antique furnishings, including a pair of Queen Anne upright chairs with original needlework seats.

OPPOSITE PAGE:Pair of cast gilt-bronze Charles X

candle sticks, circa 1824Gift of Anderson C. Bouchelle, 1993

RIGHT:Chinese French-style gilt-metal and

cloisonné enamel Garniture de Cheminée (mantle set), mid 19th century Gift of the Lonn Estate, 1981

Continued onpage 39

The 47th Halifax Art Festival was a big success - art-ists, shoppers and volunteers were all happy and the weather was perfect! The Daytona Beach Partnership Association has agreed to continue their generous spon-sorship of the festival for 2010.

The Festival of Lights was also a profitable fundraiser and the Champagne Gala Preview was a festive event with trees and decorations for sale, a fashion show, live music, and food provided by local restaurants. The holi-day season was alive with gatherings to raise money for the museum, including a Thanksgiving Buffet at the Halifax River Yacht Club, “Light Up Harbor Village,” “A Visit with Santa,” Brunch at the River Lily Inn, and Holi-day Cheer at the Connelly’s Home. There are lots of interesting topics planned for the up-coming guild meetings. Betty Parker, a local artist, will have an art demonstration, “Color Magic,” and art by Mainland High School students will be on display in January. “The Female Slave-Poet” will be presented by Dr. Kimberly Flint-Hamilton in February. A performance by the Orlando Ballet will be the program in March. Finally, in April, Suzanne Heady will present “Florida Before Air Conditioning: A History of Daytona Beach”. As you can see the guild members are very creative and busy thinking of new ways to support the museum. Through the sale of the cookbooks and “Tasting Tea” the guild raised over $10,000 for the museum. The Mt. Dora Trip and Halloween Party were also a success!

The New Year offers more intriguing events:

January 28th - A New Year and A New YouFebruary 12th - An Affair to RememberFebruary 25th - Abigail AdamsMarch 11th - A Holy Land AdventureApril 3rd – Sonnets and Bonnets Celebration April 18th – Sundaes on SundayApril 26th – Group Trip to Sebastian Winery in St. Augustine

Please visit the guild website at www.guildmoas.org for details.

Check the MOAS calendar section on page 17 for a full list of Guild events.

News from JoAnne Eaton-Morriss, Guild President

From top: THe 47TH AnnuAL HALiFAx ART FeSTivALHALiFAx ART FeSTivAL HoSpiTALiTy TenT - Back row: Diane Clarke, Joy Baltz, Ruth Bon Fleur, Donna Maricio. Front row: Bonnie Willey & JoAnne eaton-Morriss; MT. DoRA TRip - Doreen Armstrong, JoAnne eaton-Morriss, Judy McKernan, Sandy Buckley.


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Museum of Arts & SciencesPlanetarium Program Sponsored by:


Florida Landscapes fromthe Brown CollectionNow - May 15, 2010Gary R. Libby Entry Court

Reflections: Paintings of Florida 1865 – 1965From the Collection of Cici and Hyatt BrownNow – May 17, 2010Edward E. and Jane B. Ford Gallery

exhibits

winter


MUSEUM OF ARTS & SC IENCES FAL L 2009 CALENDAR

Reopening of the Anderson C. Bouchelle Center for the Study of International Decorative ArtsNow Open!

Pre-Revolutionary CubaNow - May 15, 2010Chapman S. Root Hall

January 15, 16, and 17

A Weekend of Reflections: A SymposiumCo-hosted by Harold Closter, Director of Smithsonian Affiliations$20 for members, $25 for nonmem-bers, or $10 with student ID

FRIDAY5:00pm: Welcome reception, meet and greet the collectors, Cici and Hyatt Brown

SATURDAY10:00am: Coffee and welcoming remarks by Harold Closter, Wayne D. Atherholt, and Cynthia Duval

10:15am: An introduction and Over-view of the Cici and Hyatt Brown Collection; with Gary R. Libby, Executive Director Emeritus of the Museum of Arts and Sciences

11:30am: Historical Florida Painting and the Hudson River School; with Kevin J. Avery, Curator, Department of American Paintings and Sculpture at the Metropolitan Museum of Art

3:15pm: Southern Romanticism and Historical Florida Painting; with Jay Williams, the Gary R. Libby Cura-tor of Art at the Museum of Arts and Sciences

2:00pm: Reflections of Florida’s Natural History; with Rudolph Mancke, Adjunct Professor at the University of South Carolina, School of the Environment

SUNDAY11:00am: Gallery Presentation with Jay Williams

2:00pm: Gallery Presentation with Gary R. Libby

exhibits


PULL

OUT

CALE

NDAR

SECT

ION

January 9th2nd Saturday Laser Light Show7:00pm Hypnotica, hypnotic electronic rock music8:15pm Pink Floyd’s The Wall9:15pm Pink Floyd’s The Dark Side of the Moon$5 for one show, $7 for two, and $9 for three

January 13Meet the Curators: Coffee, Chocolates and Collections1:00pmJoin the Curators of MOAS for a walk-through of the Reflections exhibition.Free for members or with paid admission

January 13MOAS 4-6 Year Old Preschool: Painting Express9:30am-11:00amTake a trip through museum galleries and discover the different types of paintings. Then try your hand at painting using all the colors of the color wheel.$10 for members or $15 for nonmem-bers

January 13MOAS 7-12 Year Old After School: American Girl® Doll Art Class: Kaya 17643:30pm-5:00pmKaya, an adventurous Nez Perce girl whose deep love for horses and respect for nature nourish her spirit.Explore Native American culture: view museum artifacts, basket weaving, bead work and listen to Native American music.$10 for members or $15 for nonmem-bers

January 14MOAS 7-8 Year Old Homeschool Class: Every Day Physics1:30pm-3:00pmJoin us for hands on experiments and learn about important concepts such as potential energy, simple machines, air pressure, electricity and more.$10 for members or $15 for nonmem-bers

January 16Saturday Family Art Programs1:00pm – 3:00pmFlorida Animals: Learn to sketch some of the magnificent creatures that inhabit Florida.

