Don't Feed the Art: Woodmere's Animal Menagerie by Woodmere Art Museum

Don’t Feed The Art February 26 - May 8, 2022

Look, Learn & Create Workbook

This workbook is designed to be viewed as a booklet with facing pages. To view this document as intended, please download and open the pdf. Enjoy!

Woodmere thanks AddVal Inc. and Henry and Liz Harris for the generous underwriting of the exhibition and its workbook.

Welcome! Artists have been inspired by animals since the beginning of recorded history. Woodmere’s exhibition, Don’t Feed the Art, offers children of all ages many different ways to engage with art and enjoy animals through the eyes of artists. You will find: • Looking questions that encourage children to develop their own ideas about what they see; • Information about animals and artists to inspire curiosity; • Art and writing activities to inspire creative expression and ideas. Have fun using pencils, markers, colored pencils, crayons, oil pastels, paint, scissors, aluminum foil, tape, or any art supplies you want to use. Wildlife Conservation Several of the animals in this workbook are considered endangered, meaning they are at risk of extinction and could die out forever. Animals become endangered for many reasons, including overhunting and the destruction of habitat. Endangered animals will be identified with Many organizations are working to protect animals and their habitats. You can learn more by visiting these websites. https://www.worldwildlife.org/initiatives/wildlife-conservation https://www.awf.org/wildlife-conservation https://www.globalteer.org/what-we-do/ https://philadelphiazoo.org/conservation/ https://www.wcs.org/

ANIMAL PORTRAITS Have you ever come face to face with a whale while swimming in the ocean? Robert Beck’s Blue Boy, a 5-foot-square painting of a sperm whale, helps us imagine that encounter. LOOKING QUESTIONS: Sperm whales are very different looking than most other whales, making them easy to identify. How would you describe the shape and size of Blue Boy’s head? How would you describe the texture of his skin? What other parts of the whale do you see? Find the whale’s eye. Notice how the artist paints the whale’s eye right in the middle of the painting. The tiny eye seems powerful! Not only are we looking at the whale, but he is looking back at us. Where is Blue Boy? The artist depicts the whale in its natural environment, the blue waters of the ocean. Does the ocean seem calm or rough? Notice the changes in blue at the top of the painting. The blue becomes a deeper, darker blue. We see strokes of paint that curve upward and white shapes of different sizes. Could Blue Boy be nearing the surface of the water? Whales need to breathe air. Is Blue Boy about to take a breath above the ocean or has he done so already? By making us wonder about the whale and his activity, the artist encourages us to use our imaginations. ARTIST FACTS: Robert Beck grew up in Bucks County, Pennsylvania. The idea of painting a whale was inspired by the form of a whale on an antique weathervane Beck owns and appreciates as a sculpture; it was originally mounted on the top of a house or barn and would spin to show the direction of the wind. Beck researches his subjects to help him decide how to portray them. For Blue Boy, he wanted to understand “...how whales are built, how they move, and how they live… to understand what is correct and essential for building a whale from scratch. I also learned how the surface of the water looks from below.” ANIMAL FACTS:

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Sperm whales, like all whales, are mammals, warm-blooded animals that feed their young with milk produced by the mother.

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Sperm whales are the largest toothed-whales in the world and are found in deep oceans, from tropical climates to northern and southern polar hemispheres.

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A sperm whale’s head measures about one third of its total body length. Imagine if your head was as big as a third of your body!

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They eat giant squid and fish, hunting during deep dives that reach depths of 2,000 feet and sometimes to depths greater than 4,000 feet. Since they often hunt in deep waters and in complete darkness, they use sound to search for prey.

ROBERT BECK American, born 1950

Blue Boy 2019 Oil on canvas Gift of the Wright Family Trust, 2021 3

Using Color to Create a Mood Color is a powerful tool for creating a mood in an artwork. Blue Boy is painted gray and surrounded by blue waters, perhaps the reason for the painting’s title of Blue Boy. What words would you use to describe the mood created by the blues in this painting? exciting

calm

quiet

loud

cheerful

sad

something else?

