ArtsQuarterlyNEW ORLEANS MUSEUM OF ART JANUARY � FEBRUARY � MARC H 2011, VOL . 33 N o .1
A Membe r s ’ P ub l i c a t i on
2010 Board of TRUSTEES
Honorar y L i fe TRUSTEES
2010 National TRUSTEES
Ms. Adrea HeebeMs. Allison KendrickSubhash V. KulkarniHenry LambertMayor Mitch LandrieuMrs. Merritt LanePaul J. Leaman, Jr.E. Ralph Lupin, M.D.Paul MasinterEdward C. MathesKay McArdleAlvin Merlin, M.D.Mrs. R. King MillingMrs. Michael MoffittHoward OsofskyMrs. Robert J. PatrickThomas Reese, Ph.D.Mrs. James J. Reiss, Jr.Mrs. George RodrigueBryan SchneiderMrs. Robert SheltonMrs. Lynes R. SlossMs. Alexandra E. StaffordMrs. Richard L. StrubMrs. Patrick F. TaylorLouis A. Wilson, Jr.
Stephen A. Hansel,President
Mrs. James J. Frischhertz, Vice-President
Mrs. Charles B. Mayer, Vice-President
William D. Aaron, Jr., Vice-President
Michael Moffitt, Treasurer David F. Edwards, Secretary Mrs. Françoise
B. Richardson, AssistantTreasurer
Mrs. John BertuzziSydney J. Besthoff IIIMrs. Mark CareyEdgar L. Chase IIILeonard DavisH. Mortimer Favrot, Jr.Mrs. Ludovico FeoliTimothy FrancisMrs. Anne Gauthier Mrs. Edward N. GeorgeRoy A. GlapionTerry HallLee Hampton
H. Russell Albright, M.D.Mrs. Jack R. AronMrs. Edgar L. Chase, Jr.Isidore Cohn, Jr., M.D.Prescott N. DunbarS. Stewart FarnetSandra Draughn FreemanKurt A. Gitter, M.D.Mrs. H. Lloyd HawkinsMrs. Killian L. HugerSusan GuidryMrs. Erik JohnsenRichard W. Levy, M.D.J. Thomas Lewis
Mrs. Paula L. MaherMrs. J. Frederick Muller, Jr.Mrs. Jeri NimsMrs. Charles S. Reily, Jr.Mrs. Françoise Billion
RichardsonR. Randolph Richmond, Jr.Mrs. Frederick M. StaffordHarry C. StahelMrs. Moise S. Steeg, Jr.Mrs. Harold H. StreamMrs. James Lyle TaylorMrs. John N. Weinstock
Joseph BaillioMrs. Carmel CohenMrs. Mason GrangerJerry HeymannHerbert Kaufman, M.D.
Mrs. James PierceMs. Debra ShrieverMrs. Billie WeismanMrs. Henry H. Weldon
ED ITOR: Caroline GoyetteART D IRECTOR: Aisha Champagne
Arts Quarterly (ISSN 0740-9214) is published by the New Orleans Museum of Art, 1 Collins Diboll Circle, New Orleans, LA 70124.
© 2011, New Orleans Museum of Art. All rightsreserved. No part of this magazine may bereproduced or reprinted without permission of thepublisher.
SUPPORT ACKNOWLEDGMENT
The programs of the New Orleans Museum of Art aresupported by grants from the Louisiana State ArtsCouncil through the Louisiana Division of the Arts,the Arts Council of New Orleans, the New OrleansJazz and Heritage Festival and Foundation, theNational Endowment for the Arts, and the AmericanRecovery and Reinvestment Act.
MUSEUM HOURS
The museum is open Tuesday through
Thursday, 10 a.m. to 5 p.m., Friday, 10 a.m. to 9 p.m.,
and Saturday and Sunday, 10 a.m. to 5 p.m.
Closed Monday and all legal holidays.
The Besthoff Sculpture Garden is open every day,
10 a.m. to 4:45 p.m. For information on upcoming
exhibitions and events at NOMA, please call
(504) 658-4100 or visit our website at www.noma.org.
CONTENTS
2 Director ’s Let ter
4 FeatureBehind the Scenes at NOMA: The Making of the Great Col lec tors Video
8 Exhibi t ionsLof ty Ideals: Selec t ions of Nineteenth -Centur y French Sculp ture f rom the Permanent Col lec t ion
The Sound of One Hand: Pain t ings and Cal l igraphy by Zen Master Hakuin
12 Centennial News
16 Exper iencing NOMAEducator Evenings: NOMA Launches New Program for Local Teachers
18 NOMA and the CommunityMuseum Par tners wi th Local Schools
LOVE in the Garden Honors New Orleans Ar t i s t s
20 Suppor t ing NOMA
24 Prof i les in GivingA Tr ibu te to Pol ly Guthr ie
Arts���������2 January � February � March 2011
This January, the New
Orleans Museum of
Art marks an important
anniversary: 100 years of
providing world-class arts
experiences for the people
and visitors of New Orleans.
Please join us on January 8, 2011, for a day of
festivities in honor of our centennial. We’ll be
launching a full year of extraordinary exhibitions and
events, and we want to share this celebration—and
our museum—with you.
As our centennial year gets underway, you’ll
find lots of exciting changes at NOMA, all designed
to enhance the community’s museum experience.
Beginning January 1, 2011, NOMA will be open six
days a week: Tuesday through Sunday, from 10 a.m.
to 5 p.m.—except for Fridays, when we’ll be open
until 9 p.m. Wednesdays at the museum will
continue to be free for Louisiana residents, thanks to
the generous support of the Helis Foundation. Along
with our extended Friday hours, we’ll debut a new
evening series, “Where Y’Art!,” bringing live music,
performance, theater, good food, children’s activities
and, of course, great art to our public. We are thrilled
to collaborate with our cultural partners to bring the
arts together for our community on Friday nights.
Another new program series will launch at
NOMA this spring, this one centered on some of the
leading museum issues of the day. Beginning in
March, the Director’s Dialogue series, sponsored by
JPMorgan Chase, will bring museum directors from
across the country to NOMA to discuss the future of
museums, with attention to topics such as
technology, education, diversity, and permanent
collections. Together with our audiences, we will
discuss ways NOMA can reflect and respond to these
important issues, ensuring the museum provides the
best possible experience for our public for years to
come.
