Celadon glazed vase with phoenix handles, Longquan Ware, Southern Song-Yuan Dynasty, 13th century. H. 31.5, mouth D. 11.7, bottom D. 10.7. Gift of Mr. Matsunaga Yasuzaemon, TG2329© 2004-2017 Tokyo National Museum

Celadon glazed tea bowl, known as "Bakohan", Longquan Ware, Southern Song Dynasty, 13th century. H. 9.6, mouth D. 15.4, bottom D. 4.5. Important Cultural Property. Gift of Mr. Mitsui Takahiro, TG2354© 2004-2017 Tokyo National Museum

Large dish with lotus bunch design in underglaze blue, Ming Dynasty, 15th century, Jingdezhen Ware. H. 8.6, D. 44.3, bottom D. 29.3. Gift of Dr. Yokogawa Tamisuke, TG893© 2004-2017 Tokyo National Museum

 Jar with dragon and wave design in underglaze blue, Yuan Dynasty, 14th century, Jingdezhen Ware. H. 29.3, mouth D. 20.3, bottom D. 18.6., TG2351© 2004-2017 Tokyo National Museum

White porcelain bowl with dragon design in red glaze, Ming Dynasty, Xuande mark and period (1426-1435), Jingdezhen Ware. H. 9.2, mouth D. 20.8, bottom D. 8.4.; TG2734© 2004-2017 Tokyo National Museum

Willem Claesz Heda (Haarlem 1594 - Haarlem 1680), Still life with a blackberry pie on a pewter plate, Signed and dated ‘HEDA. 1644’. Oil on panel, 31 7/8 x 39 7/8 inches (80.6 x 101.5 cm), POA© French & Company, Llc

Still Life with Blackberry Pie is a splendid addition to the oeuvre of Willem Claesz Heda and to the genre of still life painting in the Dutch Golden Age. Painted on panel and in excellent condition, the painting dates from Heda’s maturity, when his compositions combined monumental simplicity, aristocratic reserve and unmatched observational skills.

Juxtaposing creamy passages in the drapery with precise touches in the metals and glassware, Heda arranges repeatedly used motifs with a new grandeur and classical harmony. Placed off-center and surrounded by space, a silver jug is illuminated by a beam of light. Barely touching the jug is an overturned tazza that together with the discarded napkin animate the composition with an air of luxurious informality. Heda invites us to compare colors, shapes and textures; for instance, the thick crust of the blackberry pie with the freshly baked roll; the embossed underside of the tazza with the smooth surfaces of its neighbors; or the yellow lemon peal with the blue ribbon of the knife case. Heda trims the tablecloth with fine stitching. At the top of the pyramidal composition is a halberdier enjoying the view. Joining him are a façon de Venise glass and the cover of the jug, resembling a searchlight. The interplay of rounded forms, empty spaces and crossing diagonals are held in check by the pewter plates, which funnel the drama from back to front, slaloming over the white fabric towards the viewer. 

While Heda’s birthplace is unknown, he is recorded in the Haarlem Guild of St. Luke in 1631. His first dated painting is a vanitas still life of 1628. A city of 40,000 inhabitants, Haarlem was a center for still life painting, which became an independent genre in the Northern Netherlands around 1610. The early banquet-pieces by Nicolaes Gillis and Floris van Dijck featured crowded compositions, bright colors and a raised horizon line. Together with Pieter Claesz in the 1630’s, Heda narrowed his palette to achieve a warmer atmosphere and an advanced naturalism. These monochrome still lifes (monochrome banketje) share similarities with the tonal phase of Dutch 17th century landscape painting.

Still Life with Blackberry Pie was painted on the cusp of change in Heda’s art and in the mid-century taste of the prosperous middle class who bought his paintings. Increasingly sumptuous compositions, featuring expensive glass and silver, were being painted in Amsterdam, possibly under the influence of still lifes from Antwerp. In our painting, Heda shows that he too can paint a pronk (fancy) still life without sacrificing the solemn, magisterial quality of his monochrome works. In turn, Heda’s paintings influenced those by Willem Kalf of the 1650’s. Here, the brilliant white paint, the prominent bare wall and the glittering highlights presage the works of Johannes Vermeer of the 1660’s.

