Stella Waitzkin

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About Stella Waitzkin (1920-2003)

In 2021, the Kohler Foundation contributed pieces from Details of a Lost Library to George Mason University.

Early Life and Rebellion

Stella Waitzkin (1920–2003) was born in New York City to Austrian immigrant parents. Raised in affluence, her father's success in the lighting fixture business provided her with a privileged upbringing. Despite this, Stella rebelled against the conventional values of her parents, rejecting religious and social norms. Initially attending Alfred College, she found her true calling in acting, studying method acting with Bill Hickey. In 1942, while working at her father's company, Globe Lighting, Stella met and married Abe Waitzkin, a successful lighting salesman. They had two sons, Fred and Billy, and lived in Cambridge, Mass., and later in Great Neck, Long Island.

Bohemian Living and Artistic Exploration

Stella's artistic journey began in the 1950s when she studied painting with Hans Hofmann and life drawing with Willem de Kooning. Immersed in the bohemian scene of Greenwich Village, she created abstract expressionistic canvases and mingled with beat poets and jazz musicians. In 1959, rejecting suburban life, Stella moved to Riverdale and later to 27 West 9th Street, close to the Cedar Bar in Greenwich Village. A decade later, she settled in the Hotel Chelsea, where she delved into expressing social justice themes through sculpture, performance, and films. Her apartment, Room 403, became an artistic haven, hosting poets and painters. Stella's unique environment, filled with sculptures like "Details of a Lost Library" and the "Wreck of the UPS," reflected her abstract paintings.

Passionate and committed to her art, Stella worked tirelessly on sculptures, paintings, and drawings. Her Chelsea Hotel apartment and her house on Martha's Vineyard overflowed with her creations. In her later years, she frequented the Chilmark flea market, buying and selling objects for her sculptures.

untitled, n.d.
polyester resin, wood, and stone, 9" x 26" x 6.5"

untitled, n.d.
polyester resin and stone, 7" x 8.5" x 6.25"

untitled, n.d.
polyester resin, 7" x 5" x 2.5"

 

untitled (College Standard Dictionary), Date unknown (late 20th century)
polyester resin, 9.5' x 6.5" x 0.5"

Books as Freedom

Posthumously, Stella's work gained recognition in the art world more open to women artists. She was part of a 1970s movement treating modern books as art, and her unique approach to crafting books symbolizing freedom garnered attention. Stella's later focus on casting old, leather-bound volumes resulted in magnificent, translucent, and luminous sculptures. Her works have been exhibited globally and reside in prestigious collections, including the Museum of Modern Art and the Smithsonian.

 

Untitled (Small Bird on Book with Rock)
Date unknown (late 20th century)
6.5" x 9.5" x 5.5"
Polyester resin and stone

Stella Waitzkin's legacy extends beyond her artwork. After her death in 2003, a section of her Chelsea Hotel environment found a home at the John Michael Kohler Arts Center, and her recreated living room is now part of its collection. Her artistic contributions, from abstract expressionism to her exploration of books as art, continue to captivate audiences and contribute to the evolving narrative of women in the art world.

 

Researched by Soo Paek and Sophie Bae/ Mason Exhibitions

Salvador Dali

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About Salvador Dali (1904-1989)

Salvador Dalí was an icon of Surrealism, the 20th-century avant-garde movement that sought to release unconscious creative potential through art that featured dreamlike imagery. Dalí’s fantastical prints, paintings, sculptures, films, and writing helped cement the movement’s identity. Working off psychoanalytic ideas, Dalí rendered fantastical creatures and landscapes that could unsettle and awe. His 1931 canvas The Persistence of Memory is one of the most recognizable artworks of all time. Dalí exhibited widely in his lifetime, and his works belong in the collections of institutions including the Tate, the Museum of Modern Art, and the Art Institute of Chicago, among others. His work has fetched multimillions of dollars on the secondary market.

