Give Now
 
 
 

Tag Archives: M&G collection

Object of the Month: July 2016

Landscape with the Baptism of Christ

Oil on canvas, c. 1655–60

Salvator Rosa

Neapolitan, 1615–1673

Click on the links throughout the article to view additional artists’ works and reference material.

The Landscape with the Baptism of Christ represents an innovative, naturalistic school of landscape painting developed in seventeenth-century Naples by Salvator Rosa and Micco Spadaro. Rosa, the creator of this work, is said to have used oil on paper to sketch his landscapes directly from nature.  This preparatory technique may well account for the lush details evident in Rosa’s rocky, river scene. The meticulous realism of his looming wilderness also serves as a visual metaphor of Christ’s humility. Here the Creator is willingly enveloped by His creation.

The Baptism (which came into the museum collection in 1955) was first brought from Italy to America in 1836. Art scholar Ian Kennedy notes: “At that time the 18th century taste for the picturesque still remained in fashion in the new world and found ready acceptance in a young country engaged in conquering the wilderness.” Although aesthetic emphases and stylistic techniques have varied widely since that time, the transcendent allure of capturing nature’s beauty inspired by Baroque landscape painters like Rosa remains.

David Clayton in The Way of Beauty observes, “The baroque landscape is based upon an assumption that mankind is the greatest of God’s creatures and has a uniquely privileged position within it. The rest of creation is made by God, so that we might know Him through it.  Creation’s beauty calls us to itself and then beyond, to the Creator. Man is made to apprehend the beauty of creation.”

Donnalynn Hess, Director of Education

 

For more on David Clayton’s book,  The Way of Beauty, visit http://thewayofbeauty.org/buy-the-way-of-beauty-book/.

 

Published in 2016

Object of the Month: June 2016

Cassone

Polychrome and giltwood

Italian, 16th century

Click on the links throughout the article to view additional artists’ works and reference material.

In the not-too-distant-past, young women acquired hope chests to hold clothing, linens, and other items needed to set up housekeeping after marriage. In medieval and Renaissance Italy, similar chests, called cassoni (singular, cassone) served the same purpose. The ornate chests reflected the wealth and status of the families; even the size and grandeur of the cassoni conveyed the importance of the bride’s family, which in this case must have been substantial. Part of the wedding celebrations included the parading of cassoni through the streets from the bride’s home to her new home.

Portraits of the bride and groom are painted at each end of the Cassone.

To complete a cassone, the project required a variety of artisans—woodworkers, ironworkers, artists working in gesso for the ornate pastiglia  and gilding, and painters for the inlaid painted panels. It is probable that this cassone once had a decorative back called a spalliera, which is now missing. All of these components combined to make the cassone more impressive and expensive. The portraits of the bride and groom on each end of the cassone provide a beautiful, personal touch.

Sometimes an object of art contains clues on the back as to the history of its ownership, known as provenance. For example, a brass plate on the back of this cassone gives the information of “A. van Dyke 1599-1641.” Obviously added at a later date, there must have been some evidence to support the claim. It is known that Anthony van Dyke lived in Italy for six years (1621–1627). It seems especially appropriate that he would have owned this object which beautifully exhibits Renaissance portraiture since he became one of the best known portraitists who ever lived.

Another clue bears the name “Mrs. Rockefeller McCormick.” Edith Rockefeller McCormick was at one time one of the wealthiest women in America. She built an Italian-inspired villa on Lake Michigan and filled it with antiques. A chest such as this one would have fit in perfectly with the décor of the villa.

Anne Short, Volunteer Collection Researcher & Retired Docent

Published in 2016

Object of the Month: May 2016

Vashti Refuses the King’s Summons

Oil on canvas, Signed and dated: E. Long, 1879 (middle right on servant’s bracelet)

Queen Esther

Oil on canvas

Edwin Long, R.A.

English, 1829–1891

Click on the links throughout the article to view additional artists’ works and reference material.

Esther is one of only two women who merit an entire book in Scripture, but that is not the only characteristic that makes Esther unique. The elegant style and tightly woven plot used in the telling of her story has also made this book one of the most admired literary works in western as well as eastern culture.