The sophistication and refinement of Heda’s Still Life invites comparisons with those by Zurbarán, Chardin and Cézanne, amongst others. These artists appeal to our intellect and to our senses. With Heda as our host, we are here served an astonishing repast. 

Provenance: Private collection, Europe from the early 19th century until sold
London, Christie’s, July 8, 2014, lot 31.

Literature: Ingvar Bergstrom, Dutch Still Life Painting in the Seventeenth Century, 1956.
Jakob Rosenberg, Seymour Slive , E.H. ter Kuile, Dutch Art and Architecture:1600 to 1800, (The Pelican History of Art) 1977.
N.R.A. Vroom, A modest message as intimated by the painters of the ‘Monochrome Banketje’, 2 vols. 1980.
Still Life Paintings from the Netherlands 1550-1720, Rijksmuseum, Amsterdam 1999.
Pieter Claesz, Master of the Haarlem Still Life, National Gallery of Art, Washington, 2004-5.

French & Company, Llc. 17 East 65th Street, New-York NY 10065, United States

Three-color glazed jar with design of figures, Ming Dynasty, 15th-16th century. H. 30.8, mouth D. 17.8, bottom D. 24.2. Gift of Mr. Yamamoto Takashi, TG2350. Important Art Object. © 2004-2017 Tokyo National Museum

Francesco Noletti (Malta 1611 - Rome 1654), Carpet Still Life. Oil on canvas, 38.8 x 53.3 in.; 98.6 x 135.5 cm, POA© French & Company, Llc.

Provenance: Private collection, Italy from the 19th century
Sale, Dorotheum, Vienna, April 19, 2016, lot 49

Literature: In this stylish painting, Francesco Noletti used heavily primed brushwork to depict the large weave, vivid colors and bold geometric patterns of Ushak carpets from western Anatolia. Shape-defining whites and fiery reds frame alternating blue and orange medallions, which follow the sweep of the rug across the dramatically lit space. Hanging fringe add a syncopated beat, while three tassels hold in place a brocaded crimson curtain, revealing a pyramid of ripe fruit. 

Noletti’s name has only recently been discovered on a print. Born in Valetta, Malta, he is often referred to as Il Maltese; other times he has been identified as Francesco Fieravino or Il Maestro dei Tappeti (carpets). Active in Rome from 1640 until his death in 1654, Noletti transposed these scene-stealing accessories to the walls of grand palazzos. Painted in tactile high relief, Noletti’s still lifes were different from those done in Naples or Milan. Though less celebrated than his Spanish or Dutch contemporaries, eight still lifes by him were in the 1777 sale of the Prince de Conti’s collection in Paris. In his Chronological List of Modern Painters, Joshua Reynolds referred to the artist as Il Maltese (vases, carpets, still-lifes).

Sometimes called a Holbein or Lotto carpet, Turkish carpets were emblems of luxury and trade. They are shown covering walls and furniture in 15th century Netherlandish religious paintings, 16th century Venetian portraits, and 17th century cabinet pictures by the Dutch fijnschilders. In this close up view, Noletti emphasizes the warp, weft and pile of the wool fabric. Instead of reasonably priced azurite, he exclusively used ultramarine, suggesting a correlation between expensive pigment and the elements depicted. 

In Rome, Noletti may have drawn inspiration from grandiose, richly colored court portraits, such as Velasquez’s Innocent XII and Van Dyck’s Cardinal Bentivoglio. He anticipated the appeal of Turkish subjects during the Napoleonic era and for 19th century Orientalist artists. Early in the 20th century, Henri Matisse picked up the rich legacy of Islamic designs. Using his extensive textile collection, he balanced the human figure with highly patterned backgrounds. Describing his 1911 Red Studio painting (MoMA), he wrote: “I find that these things only become what they are to me when I see them together with the color red.”