The artist Robert Beck mixed blue with other colors including white to create three different blues for the water.

Look at the color wheel and learn about mixing colors. Find BLUE, RED, and YELLOW. These are called primary colors. When two primary colors are mixed together, they create the secondary colors of GREEN, ORANGE and PURPLE. Find them on the color wheel.

Use crayons, colored pencils, or markers for the following activities: 1. Each box below is divided into 3 sections. Color the first section with one primary color. Color the third section with another primary color. Mix the two colors together in the middle and see what secondary color you create. BLUE

YELLOW

RED

YELLOW

RED

BLUE

2. Blending is a way to create a gradual flow between colors. You can blend any combination of colors by overlapping, smudging with a finger, or scribbling back and forth between colors. Notice how green and yellow overlap to blend together.

Use these boxes to experiment with blending colors.

Scribbling orange and yellow back and forth creates a different kind of blending.

Below is a copy of Robert Beck’s drawing of Blue Boy. The artist made this drawing to plan his painting. Compare this drawing with the painting. What’s missing? Add colors to the drawing below to create a mood for the ocean waters. What colors will you use to convey a cheerful mood or stormy mood or peaceful mood or magical mood? Try these techniques: •

Blend together colors to create a flow from one color to the next.

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Press down lightly or apply more pressure to increase or decrease a color’s strength.

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Add white to a color to make it lighter. When you add white to a color it is called a tint.

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Add black to a color to make it darker. When you add black to a color, it is called a shade.

Instead of Blue Boy, think of a new title, based on the colors that you used. New Title: 5

BAMBOO Tom Palmore’s portrait, Bamboo, is a larger-than-life painting of a gorilla. A gorilla named Bamboo lived at the Philadelphia Zoo from 1927 to 1961. Have you ever looked this closely at a gorilla’s face? At six feet tall, this painting allows us to focus on the features of Bamboo’s face. Notice that his eyes are set closely together and that his hair frames his face. Look at how the ridge of his forehead brow hangs over his eyes. LOOKING QUESTIONS: Is Bamboo’s mouth opened, closed, or a little of both? Take a moment and look into Bamboo’s eyes. Where is he looking? What words would you use to describe how he might feel? Is he happy or serious, calm or excited, curious or bored? What do you see that makes you think that? Have you ever seen a gorilla posed in front of a blue curtain and framed in gold? We don’t expect to see wild animals posing for portraits the way humans do. By doing this, what does the artist express about Bamboo? Have you ever posed for a portrait? What did the artist or photographer express about you? ARTIST FACTS: Tom Palmore was born in Oklahoma and lived with his grandparents. He and his grandfather raised animals together. This fostered a life-long admiration for the animal world. He attended the Pennsylvania Academy of the Fine Arts and decided to paint what he loved: animals. He works from photographs, then adds imaginative backgrounds he thinks the animals would appreciate.

ANIMAL FACTS: •

Western lowland gorillas, like Bamboo, live in the dense tropical forests of the Congo basin.

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Like all gorillas, they usually walk on all fours, pushing themselves forward with their knuckles and soles of their feet. This is called knuckle walking.

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They are social, gentle animals who live and travel in small, stable families called troops.

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Gorillas communicate by belching, screaming, singing, chuckling and beating their chests.

Bamboo at the Philadelphia Zoo. 6

TOM PALMORE American, born 1945

Bamboo c. 1975 Acrylic on canvas Gift of Acey and Bill Wolgin, 2019 7

Draw your own portrait of Bamboo

1. Notice how the lines and shapes of a Bamboo’s brow, eyes, and mouth express a feeling or attitude in his face. 2. Use the outline of the Bamboo’s portraits on the next page to draw your own portrait of Bamboo. 3. Think about the emotion you want to convey. Here are some suggestions: Draw eyes that are opened extra wide to express surprise, wonder or looking down to convey shyness or concern. Could one eye be winking? Draw a new line over the brow to make it curve more deeply downwards in sadness or curved upwards in surprise or laughter. Draw a mouth that is wide open to show that he’s smiling or laughing: in a circle as if he’s surprised; with lines turned downwards as if he’s sad or frowning; or drawn closed and straight across as if he’s serious. 4. Consider the blue curtain in the background. What kind of background do you want to create for Bamboo? 5. Color and decorate the frame around Bamboo. 6. Use the thought bubbles to write down what Bamboo might be thinking or feeling in your portrait.