Imagination and Objects of the Future Portfolio, 1975

This portfolio showcases Dali's imaginative prowess as he envisions future conveniences and luxuries. Rooted in thorough explorations of science, biology, and mathematics, these whimsical inventions reflect the artist's late-career focus on technological advancement, nuclear warfare, and contemplations about his own mortality and artistic legacy. The prints within the portfolio encapsulate many central themes and motifs present in Dali's extensive body of work.

Comprising 10 drypoint etchings combined with lithography, screenprint, and collage, this complete portfolio is a testament to Dali's mastery. Each print is signed in pencil and annotated "I-44/250." Additionally, the portfolio features six introductory pages presented on three folded sheets. The image sizes vary, with each sheet measuring 30 x 22 inches. This collection stands as a vivid representation of Dali's unique artistic vision and his exploration of profound themes in the twilight of his career.

Reference: “The Official Catalog of the Graphic Works of Salvador Dali” by Albert Field.
Ref. 75-11-B, pages 104. Published by The Salvador Dali Archives.

Salvador Dali's "Imagination and Objects of the Future" 1975, is a remarkable addition to the GMU collection, courtesy of the generous contribution by Mr. Joseph D. Serpico.

Our Historical Heritage, 1975

Our Historical Heritage is a portfolio that shows Dalí’s influence from religious themes. The portfolio, Our Historical Heritage, depicts events and historical figures from the Hebrew scriptures (The Torah or Old Testament), curated with the signature style only found in Dalí’s work. This series includes Noah’s Ark, Joseph, King Saul, and more. Each image showcases Dalí’s master draftsmanship.

King David, from Our Historical Heritage, 1975
Engraving with pochoir in colors on Japon paper, signed and numbered in pencil Edition 
26 × 19 7/8 in

“King David” by Salvador Dalí is a magnificent work of art, which highlights Dalí's skill and religious influence. The image portrays King David as an elder playing a large, beautiful harp. King David has bright blue eyes and long, curly grey hair.

Adam and Eve, from Our Historical Heritage, 1975
Color engraving
26 × 19 7/8 in

In the depiction of Adam and Eve from this series, Dalí presents Adam and Eve in the Garden of Eden at the moment they are tempted to eat the forbidden fruit from the tree of knowledge. In Dalí’s depiction of the historic biblical event, both figures reach simultaneously for the bright red apple, which hangs from a spindly tree branch while the sly serpent wrapped around the trunk looks on.

Joseph (Joseph hung by his brethren) (from Our historical heritage)
Color engraving
26 × 19 7/8 in

In Joseph (Hung By His Brethren), Dalí Has Boldly Attempted To Show The Moment The Brothers Of Joseph – All Sons Of The Iconic Jacob In The Line Of Abraham – Lower Their Brother Into A Well, Which Preceded Them Selling Him Into Slavery. The Eleven Brothers Were Jealous Of Joseph, Who Was Favored By Their Father, And This Led Them To Great Sin Against Their Brother And Their Father. These Twelve Sons (Including Joseph) Would Become The Foundation Of The Twelve Tribes Of Israel.

Dahlia rapax (Dahlias of Dalí) (From Surrealist Flowers Portfolio), 1972
Heliogravure and embossing on heavy Arches paper
29 2/5 × 21 7/10 in

The Salvador Dali Surrealist Flowers suite consists of 15 lithographs with an original engraving. Editions Graphiques Internationales published the suite in 1972. The paper is very heavy Arches. The etchings shown below are loose as issued. The justification is EA. Each sheet has the copyright notice on the back. The image size is 21 1/4″ x 14 1/2.” The full sheet size is 25 1/2″ x 19 1/4″.

L’aventure medicale, 1980

There are few more fascinating subjects in human history than man's efforts to cure the sick, heal the wounded, and nurse the ailing. Since men first walked the earth, they have sought to prolong life, with magic, natural remedies, and the resources of modern medicine. 