Free for members or with paid admission

January 19MOAS Guild monthly meeting10:00 amMOAS Root Hall. Guests welcome. Program - “Color Magic,” with artist Betty Parker. Featured art by Mainland High School students on display. Free for members or with paid admission

January 20MOAS 4-6 Year Old Preschool: Fossil Detectives9:30am-11:00amDiscover the Museum’s extensive collection of fossils from dinosaur to giant mammal. $10 for members or $15 for nonmembers

January 20MOAS 7-12 Year Old After School: Under The Milkyway3:30pm-5:00pmBecome an astronomer and explore our own Milkyway Galaxy using our planetari-um and radio telescope.$10 for members or $15 for nonmembers

January 21MOAS 9-13 Year Old Homeschool Class: The Cooky Chemist1:30pm-3:30pmMix, stir and learn how chemistry affects our everyday lives.$10 for members or $15 for nonmembers

January 23MOAS Family Art Class: Florida Animals with Beth Dobberstein, Art Instructor1:00pm-3:00pmJoin us for a tour of the animals in art and create your own animal portrait.$10 for members or $15 for nonmembers

January 26On Board the Hiawatha: Clayton Ferrara Reflections of Florida2:00-3:30pmJoin Clayton Ferrera, Florida Naturalist, for a talk about Florida geology and then a walkthrough of the Reflections exhibit$10 for members and $15 for non members


January 27MOAS 4-6 Year Old Preschool: Florida The Beautiful9:30am-11:00amDiscover our beautiful landscape exhibi-tion, Florida Landscapes from the Brown Collection, then paint your own landscape.$10 for members or $15 for nonmem-bers

January 27MOAS 7-12 Year Old After School: American Girl® Doll Art Class: Felicity3:30pm-5:00pmFelecity, a spunky, spritely colonial girl, full of energy and independence.Tour our American Gallery, make a quill pen, candles, tasty tarts and cross stitch.$10 for members or $15 for nonmem-bers

January 28 Meet the Curators: Coffee, Chocolates and Collections with Cynthia Duval, Chief Curator and Senior Curator J. Zach Zacharias2:00pm-3:00pmJoin us for a unique look at Reflections: Paintings of Florida 1865-1965 From the Collection of Cici and Hyatt Brown.Free to members or with paid admission

January 28MOAS 7-8 Year Old Homeschool Class: Ocean Commotion1:30pm-3:30pmLearn and discover the extensive collec-tion of natural marine specimens housed in the collection.Discover the importance of our world’s oceans.$10 for members or $15 for nonmem-bers

January 28 MOAS Guild Hosts: A New Year and a New You Workshoppresented by Pam Elkins, Professional Image and Fashion Consultant10:00am-12:00pm$20 per personKindly RSVP by January 22, 2010

February 2Two Great Pharoahs: Ramses The Great and Hatshepsut1:00pm-2:00pm

Join retired archaeologist and Egyptolo-gist, Dr. Jack Jacobson, for a new look at these famous pharoahs.Free lecture

February 3MOAS 4-6 Year Old Preschool: Off To The RacesIt’s race time! Join us for the science of racing and visit our collection of race cars9:30am-11:00amIt’s race time and join us for the science of racing. Visit our collection of race cars.$10 for members or $15 for nonmem-bers

February 3MOAS 7-12 Year Old After School: Science Wonders3:30pm-5:00pmExperiment with hands on activities designed to teach the physics of sound, electricity, gravity, magnets, air pressure and more.$10 for members or $15 for nonmem-bers

February 4MOAS 9-13 Year Old Homeschool Class: Deep Space 1:30pm-3:30pmDiscover the oddities that inhabit deep space such as black holes, colliding galaxies, red giants and more.$10 for members or $15 for nonmem-bers

February 6Legendary Florida Forts with Senior Curator of Education and Curator of History J. Zach Zacharias3:00pm-4:00pmFree for members or with paid admission

February 10Meet the Curators: Coffee, Chocolates and Collectionswith Jay Williams1:30pm-3:30pmJoin Jay Williams, Gary R. Libby Curator of Art, for a discussion about the Reflec-tions exhibit.Free for members or with paid admission

February 11Michelle Thatcher: 500 Mile Solo Paddle

on the St. Johns River System2:00pm-3:00pmJoin Michelle Thatcher, Executive Director, Association of Florida Conservation Dis-tricts as she discusses her 500 mile solo journey down the St John’s River in search of the River’s unique ecosystems.Free for members or with paid admission