The juxtaposition of an Eastern carpet with a Western curtain may have been a veiled reference to the tensions with the Ottoman Empire. These tensions persist, but so does the globalization of art. Outward magnificence and lurking danger – hallmarks of the High Baroque – also characterize the hyper-visual present. Noletti’s still life is a seductive image of pattern, color and cross-cultural exchange.

French & Company, Llc. 17 East 65th Street, New-York NY 10065, United States

Floris Gerritsz. van Schooten (Haarlem active c. 1605 - 1656), Still Life of Fruit on a Table Draped with a Dark Cloth: Plums, Apples, Bunches of Black and White Grapes and Pears, signed with monogram in the middle right (on a leaf above the pears): F V S, oil on panel, 24 x 40 inches (52 x 83 cm), POA© Lawrence Steigrad Fine Arts.

This lush still life of fruit is an excellent example of a lesser-known aspect of the oeuvre of the Haarlem still-life painter, Floris van Schooten, who was a contemporary and fellow townsman of Floris van Dijck (c.1575-1651), Pieter Claesz. (1597-1660) and Roelof Koets (1592/93-1654/55). 

The first known record of Floris van Schooten is his registry in the civic guard of Haarlem in 1606. Consequently, he must have been at least 18 years old at the time and thus was born in 1588 at the latest. Unfortunately, there is no record of the place or date of his birth. Van Schooten married the daughter of a rich brewer in Haarlem in December of 1612, by which time he had probably joined the painters’ guild. He lived and worked in Haarlem until his death in November of 1656.^[1] 

Van Schooten painted still lifes of various types but also produced a few paintings of biblical subjects. It is unfortunately not possible to establish a firm chronology for his work as he dated only a small portion of his many still lifes, and his style and handling were rather consistent.^[2]Floris van Schooten’s earliest works demonstrate substantial influence from the Haarlem still-life painters Floris van Dijck and Nicolaes Gillis (active c.1612–1632 or later). His earliest known dated still life, from 1617, is particularly reminiscent of van Dijck’s impressive displays of victuals and costly objects. During the 1620s, the work of Pieter Claesz., with whom he collaborated on at least one occasion, must have been a source of inspiration for him.^[3] Notwithstanding the fact that Floris van Schooten regularly picked up ideas from the work of artists in his Haarlem circle, his still lifes have a strongly individual character and are usually immediately recognizable as his work.

Although accurate dating of van Schooten’s still life is not possible, there can be little doubt that the artist painted this still life of fruit later in his career, probably around the mid-1640s. It is particularly close in style and content to a larger still life of fruit and vegetables that he dated in 1644.^[4] While in that painting some red fruit add an additional warm accent, and while the bunches of grapes, also with the vine leaves hovering over them, are placed in a shallow basket, it contains very similar clusters of apples and of plums. Van Schooten’s larger 1644 still life has firm roots in his earlier, large kitchen displays of food and utensils. This still life of fruit has a more intimate character, also in comparison with most of van Schooten’s still lifes of fruit, in which he included a variety of containers, such as porcelain or earthenware dishes and plates and wicker baskets. Relatively few examples, often smaller than the present piece, feature fruit exclusively. Unlike many seventeenth-century still lifes of fruit and of flowers, this painting does not show fruit from different seasons: all of these are autumn products. 

Still lifes of fruit must have been popular with the Haarlem public. Roelof Koets, for instance, was rather prolific in this area, and other Haarlem artists, such as Hans Bollongier (c.1600-1672/75) and Jan Matham (1600-01-1648) also painted pure fruit still lifes, be it on a smaller scale. Like those colleagues, van Schooten depicted a common choice of fruit, apples, pears, plums and even grapes were easily available, be it not always cheap, particularly the latter.

While seventeenth-century still life paintings often have some deeper iconographic content, a piece like this should not be viewed with that in mind. Most of all, it was painted for the pleasure of the viewer. It would have struck a contemporary viewer particularly as an attractive illusion of a conceived reality, and most of all, also out of season, it would have encouraged thoughts of enjoying tasty, ripe fruit. All of this, more than three centuries and a half after it was painted, it still does.