Therefore, the record of human achievements in the healing arts is astonishingly rich, documented throughout the history with murals, scuptures, drawings, and paintings from every imaginable place and period.  

Through Salvador Dali's extraordinary imagination, he reveals a surreal and personal vision of the physician and his role in medicine.  

LA LUTTE CONTRE LE MAL, "The Healing Light”, is a journey through the phenomena of mysticism. Symbolic in imagery, it reveals to us the very progress of medicine.  

We know him as the medicine man, the witch doctor, the sorcerer, or the modern day physician. By whatever title we call him, the healer will always be accorded a high place socially and professionally. Soon this century’s ideas and activities will be reviewed by the next century’s historians and scientists, and each period will take its turn being evaluated by its successors.  

We would do well to view today’s medicine as merely a bridge between the past and future.  

La lumiere de la guerison (The Dentist), 1980 
Lithograph on Arches
30 × 21 in

This title translates to "The Light of Healing", from Dalí's series "L'Aventure Medicale". In this work, the Dentist shines his bright light upon the subject in his chair, with his light of healing. 

The Doctor, 1980 
Materials Color Lithograph 
26 × 20 in

Elephant herd, 1977 
lithograph, 21 3/4 x 15 3/4 in.

 
 

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Soo Paek and Sophie Bae

Lila Pell Katzen

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Lila Pell Katzen (1932 - 1998)

A sculpture by Lila Pell Katzen situated at Mason Pond has been on extended loan from the National Gallery of Art in Washington, D.C. since 1983.

ANTECEDENT, 1975, mild steel
Dimensions overall: 762 x 182.9 x 243.8 cm (300 x 72 x 96 in.) gross weight: 7500 lb.
Loaned by the National Gallery of Art Washington, D.C.

Title: Transferring the sculpture Untitled from the National Gallery of Art to George Mason University
Creator: Carl Zitzmann, George Mason University
Summary: Lila Katzen’s sculpture Untitled being placed onto a truck for transfer from the National Gallery of Art in Washington D.C. to George Mason University campus in Fairfax, VA.
Date created: January 21, 1983
Repository: George Mason University. Special Collections and Archives.
Finding aid: sca.gmu.edu/finding_aids/gmuphotos.html
Source: George Mason University photograph collection
Rights: Copyright held by George Mason University Libraries. Restricted to personal, non-commercial use only. For permission to publish, contact Special Collections & Archives, George Mason University Libraries.


About Lila Pell Katzen

Lila Katzen (1927–1998) was an American sculptor known for her large-scale, abstract metal sculptures. Born in New York City, Katzen studied at the Art Students League and later at the Académie de la Grande Chaumière in Paris. She was part of the post-World War II New York art scene, where she engaged with abstract expressionism and developed her distinctive sculptural style.

Katzen's work often features flowing, organic forms that evoke a sense of movement and energy. Her sculptures can be found in various public spaces, museums, and private collections. She gained recognition for her innovative use of materials, particularly welded steel, and her ability to create pieces that interact harmoniously with their surroundings.

Lila Katzen's artistic contributions have left a lasting impact on the world of sculpture, and her works continue to be celebrated for their dynamic and expressive qualities.

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Sophie Bae

Stephen Sacklarian

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About Stephen Sacklarian (1899-1983)
Born Varna, Bulgaria 1899-died Norristown, PA 1983

Dr. Arthur Furman generously contributed Stephen Sacklarian's collection to the GMU collection. Notably, he acquired the artist's works directly from Sacklarian.

Stephen Sacklarian was born in 1899 in Varna, Bulgaria after Sacklarian’s parents fled from Turkey during the Armenian genocide in the late 1890s. The family emigrated to the United States in 1911 where they resided in Philadelphia. Before becoming an artist, Sacklerian spent the early part of his career as an ameteur boxer and a full-time as a sales engineer for General Electric.