February 132nd Saturday Laser Light Show7:00pm Laser X, the alternative laser experience8:15pm Laser Vinyl, rock songs from the ‘70s and ‘80s9:15pm Laser Metallica$5 for one show, $7 for two, and $9 for three

February 16 MOAS Guild monthly meeting.10:00amMOAS Root Hall. Guests welcome. Program - “The Female Slave-Poet” by Kimberly Flint-Hamilton, Ph.D., Associ-ate Professor of Anthropology at Stetson University. www.GuildMOAS.org Free for members or with paid admission

February 17MOAS 4-6 Year Old Preschool: Unusual Animals9:30am-11:00amLearn about unusual animals that inhabit our world, such as capybera, purple dolphins, civet and more.$10 for members or $15 for nonmem-bers

February 17MOAS 7-12 Year Old After School: American Girl® Doll Art Class: Josefina3:30pm-5:00pmJosefina, an Hispanic girl whose heart and hopes are as big as the New Mexico sky. Weave a small rug for your doll, make and eat churros, traditional Hispanic games, piñata and view His-panic artwork.$10 for members or $15 for nonmem-bers

February 18MOAS 7-8 Year Old Homeschool Class: Electrifying: The World of Electricity1:30-3:30pm


Conduct hands on experiments with circuits, static electricity and robots.$10 for members or $15 for nonmem-bers

February 20Audubon Day at the Museum: Endangered Birds of Florida1:00pm Lecture: Endangered Birds of Florida1:00pm Children’s Program: The Art of Nature, with art instructor Beth Dobber-stein 2:00pm Tour of Tuscawilla Preserve3:00pm Tour of Reflections: Paintings of Florida 1865-1965 From the Collection of Cici and Hyatt BrownFree for members or with paid admission

February 20MOAS Family Art Class: The Art of Birdswith Beth Dobberstein, Art Instructor1:00pmJoin us for the Museum’s Audubon Day and discover the many images of birds in our collection. Create your own Audu-bon bird portrait.$10 for members or $15 for nonmem-bers

February 24MOAS 4-6 Year Old Preschool: Our Moon9:30am-11:00amEverybody loves the moon! Join us for a tour of the moon’s importance and physi-cal features.$10 for members or $15 for nonmem-bers

February 24MOAS 7-12 Year Old After School: Art Funtastic3:30pm-5:00pmTour our art galleries and create beautiful masterpieces of your own.$10 for members or $15 for nonmem-bers

February 25MOAS 9-13 Year Old Homeschool Class: Aviation 1011:30am-3:30pmTry our flight simulator and discover the science of flight.$10 for members or $15 for nonmembers

February 25Meet Me in the Gallerywith J. Zach Zacharias, Senior Curator of Education1:30pm-2:30pmJoin Zach for a unique perspective on the Reflections exhibit.Free for members or with paid admission

March 2Reflections: A Nature Lover’s Tour with Clayton Ferrara1:30pm-2:30pmJoin Clayton Fererra, Director of Educa-tion from the Oakland Nature Preserve, for a fresh look at Florida’s natural wonders.Free for members or with paid admission

March 3MOAS 4-6 Year Old Preschool: Beautiful Bird9:30am-11:00amLearn about the birds that inhabit Tus-cawilla Preserve and discover the sci-ence of birds.$10 for members or $15 for nonmem-bers

March 3MOAS 7-12 Year Old After School: American Girl® Doll Art Class: Kris-ten 18543:30pm-5:00pmKristen, a pioneer girl of strength and spirit who settles on the frontier.Learn how to make soap, paper dolls, sack race and Swedish treats.$10 for members or $15 for nonmem-bers

March 4MOAS 7-8 Year Old Homeschool Class: Sound Science1:30pm-3:30pmDiscover the physics of sound such as vibration, sound waves, pitch and more.$10 for members or $15 for nonmem-bers

March 10Meet the Curators: Coffee, Choco-lates and Collectionswith Cynthia Duval2:00pm-3:00pmJoin Chief Curator Cynthia Duval for a discussion about Florida Landscapes.Free for members or with paid admission

March 10MOAS 4-6 Year Old Preschool: I Want to be a Sculptor9:30am-11:00amDiscover the beautiful sculptures inside and outside of the Museum. Make your own awesome sculpture.$10 for members or $15 for nonmem-bers

March 11MOAS 9-13 Year Old Homeschool Class: Physics Spectacular1:30pm-3:30pmJoin us for awesome hands on experi-ments and learn about air pressure, circuits, pulleys and robotics.$10 for members or $15 for nonmem-bers

March 11MOAS Guild Hosts: “A Holy Land Adventure”11:00amA Musical/Pictorial Travelogue presented by Tom and Naomi Riddle. Will include a “tasting” of ethnic cuisine and special wines. Kindly RSVP by contacting the museum at 386-255-0285.

March 16MOAS Guild Monthly Meeting10:00amSpecial performance by the Orlando Ballet.