Fred G. Meijer
Rijksbureau voor Kunsthistorische Documentatie, 
The Hague 

^[1]I. van Thiel- Stroman in N. Köhler (ed.), Painting in Haarlem 1500-1850. The collection of the Frans Hals Museum, Haarlem/Ghent 2006, p. 301. Van Thiel incorrectly quotes a publication by L.J. Bol in reference to a (non-existing) work from 1605. 
^[2]In 1966, Poul Gammelbo published an oeuvre catalogue of van Schooten’s work in the Nederlands Kunsthistorisch Jaarboek, counting 122 paintings. Since then, a fair number of works unknown to Gammelbo have turned up, extending the known oeuvre to well above 150 paintings. Dated works are known from 1617 to 1647.
^[3]See F.G. Meijer, ‘Twee is niet altijd meer dan één / Two is not always more than one’, RKD Bulletin 1997-2, pp. 16-20. Brunner (2004) incorrectly argued that the painting was (it no longer exists as such) entirely by Claesz.
^[4]Oil on canvas, 101 x 143,5 cm, signed with monogram and dated 1644, see P.Sutton, The Hohenbuchau Collection, Vienna 2011, cat. no. 75, colour ill. (pp. 344-347). 

Provenance: Donald Antiques and Decorations, London, as Dutch School, sold October, 1951, to 
Private Collection, London, and thus by descent to
Private Collection, New York, until 2013

Lawrence Steigrad Fine Arts. 27 West 60th Street, PO Box 20009, New-York NY 10023, United States

Louis Michiels (Active in the Hague 1672-1680), Hunting still life. Oil on canvas, 70 x 53 cm. Signed, POA© Kunsthandel P. de Boer bv

Provenance: Private collection Sweden

Kunsthandel P. de Boer bv.  Herengracht 512, 1017 CC Amsterdam, Netherlands

Willem van Aelst, Still life. Oil on canvas 37,4 x 31,1 cm. Signed and dated 1679, POA© Kunsthandel P. de Boer bv

Provenance: Collection D.A. van Dongen, Amsterdam
With Charles Roelofsz, Amsterdam
Private collection Rotterdam

Kunsthandel P. de Boer bv.  Herengracht 512, 1017 CC Amsterdam, Netherlands

Sebastian Stoskopff (Strassbourg 1597 - 1657 Idstein ), A flagon of wine, a wine glass, a loaf of bread and knife and pies on a pewter plate. Signed lower left. Oil on canvas, 19¼ x 24 inches / 48.9 x 61 cm, POA© Adam Williams Fine Art Ltd

Sebastian Stoskopff was from Alsace and brought up in the independent Protestant republic of Strasbourg. In 1615, after serving his apprenticeship in the studio of the miniaturist and engraver Friedrich Brentel the Elder, he became the pupil of the painter and architect Daniel Soreau (d. 1619) in Hanau, near Frankfurt-am-Main; after Soreau's death he was obliged to finish his master's paintings. He remained in Hanau until 1621 and there came across examples from Flanders and the Netherlands of still-life painting, the genre to which he was to devote himself. In 1621 he went to Paris, remaining there until 1640 apart from a trip in 1629 to Venice, where he met his future biographer, the historian Joachim von Sandrart. Like other Protestant painters he frequented the Saint-Germain-des-Prés district of Paris and came into contact with the still-life painters Lubin Baugin and Jacques Linard. In 1641 he settled in Strasbourg, where he was accepted (re\ccu) as a master. In the work of his maturity, much of it done for his patron, Graf Johann von Nassau-Idstein, Stoskopff began to employ more overtly moralizing themes, with little pretence at the narrative element found in his Paris paintings.

