Dear Friends of the Timken,
The interpretations collected in this archive were all written during the somewhat extraordinary circumstances of the COVID-19 pandemic. For more than six months, the Museum's doors were closed to the public. During this period of physical separation, I produced these reflections on our permanent collection on a weekly basis, which is to say, hastily, my hope was to maintain a connection to the community and to suggest that vital dialogue about art and audience could not be stopped by a public health crisis.
Looking back, these writings reflect that moment. We've made a decision not to revise them even though we undoubtedly experience these works differently today. By preserving the perspective of the pandemic, we may recall how works of art mattered vividly in the midst of a period of unprecedented isolation.
I should also point out that research and technical examination have since revealed new insights (about attribution, provenance, etc.) when it comes to several of these works. We know this and look forward to sharing our new knowledge with you when visiting the Timken in person, or when reading future texts. Stay tuned. For now, we invite you to take pride, as we do, in a Timken collection that inspires, teaches, and sustains us. Especially when we need it the most.
Sincerely,
The interpretations collected in this archive were all written during the somewhat extraordinary circumstances of the COVID-19 pandemic. For more than six months, the Museum's doors were closed to the public. During this period of physical separation, I produced these reflections on our permanent collection on a weekly basis, which is to say, hastily, my hope was to maintain a connection to the community and to suggest that vital dialogue about art and audience could not be stopped by a public health crisis.
Looking back, these writings reflect that moment. We've made a decision not to revise them even though we undoubtedly experience these works differently today. By preserving the perspective of the pandemic, we may recall how works of art mattered vividly in the midst of a period of unprecedented isolation.
I should also point out that research and technical examination have since revealed new insights (about attribution, provenance, etc.) when it comes to several of these works. We know this and look forward to sharing our new knowledge with you when visiting the Timken in person, or when reading future texts. Stay tuned. For now, we invite you to take pride, as we do, in a Timken collection that inspires, teaches, and sustains us. Especially when we need it the most.
Sincerely,
Derrick Cartwright, Director of Curatorial Affairs
After Giambologna, Flying Mercury, late 19th- or early 20th-century
Work of the Week #
47
Moscow School, The Georgian Mother of God, Second half of the 17th century
Work of the Week #
42
Master of the Magdalen, Madonna and Child with Two Angels and Twelve Scenes from the Passion, c. 1300
Work of the Week #
35
Nicolas de Largillière, Portrait of Marguerite de Sève and Portrait of Barthélemy-Jean-Claude Pupil, both 1729
Work of the Week #
32
Guercino (Giovanni Francesco Barbieri), The Return of the Prodigal Son, 1621
Work of the Week #
30
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Anthony van Dyck, Mary Villiers, Lady Herbert of Shurland, c. 1636
Work of the Week #
20
Anonymous Russian, The Archangel Michael with Deeds, 19th century - Collection of Miss Amy Putnam 1963.150
Work of the Week #
19
Niccolò di Buonaccorso, The Madonna of Humility with St. Catherine of Alexandria and St. Christopher, The Annunciation, and the Crucifixion, c. 1370-75
Work of the Week #
16
Jean-Honoré Fragonard, Blindman’s Buff (Le Colin-Maillard), c. 1775-80
Work of the Week #
13
Paolo Caliari, called Veronese, Madonna and Child with St. Elizabeth, the Infant St. John the Baptist, and St. Catherine, c. 1565-70
Work of the Week #
12
Jacob van Ruisdael, A View of Haarlem and Bleaching Fields, c. 1665-70
Work of the Week #
7
Giovanni Antonio Boltraffio, Portrait of a Youth with an Arrow, c. 1500 - Timken Museum of Art
Work of the Week #
4
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