March 17MOAS 4-6 Year Old Preschool: Spring is in the Air9:30am-11:00amTake a trip through Tuscawilla Preserve and discover the amazing changes that have taken place.$10 for members or $15 for nonmem-bers

March 17MOAS 7-12 Year Old After School: American Girl® Doll Art Class: Addy 18643:30-5:00pmAddy, a courageous girl determined to be free in the midst of the Civil War.Learn about freedom quilts, civil war art, southern food and tour the Museum’s quilt collection.$10 for members or $15 for nonmem-bers


March 18MOAS 7-8 Year Old Homeschool Class: Collection Connection1:30pm-3:30pmDiscover how to create your own museum collection. Learn how to care for objects and display them.$10 for members or $15 for nonmembers

March 20MOAS Family Art Class: How To Paint A Landscapewith Beth Dobberstein, Art Instructor1:00pm-3:00pmTour our amazing collection of Florida landscapes and create your own Florida landscape.$10 for members or $15 for nonmembers

March 25MOAS 4-6 Year Old Preschool: Collage This9:30am-11:00amIt’s going to be a lot of fun to use different media to create a fantastic collage.$10 for members or $15 for nonmembers

March 26MOAS 9-13 Year Old Homeschool Class: Voyage Through The Solar System1:30-3:30pmIs Pluto a real planet? Is there life in our own solar system? Learn about planet possibilities.$10 for members or $15 for nonmem-bers

March 30Meet Me in the Gallery: Reflections: Florida Landscapeswith Jay Williams, Gary R. Libby Curator of Art1:30pm-2:30pmJoin Jay as he discusses the importance of Southern Art.Free for members or with paid admission

April 3Sonnets and BonnetsThe role hats have played in society and art. Includes food, entertainment and the opportunity to wear your favorite bonnet or broiler.

Tickets are $25.Kindly RSVP by contacting the museum at 386-255-0285.

April 14Meet the Curators: Coffee, Choco-lates and Collections1:00pmJoin the Curators of MOAS for a walk-through of the Reflections exhibition.Free for members or with paid admission

April 17Saturday Family Art Programs1:00pm – 3:00pmFolk Art: One person’s trash is another’s treasure! Learn to make great art out of found objects.Free for members or with paid admission

Visit www.MOAS.org to keep up-to-date with MOAS events!

22 ARTS & SCIENCES MAGAZINE24 ARTS & SCIENCES MAGAZINE


fortjeffersonfortjeffersonIn the Reflections exhibition is a beauti-ful impressionist painting: Fort Jefferson (1965) by Emile Albert Gruppé (1896-1978). Also included in the show is an expressive modernist painting by Waldo Pierce, depicting the artist shark fishing with his friend Ernest Hemingway. The setting for both of these paintings is the Dry Tortugas, a string of islands off the Florida Keys. Like Hemingway, Gruppé and Pierce were attracted to these islands because of their natural beauty and abun-dant wildlife. Even though the area is now a national park, relatively few visitors make the journey. Those who follow in the footsteps of Gruppé and Pierce find their efforts well rewarded. They “discover” a fort that has a fascinating history, as well as one of Florida’s most pristine marine ecosystems.

Discovered by Juan Ponce de Leon, the Dry Tortugas appear on old nautical maps warning other mariners of the lack of fresh water on the small island chain. Ponce de Leon found turtles (tortugas in Spanish) and plenty of sea life, but no springs or fresh water pools. About 70 miles south of Key West, the islands were too remote to have much political importance until the War of 1812. During the war, the British Navy easily captured coastal towns up and down America’s eastern seaboard; and Royal marines burned Washington, D. C. in 1814. Only the Port of Baltimore withstood the onslaught of the English. The guns of Fort McHenry held off the most powerful Navy in the world during the battle commemorated by Francis Scott Key’s Star Spangled Banner.

In the aftermath of the War of 1812, the United States recognized the need for a cohesive system of national defense, in-cluding a series of coastal fortifications

from Maine to Texas. French military engineer, Simon Bernard, began a con-struction program that continued for over sixty years. After Spain sold Florida to the United States, Fort Jefferson on the remote Tortugas was planned as the greatest of these sea forts.

On the lookout for a site for a naval station that would help suppress piracy in the Ca-ribbean, the U. S. Navy initially rejected the islands as a possible building site. But in 1829, a visiting Naval Commo-dore, John Rodgers, decided that the is-lands could afford a safe anchorage at all seasons. Like some governmental projects in more recent times, the building of the fort was delayed for many years while ad-ditional engineering studies were complet-ed. In 1846, construction finally began on the island in the Dry Tortugas known as Garden Key. Construction of Fort Jef-ferson lasted 30 years and it was never fully completed.

The “Citadel of the Gulf” was a huge, six-sided gun platform that could accommo-date as many as 420 massive cannons. The largest masonry fortification in the Western Hemisphere, the incomplete but massive fort was built with more than 16 million hand-made bricks. Workers and their supplies had to be ferried to the re-mote location, and once they were there, their work was often interrupted by storms crossing into the Gulf of Mexico.

During the Civil War, the fort remained in the hands of the Union forces. By 1863, during the Civil War, the number of military convicts at Fort Jefferson had increased so significantly that the 22 slaves who were

CONTINUED

By: James “Zach” Zacharias, Senior Curator of Education

Emile Albert Gruppé (1896-1978), Fort Jefferson, Dry Tortugas ca. 1965, From the Collection of Cici and Hyatt Brown


part of the construction work-force were no longer needed. Fort Jefferson’s peak military population 1,729. In addition, a number of officers brought their families, and a limited number of enlisted personnel brought wives who served as laundresses (typically four per company). With the addition of lighthouse keepers and their families, cooks, a civilian doctor and his family, and some others, nearly 2,000 people lived at Fort Jefferson during its peak years.