Susan M. TaylorThe Montine McDaniel
Freeman Director
From the Permanent Collection:Ernst Ludwig Kirchner, (German, 1880-1938),
Sawmill in Königstein, 1916, oil on canvas, Gift of Eleanor B. Kohlmeyer
and Museum Purchase, 1990.200
DIRECTOR’S LETTER
Arts��������� 3January � February � March 2011
Already, we have begun to think about new
ways to reach our audiences. An article in this issue
of Arts Quarterly describes a recent NOMA initiative
that distributed 700 catalogues and free admission
passes to local schools. We believe the museum can
and should be a vital presence in our classrooms and
our community, and this program is one step in
accomplishing that goal. Similarly, NOMA recently
launched Educator Evenings, a series designed to
introduce local teachers to the museum and help
them draw on the museum’s collections in their
classrooms. Technology is another key consideration
as we assess NOMA’s tools for outreach. Soon, we
will launch a new, interactive website, providing a
more engaging and user-friendly online experience
for our members and visitors.
Finally, we’re working hard at the museum to
enhance our visitors’ experience not only of our
stellar exhibitions (of which we have many this
winter and spring), but of our permanent collection.
A museum’s permanent collection is at times
overlooked in the wake of temporary exhibitions,
and yet it is the backbone of the institution, defining
its essential character. In addition to other upcoming
programs, watch for our “Collection Spotlight”
series, debuting in January, which highlights a work
from the collection that might otherwise not be a part
of your regular visit.
As I write this column, I’ve just learned the sad
news of the passing of Peter Marzio, longtime
director of the Museum of Fine Arts, Houston.
Marzio was a visionary leader whose deep
commitment to accessibility, outreach, and serving
diverse audiences had an enormous impact on the
museum field, not to mention the lives of Houston
community members. It is only appropriate that we
acknowledge Marzio’s legacy of making the museum
a place for all people—something NOMA, like
museums across the country, aspires to do.
We look forward to welcoming you at NOMA
during our centennial year and beyond. Please visit
and visit often.
DIREC
TOR’S LETTER
Our Quar ter ly isCHANGING!
As you can see, we are introducingseveral changes to Arts Quarterlybeginning with this issue, the first of ourcentennial year. Our new centennialformat offers fresh content and design,
with overviews of exhibitions as wellas features on behind-the-scenesactivities that tell you much more aboutour work at the museum. We areintroducing new features such as aportable, pullout calendar to help youdecide what program and day youwould like to attend, and a centennialsection to keep you apprised ofcentennial news and events.
NOMA is also reinstating anannual report, in which we’ll providefull details about the year’s donations,gifts, and acquisitions; look for the firstinstallment of the annual report insummer 2011. In the meantime, wehope you enjoy the new Quarterly.
—S.M.T.
Arts���������4 January � February � March 2011
FEATURE
Most people, when they visit a museum, don’t
think about how the paintings, sculptures and
other artworks they enjoy came to be on display. In
fact, museums around the world rely on the
generosity of collectors to help build their collections
and make important artworks available to the public.
“In order to build a collection, you have to have a
critical mass of works. That’s impossible to do
alone,” explains Lisa Rotondo-McCord, Assistant
Director for Art and Curator of Asian Art at NOMA.
Launched as part of NOMA’s centennial
celebration, the exhibition Great Collectors / Great
Donors honors the important figures whose
donations have played a transformative role in
building the museum’s collection. Beyond
showcasing the works of art, however, NOMA’s
director and curators wanted to find a way to
highlight the collectors themselves. A film, they
decided, would allow museum visitors to glimpse
the people behind the collections, and learn about the
interests and tastes that drove them to seek out
particular works and ultimately donate them to the
museum. In addition to an educational purpose, the
raw footage would serve an important archival
function. “We are fortunate that many of our major,
important collectors are still alive, and we thought
we should get them on tape,” says Rotondo-McCord.
With the support of E. Alexandra Stafford and
Raymond Rathle, Jr., and Mr. and Mrs. John F.
Stafford, NOMA was able to film extensive, personal
Behind the Scenes at NOMA: The Making of the Great Collectors VideoCaroline Goyette, Editor of Museum Publications
Producer Kevin McCaffrey films Sydney Besthoff in the Sculpture Garden. All photography by Judy Cooper.
Arts��������� 5January � February � March 2011
interviews with ten of its most prominent, living
collectors. The result is a fifteen-minute video which
offers compelling insight into the collectors who
helped to build the New Orleans Museum of Art.
Playing on a loop in the galleries as part of the Great
Collectors / Great Donors exhibition, the video is on
view with the show through January 23, 2011.
Making of the VideoAfter securing the participation of the collectors,
the production crew began to prepare for the initial
interviews. At first, they weren’t quite sure what
form the interviews would take. “We wondered,
‘Should we have a specific set of questions? Will
there be a standardized reply?’” recalls John
d’Addario, Associate Curator for Education and
production coordinator for the video. As it turned
out, the conversations took on a life of their own as
the donors began to reflect on their collecting
experiences.
D’Addario credits Kevin McCaffrey, producer for
the video, with the vital, organic quality of the
interviews. An independent filmmaker who has done
work for several cultural organizations, he has
extensive experience with oral history projects—an
ability which was instrumental to the NOMA project.
“It never felt like he was doing an ‘interview,’”
d’Addario says. “He was able to steer the
conversational ship in a really natural way.”
The stories that emerged, both in the longer
Clockwise from top left: Randy Richmond discusses his collection of Chinese ceramics; Walda and Sydney Besthoff reflect on theirexperiences collecting sculptures and modern and contemporary art; Mercedes Whitecloud examines Southeastern Native Americanbaskets from her collection.
FEATU
RE
footage and in the final cut, are amusing, engaging,
and above all, moving. One collector and his wife
inadvertently started down a path toward collecting
while shopping for an ashtray. Another hopped in his
Toyota truck and drove around the southern states,
meeting self-taught artists and acquiring their work.
Still others described an almost magnetic attraction
to specific objects—a silver pitcher, a ceramic bowl—
that, once acquired, drove their future interests as
collectors.
Although the interviews were entirely
unscripted, common themes emerged—one of which
was the use of the word “passion” by donors to
describe their interest in collecting. By giving the
collectors the chance to tell their own stories, the
project ensured the details would be recorded
correctly for posterity. It also led to revelations,
including details not even the curators, many of
whom have worked with the donors for years, were
aware of. “In every instance, the donors mentioned
FEA
TURE
Director Emeritus E. John Bullard and donor Randy Richmond discuss art collecting while producer KevinMcCaffrey captures their conversation for posterity.
1911 – IsaacDelgado Museum ofArt opens to the publicon December 16 witha ceremony attendedby 3,000 people.
1971 – Name changes tothe New Orleans Museumof Art and new wings openincreasing museum spaceby a factor of eight.
1966 – The museum hoststhe inaugural Odyssey Ballorganized by the newWomen’s VolunteerCommittee.
