Cincinnati Art Museum Cincinnati Art Museum
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Frank Duveneck: American Master
Through March 28, 2021

The first comprehensive exhibition of the artist’s work in more than 30 years

Through his brilliant and inspiring work as a painter and printmaker and as a charismatic teacher, Duveneck’s impact on the international art world of his time was substantial and enduring. More than 90 examples across media from the holdings of the museum, the leading repository of the Kentucky native’s work, and 35 pieces on loan from collections across the United States, will provide a fresh, in-depth look at this important artist.

Once Cincinnati’s most celebrated artist, Duveneck was born in Covington to Westphalian immigrants in 1848. He studied in Munich, Germany, where he became an influential teacher, and spent nearly two decades in Europe. His work reflected the impact not only of modern German art, as is widely acknowledged, but also French and Italian work. His paintings’ lack of finish and assertive brushwork parallel Impressionism, and his work as a printmaker positioned him centrally in the period’s etching revival.

A captivating educator of men and women, Duveneck counted John Henry Twachtman and Elizabeth Boott among his pupils and James Abbott McNeill Whistler among his collegial friends. Returning to the United States in 1888, Duveneck taught at the Art Academy of Cincinnati, where he became director of the faculty in 1905. As a mentor and esteemed advisor to collectors and the Cincinnati Art Museum staff, Duveneck’s impact on the Cincinnati art world remains unparalleled.

This is the first exhibition in 30 years to dive deep into Duveneck’s artistic development, his working methods, and the historical and social context of his subjects. Presenting abundant new research, the exhibition upends many common misconceptions and reveals the artist’s accomplishments across subjects and media, including oil paintings, drawings, watercolors, pastels, etchings, monotypes, and sculpture.

The paintings of streetwise kids and informal portraits for which he is renowned are accompanied by society portraits, Bavarian landscapes, Venetian harbor views, depictions of Italian city and country folk, renderings of the nude figure and more. A profusely illustrated catalogue published with D. Giles Ltd is available in the museum’s Gift Shop.

Dr. Julie Aronson, curator of American Paintings, Sculpture and Drawings at the Cincinnati Art Museum since 1999, has been working on the exhibition for several years.

“We are excited to celebrate Frank Duveneck with this exhibition that illuminates one of the unique strengths of the Cincinnati Art Museum’s collection: its deep concentration in the works of one of the towering figures of American art of the late nineteenth and early twentieth centuries. Side by side with our stunning Duveneck masterworks are key paintings on loan from across the country, presenting a fresh approach to the compelling story of one of our regional heroes. Duveneck’s bravura painting shines in this exhibition as never before!” said Aronson.

Duveneck: American Master was organized with the generous support of the Harold C. Schott Foundation. This exhibition is presented by Western & Southern and Fort Washington Investment Advisors, Inc., with additional support from the Wyeth Foundation for American Art, the Duveneck Association of the Cincinnati Art Museum, Mike and Sue West, and the Wohlgemuth Herschede Foundation.

The exhibition will be on view in our Western & Southern galleries (G232 & G233). Tickets for the exhibition are free for members and will soon be available for purchase by the general public at the Cincinnati Art Museum front desk and online at cincinnatiartmuseum.org. Photography without flash is encouraged. On social media, use the hashtag #CAMDuveneck

Elsewhere in the museum, Duveneck will be celebrated with a free display, Grand Experiment in Italy: Etchings by Duveneck and His Students, from Dec. 5, 2020–April 4, 2021 (G213). Curated by Cincinnati Art Museum’s Curator of Prints Kristin Spangenberg, the special feature showcases 18 rare etchings by Duveneck and his students, including a trial proof of The Riva, a previously unrecorded early etching by the artist in 1880.

In addition, Duveneck’s art in the Cincinnati Wing has been freshly installed with More Duveneck! Paintings from the Vault, which presents 35 paintings by the artist from the museum’s renowned collection, hung salon-style in the Otto M. Budig Family Foundation Gallery (G110).

Black & Brown Faces
Through January 3, 2021
The Alice F. and Harris K. Weston Gallery (Gallery 303)

Organized by Paloozanoire and presented in partnership with the Cincinnati Art Museum, Black & Brown Faces is a guest exhibition featuring one artwork by each of ten artists of color who have ties to Cincinnati. The paintings, mixed media works, drawings and photographs on view explore struggle and uplift by focusing on the facial expressions of people of color during the extremes of 2020. Black & Brown Faces responds to the need for creative expression and dialogue to promote openness, health and wellness in communities of color and in our society. Exhibiting artists, selected by Paloozanoire, include Khonisa X Anderson, Mark Anthony Brown Jr., Adonte Clark, Michael Coppage, Daryl Myntia Daniels, Terence Hammonds, Gee Horton, Hannah Jones "Jonesy", Annie Ruth and Kevin J. Watkins.