Untitled (B-155), 1967 acrylic on canvas, 51" x 66"

Following his decision to pursue art as a career, he received comprehensive art training at the Pennsylvania Academy of Fine Art, the University of the Arts, the T Square Club-School for Architects, the Fleisher Memorial Art School, and, eventually, through private study under the guidance of sculptor Paul Manship.

From the 1930s to the late 1950s, Sacklarian initially embraced a realist style in his paintings. His early works, primarily focused on nude portraits, indoor still lifes, and nature, most of which were destroyed by the artist. During this period, Sacklarian remained relatively obscure in the art world, while searching for the abstract style that would later define his career.

It was during the 1960s, influenced by the burgeoning art movement in New York City, that Sacklarian's interest shifted towards abstraction. The adoption of acrylic paints ushered in a transformative period, offering a newfound palette for his exploration in color and form. This phase birthed Sacklarian's iconic abstract expressionist style, elevating him to recognition. Concurrently, the late 1950s and early 1960s saw him venture into wood sculpture, bearing the indelible marks of African Art—a chapter that were destroyed by the artist during the period of grief following the untimely death of his wife, Ayne.

Ayne Sacklarian, an artist herself and a muse for Sacklarian, died due to a medical error during minor surgery. This tragedy cast a shadow over Sacklarian's life, triggering a deep depression. In the throes of despair, he obliterated his studio and many of his artworks. His art temporarily fell silent as he navigated this dark period, only resuming his creative endeavors years later, a testament to his loving memories of his deceased wife.

In the late 1960s and 1970s, Sacklarian's works took on a vibrant and upbeat quality, reminiscent of his earlier abstract artworks. This period marked a return to his signature style, as he sought to recreate the ecstatic energy that Ayne had once inspired in him.

Sacklarian's paintings are characterized by biomorphic forms dominating the foreground against angular "room-like" backgrounds or dark color fields. Employing perspective and composition, he juxtaposed vivid biomorphic shapes with unidentifiable geometrics. Human and animal forms, along with abstract sexual organs, often hover in the foreground, creating dreamlike and sometimes humorously mischievous compositions. Sacklarian's palette varied, but he consistently favored bright, rich colors. Notably, he claimed to always possess the precise mental image of his finished works before their initial creation, emphasizing the connection between his imagination and the canvas.

On View

Krasnow Institute

Presented at Krasnow Institute (400 University Dr, Fairfax, VA 22030) in the Downstairs Hallway, Great Room 137, and Stairway.

Center for the Arts: Dr. Linda Apple Monson Grand Tier

 
 

Photo Credit: Sophie Bae / Mason Exhibitions
Researched by Soo Paek and Sophie Bae

Carroll Sockwell

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About Carroll Sockwell (1943-1992)

Carrol Sockwell, born in 1943 amidst Washington's segregation, transcended a challenging youth through his artistic talents, nurtured and recognized by renowned art therapist Elinor Ulman. At the age of 17, he immersed himself in New York City's vibrant art scene, engaging with pioneers of Abstract Expressionism, Pop Art, Minimalism, and conceptualism. 

Upon his return to Washington in 1963, Sockwell became an integral part of the city's burgeoning art community. He curated at the historic Barnett-Aden Gallery, the inaugural African American art museum, and exhibited at the influential Jefferson Place Gallery. By the early 1970s, his work garnered acclaim from esteemed curators like Walter Hopps and Roy Slade, leading to exhibitions at prestigious venues such as the Corcoran Gallery of Art, Brooklyn Museum, and the Whitney Museum of American Art. 

Influenced by the Washington Color School, Sockwell skillfully harmonized geometric and gestural abstraction, expertly blending contrasting elements. His creations delved into personal and occasionally somber themes, encapsulating historically significant moments, evident in pieces like "Crisis of the Sixties" and "The Wrecking of the Berlin Wall." 

Despite the decline of abstract art in the 1980s, Sockwell persisted, drawing inspiration from icons like Francis Bacon and Marlene Dietrich, embodying resilience amidst challenges. His work, often navigating the shadows, mirrored his internal battles and triumphs. 