Nineteenth-century British artist Edwin Long “translates” this storytelling power into a visual format. A member of the London Royal Academy, Long was known for his meticulous attention to historical detail and for his ability to use visual texture to enrich his scenes. His painting of Vashti (left, M&G’s Collection) captures the dramatic opening of the biblical narrative—Vashti’s refusal of the King’s summons.
The servant girl in the foreground of this work then becomes Queen Esther in his second painting (right). The demure pose and restrained, melancholy expression of both Queens not only illuminates each character but also anticipates the tension that will soon unfold in each of their lives.

Both works were first exhibited at Burlington House in 1879 (though not side-by-side). Vashti Refuses the King’s Summons is now part of the collection at M&G; an original variant copy by Edwin Long of Queen Esther currently hangs in the National Gallery of Victoria, Melbourne.

Click on the video to hear art collector Andries van Dam’s response to M&G’s Vashti painting.

Donnalynn Hess, Director of Education

 

Published in 2016

Object of the Month: April 2016

The Mocking of Christ

Oil on canvas, c. 1620–30

Unknown French or Dutch (follower of Michelangelo Merisi da Caravaggio)

Active 17th century

Click on the links throughout the article to view additional artists’ works and reference material.

One of the most important (and revolutionary) painters in history was the Italian artist, Michelangelo Merisi da Caravaggio. He broke free from mannerist conventions and stylistic artifice in the late 1500s and set a new path for artistic expression. At first, Caravaggio experimented in such genres as still life and scenes of common people including musicians and gamblers. These subjects were not depicted in mainstream art and neither was his conception of them.

As he earned commissions, he applied this personal vision to familiar Biblical themes. However, Caravaggio’s interpretation of these narratives was anything but traditional. The heightened realism, use of ordinary people as models (whom he presented without an idealistic lens), and novel, masterful compositions attracted many Romans to his genius.

The most influential and singularly astounding element of his style is his dramatic use of light that illuminated his figures as if they emerged from deep shadows; this contrast of light and dark is known as chiaroscuro, a technique also used by Leonardo da Vinci and Rembrandt van Rijn.

Not only the Romans turned their attention to Caravaggio, but soon other artists and patrons around Europe began to take note. As the artistic capital of Italy, Rome was viewed as the final experience for artists seeking to complete their training; many painters visiting from Spain, France, Germany, Flanders and Holland found inspiration in Caravaggio’s fresh approach—including one of the favorites of M&G’s guests, Gerrit van Honthorst.

The unknown French or Dutch author of the present painting likely saw Caravaggio’s paintings first-hand in Rome and sought to emulate his style. He may very well have seen the artist’s conception of this same subject, The Crowning of Thorns, now housed in the Kunsthistoriches Museum, Vienna.

The same characters, a man wearing armor and plumed hat and a torturer with a gaping white shirt, are found in both paintings. Even the “V” shape made by the bamboo reeds above Christ’s head are echoed in each composition. Furthermore, several of the figure types in this painting are similar to models in some of Caravaggio’s paintings.

While M&G cannot claim to have an autograph Caravaggio painting (there are only a handful in America), this painting is the closest we have to the master’s style and is clearly by the hand of an accomplished artist who sought to emulate not only one of the greatest artists of his time, but of all time.

John M. Nolan, Curator

 

Published in 2016

Object of the Month: February 2016

St. Augustine

Oil on panel

Gaspar de Crayer

Flemish, 1584–1669

76

Click on the links throughout the article to view additional artists’ works and reference material.

Gaspar de Crayer began his career in the city of his birth, Antwerp. He later moved to Brussels and trained under the artist Raphael Coxie, court painter to Archduke and Duchess Albert and Isabella.  This introduction to the court facilitated a longstanding relationship with the rulers of the Spanish Netherlands. De Crayer eventually did work himself for the Archduke and Duchess and went on to receive the appointment of official court painter to Cardinal-infant Ferdinand and eventually well-known art collector, Archduke Leopold Wilhelm. He embraced life in Brussels serving as dean of the Brussels painters’ guild from 1611–1616 and as a member of the city council from 1626–1627. In his later years, he moved to Ghent where he died.

De Crayer spent much of his career fulfilling commissions for altarpieces, however, he also dabbled in portraiture as well. His works show similarities in style and technique to those of Peter Paul Rubens and Rubens’ famous student, Anthony van Dyck (both of whom are represented in M&G’s collection). Today, de Crayer’s works fill world-renown museums such as The Metropolitan Museum of Art, the Museo del Prado in Spain, the Kunsthistorisches Museum in Vienna, and the Musée des Beaux-Arts in Paris. The presence of Gaspar de Crayer’s St. Augustine at the Museum & Gallery reveals the breadth and importance of the Old Master collection.