Stoskopff's paintings fall into two types: those done in Paris, which are more clearly influenced by the French school; and the later works, where the German aspect of his artistic background reasserts itself. The present painting clearly falls into the first group, and is clearly linked both in content and spirit with Lubin Baugin's Dessert with wafer-rolls, datable to circa 1630-5, in the Musée du Louvre, Paris M. Faré, Le grand siècle de la Nature Morte en France. Le XIIe siècle, Fribourg/Paris, 1974, p. 114, illustrated. In what is arguably his most famous still life, Baugin reduces a poor man's frugal meal to the elements of the Eucharist. Both paintings reveal a dark wall and bare surroundings that force the eye to focus on the simple objects in the foreground: a wineglass, a pewter plate of pies, a knife and a loaf of bread. Again, in both paintings the edge of the pewter plate overlaps the table ledge, projecting into our space and thus giving the paintings greater spatial depth. These everyday objects are not merely beautiful to look at, the artists have imbued them with a transcendent significance.

A remarkably similar version of the present composition on panel, essentially rearranged without the plate of pies is illustrated in B.Hahn-Woernle, Sebastian Stoskopff, Stuttgart, 1996, pp. 144-5, no. 19, Birgit Hahn-Woernle dates that painting to circa 1630, and concurs with a similar date for the present into our space, in the present painting the knife is almost hidden behind the fabulous Melendez-like bread roll, and it is the plate of pies that invades our space. These works, whether they are meant to remind us of the Eucharist or not, are bathed in soft golden light and surely rank among Stoskopff's most successful and sensitively observed still lifes.

We are grateful to Dr. Birgit Hahn-Woernle for confirming the attribution to Stoskopff and the date of circa 1630.

Provenance: Private collection Canada 

Tea caddy in shape of bucket with handle, Ming-Qing dynasty, 17th century, Jingdezhen Ware. High 8.8 Bore size 6.5 Bottom diameter 5.5. Gift of Mr. Matsushige Hirota, TG 2601© 2004-2017 Tokyo National Museum.

Large vase with peony design in famille rose enamels, Qing Dynasty, Yongzheng mark and period (1723-1735). Jingdezhen Ware. H. 51.1, mouth D. 12.0, bottom D. 16.2. Gift of Dr. Yokogawa Tamisuke, TG1014© 2004-2017 Tokyo National Museum.

Dish with plum tree design in famille rose enamels, Qing Dynasty, Yongzheng mark and period (1723-1735). Jingdezhen Ware. H. 4.4, D. 17.3, bottom D. 10.8. Important Cultural Property. Gift of Dr. Yokogawa Tamisuke, TG1333© 2004-2017 Tokyo National Museum.

Vase with magnolia design in underglaze blue, Qing Dynasty, 17th - 18th century, Jingdezhen Ware. H. 44.6, mouth D. 13.1, bottom D. 14.3. Gift of Mr. Hirota Matsushige, TG2666© 2004-2017 Tokyo National Museum.

Mark Rothko's "Yellow Band" is on view in "Now's the Time" at Sheldon Museum of Art. 

LINCOLN, NE.- Visitors to Sheldon Museum of Art will find new exhibitions throughout the landmark Philip Johnson building. Drawn from Sheldon’s collection of nearly 13,000 objects, the museum’s fall exhibitions demonstrate the breadth of its holdings. 

Three new exhibitions—Now’s the Time, Sheldon Treasures, and Family Style—as well as new installations in Sheldon’s six permanent collection galleries are now on view through December 31. 

Now’s the Time 
Now’s the Time riffs on bebop musician Charlie Parker’s 1945 tune of the same title to underscore the influence of the New York School artists on the trajectory of post–World War II American art. Featuring painting, photography, and sculpture made between the late 1930s through 1970, Now’s the Time presents notable works from Sheldon's permanent collection by artists including Helen Frankenthaler, Hans Hofmann, Lee Krasner, Norman Lewis, Barnett Newman, Mark Rothko, David Smith, and Clyfford Still. 

Mark Rothko (Dvinsk, Russia 1903–New York, NY 1970), Yellow Band. Oil on canvas, 1956, 86 × 79 1/2 inches, Nebraska Art Association, Thomas C. Woods Memorial, N-130.1961. © 2017 Sheldon Museum of Art.

Lee Krasner (New York, NY 1908–New York, NY 1984), Invocation. Oil on canvas, 1969-71, 85 5/8 × 55 7/8 inches Sheldon Art Association Olga N. Sheldon, Acquisition Trust and Sheldon Art Association, U-5640.2011. © 2017 Sheldon Museum of Art.