Enduring economic hardships, Sockwell continued to craft intensely personal art, showcasing his unwavering dedication to his craft. His journey, shaped by encounters with influential artists and a profound connection to the evolving art landscape, molded his unique vision, establishing him as a distinguished figure in the realm of abstract art. 

 

Check out our research

Carroll Sockwell: Grey Compositions

Founders Gallery @ Mason Square Campus, Arlington
August 12 - December 12, 2022

Buchanan Partners Gallery @ Hylton Performing Arts Center
October 12 – November 14, 2021

Exhibition Overview:
This exhibit features Sockwell’s suite of 6 large scale drawings titled Grey Compositions. The drawings feature a cacophony of black charcoal marks dancing over smoke-like expanses of grey and brown. Viewed together, the abstract works’ map-like graphic notations suggest an epic visual poem or musical score.  

 

Mason Collection 

The Mason Collection proudly houses a significant series by Carrol Sockwell, titled "Grey Compositions," generously donated by Mr. Ron Shapiro. This collection of six large-scale drawings features bold black charcoal marks intricately woven across expansive grey and brown backgrounds, creating a dance of contrasts. Viewed collectively, these abstract works transform into a visual poem or musical score, their intricate graphic notations resembling a map, capturing the essence of an epic artistic expression. 

This collection stands as a testament to the artistic brilliance of Carrol Sockwell, an African-American artist whose contributions have often been overlooked. George Mason University Art Collection is deeply honored to exhibit this impactful representation of Sockwell's innovative and under-recognized work, celebrating his profound artistic legacy. 

Researched by Soo Paek
Graduate Professional Assistant
Fenwick Library, Arts & Humanities Team
Provisions Research Center for Art and Social Change

Plaster casts

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Plaster Cast

The acquisition and research of plaster casts from the Metropolitan Museum of Art has been a decade-long endeavor spearheaded by Dr. Carol Mattusch, the Mathy Professor of Art History. This interdisciplinary project has united students, scholars, artists, and individuals from diverse backgrounds, fostering collaboration in the research, conservation, handling, and cataloging of approximately 70 plaster casts now housed at George Mason University.

Please explore the George Mason Plaster Cast Collection website for comprehensive details. You'll find 64 individual entries, each dedicated to a specific identified cast. These casts have been thoughtfully organized into six distinct collections, reflecting the respective time periods they represent.

Each entry includes a description, bibliography, location,photos highlighting characteristic attributes, and an image viewer that allows visitors to zoom in on the casts. Guidelines for reading the catalogue are also provided. Students and scholars are encouraged to use this information in future papers and can easily cite this catalogue. The collections include: Art of the Ancient Near East, The Art of Ancient Greece and Rome, Medieval and Renaissance Art, Southeast Asian Art, Islamic Art, and Modern Art. Select the collection that you wish to view by clicking on one of the representational images below.

Haitian art collections from David A. Kravitz, 1970-2000

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Haitian Paintings from the David A. Kravitz Collection, 1970-2000

David A. Kravitz ’s father, the late Boris Kravitz, assembled the collection, based on his experience as the founder of the Haitian Art Company in Key West, Florida, which operated from 1980 until 2009. The gallery acquired and sold a variety of original Haitian art, including paintings, sculptures, and spirit flags used during Vodou ceremonies. 

Painted in vibrant colors, the works present an idyllic vision of Haiti, emphasizing lush tropical landscapes, picturesque maritime imagery, scenes of everyday life, and themes from Haitian Vodou rituals. Created primarily for the tourist market, the works belie any hint of political turmoil, poverty, or religious conflict that marked Haiti’s history and instead present timeless vistas of Caribbean life. 