De Crayer’s St. Augustine illustrates the depth of religious fervor Augustine possessed. The flaming heart, depicted here in Augustine’s hand, symbolizes his zeal and devotion for God. The contrast of the dark background draws the viewer’s attention to Augustine’s face where he appears lost in thought. This small dramatic painting was most likely meant for private devotion and to inspire the viewer to the same religious ardor that ruled Augustine’s life.

Known as one of the four eminent Fathers of the Western Church, Augustine of Hippo remains one of the most well-known figures in church history and Christianity. Augustine was born in a province of North Africa in 354 CE where he received an excellent education and excelled in rhetoric and philosophy. His studies exposed him to a wide array of religions and philosophies leading him to live his early years in moral irresponsibility. His mother, Saint Monica, devoutly prayed for her wayward son and saw the answer to her prayers in the form of Saint Ambrose of Milan. Under the teaching and guidance of Ambrose, Augustine converted to Christianity becoming a priest and eventually a bishop. He is perhaps most well-known for his writings, Confessions (an autobiography) and The City of God  as well as his fervent zeal for the spread of Christianity. In art, artists typically portray Augustine in the vestments of a bishop as evidenced in this work by the presence of the crozier (bishop’s staff carried by high-ranking church officials).

Rebekah Cobb, Guest Relations Manager

 

Published in 2016

Object of the Month: January 2016

Tapestries on the Life of King Hezekiah: The Destruction of the Idols by Hezekiah, The Sacrifice of Hezekiah,  and Hezekiah’s Life Prolonged

Signed: unknown weaver’s mark (bottom right)

Woven wool  and silk tapestry

Designed by Jan Cornelisz. Vermeyen

Flanders, active 16th century

Woven by the Weaver of the Hezekiah Series (of the Royal Swedish Collection in Stockholm), also known as the Weaver of the Book of the Kings Series (of the Royal Collection in Vienna)

Brussels, c. 1530

Click on the links throughout the article to view additional artists’ works and reference material.
During these winter months, we turn up the thermostat, put on a sweater, or throw an extra blanket on the bed when the temperatures drop. Insulation, thermal-pane windows, and caulking keep our houses snug from winter’s chill.  But what if your home was a drafty castle with no warmth except near the fireplace? If you were wealthy enough, tapestries would provide some insulation to keep the winter winds out and the meager warmth in. The tapestry’s portability was an added bonus. When one residence got particularly smelly or otherwise unsuitable, the artistic insulation could be rolled up and transported to the next home. Of course, we view tapestries today primarily as works of art, without much thought as to their original practical purposes.

When you step into the Lobby at the Museum & Gallery at Bob Jones University, some of the first works of art you encounter are three tapestries, each measuring 13 feet x 11.5 feet. They depict three scenes from the life of King Hezekiah, ruler of Judah in the 8th and early 7th centuries BC. The tapestries were produced in Brussels, Brabant (before Belgium existed as a country) in the early 16th century, and by the early 17th century they graced the walls of Somerset House in London, residence of Queen Henrietta Maria, wife of King Charles I. Since tapestries were considered the most valuable objects of their time, only royalty or the very wealthy would have owned them. With the beheading of Charles I, the tapestries became possessions of Cromwell’s Commonwealth. Later sales trace them to Spain and then New York. M&G acquired them in 1965.

The Bible records details of Hezekiah’s life in 2 Kings 18–20, Isaiah 36–39, and 2 Chronicles 29–32. As one of Israel’s moral, godly rulers, Hezekiah is depicted in the first two tapestries destroying idols and restoring temple sacrifices to draw his countrymen back to serving and worshiping the one true God genuinely, purely, and wholeheartedly. The third tapestry shows an incident where Hezekiah was gravely ill and requested a longer life from the Lord; God answered his prayer and miraculously healed him. The Latin phrases at the top of each tapestry describe the events of each pictured scene.

Anne Short, Volunteer Collection Researcher & Retired Docent

Published in 2016

Object of the Month: December 2015

The Adoration of the Shepherds

Oil on canvas

Pier Francesco Sacchi

Lombardian, c. 1485–1528

Click on the links throughout the article to view additional artists’ works and reference material.