William Kleinborn (New York, NY 1928), Atom Bomb Sky (Manhattan). Gelatin silver print, 1955; printed later, 11 13/16 × 15 3/4 inches, University of Nebraska–Lincoln, Olga N. Sheldon Acquisition Trust, U-6677.2017. © 2017 Sheldon Museum of Art.

Robert Motherwell (Aberdeen, WA 1915–Provincetown, MA 1991), Hotel Flora. il on masonite, 1950, 36 × 40 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-310.1951. © 2017 Sheldon Museum of Art

Ad Reinhardt (Buffalo, NY 1913–New York, NY 1967), No. 2. Watercolor on paper, 1949, 22 3/8 × 30 11/16 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-326.1952. © 2017 Sheldon Museum of Art

Hans Hofmann (Weissenberg, Germany 1880–New York, NY 1966), The City. Oil on canvas, 1958, 60 1/4 × 52 1/2 inches Nebraska Art Association, Thomas C. Woods Memorial, N-153.1964. © 2017 Sheldon Museum of Art

Fritz Bultman (New Orleans, LA 1919–Provincetown, MA 1985), Mask of Acteon. Oil on Celotex, 1945, 50 1/2 × 40 inches, University of Nebraska–Lincoln, gift of the artist, U-613.1968. © 2017 Sheldon Museum of Art

Sheldon Treasures 
Sheldon debuts an ongoing, rotating gallery installation of some of its most important and familiar objects, including works by Edward Hopper, Jacob Lawrence, Georgia O’Keeffe, Joseph Stella, and Grant Wood. The museum’s collection was initiated in 1888 by visionary citizens who organized to collect, exhibit, and teach art in Nebraska, which was granted statehood in 1867.

Georgia O'Keeffe (Sun Prairie, WI 1887–Santa Fe, NM 1986), New York, Night. Oil on canvas, 1928-29, 40 1/8 × 19 3/16 inches, Nebraska Art Association, Thomas C. Woods Memorial, N-107.1958. © 2017 Sheldon Museum of Art

Constantin Brancusi (Hobitza, Romania 1876–Paris, France 1957), Princess X. Marble with caen-limestone base, 1909–16, 22 × 11 × 9 inches, University of Nebraska–Lincoln, gift of Mrs. Olga N. Sheldon in memory of Adams Bromley Sheldon, U-418.1963. © 2017 Sheldon Museum of Art

Albert Bierstadt (Solingen, Germany 1830–New York, NY 1902), River Landscape. Oil on canvas mounted on panel, 1867, 30 1/4 × 50 inches, Nebraska Art Association, gift of Mr. and Mrs. Abraham M. Adler, N-137.1961. © 2017 Sheldon Museum of Art

Joseph Stella (Muro Lucano, Italy 1877–New York, NY 1946), Battle of Lights, Coney Island. Oil on canvas, 1913–1914, 39 7/16 × 29 5/16 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-639.1960. © 2017 Sheldon Museum of Art

Norman Rockwell (New York, NY 1894–Stockbridge, MA 1978), The County Agricultural Agent. Oil on canvas, 1947–48, 36 × 70 inches, University of Nebraska–Lincoln, gift of Nathan Gold, U-563.1969. © 2017 Sheldon Museum of Art

Edward Steichen (Bivange, Luxembourg 1879–Redding, CT 1973), Shrouded Figure in Moonlight. Oil on canvas, 1905, 24 × 25 1/8 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-1483.1969. © 2017 Sheldon Museum of Art

Edward Hopper (Nyack, NY 1882–New York, NY 1967), Room in New York. Oil on canvas, 1932, 29 9/32 × 36 5/8 × 1 1/4 inches University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-166.1936. © 2017 Sheldon Museum of Art

Family Style 
Artists have long depicted the nuances of familial relationships. This selection of objects—some autobiographical, others fictional—offers unique perspectives on marriage, parenthood, family life, and genealogy. Diane Arbus, Renée Cox, Alice Neel, Alec Soth, and James VanDerZee are among the artists featured in Family Style. 