The Shapes and Textures of Animals Millicent Krouse brings to life the unique features and emotions of the animals she depicts. Like many of her animals, Pig floats in a world of open space. He seems important. Pig is a woodcut, a printmaking process that allows artists to make multiple copies of the same image. Krouse first drew the pig onto a large block of wood. She then used sharp carving tools to cut away all wood surfaces that were not marked with the lines and forms of her drawing. The result was a raised image on the block of wood. Krouse then applied orange ink to the raised elements and pressed the block onto her sheet of paper. When she removed the block, the image remained. Textures of woodgrain became part of the work of art. LOOKING QUESTIONS: How would you describe the emotions of Krouse’s pig? Is he happy, sad, thoughtful, content, or nervous? Use your finger to trace the edge of the pig’s body. Do you notice how the pig’s body spans across the entire paper, from its head to its tiny curly tail? This means the woodblock used by the artist was as big as the paper. What words can you use to describe how the texture of the pig’s hair would feel if you could touch it? Notice the patterns of tiny, orange lines that repeat throughout the pig’s body. Imagine the artist carving away the space around every line to make us feel the texture of the pig’s hair. Because of her refined technical skill and talent, Krouse is considered among the best of woodcut artists. In the wild, a pig’s hair grows long for protection and warmth. Domesticated pigs, those that live with humans, have hair too, but it doesn’t grow as long. ARTIST FACTS: Millicent Krouse was awarded a full scholarship to study at the Pennsylvania Academy of the Fine Arts. After graduating, she attended a woodblock printing class where she “fell in love with printmaking.” She went on to create woodblock prints exclusively for the next 25 years. She often worked on a large scale and made woodcuts of many animals, including roosters, tortoises, porcupines, cats, and sheep, as well as flowers, leaves, and people. ANIMAL FACTS:

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Pigs are very social and among the most intelligent animals.

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When kept in a group they will snuggle close to one another, and prefer to sleep nose-to-nose. Studies have also shown that, much like humans, they dream.

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Pigs communicate constantly with each other. Beside squealing, scientists have identified 20 different sounds.

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Although their eyesight is poor, pigs have great a sense of smell and use their snouts to search for food.

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Since pigs often roll in the mud, they have been described as “dirty.” They are actually very clean animals. They don’t have many sweat glands and roll in the mud to cool off.

MILLICENT KROUSE American, 1933-2020

Pig 1967 Woodcut Museum purchase, 2012

Draw Your Own Pig Before you start: Observe how Millicent Krouse's Pig can be simplified into shapes.

Let’s use shapes to draw a pig.

What’s the largest shape you see in Pig? Draw a large semicircle for the body. Draw it as large as you can. Notice how the head and tail are very small in comparison with the body.

Head: Pig is drawn in profile, or from its side. Draw a triangle for the head. Add a small semicircle under the triangle to round the head shape. Add two small triangles for its ears. Add a small circle for its eye and its nose.

Legs: Notice how the legs are wider at the top and more narrow at the bottom, and how the legs closer to us are slightly larger than those farther away. This is because objects that are farther away appear smaller. To draw the legs, draw four long triangles that are wider at the top. The closer legs should be slightly larger than the farther legs.

A pig’s feet have hooves made of a material similar to your fingernails. The shapes of the hooves are small rectangles. Draw four small rectangles that connect to the bottom of each leg.

Pig is depicted with a curly tail. Decide what kind of tail your pig should have and draw it!

6. Create textures for the pig’s body using patterns of: - thick lines that are close together to make thick hair, or use thin lines that are spread apart to make thinner hair; - lines that are short, long, curvy or placed in different directions; - tiny lines that stick out along the edge of the pig’s body; - solid shapes of color for the pig’s hooves to create a smoother texture.

