Hen Party

Chris Rossi, Associate Curator of Exhibitions

Hen Party: A party for women only. First known use ca. 1885. (From Merriam-Webster online dictionary)

I had never heard the term Hen Party until I moved to Central New York. It’s a quaint folksy way of talking about a girl’s night out that for me, conjures up visions of ladies gossiping over their tea and knitting. The phrase has expanded meaning and in the 21st century can refer to a bachelorette party. Not quite the word picture I have in mind, but fun to think people are still using the term.

Did I mention the girl with the squirrel on her head?

We are having a Hen Party, so to speak, in the Clark Gallery here at the Fenimore Art Museum. Okay, our attendees are not as lively as those at the gatherings mentioned above. Instead they are quietly gracing the walls and pedestals of our exhibition, Picturing Women: American Art from the Permanent Collections, which opens on September 24.

Getting the ladies in place

Our collections hold a variety of portraiture from three centuries, which can make for some very interesting groupings. Laying out the gallery was like arranging seating at a dinner party. We have Abigail Adams keeping company with Dolly Madison while three folk art Madonnas enjoy each other’s presence. Perhaps they are comparing notes on childrearing? And I like to wonder what a very proper 19th century lady would like to chat about with her 20th century counterpart (who is shown lounging sans-clothing in a bed of water lilies.) We even have a kids’ wall, which is reminiscent of the kids’ table from the holidays of my childhood.

This eclectic gathering of women of all ages, social classes and occupations will be on view until the end of the year. Come visit the party, even if you are not a hen!

Trains, Taxis and Trucks

By Stephen Loughman, Preparator

As Preparator, I often get asked to run the longer distance errands. I was recently asked if I would be interested in being a courier for the day. A courier travels with artwork as it comes from one institution to another to make sure everything goes smoothly. In this case I was traveling with artwork from the Metropolitan Museum of Art in New York City (below). So early in the morning I took to the train down from Albany to Penn Station. Once in the heart of Manhattan I took a cab over to the Met. My hope was to beat the truck there so that I could have a few moments to check out the museum, but once there I was whisked away to the work areas underground. It was a bustle of activity, people scurrying around in every direction. I met my truck drivers for the day and hopped in the passenger side of the box truck. Getting out of Manhattan was somewhat of a challenge, kind of nerve racking for someone who is not used to traffic, even on my short drive into work every morning. Once we escaped Manhattan, it was smooth sailing up the Thruway towards Albany. We all settled in for a three and a half hour drive stopping only to grab a quick bite to eat. I caught up on some reading, but was glad to reach the museum and get out and stretch! The artwork was brought in, and my truck driving friends were off to their next stop. All in all it was about a ten-hour day of travel. But it will be all worth it when we open the doors for John Singer Sargent: Portraits in Praise of Women here at the end of May.

Two Girls with Parasols, oil on canvas. Lent by the Metropolitan Museum of Art, Gift of Mrs. Francis Ormond, 1950 (50.130.13)

Madame X (Madame Pierre Gautreau), 1883-4, Oil on canvas. Lent by The Metropolitan Museum of Art, Gift of Mrs. Francis Ormond and Miss Emily Sargent, 1931 (31.43.3)

Madame X (Madame Pierre Gautreau), 1883-4, Oil on canvas. Lent by The Metropolitan Museum of Art, Purchase, Charles and Anita Blatt Gift, John Wilmerding Gift and Rogers Fund, 1970 (1970.47)

The Ins and Outs of Exhibit Catalogues

By: John Hart, Assistant Curator of Collections

I’m sure you’ve all seen them. Books in a gift shop which discuss a specific exhibit in a museum, sometimes small, sometimes not. Either way, if you like the art, chances are you’ll learn more about the art and artist if you purchase an exhibit catalogue.

They’re usually written by scholars in the field and include much more information than you might find in the exhibit. But there’s a lot that goes on behind-the-scenes before you, the visitor, see them on a shelf. Articles have to be written, images have to be collected, proofs have to be sent to the lending institutions, and edit, upon edit, upon edit to get the final product readable by someone who isn’t an art historian.

Mrs. Abbott Lawrence Rotch, 1903. By John Singer Sargent. Image courtesy of the Joslyn Art Museum, Omaha, NE

That’s what we’re doing right now with the upcoming exhibit, John Singer Sargent: Portraits in Praise of Women. Since we’ve been preparator-less for about six months and I handle rights and reproduction requests for NYSHA’s collection at Fenimore Art Museum, I was asked by Paul D’Ambrosio and Michelle Murdock to work on gathering the images. All of the paintings that are being loaned for the exhibit will be included in the catalogue and Paul and Dr. Patricia Hills are writing the text to accompany the images. Trust me, if you like Sargent, you’ll like the catalogue. I know from personal experience that Paul is great at teaching people about art and artists.

John Singer Sargent: Portraits in Praise of Women opens in May and runs through December and I invite you all to come and see it (and buy a catalogue too). You’ll be in for a treat since we’ll have Empire Waists, Bustles and Lace in the gallery right next to Sargent and can see examples of the fashions during the 19th-century.