During and after the Civil War Ft. Jefferson acted as a military prison. Soon four spe-cial civilian prisoners arrived--Dr. Samuel Mudd, Edmund Spangler, Samuel Arnold, and Michael O’Laughlen, conspirators in the assassination of President Abraham Lincoln. Construction of Fort Jefferson was still under way when Dr. Mudd and his fellow prisoners arrived, and building con-tinued throughout the time they were im-prisoned there and for several years there-after, but was never completely finished. After Mudd provided medical care to the island’s residents during an 1867 yellow fever epidemic, he was pardoned by President Andrew Johnson and released.

In 1874, the army abandoned Fort Jef-ferson, because new military technology

had made it obsolete. Although it was used briefly during the Spanish American War and World War I, the fort was never again deemed important to the national defense. In 1908, the area was desig-nated as a bird sanctuary, and manage-ment of the islands was in the hands of the Department of Agriculture. Finally, as the system of National Parks and National Monuments began to grow, Franklin Dela-no Roosevelt used his presidential powers to designate the area as Fort Jefferson Na-tional Monument, the first marine area to achieve this status. In 1992, by an act of Congress, the Dry Tortugas, including the massive fort, became one of the nation’s newest National Parks.

Today, artists, archaeologists, and a large number of everyday tourists make the journey by boat or plane to visit Fort Jef-ferson and the Dry Tortugas. Some, like Emile Gruppé, find the massive masonry fortification to be the island’s most fasci-nating sight. Others follow the example of Waldo Pierce and fish among the tropical reefs and islands. For those who prefer armchair travel, the National Park Ser-vice’s attractive website, www.nps.gov/drto/index.htm, will provide plenty of excitement.

Discovered by Juan Ponce de Leon, the Dry

Tortugas appear on old nautical maps warning

other mariners of the lack of fresh

water on the small island chain.

““

Aerial view of Fort Jefferson; Waldo Pierce (1884-1970), Waldo Pierce with Ernest Hemingway, Shark Fishing in the Tortugas, 1932


“ Gage 8-09.pdf:Layout 1 11/24/09 1:43 PM Page 1

It is my great delight to come across an artist whose life is little known and whose personal history is shrouded in mystery to all but the most academic of scholars. I am not sure if it is because I love the challenge of unraveling a good mystery, enjoy the academic side of being a museum director or because I so seldom get the op-portunity of engaging in such activities as research...

Geneology Research Meets Art ResearchBy Wayne David Atherholt,

Executive Director



But for whatever reason, I thought that many of you would be interested in an example of the research and fact-finding that we do at the museum. When I did research at the Jefferson Reading Room at the Library of Congress while in graduate school, I became utterly fascinated with the early computerization of the materials available. I utilized a small CRT and IBM keyboard whose keys made a clicking sound when pressed and orange or amber colored, early 1980s font on the curved screen. The logo SCORPIO (the name of the search system) in ASCII blinked on the monitor as the mainframes plugged away behind the scenes.

It is interesting that despite three decades of progress, the information available is still limited when researching individual artists. Often one must visit an art library in person, such as the one at the Frick Art Gallery which recently produced a very nice find for us in terms of obscure art-historical material. Sifting through the files and stacks at universities or other museums is another way to go.

For many people it is the internet the re-source of choice that, until exhausted, may produce some fascinating finds. A hobby of mine is genealogy and the infor-mation contained herein applies as much to each and every one of you if you enjoy genealogical research as it does to the art scholar. Indeed, I was explaining some of my research methods to a colleague the other day, who was fascinated by the genealogical approach to researching an artist.

Biographical information on Florida art-ists will become infinitely more available when Gary R. Libby’s compendium on Florida artists is published. Until then, re-searching a Florida artist all too often be-comes a case of sleuthing through not only original, but also rare secondary sources.

One basic of genealogy is the census record. Often artists lived in a differ-ent state and only traveled to Florida to paint or to spend the winter. For the art-ists who actually settled in Florida, that information is readily available. From census records we can find where artists lived and with whom, and their occupa-tion. This is all very interesting informa-tion and a positive start.

Some examples: among some of the documents available online now are registrations for both World Wars I and II, even Civil War records including pen-sion information on certain individuals. These documents include such informa-tion as hair and eye color as well as height, addresses, spousal information, and more. Other valuable resources are passport applications and ship man-ifests. If an artist (or your relative if we are merely considering the genealogical aspect of research) has traveled, there is usually a nice collection of travel-related information such as original passport ap-plications; often with photographs, ship manifests where other travelers on the same ship are listed, addresses, dates, intents, etc.

“A HOBBy OF MINE IS

GENEALOGy AND THE

INFORMATION CONTAINED

HEREIN APPLIES AS MUCH TO EACH AND

EvERy ONE OF yOU IF yOU

ENJOy GENEALOGICAL RESEARCH AS

IT DOES TO THE ART SCHOLAR.”

Armin BuchterkirchKey Largoca. 1900

1916 PASSPORT APPLICATION OF

ARMIN BUCHTERKIRCH

APRIL 18, 1916 PASSENGER MANIFEST FOR THE S. S. MORRO

CASTLE OF THE WARD LINE SHOWS ARMIN AND

HARRIET BUCHTERKIRCH TRAvELING FROM

NASSAU.

