In the Meantime….
November 19th, 2008Something I’ve blogged about a few times before, but worth mentioning again: our approach to web and print catalogues at the Pulitzer is unique. Because the interaction between the art and architecture is such a huge part of every exhibition, it’s essential to include full installation photos within our exhibition catalogues. This means we can’t start photography until everything is completely installed. Which in most cases is the week of the opening. This photography, in addition to the accompanying text (something that also always has a unique slant – more on that later), is compiled shortly after the opening. HOWEVER: the Old Masters exhibition is a whole new ballgame. The natural light in the galleries and how it affects your perception of the artworks (read Bonetti’s write-up on this here) means trying to capture this unique viewing experience through our exhibition photography as well. Top that off with unusually cloudy days lately (SIGH), and you can see why the timeline for this catalogue has been extended.
So what do we do in the meantime? At our front desk, you can find a complete checklist of all the works within the exhibition. We also have a previously blogged about in-gallery kiosk (my favorite!).
While the web catalogue is in development, we’ve launched a pretty fantastic holding page. It includes the curator videos available on the in-gallery kiosk, and a place for the curators to post answers to your questions. You can submit these questions either on the kiosk in our galleries or on this holding page at home. They’re smart, these curators, so be sure to ask them some tough ones. And while you do, we pledge to keep this “in the meantime” phase interesting for you, so keep your questions and feedback coming.
I’m a priest of the Archdiocese of St. Louis, stationed in St. Ann, and I had the opportunity this afternoon to visit the Old Masters exhibit at the Pulitzer, which I thoroughly enjoyed. I can’t remember the name of the person whom I spoke to, but since I was clearly recognizable as a priest, she asked if I could identify the significance of the child’s face depicted on the chest of St. Nicholas of Tolentino, who is in one of the Madonnas in the Cube.
A little research has yielded me some information on St. Nicholas of Tolentino; he is not to be confused with the much more popular St. Nicholas of Myra. Nicholas of Tolentino was an Augustinian friar who lived in the thirteenth century and was renowned as a preacher and a peacemaker. I have not, however, got any leads as to why he is depicted with a child’s face on his chest in the painting. The Catholic Encyclopedia says that he is typically depicted with a star on his breast, and holding either a lily (emblem of purity) or a piece of bread (connected with miracles reported of him).
I am intrigued by this, and if I can find out why Nicholas was so depicted in the Harvard painting currently at the Pulitzer, I’ll be sure to let you know.
Dear Fr. Houser-
Thank you for writing! That’s fascinating – please do keep us posted if you learn anything more. I am going to forward your comment to Harvard to see if they have any information to add as well. I’ll post anything I find out here!
Thanks again-
Rachel
An update: I received the following from Harvard’s curator Stephan Wolohojian:
St. Nicholas of Tolentino is indeed an Augustinian, hence the black habit, and his usual symbol is a star. St. Nicholas is closely associated with Purgatory and his prayers for redemption. He was an important intercessor and every time he would celebrate mass for the dead, a star would appear. The face with the golden rays on his chest is nothing other than an animated star.