Special thanks to David A. Kravitz for donating this special resource to the University Art Collection.
Photo credit: Ashley A Fetterman

The collection is displayed in Enterprise Hall rooms ENT 204 and ENT 243A, as well as in the hallway and reception areas of the dean's suite. You can also obtain a catalog of the exhibition, where Art History and Arts Management students delved into Haitian history and religion, the history of art creation and scholarship in Haiti, and the influence of the tourist market on artistic production in the region. Their writings on these subjects are featured in a concise exhibition catalog, showcased in Enterprise Hall ENT 249, and can be acquired from Mason Exhibitions.

Art in the Shadows: Political, Economic, and Religious Context in Haitian History

Simeon Michel (1953-) Houses on a Hill at Dawn, before 1983 acrylic on canvas 20 x 16 in.

The history of Haiti is filled with silences and reflections of events that often become visible in the art. In Silencing the Past: Power and the Production of History, first published in 1995, Michel-Rolph Trouillot developed a model to describe how historical narratives - both true and false - are created.' He used the Haitian Revolution to explain why a certain narrative coalesced. He described "silences" as voices that are missing from the development of a story. He argues that silences "enter the process of historical production at four crucial moments: the moment of fact creation (the making of sources); the moment of fact assembly (the making of archives); the moment of fact retrieval (the making of narratives); and the moment of retrospective significance (the making of history in the final instance)." Trouillot's theoretical framework applies to historiographic scholarship more broadly but originates specifically from the Haitian context. In order to understand the silences that are in the art, we first must understand the historical circumstances that generated these same silences.

History of Religious Mixing

Prior to the arrival of Christopher Columbus, the Arawak Indians acknowledged the existence of one supreme, invisible, immortal, and omnipotent creator, whom they called Jocahuna. However, Columbus brought Catholicism with him and began a contentious mixing of religions on the island. Thousands of indigenous people were forcibly baptized, but very few were allowed to participate in the Eucharist.

When the colonizers began to bring enslaved Africans to the region, they also brought with them their own belief systems of African Vodou. The traditional view of Vodou is that it is "an African form of magic and witchcraft mixed with New World elements, complete with the ruling mother goddess, a pantheon of lesser deities, a psychic ritual, and a manipulative worldview." African Vodou syncretized with Catholicism to form Haitian Vodou, which combines Catholic rituals and imagery with African customs. Haitian Vodou involves a pantheon of deities as well as rites and spirituality developed around those spirits. Vodou refers not only to the religion but also to ritual dance styles that synchronize the community with the spirits. The relationship between these spirits, or wa, is built on reciprocation. According to Per-Nandez, Murphy, and Paravisin-Gebert, "the Iva offers help, protection, and counsel; their devotees offer ritual service in return, which includes a variety of individual and communal rituals. Privately, the believer will wear the wa's colors, feed the spirits, and make all necessary sacrifices when instructed." 

For nearly 200 years, French Catholics tried to teach the enslaved people "Christian civilization" and to stomp out what they viewed as paganism." Erasure tactics were carried out by banning Vodou meetings, and practitioners were punished should they not concede. In 1865, the Catholic Church instigated the Code Noir (Black Code), which was allegedly designed to protect the rights of slaves. Under this code, all slaves must be baptized, receive instruction in the Catholic faith, and attend Sunday Mass and confession. They must also renounce the practice of Vodou. Under the Police Rulings of 1758 and 1777, church leaders further attempted to eradicate Vodou practices, and Vodou practitioners were severely punished for violations. The imposed restrictions included the movement of slaves and the ban on drumming and dancing; moreover, slaves were prohibited from assembling without the presence of a Catholic priest, near their master's homes, or in remote areas. These regulations forced the practice of Vodou underground until the 1790s.

Michel-Ange Altidort (1965-) Butterfly people, acrylic on canvas 12 x 16

Resistance to these ordinances sparked the beginning of the Haitian Revolution. On August 22, 1791, Boukman Dutty, accompanied by an elderly priestess, performed a Vodou ceremony at Bois Caiman, during which they used the "war-like petro spirit of Vodou to organize, plan, and give the signal that began the revolt." During the Revolution, Catholicism almost disappeared as French priests fled the country in protest and in fear for their lives. After the end of the Revolution, the Vatican refused to acknowledge Haiti as a republic, causing a further rift between the Catholic Church and Haiti. In an attempt to regain favor with the Vatican, King Henri Christophe declared Catholicism the official religion of Haiti and sought to suppress Vodou. During this period, Haitians practiced Catholicism in public while keeping Vodou ceremonies private.