1953 – An exhibition fromthe Louvre, French Paintingthrough Five Centuries, isorganized to celebrate the150th anniversary of theLouisiana Purchase.Attendance for the year is a record 104,000.
1910 – Sugarmagnate Isaac Delgadogives $150,000 for theerection of an artmuseum in City Park.
1931 – The museumalmost closes due tocity budget cuts. Afteran uproar, the cityreinstates funds.
1977 – Treasures ofTutankhamun opensand is seen by900,000 persons infour months.
N O M A through the Years
details I had never heard before. I think in part it’s
because they had the opportunity to tell the story as a
complete story, rather than as part of another
conversation,” says Rotondo-McCord.
Given the personal nature of collecting, it was no
surprise that many of the interviews became tinged
with emotion. “The interview process was a
vulnerable experience for [the donors]. Collecting is
so much a part of their identity—of who they are as
people. It was extraordinarily moving to see,” says
Rotondo-McCord. As Dr. Siddharth Bhansali, one of
the donors featured in the video, observes, the
question of “‘How did you start collecting?,’ is not all
that different from the question ‘How did you start
breathing?’”
In addition to capturing the collectors’ stories, it
was important to McCaffrey that they be filmed with
the objects they had donated—either in the
background or, in the case of smaller works, handling
them. It was a fitting choice, given the history that
often exists between collector and object. “These were
things that were part of their everyday life,” says
Rotondo-McCord. “As a collector, you handle works
of art.”
Of course, this meant the artwork had to be
camera ready—a task which fell to the preparators
and registrar’s department, who readied the works
for the shoot. Such collaboration is just one example
of the sort of nimbleness the project required of the
NOMA staff. “We’re lucky that we all work well
together—it’s really a testament to teamwork at the
museum,” says d’Addario. Judy Cooper, NOMA’s
staff photographer, assisted with camera and still
photography for the video, and several curators
participated in the shoot.
Beyond focusing on the collecting process, many
of the subjects discussed their decisions to donate
their collections to the New Orleans Museum of Art.
“As an educator, I was impressed that so many
brought up the educational value of these works, and
their desire to share them with as broad an audience
as possible,” says d’Addario. “They all had the sense
that these objects had a larger role in the world,
beyond the reach of a private collection.” Indeed, as
part of the permanent collection of NOMA, the
objects these collectors so painstakingly and lovingly
acquired now touch countless people, from school
groups to local residents to visitors from around the
world. Thanks to their generosity, NOMA’s extensive
collection is ripe with opportunities for learning,
exploration, and inspiration.
The Great Collectors / Great Donors video is on
view as part of the exhibition through January 23, 2011.
2006 – NOMA reopens afterseven months. An exhibition ofimportant works from thepermanent collection travelsthe country for three years andraises $1 million for hurricanerecovery.
2009-2010 – BesthoffSculpture Gardenundergoes eight months ofcomprehensive restorationand reopens to the public.
1985 – NOMApurchases Portrait ofMarie Antoinette, byElisabeth-Louise Vigée-Lebrun, for its seventy-fifth anniversary.
2003 – BesthoffSculpture Gardenopens to the public.
1993 – $23 millionexpansion andrenovation of themuseum is completed.
2005 – Hurricane Katrinacloses NOMA. The collectionis undamaged but the buildingand sculpture garden sustain$6 million in damages. Morethan eighty staff members arelaid off and a skeleton staff ofsixteen works from BatonRouge while the museum andcity recover.
2007 – ExhibitionFemme, Femme, Femmeopens, fulfilling a generouspromise of support madeby the people of Francejust after Katrina.
FEATU
RE
Arts���������8 January � February � March 2011
EXHIBIT IONS
Nineteenth-century French bronzes entered the
collection of the museum as early as 1912, only
a year after its founding. However, at that time,
many of the works were already being judged as old
fashioned at best, and of no merit at worst. By the
1930s, such sculpture had been relegated to the
dustbins of art history. The New Orleans Museum of
Art’s collection simply slumbered in art storage
during the ensuing years. By the 1970s, such work
was enjoying an international reevaluation and
regained its rightful place as an important facet of
nineteenth-century art. The final triumph of these
pieces is marked by the small exhibition, Lofty Ideals,
currently on view in the Great Hall, in which they
have regained prominence within the permanent
collection.
Although major European cities with any claim
to sophistication established fine arts academies
during the nineteenth century, Paris was the
international capital to which aspiring artists flocked
for instruction and recognition. The teachers of
sculpture there were generally members of the
prestigious French Academy, and their emergence
was traceable to an enormous demand for private
and public sculpture.
A numerous and newly affluent bourgeoisie was
eager to decorate its residences, public buildings, and
parks with sculpture. By the second quarter of the
nineteenth century, the possession of tasteful
sculpture was internationally viewed as a tangible
expression of a cultivated sensibility and an
advanced socioeconomic position. Indeed, the
nineteenth-century mind-set held that the presence of
appropriate sculpture could be spiritually and
materially rewarding in one’s daily life.
Jean-Baptiste Carpeaux (French, 1827-1875), NeapolitanFisherboy, bronze: cast, chased, and patinated, circa 1861, Gift of Elva Lavies Weiss, 1986.95. Photograph by Judy Cooper.
Lofty Ideals: Selections of Nineteenth-CenturyFrench Sculpture from the Permanent CollectionJohn Webster Keefe, The RosaMary Foundation Curator of the Decorative Arts
Arts��������� 9January � February � March 2011
Work in the fashionable neoclassical taste gave
way to the Romantic Movement and its lyrical,
naturalistic style. Designs were drawn from all
previous areas of inspiration; the classical nude was
joined by noble peasants, knights, gallants,
eighteenth-century-style shepherdesses, and animals
wild and domestic. American patrons of the arts,
firmly convinced that any French work of art was
innately of superior quality, were eager acquisitors of
such sculpture. Such prominent patrons of the New
Orleans Museum of Art as Mrs. Samuel Delgado,
John Giraud Agar, Alvin Pike Howard, and Lavinia
Todd Hyams all acquired French academic pieces and
presented them to the new museum. Eventually, the
collection came to include some of the most
celebrated names in the history of French
nineteenth-century sculpture. Works by Antoine-
Louis Barye, Jean-Baptiste Carpeaux, Albert-Ernest
Carrier-Belleuse, Emile-Cariolan-Hippolyte
Guillemin, and Marius-Jean-Antonin Mercié are all
part of the permanent collection.
Lofty Ideals is also distinguished by the presence
of a number of period stands and pedestals, which
provide further insight into the way such works were
presented and viewed during the nineteenth century.
Most importantly, the exhibition celebrates the
presence of French academic sculpture as a major
facet of the art of the enormously productive
nineteenth century.
See Lofty Ideals in the Great Hall at NOMA
through April 24, 2011.