The Adoration of the Shepherds by Pier Francesco Sacchi, in the Museum & Gallery Collection, can best be understood when one is familiar with the historical context in which the work was composed and is knowledgeable about various aspects of the composition itself.

This interesting work was composed during the Renaissance—a “rebirth” of individualism, natural science, and classical education during the fifteenth and sixteenth centuries, which ended the medieval era.  Renaissance art reflects this “rebirth” which finally reached its zenith in the early 1490s centering on three central figures: da Vinci, Michelangelo, and Raphael.  This apex lasted about 35 years up until Rome became a Papal State in 1527.

High Renaissance painter Pier Francesco Sacchi was from a Lombard (northern Italian) village called Pavia as indicated by his signature on several of his works.  Later, he moved slightly south to the coastal city of Genoa where he apprenticed under Pantaleo Berengerio and became a member of the guild of painters in 1520.  The few paintings that can be credited to him are all religious subjects.

Sacchi’s The Adoration of the Shepherd, painted in quattrocento-style (meaning a style in the 1400s, which transitioned between the medieval period and the Renaissance), was originally oil painted on a wooden panel.  However, this work is one of two paintings in M&G’s collection that was transferred from its original wood panel to canvas due to decay.

Old Master painters followed a centuries-old, church tradition of painting specific symbols and attributes along with individual saints for the illiterate masses to identify visually the people and related life stories.  This use of symbolism is prevalent in Sacchi’s work.

For example, the classical ruins as the backdrop for the scene are not a stable for animals.  Rather, they reference Antiquity, and the broken arch represents both a bankrupt past and the necessity of the new covenant with Christ. The goldfinch, said to have eaten thorns, foreshadows Christ’s crucifixion; and the lamb the shepherd holds signifies that Christ, the Lamb of God, will offer up Himself as a living sacrifice for mankind.  The worn out knees of the man holding a Renaissance instrument (called a hurdy-gurdy) represent a life of kneeling in prayer.  The bundle of wheat used for Christ’s headrest prefigures His reference to Himself as the Bread of Life.  Christ lying on the ground and the sparrow, considered the lowliest of birds, references Christ’s humility in coming to earth; and, finally, the tree full of leaves in the background symbolizes life, and the bare branches symbolize death.

In order to “read” a work of art, understanding the historical context in which the work was composed and the various aspects of the composition itself are necessary.  M&G’s The Adoration of the Shepherds by Pier Francesco Sacchi affords the perfect opportunity for deeper knowledge about historical culture in light of Scripture.

Heather Osborne, Former M&G Graduate Assistant

 

Published in 2015

Object of the Month: October 2015

Procession to Calvary 

Oil on panel

Master of the Holy Blood (Maître du Saint-Sang)

Flemish, active c. 1500

 

Click on the links throughout the article to view additional artists’ works and reference material.

The identity of the anonymous artist called the Master of the Holy Blood has remained a mystery since the first serious study on the artist by Georges Hulin de Loo in association with the 1902 Exposition de Tableau Flamands des XIVe, XVe et XVIe Siecles in Bruges. De Loo decided to name this anonymous artist after the location of the Lamentation Triptych in the Chapel of the Holy Blood in Bruges, where it has resided since its commission by the Brotherhood of the Holy Blood around 1530.

The general composition of the present Procession to Calvary relates to paintings of the same theme produced in the late fifteenth century, which likely derive from a lost original attributed to Jan van Eyck (best known for the Ghent Altarpiece).

In the upper middle portion of the painting, a Flemish city in the guise of Jerusalem recedes into space through the artist’s use of atmospheric perspective in gray-blue tones. A fantastical building meant to represent the Dome of the Rock rests in the foreground of the city scene while a smaller dome for the Church of the Holy Sepulcher rises on the right side.

Moving from the distant city are progressively closer views of medieval Flemish houses forming a backdrop to the large grouping of figures in the right middle-ground.