Much has been written and published about the Rochester, N.Y. artist Armin Buchterkirch, whose work, Key Largo, is displayed in the exhibition Reflections currently at the museum through May 17, 2010. While proofreading the la-bels for this exhibition, I decided I need-ed to verify something that piqued my curiosity. Through sources I have used in genealogical research, I made a fas-cinating discovery: a November 1916 passport application that stated Buchter-kirch’s intent to leave the country the fol-lowing month. Previous sources have stated and cited a newspaper obituary from 1915 – a year earlier!

The more I looked for facts, the more questioning I became of previous re-search. The artist’s passport application stated that he had “traveled to the Baha-ma Islands for the past sixteen winters” meaning that since about 1900 he had been visiting there whereas previous in-formation had only mentioned Bermuda and the Caribbean. I was excited to find manifests from various years showing his transit from Nassau to and from New York. These were all available to me as a member of Ancestry.com; a great source of information whether you are searching for an ancestor or doing re-

search on an unrelated individual.

Also of interest is the fact that many newspapers have been digitized and are searchable online through the Li-brary of Congress. I began to won-der if Buchterkirch had connections to Daytona Beach. I do not recall what prompted me to consider this, but I found a page in the Daytona Gazette-News from 1901 that stated the “well known artist of Rochester is again greet-ing his Daytona friends.”

While this alone was not sufficient to create a complete biography of an art-ist, it certainly was more information than we had before. We now knew solidly that he spent winters in the Baha-mas for 16 years and did indeed paint in the Daytona Beach area as well as had local friends. A telephone call to the Rochester, N.Y. public library con-firmed his death date to be 1919.

I would encourage all of you to get involved with your own family history and discover the genuine pleasure of research, fact-finding, and discovery. I have more than 4,000 names on my family tree and find great pleasure in this pastime in addition to the unique way it has opened the door for me re-garding art

1916 PASSPORT APPLICATION OF

ARMIN BUCHTERKIRCH

PLANETARIUM OPENThe MOAS planetarium has officially re-opened. Visit at 2:00pm daily to view Tonight’s Sky interactive and informative, there is always a beauti-ful night in the full-dome planetarium. A unique show every day! Also show-ing: Legends of the Night Sky at 3:00 p.m. daily, this family laser light show illustrates the Greek legends of the stars.

GE VOLUNTEERSCONTINUE LONG TERM PARTNERSHIP WITH MOASBy Jim KotasChairman, GE VolunteersRecently the museum received another grant from the GE Volunteers Founda-tion to be used for hands-on science exhibits at the MOAS and for the popular ‘Science Night’ outreach programs to local schools. Since 2004 the GE Volunteers have pro-vided $18,000 in grant awards and worked to design, develop, build and maintain over 30 unique science exhibits. The group also partners with several area businesses including Thompson Pump, Mediatech, M&M Systems, Lore L. Ltd, Benedict Adver-tising, and Raydon who contribute materials and skilled hours from their employees to help build science exhibits, and additional support has been received from ERAU engi-neering students. The exhibits are designed to promote science literacy among students and provide children with a range of interactive activities to stimulate interest in scientific concepts and encourage enthusiasm for further scientific study and exploration.

Solar System Model By Seth Mayo, Planetarium Coordinator

Daytona Beach can now claim to be home to something Out-Of-This-World: The planet Mars.

Jacob Larsen, a 17-year-old high school student from Auburn, MI, has created a model of our solar system stretching from Cape Canaveral to Bay City, MI, in what is called the National Solar System Project. His ambitious plan, sanctioned by NASA, uses vari-ous planetariums across the country to represent the Sun, the eight planets, and dwarf planet Pluto. The project is the world’s largest scale model of the solar system, spanning more than 1,300 miles.

To make sense of the enormous size of our solar system, we can shrink down our neigh-borhood of planets to something a little more understandable; Jacob has taken this idea a step further. Bringing our solar system to more of an earthly-level is a wonderful teach-ing tool. The project demonstrates the vast distances between these celestial bodies where one mile on his scale equals 2,571,429 miles (4,114,285 km).

Since the Sun is represented at the Kennedy Space Center in Cape Canaveral, the planetarium in Daytona Beach is in just the right place to represent the Red Planet. Along with this designation, Jacob and his father graciously gave the museum a large sign, which they designed themselves, to display information about the planet and project. Other locations included: Cocoa Beach (Mercury), Orlando (Venus), Sanford (Earth), Gainesville (Jupiter), Macon, GA (Saturn), Nashville, TN (Uranus), Toledo, OH (Neptune), and Bay City, MI (Pluto). After high school Jacob plans to attend the Univer-sity of Michigan to become an astrophysicist.

Come by the planetarium, check out the beautiful display, and learn about Earth’s closest planetary neighbor!

SCIENCE NEWS

Jacob Larsen and Seth Mayo


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research. In fact, it was in a similar manner that I discovered the artist of a small enamel that long-time museum member and former trustee Drew Murphy showed me one day.

Curiosity had struck me when Drew mentioned how he had found and purchased the piece in a small antique shop in Scotland during the war. My mother being Scottish, I had spent most of my summers as a youth in Greenock, a town in Scotland not far from Glasgow, and was very familiar with the nearby American base where Drew had been stationed. I ques-tioned him on where exactly in Scotland he purchased the item. Some digging through census records showed that the family depict-ed on the enamel had once lived in London’s East End. Eventual research showed a similar piece that had sold at auction which allowed us even further opportunities to research the art-ist and family.