Elva Weiss presented Jean-Baptiste Carpeaux’sbronze Neapolitan Fisherboy to the New OrleansMuseum of Art in 1986, notably strengthening thethen-dormant collection of French academic sculpture(the work, seen at left, is showcased in Lofty Ideals).An elegant and ebullient woman, Mrs. Weiss (1904-2000) had a lifelong interest in the arts, which shecombined with a love of world travel. She moved toNew Orleans in 1964, where she enjoyed thecompany of young artists and generously promotedthe work of the most talented. Throughout her life, Mrs.Weiss appreciated beautiful objects, having a markedpreference for French decorative arts. Walking into herspacious apartment in the Fairmont Hotel was theequivalent of a visit to one in Paris. The best kind ofdonor, she remained true to the cause of the museum,bequeathing several important examples of Frencheighteenth-century furniture in 2000. —J.W.K.
Donor Spot l ight: Elva laviEs WEiss
EXHIBITIO
NS
The Sound of One Hand: Paintings and Calligraphy
by Zen Master Hakuin is the first exhibition in the
Western world devoted to the art of Hakuin Ekaku (1685-
1768). Considered the most important Japanese Zen
master of the last five hundred years, Hakuin also is
regarded as the most significant Zen artist. In his
teachings, writings, and art, Hakuin reached out to
monks and lay followers, as well as a general audience
that included non-believers and the rural poor. In the
process, Hakuin invented a new visual language for Zen
art, using folk and everyday subjects in addition to
traditional Zen themes.
The social, economic, and governmental changes
brought about by the Tokugawa rulers of the Edo period
(1615-1868) called for new responses from the religious
establishment. The two major Zen sects—Rinzai and
Soto—faced significant challenges, including the loss of
governmental support. It is within this context that
Hakuin lived and worked, becoming one of the most
important spiritual leaders in all of Japanese Zen, not just
the Rinzai sect to which he belonged. As the abbot of a
small rural temple near his childhood home in Hara,
Hakuin exerted tremendous influence, revitalizing the
koan system of Zen study (see sidebar), restructuring
monastic training, and advocating continual spiritual
development and the integration of spirituality and
secular activity.
Nearly eighty scrolls, seventy by Hakuin and the
remainder by his immediate disciples, have been
gathered from public and private Japanese and American
collections for The Sound of One Hand. These works
demonstrate the extraordinary range, vitality, humor,
power, and depth of this Zen master. Lightly and
The Sound of One Hand: Paintings andCalligraphy by Zen Master HakuinLisa Rotondo-McCord, Assistant Director for Art and Curator of Asian Art
Left: Hakuin Ekaku (Japanese, 1685-1768), Inka Staff, 1762, ink onpaper, Manyoan Collection
Arts��������� 11January � February � March 2011
carefully brushed portraits—dating from Hakuin’s
50s and 60s (his “early period”)—contrast sharply
with the large, bold calligraphies from the end of his
life. His subjects range from the familiar pantheon of
Zen worthies such as Daruma, the patriarch and
founder of Zen Buddhism, to depictions of street
entertainers, folk deities, and the animal world.
Irrespective of the subject—whether serious or silly—
Hakuin conveyed profound religious truths through
his paintings and calligraphies. These truths are
revealed in a variety of ways, sometimes through an
immediate impact on the viewer, at other times
evident only after prolonged study and
contemplation.
The Sound of One Hand is on view from February
11-April 17, 2011. Curated by two noted scholars of
Zen painting, Stephen Addiss and Audrey Yoshiko
Seo, the exhibition is accompanied by a fully
illustrated catalogue, available in the Museum Shop.
EXHIBITIO
NS
What is a KOAN?
Koans, or Zen riddles, are seemingly insolvable questionsposed to students of Zen by their masters. Hakuin believed thatkoan practice was crucial to the attainment of enlightenmentexperiences. He used established koans as well as inventednew ones, such as the well-known “What is the Sound of OneHand?” which he wrote at the age of 69. “Breaking through”a koan often takes years of strenuous meditation and study,and requires the guidance of an experienced master whocan recognize the spiritual growth and maturity of the student.
The Inka Staff, dating from 1762 (opposite page) bears theinscription: “On Buddha’s Birthday [April 8], 1762, NomuraMagabe … penetrated my massive barrier and heard the soundof one hand. I therefore brush this as a certificate for this valiantperson.” This powerful painting functions as a certificate ofenlightenment that recognized the successful attainment of anenlightenment experience. Hakuin painted these certificates andpersonally awarded them in order to encourage the recipients tocontinue exerting themselves in their practice. —L.R.M.
Hakuin Ekaku (Japanese, 1685-1768), Hotei’s Sound of One Hand, late, ink on paper,Gubutsu-an Collection
Arts���������12 January � February � March 2011
CENTENNIAL NEWS
Join us Saturday, January 8, for NOMA’s
centennial kickoff and help us launch our year-
long celebration! The event is free and open to the
public, with activities running throughout the day.
• 10 a.m. What better way to celebrate 100 years
than with the St. Aug Marching 100? At 10 a.m., the
famed high school marching band will parade down
Lelong Avenue and around the building, ramping up
excitement for the year to come.
• 11 a.m. Life is short; eat dessert first! We’ll dig
into cake mid-morning to salute the museum's un-
official birthday. After that, check out the Courtyard
Café’s delicious lunch specials.
• 11:30 a.m.-4 p.m. Now that you’ve got your
energy, get creative with the Education Department’s
special centennial art-making activity. Drop by and
make a celebratory mask inspired by the art at
NOMA.
• 1-4 p.m. It’s time to relax and be entertained.
Members of the Symphony Chorus of New Orleans
will perform at 1 p.m., followed at 2 p.m. by ballet
from the official school of New Orleans Ballet
Theatre. At 3 p.m., enjoy an hour of opera in the
Sculpture Garden from the New Orleans Opera
Association.
Many thanks to our party sponsors, Bellwether
Technology and JPMorgan Chase.
NOMA Centennial Celebration Kicks Off January 8Rebecca Thomason, Public Programs Coordinator
Clockwise from top left: St. Augustine Marching 100; the official school of New Orleans Ballet Theatre; Symphony Chorus of New Orleans; New Orleans Opera Association.
©David J. L'Hoste
Photograph by Nathan Williams
Arts��������� 13January � February � March 2011
Great Collectors / Great Donors: The Making of the
New Orleans Museum of Art, 1910-2010,
November 13, 2010-January 23, 2011
The Sheraton New Orleans Hotel
Great Collectors / Great Donors Video
E. Alexandra Stafford & Raymond Rathle, Jr., and Mr.
and Mrs. John F. Stafford
Centennial Year Kickoff Party, January 8, 2011
JPMorgan Chase and Bellwether Technology
Corporation
Director’s Dialogue Series, January-November 2011
J.P. Morgan and Stone Pigman Walther Wittmann
L.L.C.