Alice Neel (Merion Square, PA 1900–New York, NY 1984), John and Joey Priestly. Oil on canvas, 1968, 36 × 24 inches, Nebraska Art Association, Nelle Cochrane Woods Memorial, N-339.1975. © 2017 Sheldon Museum of Art

Sheldon Moldoff (New York, NY 1920–Lauderhill, FL 2012), Marvel Family. Mixed media on illustration board, 1995, 10 7/8 × 14 inches, University of Nebraska–Lincoln, gift of Dan F. and Barbara J. Howard through the University of Nebraska Foundation, U-5190.2000. © 2017 Sheldon Museum of Art

Carmen Lomas Garza (born Kingsville, TX 1948), Una Tarde / One Summer Afternoon. Alkyd oil on canvas, 1993, 24 × 32 inches, University of Nebraska–Lincoln, Robert E. Schweser and Fern Beardsley Schweser Acquisition Fund, through the University of Nebraska Foundation, U-5741.2012. © 2017 Sheldon Museum of Art

Diane Arbus (New York, NY 1923–New York, NY 1971), Man and Boy on a Bench, Central Park, N.Y.C.. Gelatin silver print, 1962; printed 1970s, 20 × 16 inches, University of Nebraska–Lincoln, Olga N. Sheldon Acquisition Trust, U-6668.2017. © 2017 Sheldon Museum of Art

Re-Seeing Sheldon’s Permanent Collection 
Sheldon’s permanent collection galleries are presented as laboratories in which unique ideas and installations give visitors opportunities to see and experience the collection in new ways. The galleries are transformed periodically to highlight new acquisitions, showcase rarely exhibited objects, and explore new interpretations of Sheldon collection favorites. 

Through December, visitors to Sheldon's permanent collection galleries may explore early American modernism and a prologue to the post–World War II abstraction on view in the exhibition Now’s the Time; trompe l’oeil objects; artists' portraits of other artists; and New Deal–era prints.

Marsden Hartley (Lewiston, ME 1877–Ellsworth, ME 1943), Painting Number One. Oil on canvas, 1913, 39 1/8 × 31 3/4 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-39.1971. © 2017 Sheldon Museum of Art

Billy Morrow Jackson (Kansas City, MO 1926–Urbana, IL 2006), Ten-O-Nine. Oil on Masonite, 1976, 48 × 72 inches, Nebraska Art Association, Thomas C. Woods Memorial, N-491.1978. © 2017 Sheldon Museum of Art

George Platt Lynes (East Orange, NJ 1907–New York, NY 1955), Marsden Hartley. Gelatin silver print, 19439 1/2 × 7 1/2 inches, Nebraska Art Association, gift of Lawrence Reger, N-586.1982. © 2017 Sheldon Museum of Art

Stanton Macdonald-Wright (Charlottesville, VA 1890–Los Angeles, CA 1973), Dragon Forms. Oil on panel, 1926, 26 1/4 × 15 1/8 inches, Nebraska Art Association, bequest of Herbert Schmidt, Centennial Committee, the Art of Politics, and Joseph Chowning, N-685.1988. © 2017 Sheldon Museum of Art

Otis Kaye (Dresden, Germany 1885–Dresden, Germany 1974), Dollar Bill. Etching with tempera, circa 1940, 2 3/4 × 6 1/8 inches, Nebraska Art Association, gift of Carl and Jane Rohman, N-690.1989. © 2017 Sheldon Museum of Art

Richard Correll (Springfield, MO 1904–Oakland, CA 1990), Moving Timbers. Color linocut, 1940, 9 7/8 × 13 7/8 inches, University of Nebraska–Lincoln, allocation of the U.S. Government, Federal Art Project of the Works Progress Administration, WPA-399.35.1943. © 2017 Sheldon Museum of Art

Ralston Crawford (St. Catharines, Ontario, Canada 1906–Houston, TX 1978), Ventilator with Porthole. Oil on canvas, 1935, 39 3/4 × 33 3/4 inches, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-2247.1975. © 2017 Sheldon Museum of Art