Over the course of the exhibition, each exhibiting artist will engage in a short, recorded conversation considering relationships between their own work and an artwork on view in the museum’s permanent galleries. The aim of these dialogues—available online as well as in the galleries—is to explore new perspectives on both artworks as well as ways in which the museum’s collection can be a resource for contemporary life.

Bold Gestures: Contemporary Japanese Ceramics
December 15, 2020­–January 2, 2022
Gallery 136

A Special Feature exhibition.

The latest in an ongoing rotation of loaned and recently accessioned Japanese ceramics, this new display features the work of artists who have mastered techniques from the traditional to the radical to achieve artistic revelations

Women in Contemporary Art, Craft and Design
November 29, 2019–May 27, 2022 | Gallery 222

They are bending glass, forming clay, sculpting wood, forging metal, stitching cloth. Experience the creative and technical breakthroughs of leading contemporary female artist and hear their stories in this new installation of works from our permanent collection.

The Grand Experiment in Italy: Etchings by Duveneck and His Students
Through April 4, 2021

Artists in the mid-nineteenth century took up etching as an original creative medium. They promoted its freedom of expression as akin to drawing, distinct from reproductive printmaking. The “etching revival.” an international movement, heir to the spirit of Rembrandt, began in England and France as a medium equivalent in prestige to painting. By the late 1870s enthusiasm for original etching reached America and was the focus of experiments by Duveneck and his students in Italy where they wintered in Florence and summered in Venice during 1880 and 1881.

Since the eighteen-century, Venice served as a source of inspiration for artists seeking to capture its watery vistas, historic architecture and exotic inhabitants. Duveneck early etchings and those of his students coincide with their interaction with the American expatriate James Abbott McNeill Whistler. Already an internationally recognized printmaker, Whistler seeking to recoup his reputation and fortune, accepted a commission from the Fine Arts Society to produce twelve etchings of Venice. He arrived in September 1879 and Duveneck and his students (the “Duveneck Boys”) arrived late spring 1880. Otto Henry Bacher, one of the Boys and an experienced etcher, brought his homemade press and supplies. He provided technical assistance and shared his press for all who enthusiastically experimented with etching. The heady interaction of the artists can be observed in their early work thanks to the generous gifts of Duveneck. Exhibited here for the first time is trial proof of The Riva, a previously unrecorded early etching by Duveneck

Women Breaking Boundaries
Through January 10, 2021
Vance Waddell and Mayerson Galleries (Galleries 124 and 125)

Admission is free.

Explore artistic innovation and artists as change-makers in Women Breaking Boundaries at the Cincinnati Art Museum

A new special exhibition explores the role of women in art and art history at the Cincinnati Art Museum from October 11–April 12, 2020. Women Breaking Boundaries highlights artworks from the museum’s permanent collection created by female artists from the seventeenth century to today. It will encourage visitors to think critically about gender, inclusion, and diversity and how that translates to the museum’s gallery walls.

A cross-departmental selection of 38 artworks from Europe, North America and Asia will be featured, ranging from oil on canvas, metalwork, ceramic, and prints to photography and fashion. Prominent artists include Georgia O’Keeffe, Lorna Simpson, Kara Walker, Mary Cassatt, Julia Margaret Cameron, Elizabeth Catlett, and Chiyo Mitsuhisa.

The Cincinnati Art Museum’s female founders played an essential role in the birth of this city’s vibrant arts scene. In 1877, the Women’s Art Museum Association (WAMA) was formed to promote the arts in Cincinnati, founded on the heels of the 1876 Centennial Exhibition in Philadelphia. WAMA was adamant about bringing the social and economic benefits of an art museum to Cincinnati. Enthusiasm and support for their cause was widely generated and, by 1881, the Cincinnati Museum Association was incorporated.

This connection to the museum’s founding women has long been lauded as an early success for Cincinnati women in the arts. Members of WAMA were strong female activists for the arts, founding our institution as well as others throughout the city, and funding early acquisitions by female artists. As the nation is about to celebrate 100 Years of Women’s Suffrage, Women Breaking Boundaries reminds us to reflect on this history. By examining our museum’s story and presentation practices we can revisit this narrative, encouraging visitors and museum staff alike to reflect on the past, engage with the present, and consider the future.

Ainsley M. Cameron, Curator of South Asian Art, Islamic Art & Antiquities, has organized the exhibition. “Though Women Breaking Boundaries proudly recognizes the contributions of female artists to the art canon, this is not a celebration of equality,” says Cameron. “Artists who identify as female continue to be a minority within museum collections—ours, and in the art world more broadly speaking—and addressing this inequality creates space for dialogue and productive exchange.”