Copley to Warhol: 200 Years of American Art
Celebrating the Centennial of the New Orleans
Museum of Art, February-December 2011
Chevron with additional support from the following
State Advisory Council Members:
Adele Adatto, Katie Arimura, Janet Blocker, June
Brandt, Scott Chotin, Kent Davis, John W. Deming
and Bertie Murphy Deming Foundation, Joy Hodges,
John Lolley, Valerie Marcus, Brenda Moffitt, Peter
Monrose, Mary Morse, Andrée Moss, Carolyn
Nelson, Edward Renwick, Peggy Selber, Aimee
Siegel, Jude Swenson, Catherine Burns Tremaine,
Fran Villere
Art in Bloom, March 30, 2011
Whitney Bank
Fabergé Egg Hunt, April 10, 2011
Catherine Burns Tremaine
100 Masterworks for the Next 100 Years: Celebrating
the Centennial of the New Orleans Museum of Art,
November 12, 2011-February 19, 2012
Eugenie and Joseph Jones Family Foundation
Centennial Birthday Party, December 16-18, 2011
Lakeside Shopping Center and the Feil Family
Foundation
Centennial Year Public Relations and Marketing
Sponsors
The Sheraton New Orleans Hotel
New Orleans Tourism and Marketing Corporation
Centennial Sponsors
Thanks to our sponsors for their generous support of NOMA’s
centennial exhibitions, programs, and festivities.
Suppor t NOMA During OurCentennial Year!
To ensure NOMA's success for the next100 years, we invite you to donate to our:
• Endowment—support educational programs, exhibitions, and publications.
• Centennial Event Sponsorships—support educational activities and family fun.
• John Bullard’s Retirement Gift Fund—purchase a piece of art in honor of John Bullard’s thirty-seven years of service as director of the New Orleans Museum of Art.
To donate: Call (504) 658-4107, email:[email protected], or give online atwww.noma.org.
CEN
TENNIA
L NEW
S
Arts���������14 January � February � March 2011
American museums today are at a crossroads
and are looking for ways to more fully engage
their communities. NOMA’s centennial provides an
ideal opportunity to discuss important issues facing
museums and explore innovations in museum
practice. In 2011, NOMA is inviting five art museum
innovators to take part in a series of public
conversations about the topics of diversity,
technology, education, permanent collections, and
new audience development. Director Susan M.
Taylor will take to the Stern Auditorium stage one-
on-one with these esteemed directors for Friday
evening discussions this spring and fall. A sixth
invitee, Director Emeritus E. John Bullard, will join
Taylor at the end of the year to reflect on the series.
Spring SerieS – 6 p.m.
March 18, 2011
Arnold L. Lehman, The Brooklyn Museum
Mr. Lehman has been a leader in positioning
his museum to be responsive to the community,
welcoming younger, more diverse audiences.
April 1, 2011
Maxwell L. Anderson, Indianapolis Museum of Art
Mr. Anderson has been on the forefront of
introducing new technologies to art museums,
expanding museum audiences to the World Wide
Web and beyond.
May 20, 2011
Bonnie Pitman, Dallas Museum of Art
Ms. Pitman has devoted her career to developing
innovative education programs for art museums,
making them more welcoming and relevant to
visitors of all ages.
Stay tuned for details about our fall speakers.
The Director’s Dialogue series is a benefit of
membership for Delgado Society members and
above. Please contact the Development Department
to reevaluate your membership level, or to purchase
tickets for a fee.
Director’s Dialogue: Conversations with America’sTop Museum Directors Rebecca Thomason, Public Programs Coordinator
CEN
TEN
NIA
L N
EWS
Arnold L. Lehman Maxwell L. Anderson Bonnie Pitman
©Terri G
langer
Arts��������� 15January � February � March 2011
Aspecial exhibition, Copley to Warhol: 200
Years of American Art Celebrating the Centennial
of the New Orleans Museum of Art, will tour four
museums in Louisiana this year, giving a statewide
dimension to NOMA’s 100th birthday celebration.
Consisting of thirty of the finest American paintings
in NOMA's collection, the exhibition will premiere at
the Meadows Museum of Art at
Centenary College in Shreveport on
February 19, 2011, and then travel to the
Alexandria Museum of Art; the Paul
and Lulu Hilliard University Art
Museum, University of Louisiana,
Lafayette; and the Louisiana State
University Museum of Art, Baton
Rouge. The exhibition is sponsored by
Chevron, with additional support from
NOMA's Advisory Council.
Copley to Warhol briefly surveys the
development of American painting,
beginning with portraits by Colonial
masters John Singleton Copley and
Charles Willson Peale and turning to
the rise of the landscape tradition with
Asher B. Durand, George Inness, and
Louisiana artists Richard Clague and
Joseph R. Meeker. The exhibition then
showcases nineteenth-century artists
who pursued their careers in Europe,
such as John Singer Sargent and Mary
Cassatt; moves into the twentieth
century with early modernists including Marsden
Hartley and Georgia O'Keeffe; and concludes with
the triumph of American painting following World
War II with abstract expressionism and Pop Art.
Among other masters included are Gilbert Stuart,
Thomas Sully, Frederick Frieseke, Robert Henri, Lee
Krasner, Larry Rivers, and James Rosenquist.
On the Road: NOMA’s Finest American Paintings Tour Louisiana E. John Bullard, Director Emeritus
CEN
TENN
IAL N
EWS
Andy Warhol (American, 1930-1987), Mick Jagger, 1975, acrylic oncanvas, New Orleans Museum of Art: Gift of Tina Freeman, 1981.335
Arts���������16 January � February � March 2011
EXPERIENCING NOMA
NOMA’s Educator Evenings are a new way of
serving and honoring an audience who has
long been a key part of the museum’s educational
mission: K-12 teachers in the New Orleans area and
beyond. Conceived of as a casual, friendly way to
introduce teachers to the museum and help them
incorporate its extraordinary collections into their
classrooms, NOMA’s Educator Evenings were
launched at the start of the 2010-2011 school year and
will be held monthly on Wednesdays.
Less structured than a formal, full-day
workshop, but more tailored to the needs of
classroom teachers than a regular public tour, each
ninety-minute Educator Evening begins with a
welcome to the museum over wine and cheese led by
members of the Education Department staff. This
introduction is followed by a custom tour of a special
exhibition or selected area of the museum’s
permanent collection.