This aspect of “museum business” is frequently without a revenue stream and often when bud-gets tighten it is an area that is easy to cut back on because it is a cost center. But our contribu-tion to the art world and to the deepening un-derstanding of our own MOAS artifacts is criti-cal to our mission. Whether it is researching a relatively unknown artist of a Florida scene or an interesting artifact owned by a museum pa-tron, our mission of education continues from childhood right through adulthood as we strive to provide a lifelong learning opportunity for our community.

“GENEOLOGy”CONTINUED...


ARTIST SPOTLIGHT

The

Awe-InspringLandscapes

of Charles Christian

EiseleBy Jay Williams,

Gary R. Libby Curator of Art


Visitors to Reflections: Paintings of Florida 1865 – 1965 From the Collec-tion of Cici and Hyatt Brown will find themselves swept up in the emotion of the Romantic era from the mo-ment they enter the museum’s lobby. Among the exciting paintings com-peting for attention are two awe-in-spiring canvases by Charles Christian Eisele (1854 – 1919), who excelled in expressing the enchantment of the unspoiled Florida landscape.

Hanging as a pair, the two Eisele canvases together command more than eight feet of horizontal wall space, while extending nearly five feet vertically in their elegant gold-leaf frames. As exemplars of the late Romantic era, these paintings let you know right away that “size mat-ters.”

The first of these two paintings, Moonlight on the Oklawaha, is a night scene on this central Florida river; the second, Florida Twilight, is a late-day scene - just past sun-set - again centering on a small river or creek. Human figures appear in each of these landscapes, but they are few in number and powerless in comparison with the forces of nature.

Moonlight on the oklawahaCharles Christian Eisele (1854-1919)


Moonlight on the Oklawaha, as the title implies, is a river landscape illuminated by a bright full moon that glows through a few wispy clouds and highlights the foreground ripples and over-hanging palm fronds. Eisele’s small, careful strokes of white, red, and ochre orange define the water’s surface against the deep, dark tones of the sur-rounding natural forms. In the middleground, the silhouette of a small steamboat extends along an almost-hidden dock out into the stream. At the end of the dock, a bright dot of bluish light emanates from a lantern. Above the boat, the air is alive with sparks from its smokestack; and below, a warm orangey glow out-lines the form of a stoker in its boiler room. Beside the boat, on the low wharf, appear the small figures of two stevedores loading cargo by the light of a torch held by a third figure. The work of these men seems overwhelmed by the surround-ing forest and the enveloping darkness. The boat may be an outpost of human activity, but Eisele’s graceful moon and powerful trees looming over the scene in a grand Gothic arch convey the feeling that Mother Nature is greater than any puny efforts of humans to control her realm. Eisle’s paint-ing fits the classic form of a nocturne— a Romatic-era form that recurred in music and liter-ature, as well as painting— depicting the night as a time of dreams and half-revealed symbols, ruled by the mysterious feminine.

Eisele’s second canvas, Florida Twilight, is a view of a swampy hammock bisected by a creek. On the meandering stream, two men oc-cupy a small narrow boat, what Cajuns call a pirogue. These isolated human figures turn their backs to the viewer, helping direct attention to the last colors of the sunset before they fade. While the sunset is attractive, the viewer’s way is blocked by a fallen log, a skeletal branch, blooming aquatic plants, and a tangle of vines along both banks. One cannot imagine walk-

ing into Eisele’s unspoiled wilderness because of these visual barriers. The only “path” into this Garden of Eden is the surface of the water, filled with brush strokes that echo the sunset colors in the sky above. One would have to “walk on water,” literally, to enter this garden.

It is protected from encroachment, open only to those who approach it with the humility of the “natural men” shown in the boat.

In Florida Twilight, Eisele presents a careful selection of natural forms that symbolize the cycle of growth and decay, life and death. The blooming aquatic plants and luxuriant vines in the trees seem filled with the uncontrollable en-ergy of life, a perception enhanced by Eisele’s highlighting their individual blossoms and leaves with small brush strokes of color. Other natural forms provide a contrasting mood. Large cable-like vines link a large oak’s canopy with the base of its roughened trunk and the


dark hollows of its exposed roots. The bare trunks and branches of a group of oaks in the background are mysteriously bare, as though a fire, hurricane, or disease had robbed them of their life. Together their branches form an in-terlocking rood screen, as in a Gothic church.

During the late Romantic era, when Eisele was active, many artists felt that the specifics of their subject matter were less important than the sentiments they expressed, what Beaude-laire called a “way of feeling” or manière de sentir. In this respect Eisele truly was a man of his times, an admirer of wild natural phenomena that could unleash human emo-tion—mountains, stormy skies, waterfalls, and exotic jungles. Hugh Honour, one of the im-portant historians of Romanti-cism, has pointed out: “Indi-vidual sensibility was the only faculty of aesthetic judgment” that really mattered during the Romantic period.

Eisele came to America from Germany in 1869, at the height of the late Romantic era, because of an intense de-sire to paint the new world’s frontiers, including Florida. Happy only at the edges of civilization, he painted throughout the northern Rock-ies, including Utah, Colorado and probably Montana, after

leaving the Sunshine State. Between 1891 and 1900, he spent nine years painting in Utah’s towering Wasatch mountains, during which time he was commissioned to send a large painting to Chicago for the Columbian Exposition. During the last years of his life, he lived and worked in Oregon.