Three men on horseback and two soldiers standing behind them form the first figural group of the procession. Each horseman is dressed in oriental garb—a tradition stemming back to the Limbourg Brothers (learn more here) connecting eastern headgear with Jews. The pointed hat on the horseman at the far left is traditionally Jewish in type, whereas the second horseman’s turban has a large jewel on the front associated with Muslim caliphs. The man on the white horse also has a Muslim turban. Northern Renaissance painters used these costuming stereotypes to depict non-Christian characters such as Jews or Arabs. Artists such as the Master of the Holy Blood were not yet exposed to the documented cultures of the Greeks and Romans since such information had not reached the Netherlands in any significant way. Since Islamic culture was also foreign to these artists, any pagan (non-Christian) characters set in Biblical narratives were naively costumed as Muslim.

In the right foreground is a ruggedly dressed soldier armed with both a sword on his hip and a cane for beating Christ. Next to him an elderly man, representing Simon of Cyrene, helps take the weight of the cross from Christ as he falls. His gentle, caring look and effort to support the cross contrast sharply with the tormentors surrounding Christ. The next tormentor, dressed in a white tunic, pulls tight on a rope tied around Christ’s waist to increase His suffering and to prevent Him from resting from the grueling task. The opposite end of the rope falls to Christ’s side and terminates in an unusual object of torture—the spikeblock or stumbling block. Made of a thick plank of wood with nails pierced through, the spikeblock is shown upside down with the nails facing Christ. This unusual object, a Netherlandish invention, maintained a relatively popular appearance (in a variety of forms and types) in northern European art for about 150 years. The concept was intended to visualize the intensity and torture of Christ’s suffering: as Christ made His way to Calvary, the swinging block would wound His heels from behind and His shins from the front, and it would also trip Christ while carrying the cross, thus becoming a “stumbling block.”

The Procession to Calvary is undoubtedly one of the Master of the Holy Blood’s most accomplished works, revealing the trends, motifs, and stylistic hallmarks of an artist who is at once distinctive and also reflective of the influences around him in early sixteenth-century Antwerp and Bruges.

John M. Nolan, Curator

 

Published in 2015

Object of the Month: September 2015

Christ and the Samaritan Woman 

Oil on canvas

François de Troy

French, 1645–1730

Click on the links throughout the article to view additional artists’ works and reference material.

Born in 1645 in Toulouse, France, François de Troy eagerly embraced the artistic tradition established by his father, Nicolas de Troy. François and his brother Jean trained together in their father’s Toulouse workshop. (Interestingly, François is often confused with his son, Jean-François de Troy, who he trained to continue the family’s artistic legacy). Sometime after age 17, Francois re-located to Paris where he refined and improved his talents under the tutelage of artists such as Claude Lefèbvre and  Nicolas-Pierre Loir. It was here in Paris that he officially began his career as a portraitist.

In 1671, Francois applied to the Académie Royale de Peinture et Sculpture. However, it wasn’t until three years later, at age 29, that the Académie accepted him. This sparked a longtime affiliation with the Académie as he served in many roles: elected as an adjunct professor in 1692, a full-time professor one year later, the coveted position of Director from 1708–1711, and adjunct rector in 1722.

The key to his success as a portraitist came in 1679 when he was selected by King Louis XIV, the Sun King, to paint an engagement portrait of Duchess Maria Anna Victoria of Bavaria (who was to marry his son and heir, Louis, the Grand Dauphin). This critical commission launched his career as he became one of the leading portrait artists during the reign of Louis XIV and the most sought after French portraitist of his time. From that point forward, he would continue to work for Louis XIV, Madame de Montespan (one of the King’s many mistresses), and their descendants (including Louis XV). His fame even brought him many commissions from the exiled King James II of England, his family, and loyal followers who were residing in Saint-Germain-en-Laye.

De Troy’s style evidences the influence of Flemish portraiture and artists such as Rubens and van Dyck. Many of his portraits showcase the warm coloring and dynamic compositions often seen in the Golden Age of Dutch portrait painting. Exhibited at the Salon of 1704, the Museum & Gallery’s Christ and the Samaritan Woman, while not a portrait, beautifully highlights the skill and qualities that epitomize de Troy’s style and career. Compare M&G’s work with de Troy’s Astronomy Lesson of the Duchesse du Maine completed sometime in 1702–1704. Both exhibit the rich, warm colors of de Troy’s style as well as a central placement of the primary figures.

John 4 records the tender encounter at the well between Christ and this Samaritan woman. Christ and his disciples had to pass through the region of Samaria on their way back to Galilee. This would have been particularly distasteful to any traveling Jew because of the longstanding hatred between the Jews and Samaritans.