For the first Educator Evening on October 13,
NOMA curator Paul Tarver led a group of eighteen
area educators on a private guided tour of the
Ancestors and Descendants exhibition. Afterwards,
Associate Curator of Education John d’Addario
continued the discussion with a visit to the
museum’s permanent collection of Native American
art, giving participants a chance to explore ways of
using their newfound familiarity with this area of the
museum’s collection in their classrooms.
Educator Evenings: NOMA Launches New Program for Local TeachersJohn d’Addario, Associate Curator of Education
Join Us for NOMAEducator EvEnings
Wednesday, January 12, 4:30-6 p.m. “The Arts of Africa”
Wednesday, February 9, 4:30-6 p.m. “Kings, Queens, Princes, and Princesses: Royalty in Art”
Wednesday, March 16, 4:30-6 p.m. “The Arts of Japan”
Wednesday, April 13, 4:30-6 p.m. “Sculpture Garden”
For more information or to register, please call (504) 658-4128.
Photography by John d’Addario
While measuring the long-term success of any
educational endeavor takes time, the Education
Department was delighted to see that several
teachers who participated in the very first Educator
Evening booked school group visits to the museum
within a few days of the program. Over 100 students
from area public and parochial schools visited the
Ancestors and Descendants exhibition and permanent
Native American art galleries with their teachers,
who were able to prepare self-guided activities (in
the form of scavenger hunts and other gallery-based
activities) as a direct result of their participation in
the Educator Evening program. (The wine and
cheese part of the evening received high marks as
well!)
Subsequent Educator Evenings over the course
of the fall 2010 semester allowed teachers to explore
the museum’s collection of modern and
contemporary art with NOMA curator Miranda
Lash, and introduced teachers to masterpieces in
NOMA’s permanent collection in the Great Collectors /
Great Donors exhibition. The result has been an
increase in self-guided school group bookings and
more students experiencing the museum’s special
exhibitions and permanent collections. Most
importantly, more teachers than ever recognize that
the permanent collection of the New Orleans
Museum of Art represents an indispensable resource
in planning their curriculum.
up Next...
February: Native american collectionTewa/Hopi Peoples Bowl, circa 1930, attributed to the Nampeyo Family
MarcH: Modern and contemporary collectionUntitled (Romantic Hotel-Chiarina), circa 1954, by Joseph Cornell
Rack cards for all featured objects are available in theGreat Hall. Check NOMA’s website, www.noma.org, formore information and a complete listing of the 2011objects.
Twelve-Light Pond-Lily Lamp, circa 1902-1905, by tiffany*
A primary goal of Louis Comfort Tiffany (1848-1933),master of the American Art Nouveau style, was tobring beauty into the home to enhance people’s dailylives. With lights modeled after garden lily bloomsand water lilies, this striking table lamp was extremelypopular and produced in various models; the twelve-light version was among the most successful.
*The Tiffany Studios, Corona, Long Island, New York; Bronze, amber Favrile glass; MuseumPurchase: Mervin and Maxine Mock Morais Fund, 2008.3. Photograph by Judy Cooper.
COLLECT ION SPOTL IGHTbeginning in january, a different object fromNOMa’s permanent collection will be on displayeach month in the Great Hall. don’t miss theseseldom-seen works and new acquisitions.
Featured Object
EXPERIENCIN
G N
OMA
Arts���������18 January � February � March 2011
NOMA AND THE COMMUNITY
One of the New Orleans Museum of Art’s most
important goals is to serve as an educational
resource for the schools in our community.
Collaborations with school leaders and cultural
organizations are vital to this effort, allowing us to
offer our rich art collection as a learning tool for local
students and classrooms.
One of the outstanding organizations NOMA has
formed an active partnership with is KIDsmART, a
New Orleans-based arts education group. Honored
by Americans for the Arts for its transformative
impact on local students, KIDsmART works with
teachers, students, and artists to provide curriculum
enrichment as well as professional development
programs for teachers.
In tribute to KIDsmART’s achievements, NOMA
was pleased to donate 700 catalogues from the
exhibition Dreams Come True: Art of the Classic Fairy
Tales from the Walt Disney Studio to KIDsmART
teachers and students. The illustrated catalogue
describes the adaptation process classic fairy tales
such as Snow White and the Seven Dwarfs, Cinderella,
and The Princess and the Frog underwent as they were
made into films by Walt Disney. The resources were
of special interest to teachers of visual arts and
language arts. In addition, each person also received
a family pass for free admission to the museum,
valid any time during the centennial year, as well as
information about the Education Department’s
school, teacher, and family programs.
To initiate and augment the museum’s
partnerships with other school systems, NOMA’s
Education Department will continue to provide
catalogues and free admission passes to collaborating
Museum Partners with Local Schools
Alice Yelen, Assistant Director for Education
Photography by Judy Cooper
Arts��������� 19January � February � March 2011
public school administrators and teachers as
long as supplies last. Visitors who present the
admission pass will be offered a substantial
discount on a Family Membership to the
museum.
We believe the museum can and should
be an invaluable part of our teachers’
classroom work and a vital presence in our
community, and this program is one step in
accomplishing that goal. To receive free
museum admission passes and catalogues for
your teachers or students, please call Elise
Solomon at (504) 658-4128.
This year’s event, held September 24, 2010,
honored ten New Orleans-area artists working in a
wide range of mediums, from pottery to painting to
jewelry and sculpture. Each year, the selection
committee considers artists at all stages of their
careers, making recommendations to NOMA’s
director, who then makes the final determination. In
each case, a commitment to community is an
important criterion for selection. The artists are
honored at a ceremony during LOVE in the Garden,
and their work is projected on the Sculpture Garden
walls for all party-goers to enjoy.
NOMA’s annual LOVE in the Garden
celebration is known for its great food, music,
and striking setting in the Sculpture Garden. But for
the third year in a row, the event has taken on a new
dimension, honoring New Orleans-based artists who
have played a vital role in our community. “We
wanted to recognize local artists who have
contributed and given back to the city in various
ways,” explains Kristen Jochem, development
associate for NVC (NOMA Volunteer Committee)
fund-raising.
LOVE in the Garden Honors New Orleans Artists
NOMA Needs You!BECOME A VOLUNTEER
Meet Brad Caldwell, NOMA’svolunteer coordinator. He’s looking tobolster the ranks of NOMA’s dedicatedvolunteers for our centennial year andbeyond. “Whether you’re interested ina regularly scheduled position or anoccasional project, NOMA needs yourhelp,” he says. In particular, NOMA islooking for “on call” volunteers whocan fill in when the need arises.
To sign up to volunteer or for more information, contactBrad at [email protected] or (504) 658-4137.
