Museum of Art

James van Dyke, Assistant Professor of Modern European Art History, Department of Art History and Archaeology, University of Missouri-Columbia, will consider the meaning of the technique of silverpoint drawing in Otto Dix’s scenes of sex, violence, and sexual violence in and after 1933, in particular asking whether two portraits made and exhibited in Berlin in 1935 can be seen as sly responses to both his critics and Nazi ideology in general. Enjoy further conversation over a light lunch in the lobby. Sponsored by the Middlebury College Museum of Art and the Committee on the Arts.

Patrons in fourteenth and fifteenth century Italy were acutely value conscious, frequently specifying the quality of materials an artist was expected to use or the parts of a painting he must execute by himself without recourse to assistants. Frugality often extended to having old paintings restored or recycled by adding new frames or changing a few figures to suit a new context. These changes are sometimes easily recognized by the modern art historian, but sometimes they can be detected only by near microscopic analysis of a painting’s surface.

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. On view September 6 through December 11. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free

Drawn from the holdings of the Sabarsky Foundation in New York City, this exhibition-which features works by Egon Schiele, Gustav Klimt, and other members of the Viennese Secession-illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life. Free