BMA: The Legacy of Adelyn Breeskin

Between the galleries with works from the Cone Sister's collection and Modern Art is a single gallery with a lovely focus show. It is dedicated tot he contribution of Adelyn Breeskin (1896-1986). I love shows like this that draw from a museum's own collection while highlighting some aspect of the works that would otherwise be completely ignored. Additionally, this little exhibition elevated a pioneering woman in the art museum world, who likewise created a legacy now all but forgotten.

Breeskin's first employment was as an assistant curator of prints at The Metropolitan Museum of Art in New York City in 1918.  She came into the employment of the Baltimore Museum of Art when she was appointed its first Curator of Prints.  In 1942, she was promoted to the position of Director (actually, the BMA's second female Director).  A role that she held for the next 20 years.  Through her long life she studied the works of Mary Cassatt (1844-1926), and one of her foremost experts.  She was the first person to assemble a catalogue raisonne of the Impressionist's works.  

This exhibition highlights some of the wide range of works that Breeskin acquired for the BMA over the course of her career.  Interestingly enough the one Cassatt portrait in the show is a work that she wasn't able to purchase; however, the Peabody Institute (which does own it) has lent it to the BMA for an undetermined amount of time.  Thus "Portrait of Madame J (Young Woman in Black)" has called the BMA home for many years.

The works she was able to acquire represent a range of iconic painters.  On the back wall: Van Gogh, Gauguin, and Cezanne.  But the works are also eclectic.  Note the Aztec sculpture on the right.   Of course, there are prints, as well.

"St. Anthony Being Tormented by Demons"

by Martin Schongauer

circa 1430-1491, GERMAN

"Cup of Silver Ginger"

by Georgia O'Keeffe

1887-1986, AMERICAN

"The Bessie of New York"

by Arthur Dove

1880-1946, AMERICAN