2010 honorees (left to right): EdithMoseley, Joachim Casell, BobGraham, Sharon Weilbaecher,Peggy Bishop, Jacques Soulas,Mignon Faget, Robert Tannen,Thomas Mann, D. Nuego (seated).Photograph by Judy Cooper.
NOMA A
ND TH
E COMMUNITY
Arts���������20 January � February � March 2011
SUPPORTING NOMA
PresideNt’s CirCle
Mr. and Mrs. John D. Bertuzzi
Mr. and Mrs. Sydney J. Besthoff III
Mr. and Mrs. Ralph O. Brennan
Collins C. Diboll Private Foundation
Mr. and Mrs. David F. Edwards
Dr. and Mrs. Ludovico Feoli
Mr. and Mrs. Stephen A. Hansel
Ms. Adrea D. Heebe and
Mr. Dominick A. Russo, Jr.
Helis Foundation
Mr. and Mrs. David A. Kerstein
Mr. Paul J. Leaman, Jr.
Mrs. Paula L. Maher
Mr. and Mrs. Charles B. Mayer
Mrs. Robert Nims
Mrs. Charles S. Reily, Jr.
Mrs. Françoise B. Richardson
Jolie and Robert Shelton
Mrs. Patrick F. Taylor
Zemurray Foundation
direCtOr’s CirCle
Mrs. Jack R. Aron
Mr. and Mrs. F. Macnaughton Ball, Jr.
The Booth-Bricker Fund
Mrs. Lawrence D. Garvey
Mrs. Harry Greenberg
Mr. Jerry Heymann
Mr. and Mrs. Erik F. Johnsen
Mr. and Mrs. Peter R. Monrose, Jr.
Mr. and Mrs. Robert J. Patrick
Mr. and Mrs. George Rodrigue
Mr. and Mrs. Edwin Rodriguez, Jr.
Ms. Debra B. Shriver
Margaret B. and Joel J. Soniat
Dr. and Mrs. Richard L. Strub
Mr. and Mrs. St. Denis J. Villere
PAtrON’s CirCle
Mr. and Mrs. William D. Aaron, Jr.
Mr. and Mrs. Robert H. Boh
Mr. E. John Bullard III
Mr. and Mrs. Mark Carey
Dr. and Mrs. Isidore Cohn, Jr.
Mr. Leonard A. Davis
Mr. and Mrs. Prescott N. Dunbar
Ms. Mignon Faget
Mr. and Mrs. H. M. Favrot, Jr.
Mr. and Mrs. Timothy Francis
Mr. and Mrs. James J. Frischhertz
Mr. and Mrs. Edward N. George
Mr. and Mrs. Frederick Heebe
Mrs. Gloria S. Kabacoff
Ms. Allison Kendrick
Mr. Henry M. Lambert and
Mr. R. Carey Bond
Mr. and Mrs. H. Merritt Lane III
Mr. and Mrs. Thomas B. Lemann
Dr. Edward D. Levy, Jr.
Mr. and Mrs. J. Thomas Lewis
Dr. and Mrs. E. Ralph Lupin
Mr. and Mrs. Paul J. Masinter
Mr. Edward C. Mathes
Ms. Kay McArdle
Mr. and Mrs. R. King Milling
Mrs. Ellis Mintz
Mr. and Mrs. Michael D. Moffitt
Robert and Myrtis Nims Foundation
Dr. Howard and Dr. Joy D. Osofsky
Dr. and Mrs. James F. Pierce
Mr. and Mrs. James J. Reiss, Jr.
Dr. and Mrs. Edward F. Renwick
Mr. and Mrs. R. Randolph Richmond, Jr.
Mr. and Mrs. Benjamin M. Rosen
Mr. and Mrs. Brian A. Schneider
Mr. and Mrs. Edward Shearer
Mr. and Mrs. Lynes R. Sloss
Mr. and Mrs. Bruce L. Soltis
Ms. E. Alexandra Stafford and
Mr. Raymond M. Rathle, Jr.
Mrs. Frederick M. Stafford
Mrs. Harold H. Stream, Jr.
Mr. and Mrs. James L. Taylor
Mr. and Mrs. David S. Thomas, Jr.
Mrs. Hendrik Willem van Voorthuysen
Mrs. John N. Weinstock
Mrs. Henry H. Weldon
We appreciate the generous and continuing support of our Circle members.
Circles of the New Orleans Museum of Art
The NOMA Board of Trustees cordially invites you to join the Circles, the museum’s most prestigious membership group.
Circle memberships are available to individualscontributing at the following annual levels:
President’s Circle: $20,000
Director’s Circle: $10,000
Patron’s Circle: $5,000
NOMA is pleased to extend unique membershipprivileges to those who demonstrate their commitment at these levels. For more information, please call (504) 658-4107.
UP G R A D E YO U R SU P P O RT O F NOMA
Arts��������� 21January � February � March 2011
$100,000+The Helis Foundation
– Free Wednesdays for
Louisiana residents
Save America’s Treasures
– Permanent collection
conservation
Zemurray Foundation –
General operating support
$99,999 - $50,000The Selley Foundation
– Art storage building
renovation and website
re-launch
$49,999 - $20,000 Heebe-Russo Family
–Odyssey Ball
Robert Lehman
Foundation – Ancestors of
Congo Square catalogue
Luce Foundation – Kuntz
Galleries renovation
The Lupin Foundation
– Odyssey Ball
National Endowment for
the Arts – Art storage
building renovation
The RosaMary
Foundation – General
operating support
$19,999 - $10,000Garden Study Club
– Centennial beautification
Goldring Family
Foundation – Odyssey Ball
John Burton Harter
Foundation – Odyssey Ball
Louisiana Endowment
for the Arts – General
operating support
Morris G. and Paula L.
Maher Foundation
–Odyssey Ball
Jolie and Robert Shelton
–Odyssey Ball
Mrs. Frederick M.
Stafford – Odyssey Ball
Ruby K. Woerner
Foundation
– Programming
NOMA’s exhibitions and special programs are made possible through the generosity of our sponsors. We are
deeply grateful to these friends for their continued commitment. If you would like additional information on
sponsorship, please contact the museum’s Development Department at (504) 658-4107.
Program Sponsors
SUPPO
RTING N
OM
A
NOMA lost agreat friend
this past fall withthe passing ofCharles A. Snyder.A tirelesssupporter of themuseum, Snyderserved as a trusteeand benefactor fornearly fifteenyears. He firstbecame involvedwith the museumduring his tenureas president of the
City Park board, helping to facilitatenegotiations leading to the construction of theBesthoff Sculpture Garden.