Eisele’s rare Florida works retain their ability to move us emotionally as they must have thrilled their original viewers. Moonlight on the Okla-waha and Florida Twilight will remain on view in the museum’s lobby for the duration of Reflec-tions: Paintings of Florida 1865 – 1965. From the Collection of Cici and Hyatt Brown.

"During the late Romantic era, when Eisele was active, many artists felt that the specifics of their subject matter were less important than the sentiments they expressed, what Beaudelaire called a “way of feeling” or manière de sentir."

Florida TwilightCharles Christian Eisele (1854-1919)


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Reflections: Paintings of Florida

1865-1965 $39.95

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A 200-page hard cover catalogue. This volume is a fresh look at the ‘Florida school of painters’ and at the aesthetic pleasure and the historical and social significance which is reflected in a representative selection of paintings from the larger Brown Collection.The book’s author, Gary R. Libby “hopes that this volume and the treasures it contains will contribute to the heightened public interest and enjoyment in the art, history and culture of Florida, including its important yet often overlooked role in the genesis of the visual arts in the South.”

ReflectionsPaintings of Florida

1865-1965

ReflectionsPaintings of Florida

1865-1965

“Since Bartram’s time, the romantic spirit has been

a vital part of the South’s self-image. Florida remains

Southern in its romanticism and its faith in nature

and renewal… The landscape and genre paintings of

the Brown Collection, express the vital relationship

between a land and its people, with a spirit of

imagination and optimism that remains classically

Southern.” from the essay “Local Color: Florida as

a Southern Place” by Jay Williams, Curator of Art,

Morris Museum of Art.

Reflections:100 Years of Florida Painting 1865-

1965 illustrates in full color a generous selection

of important paintings, many new to the field of

scholarship, by some of the most significant artists

who worked in the Sunshine State between 1864

and 1964. The book contains an essay entitled “Local

Color: Florida as a Southern Place” by Jay Williams,

Curator of Art at the Morris Museum of Art in

Augusta, Georgia. Here Williams helps to explain

the flowering of fine art in the South and the unique

place that Florida played in that development.

David Swoyer, guest curator for the publication,

contributes an essay entitled “Floridaness: Finding

the State in the Art.” Swoyer carefully explains how

artists used pictorial elements of the man-built and

natural Florida environment in their paintings to help

geographically locate the subject of each work while

also adding a poetic layer of meaning to each artist’s

finished product. Essays by Gary R. Libby on each

artist represented in this book present a current and

authoritative biographical, historical, cultural and

aesthetic analysis of each work designed to help the

reader appreciate these important cultural objects

in context. An essay “The Collectors” explores the

creation and maturation of a world-class collection

of Florida paintings and the individuals and events

that helped to shape the collection of Cici and Hyatt

Brown, which now numbers well over 1,500 items

and contains some of the most important known

paintings of Florida, many new to the fields of

scholarship and connoisseurship.

Reflections: Paintings of Florida 1865-1965 From the C

ollection of Cici and H

yatt Brown

“One of the primary goals in our journey into Florida art has

been the preservation of these artifacts and the stories the

y tell

for future generations.” — Cici and Hyatt Brown

Libby––MOAS

Gary R. Libby, former Assistant Professor of Art

History at Stetson University, DeLand, Florida,

is director emeritus at the Museum of Arts and

Sciences in Daytona Beach, Florida. He is a nationally

published scholar and author on Florida art.

Jay Williams is Curator of Art at the Morris Museum

of Art in Augusta, Georgia. He is author of Myth,

Memory and Imagination: Universal Themes in the Life

and Culture of the South.

David C. Swoyer is the former Curator of Art and

former Chief Curator at the Museum of Arts of

Sciences in Daytona Beach, Florida. He is now an

independent curator.

Stacey G. Sather is the award-winning chief designer

at SGSdesign.

James Quine is a nationally recognized and award-

winning copy and still photographer.

From the Collection of

Cici and Hyatt Brown

Gary R. Libby

Shop at the museum or online at www.MOAS.org.

“DECORATIVE” CONTINUED FROM PG. 15

There is a delicious small gilt-bronze lamp attributed to Larché, a French Art Nouveau craftsman, of the dancer Loïe Fuller, that won a gold medal at the French Exposi-tion Universalle in Paris in 1900. This lamp was extraordinary in its time in that it was fitted with one of the scientific wonders of the age: an electric light bulb. Loïe Fuller, the American dancer who was a huge hit at the Folies Bergère, was not only famous for romantic veil-twirling performances that made her resemble a fluttering moth or but-terfly, but also because her dances were captured on one of Europe’s earliest experi-mental short films by the Lumière brothers.These can be seen on Google.

Each artifact in this installation is a fine ex-ample of what it purports to be, and this is surely what this gallery is all about: a quiet place in which to contemplate objects of extraordinary quality and outstanding craftsmanship and design. Although paint-ings are classified as Fine Arts, the few on display were included in this new installa-tion to emphasize selected themes of the decorative arts through color and subject matter. Many of the art objects were made to be used; the paintings originally hung in homes made more beautiful by their very presence. The fine condition of all these lovely artifacts attests to recognition of their specialness and the care with which they were indeed used and looked after.

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