Between 1807 and 1842, Haitian presidents worked with the Catholic Church to eradicate Vodou by stamping out the cultural significance of Vodou or trivializing it as folklore. However, with the election of President Faustin Soulouque in 1847, Vodou became more publicly acceptable. Soulouque encouraged the practice of the religion, and members of Hait's elite were able to openly embrace Vodou as a part of their culture. "Catholic orthodoxy rapidly declined as several generations of Haitians received no religious instruction in the faith.

With the appointment of President Fabre Nicolas Geffrard, the rift with the Vatican was healed through the 1860 Concordat. This agreement once again brought Vodou under scrutiny, sparking the anti-superstitious campaigns of 1896, 1913, and 1941, during which ritual paraphernalia was burned throughout the country. As a last-ditch effort to destroy Vodou influence in 1941, President Elie Lescot's government and the Catholic clergy waged what Murrell called "an all-out 'demon hunt' war against Vodou" in an attempt to "save the souls of Vodou devotees from eternal damnation." 

Occasionally, Vodou was even weaponized against the Haitian people. François Duvalier presented himself as the embodiment of Vodou powers to instill fear in the peasant class. He encouraged this perception by positioning himself as a servitor or devotee of the Iwa and as a boker (priest who engages in sorcery), as well as by imitating the dress and personality of Baron Samedi, the Iwa of the dead." Despite the renunciation of Catholicism during the Duvalier dictatorships, the American occupation of Haiti and the post-Duvalier era saw further persecution of Vodou.

'The Haitian Constitution of 1987 finally established freedom of religion in Haiti. President Jean-Bertrand Aristide, elected in 1990, further supported this freedom and allowed Vodou devotees to practice without political and religious repercussions. In 2003, Aristide enacted legislation that allowed Vodou to be recognized as a legitimate and official religion. Because of this ruling, his image appears on many Vodou altars."

Paintings from the Kravitz collection highlight this historical and religious intermingle. Several works include biblical imagery, such as Obès Faustin's Jungle Scene with Animals (Garden of Eden?) and Gabriel Bien-Aimé's Adam and Eve. Saincilius Ismaël's Nativity Scene is an excellent example of religious syncretism. While the main subject is the Christian nativity scene, the heart symbols refer to Er-zuli, the Vodou Iwa (spirit) of love and motherhood. She could also be interpreted as Ezili Danto, another manifestation of Erzuli. Ezili Danto is often shown in red and blue, as the Virgin Mary is depicted in this painting. Ezili Danto is often equated with the Virgin Mary or other iterations of Madonnas with children.

Jean Baptiste, Carlos, Child with Water Sprit, ca.1991, acrylic on canvas, 8 x 16 in

Some of the other paintings from the Kravitz collection reference Vodou more overtly. Included in this category are Michelange Altidort's Butterfly People and Carlos Jean Baptiste's Child with Water Spirit. Altidor's Butterfly People shows Mistress Lasiren, another Iwa, in her form as a mermaid. Lasiren is thought to bring good luck and wealth from the bottom of the sea. She is often represented as Our Lady of Charity, the Cuban patroness (Nuestra Señora de la Caridad Cobre). The Iwa in Baptiste's Child with the Water Spirit is a bit more difficult to identify. It could be a general water spirit who concerns themselves with the affairs of children and appears in a variety of forms, or Loko, Iwa of vegetation, guardian of sanctuaries, and personification of plants." The scene could also possibly represent the island of Grand Bois d'Llet, where the Iwa live in submerged forests and welcome the souls of the dead.