An attorney who was active in a widerange of New Orleans cultural institutions,Snyder served four, three-year terms as amember of NOMA’s board of trustees, holdingofficer positions including vice president and
secretary and chairing the legal committee. Hevolunteered hundreds of hours of his timehandling legal issues on the museum’s behalf,including negotiating with the Egyptiangovernment on the contract for the 2003international exhibition, The Quest forImmortality.
After Hurricane Katrina, Snyder, like manyof his fellow trustees, rallied to provideleadership and financial support for themuseum. Serving at the time as president of theboard of the Historic New Orleans Collection,Snyder initiated a collaborative exhibitionprogram between the two institutions andfacilitated the joint acquisition of an importantseries of Katrina paintings by Rolland Golden.Snyder was elected an honorary life trustee in2009.
NOMA is fortunate to have been thebeneficiary of Snyder’s lifelong dedication tocommunity service and volunteerism. Weextend our deepest sympathy to the family ofthis great man.
In Memoriam: Charles a . snyder
Arts���������22 January � February � March 2011
SUPP
ORT
ING
NO
MA
Hundreds of NOMA friends attended LOVE in
the Garden, the annual outdoor party
benefiting the museum, on September 24, 2010. Held
beneath the light-strung oak boughs in the Besthoff
Sculpture Garden, the event featured live music and
food by local restaurants. Ten New Orleans artists
were honored.
On November 13, 2010, the 45th annual Odyssey
Ball unveiled the Great Collectors / Great Donors
exhibition in honor of NOMA’s centennial year. Mrs.
Frederick Stafford, who chaired the inaugural
Odyssey Ball with her late husband, was honorary
chairman. Special thanks to the Heebe-Russo family
and the Lupin Foundation for generously
underwriting the gala.
This spring, NOMA hosts a trio of events
celebrating art, design, and the warmer months. Save
the date for: Art in Bloom (March 30-April 3, 2011),
the Fabergé Egg Hunt (April 9, 2011), and the much-
anticipated return of the NVC Home and Art Tour
(April 16, 2011). For tickets and information, see
www.noma.org or call (504) 658-4121.
LOVE in the Garden and Odyssey Ball Bring NOMA Friends Together
LOVE in the Garden: 1. JoAnn Flom Greenberg and NOMA Director Emeritus E. John Bullard; 2. Mignon Faget, Joe Bruno,NOMA Director Susan M. Taylor, and NOMA Board of Trustees President Stephen A. Hansel; 3. Joe and Stephanie Bruno andLOVE guests. Photography by Judy Cooper.
1 2
3
Arts��������� 23January � February � March 2011
SUPPO
RTING
NO
MA
Odyssey Ball: 4. Sally Warren Wallman, Adee Heebe, and Aimée Farnet Siegel; 5. NOMA Director Susan M. Taylor andDirector Emeritus E. John Bullard; 6. Sydney Besthoff and Dr. Siddharth Bhansali; 7. Raymond Rathle, Jr., Alexandra Stafford, Mrs. Frederick Stafford, and Aimée Rathle; 8. Pam and Ralph Lupin; 9. Fred and Jennifer Heebe; 10. Emily Daly, Elise Daly, andRobert and Jolie Shelton; 11. Jimmy and Pixie Reiss and Jim and Karen Ward. Photography by Judy Cooper and Jeff Strout.
4 5
6 7 8
9 10
11
Arts���������24 January � February � March 2011
PROFILES IN GIVING
It is with great sadness that NOMA says good-bye
to a lifelong friend and supporter, Polly Guthrie.
We are deeply honored to accept a substantial
bequest Polly left to the museum in her will.
Polly and her family have had a rich and vibrant
relationship with the museum that has spanned
many decades. The eldest of five children, Polly was
born Mary Nelson in 1914 but was always called
Polly. She earned her B.A. at Newcomb College and
an M.S. in botany at Tulane University. Later, while
working as a chemist at the USDA Southern Regional
Research Laboratory, she completed her Ph.D in
physical chemistry.
Polly spent many years as an active volunteer at
NOMA, an institution she had loved since childhood.
Her aunt, Ethel Hutson, was NOMA’s first secretary,
serving under the museum’s first director, Ellsworth
Woodward. Polly’s brother, Waldemar S. Nelson, was
president of the City Park
Improvement Association and
served on the Board of Trustees
for the New Orleans Museum of
Art as the City Park
representative from 1983 to 1985.
One of Polly’s most
cherished memories of NOMA
was the relationship that existed
between the museum and her
grandfather, Charles Woodward
Hutson, a Louisiana artist known
for his southwest Louisiana
landscape paintings. The
museum held two retrospectives
of Mr. Hutson’s work, one in 1948
and one in 1965. Polly worked
closely with NOMA on the
development of the 1965 retrospective, and was
always very appreciative of the museum’s interest in
her grandfather’s artwork.
We are pleased that Polly’s relationship with
NOMA led to so many happy experiences for her
and her husband, John D. Guthrie, as well as many
members of her family. We are profoundly touched
by Polly’s generosity, and she will be sorely missed.
A Tribute to Polly Guthrie
Bequests to NOMA
Name NOMA as a beneficiary in yourwill and make a lasting contribution to themuseum. Charitable bequests may allowfor significant tax savings. For moreinformation, please call (504) 658-4107.
Polly Nelson Guthrie and her brother Waldemar Nelson at City Park.
Guarantor
Jones, Walker, Waechter, Poitevent,
Carrere & Denegre
Superior Energy Services, Inc.
Whitney National Bank of New Orleans
Patron
The Sydney and Walda Besthoff
Foundation
Master
Christie’s Fine Art Auctioneers
Dooky Chase’s Restaurant
The Schon Charitable Foundation
Leader
Boh Bros. Construction Co., L.L.C.
Bolton Ford
Hotel Monteleone
Laitram, L.L.C.
New Orleans Silversmiths
Rathborne Companies East, L.L.C.
The Times-Picayune
assoCiate
Bowie Lumber Associates
M. S. Rau Antiques, L.L.C.
Neal Auction Company, Inc.
Contributor
A. L. Lowe Picture Framing Company
As You Like It Silver Shop
Coffee Roasters of New Orleans
Gulf Coast Bank
Hirsch Investment Management, L.L.C.
Kentwood Spring Water, Inc.
Mignon Faget, Ltd.
Mudbug Media, Inc.
Sisung Securities Corporation
Wirthmore Antiques, Ltd.
The following corporate members make it
possible for NOMA to serve the public.
Corporate Membership Where
y’Art
Friday Nights
at nomaopen ‘til 9 p.m.
Great Art
Live Music
Film
Dance
Performance
Theater
Good Food
Art Activities
EveryWeekSomethingNew
P. O. Box 19123New Orleans, LA 70179-0123
NON-PROFIT ORG.US POSTAGE
PAIDNEW ORLEANS
PERMIT #108
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