Pairings and juxtapositions of artworks will be created to encourage such dialogue and exchange. Barbara Kruger, a feminist artist who critically engages with the portrayal of women in the media, will be paired with a dress by early twentieth century fashion designer Madeleine Vionnet. The female form as seen in a 1970s Jo Ann Callis photograph of a woman’s body will be reflected in an art nouveau vase created by Mary Sheerer of Newcomb Pottery. While vast and vastly different, the works presented offer insights into the myriad of ways that female artists have been, and continue to be, active change-makers in their chosen medium.

Women Breaking Boundaries is conceived of as the museum’s main contribution and focal point of a larger project, Power of Her, a city-wide initiative of Cincinnati arts organizations to mark 100 years since Congress passed the Nineteenth Amendment. Led by ArtsWave, Power of Her will include over a year’s worth of community programs, festivities and events at organizations including Cincinnati Opera, Cincinnati Symphony Orchestra, Cincinnati Shakespeare Company, Cincinnati Ballet and more, from June 2019 through December 2020.

During Power of Her, a majority of the museum’s permanent gallery rotations throughout the museum will focus on female artists. Visitors are encouraged to view Women Breaking Boundaries, explore rotating galleries, as well as the Cincinnati Art Museum permanent collection galleries that feature women. A free gallery guide highlighting female artists in the collection will be available at the entrance to the museum.

Related programs will be held at the museum in conjunction with the run of the exhibition, including Family First Saturday, Gallery Experiences, gallery talks and more. For a full list of programming, please visit the museum’s online calendar.

Women Breaking Boundaries will be on view in the Vance Waddell and Mayerson Galleries (Galleries 124 and 125). Admission is free. Photography is encouraged, but no flash. On social media, use #WomenBreakingBoundaries and #PowerofHer.

The Paper Sculpture Manual

Curated by Mary Ceruti, Matt Freedman, Sina Najafi

Although we remain socially distanced from many of our loved ones and neighboring communities during this exceptional time, art remains a powerful source of inspiration and connection that can bring people together—even remotely. The Cincinnati Art Museum along with the Independent Curators International (ICI) invite our global digital community to create and collaborate with The Paper Sculpture Manual, a downloadable, printable, and shareable manual to take you away from your screens and recreate art experiences in domestic spaces. These shareable designs from The Paper Sculpture Show, a traveling exhibition in 2003-2007, feature three-dimensional paper sculptures designed by twenty-nine international artists and artist collaboratives that are meant to be assembled by you, the visitor.


Don’t have access to a printer? That’s okay! We encourage participators to assemble their favorite pieces into paper sculptures using whatever readily accessible materials are at their disposal. Repurposing and transforming magazines, old newspapers, books, and cardboard boxes and containers is, in part, the ethos of this exhibition—bringing new meaning to an existing form, giving depth and dimension to a flat surface.

The Paper Sculpture Show raises many questions: Who is the author of these three-dimensional objects, the artists who designed them, or the visitors who assemble them at home? Which is the original and which the copy? Instead of providing answers, The Paper Sculpture Show suggests flexible definitions of a work of art that accommodate the variety of creative practices that now constitute contemporary art and culture.

Now the question is: what are YOU going to make? Create one or all twenty-nine. Be sure to tag us on social media using #papersculpturemanual, so we can follow along! Each paper sculpture measures 10 x 12 3/4 inches and will require no more than four sheets of paper, along with a limited set of tools including: scissors, tape, and glue for assembly. Stay tuned for more exciting content here and on our Facebook Group, CAM Connect, as we take a special look at our permanent collection through the expressive and dimensional medium of paper.

Example: Eve Sussman, Goggles for Kaleidoscope Eyes, 2003 (found on page 100)​

Janine Antoni, The Art Guys, David Brody, Luca Buvoli, Francis Cape and Liza Phillips, Seong Chun, Minerva Cuevas, E.V. Day, Nicole Eisenman, Spencer Finch, Charles Goldman, Rachel Harrison, Stephen Hendee, Patrick Killoran, Glenn Ligon, Cildo Meireles, Helen Mirra, Aric Obrosey, Ester Partegàs, Akiko Sakaizumi, David Shrigley, Eve Sussman, Sarah Sze, Fred Tomaselli, Pablo Vargas-Lugo, Chris Ware, Olav Westphalen, Allan Wexler, Paul Ramírez Jonas

The Paper Sculpture Manual is based on The Paper Sculpture Show, a traveling exhibition curated by Mary Ceruti, Matt Freedman, and Sina Najafi in 2003 and produced by Independent Curators International (ICI), Cabinet, and SculptureCenter. The Paper Sculpture Manual is made available to art spaces internationally free of charge, in response to the COVID-19 crisis, and made possible by ICI’s Board of Trustees and contributors to ICI’s Access Fund.

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