Other paintings, such as Jacques-Enguerrand Courgue's Fish, Face, and Boats (sec. Fig. 4), suggest more oblique references to Vodou. The man in the image could be interpreted as Agwe, one of the primary Iwa. Agwe is the protector of ships at sea, marine and aquatic life, and fishermen. Rituals to summon Agwe take place at sea, and he is usually summoned by conch shells, like the ones seen in this painting. Agwe is usually shown with a fish and is syncretized with Saint Ulrich or the archangel Raphael. Evidence of religious mixing in these paintings is visible through the lens of the long history that came before them.

Artists:
H. Altenor, Michel-Ange Altidort, Gesner Armand, Gabriel Bien-Aimé, Saint Louis Blaise, Dieudonne Cedor, Anatol Charles, E. Cherisme, Osmin M. Christophe, Obès (“OB”) Faustin, Lafortune Felix, M. Germain, Jacques-Enguerrand Gourgue, Calixte Henri, Saincilius Ismaël, Acciméus James, Carlos (Charles André) Jean Baptiste, Carlo Jean-Jacques, F. Joseph, Louines Mentor, Simeon Michel, Benson Myrthil, Louverture Poisson

An Eruption of Vesuvius

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An Eruption of Vesuvius

In 2002, George Mason University received a noteworthy donation from Robert E. Pugh—a collection of chromolithographs with a unique history. These chromolithographs were once the property of the Proprieta Artistica Leteraria D'Melio.

The subject of these remarkable prints centers around the dramatic eruption of Vesuvius in March 1834. While the exact origins of this series remain shrouded in mystery, we can reasonably infer that the original artist was Italian. This presumption is supported by the caption running along the bottom of the prints, which reads "Eruzione del Vesuvio del 10 Marzo 1834," translating to "Eruption of Vesuvius on 10 March 1834."

African Art

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Art from Africa embodies a rich tapestry of multifaceted expressions, deeply rooted in its diverse and multicultural heritage. Across its fifty-four countries and hundreds of ethnic groups, Africa resonates with a profound richness of culture. The Mason African collection delves into the material culture hailing from eight distinct African nations: Nigeria, Sierra Leone, Burkina Faso, Mali, Kenya, Tanzania, Côte d'Ivoire, and Liberia. Far from static or merely aesthetic, these artworks reveal their dynamic essence, having been crafted with purpose and intention.

Woman and Warrior: Many African societies place monumental importance on gender and initiation rites. This emphasis on gender is normally centered around the males of a society. However, women have important roles and rites of their own. Young women have dynamic relationships with the male Maasai warriors. This section explores the theme of women and warriors spanning from Maasai warriors, Mende Bundu Sowei masquerades, Ancient Mother deities of the Poro initiation cycle, all the way to Dogon ancestral altars commemorating deceased female family members.

Masquerades: Masquerades are prominent in many African cultures and are an insight into the values of these particular societies. Presently, scholars understand the importance of masquerades and attempt to preserve and understand the composition of these rituals. These ceremonies utilize the masquerade in order to commemorate occasions such as life, death, religion, and harvest. Each mask within this collection is handmade and serves a specific function within the masquerade performance.

Ceremonial: Ceremony and ritual are integral elements of African art. Ceremony covers a wide range of life events, from rites of passage to marriage, funerals, and seasonal changes, including cycles of the harvest and farming. Art serves a vital function in these ceremonies, as demonstrated by this selection of objects. These works showcase a vast variety of ceremonial use, from the dances utilizing the Chiwara headdress, masquerades set to the music of drums, and figures used atop shrines.

Sculptural Primacy : Sculpture is an essential element in African societies. Art is deeply woven into the fabric of social life and plays a vital role in connecting all members of the community. The sculptures of Africa are sophisticated, powerful, and dynamic. One of the formal elements of African sculpture is the concept of sculptural primacy. This means that most African art is meant to be viewed three-dimensionally and from all angles.