While the disciples go into the city to purchase food, Christ chooses to rest at the well, where a Samaritan woman comes to draw water. Christ does the unthinkable and engages the Samaritan woman in conversation asking her, “Will you give me a drink?” Because the Jews and Samaritans would not associate with one another, the woman understandably states, “You are a Jew and I am a Samaritan woman. How can you ask me for a drink?” As He gently leans in to close the physical gap between them, de Troy’s Christ removes the barriers built by their conflicting cultures and offers her the “living water” that only He can provide.  His knowledge of her past and present sins combined with his kindness and loving offer, motivates her to seek this “living water” and share it with the people in her town who curiously come to see this prophet. Remarkably, Christ remains in Samaria for two days at the invitation of the townspeople, and many come to believe in Him as they tell the woman, “We no longer believe just because of what you said; now we have heard for ourselves, and we know that this man really is the Savior of the world.”

Rebekah Cobb, Guest Relations Manager & Docent

 

Published in 2015

Object of the Month: August 2015

Inspiration 

Mosaic

Louis Comfort Tiffany (workshop of)

American, 1848–1933

Click on the links throughout the article to view additional artists’ works and reference material.

Though M&G is widely known for its European Old Master paintings, the reach of the collection extends into other genres as well—icons, antiquities, sculptures, furniture, tapestries and mosaics. These various art forms beckon visitors for multiple reasons—the fame of the maker, the artistic medium, the historical time period, or the sheer size. Inspiration by Louis Comfort Tiffany is no exception. It piques the curiosity of our guests for all of these aspects and more.

For most of us the name Tiffany is associated with exquisite jewelry or radiant stained glass. Our limited understanding may have come from hearing about a beautiful brooch once owned by Aunt Isabelle or Grandma’s “be careful when you dust it” lamp. But the cognomen Tiffany has a diversity of artistic expressions connected to it. Born in 1848, Louis Comfort Tiffany was thoroughly exposed to the voluminous jewelry inventory of his father, Charles Lewis Tiffany. Choosing first to explore painting, in his early 20’s Louis settled into what would be his métier—the decorative arts. The range of objects he and his studio produced was extensive—furniture, metalwork, textiles, pottery, enamels, and almost anything else that had to do with furnishing and beautifying interiors.

Mr. Tiffany was ahead of his time in his employment of women.  Clara Driscoll and the “Tiffany Girls” both designed and executed many of the renowned lamps and mosaics; and, as is the case, with many large firms of the era received little to no public recognition for their contributions during their lifetime (neither did the men working for Tiffany’s well-known brand).

M&G’s Inspiration was fashioned in 1887 for the First Presbyterian Church, Schenectady, NY. Though originally installed in the sanctuary above the choir loft, during a 1948 renovation it was decided that it no longer fit the décor. As with the acquisitions of many of M&G’s objects, the story is a stunning example of the providence of God. Dr. Bob Jones Jr. “just happened to be preaching at the New York church and was asked if the University might like to have the piece.” Not only did the church gift the beautiful mosaic, but they also transported it to Greenville. Housed originally in an outside setting near the BJU Fine Arts building, it was moved to its present location in Gallery 19 around 1965. Installing a work of art 8 feet across and weighing 1500 pounds took nothing less than a crane!

Mosaics of any size are intriguing, but Inspiration features Tiffany Studios’ artistry, craftsmanship and beauty on a monumental scale. Meticulously positioned mother-of-pearl and myriads of tesserae, ranging from gold to deep purple, join to create an image of a magnificent angel poring over a book. Combined with the tongue of fire atop the angel’s head, the artist symbolically portrays the biblical doctrine of inspiration—God “breathing out” His words—as explained in 2 Timothy 3:16 and 2 Peter 1:21.

Louis Comfort Tiffany’s love of design, color, mediums, and techniques poised him as one of the aesthetes of his time, and he has left mankind with a trail of exquisite works of art communicating his passion. Allow yourself the pleasure of visiting M&G and marveling at this handsome example of Art Nouveau.

Bonnie Merkle, Collection Database Manager and Docent

 

Published in 2015

« Older Entries
Newer Entries »
 
Facebook Page864.770.1331 contact@museumandgallery.org

M&G at BOB JONES UNIVERSITY; 1700 Wade Hampton Blvd - Greenville, SC 29614