Draw Your Own Pig

Animal Toy This giraffe is a handmade wooden toy created over 100 years ago as part of the Humpty Dumpty Circus made by the A. Schoenhut Company of Philadelphia. At Woodmere, we consider this toy to be a work of art because it is an inventive expression designed to bring joy. This giraffe is a three-dimensional (3-D) object, which has length, width, and depth. Unlike a two-dimensional (2-D) object, which is flat like a piece of paper, 3-D objects have thickness and can be seen from the front, back, and sides. LOOKING QUESTIONS: What parts of the giraffe do you see? Notice how the design captures the triangular shape of its head, the pointy ears, long neck, oval body, and four legs. Each part of the giraffe’s body was made separately, then joined together with tight loops of string. This enabled the various body parts to be moved into different poses, a fun feature for imaginative play. The giraffe’s ears are made of leather. A giraffe’s legs have to be strong, but this toy giraffe’s legs are weak. After more than 100 years, the strings that attached the legs to the body have lost their strength. How did the museum make the toy giraffe appear as if it is standing? Notice the special shape of the wooden block under the giraffe’s belly. This is an example of improvisation (im-prov-is-ation): solving a problem in a creative manner that was not previously planned or expected. Have you ever had to improvise? Like real giraffes, this toy has a distinctive spotted pattern all over its body. Did you know that every giraffe has a unique pattern of spots, just as your fingerprints are unique to you? ARTIST FACTS: Albert Schoenhut (1849–1912), an immigrant from Germany, founded the A. Schoenhut Company when he came to the United States in the 1860s. In 1872, he opened a factory on Frankford Avenue in Philadelphia that specialized in making toy pianos. By the early twentieth century, he was producing dolls and other wooden toys, including the Humpty Dumpty Circus. The famous Schoenhut Circus was produced in Philadelphia from 1903 until 1935. At its height, Schoenhut was the largest toy company in the United States. ANIMAL FACTS:

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Giraffes are the world’s tallest land animals, measuring up to 19 feet.

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Their unique spotted body patterns serve as camouflage, blending in with shadows and leaves.

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Giraffes’ necks are similar in length to its legs. Their long necks are made up of seven vertebrae (bones), each measuring ten inches long.

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Giraffes are herbivores, (plant eaters), and spend most of the day eating.

THE A. SCHOENHUT COMPANY Giraffe, from a Humpty Dumpty Circus c. 1903 Wood, string, leather Museum purchase, 2016

Make your own giraffe toy sculpture! 1. Tear 3 equal rectangular sheets of heavy-duty aluminum foil. The longest side of

each sheet should be at least 12 inches (1 foot). From the long side of the aluminum foil, roll and lightly squeeze each sheet into a sausage–like form. These will be your giraffe’s body and legs. HINT: Do not squeeze it too tightly or it will break when you try to bend it.

2. Using the picture below as your guide, bend one of the sausage forms into an “L” shape. Bend a short piece at each end as well. This will be your giraffe’s head, neck, body and tail. 3. Making the giraffe's legs:

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Front Legs: Take one sausage form and place it across the giraffe’s body at the bed of the neck so that 1/3 of the form is to the left of the body and 2/3 of the form is to the right of the body. (Figure A)

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Wrap the longer part of the form around the body so that both of the front legs are equal. (Figure B)

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Rear Legs: Repeat the same process near the tail end of the body to make the rear legs. (Figure C)

Your giraffe should look like this: 4. Use masking tape or colored craft tape and cover the aluminum foil to make an even surface. For best results, cut the tape into squares of approximately 1 inch by 1 inch. This allows you to cover gaps and wrap around the legs and neck by overlapping squares. (Figures A,B,C,D)

5. Make your giraffe’s horns: Roll up two small pieces of tape. Use some more tape to connect the horns to the giraffe’s head. 6. Color your giraffe! Use whatever colors and patterns you want.

Your giraffe is finished!

Animals In Nature Artists often explore the natural environment in which animals live. The artist, DeWitt Clinton Boutelle, created this large painting Mountain River Landscape as a triptych, a work of art created in three sections. It is as if we are looking through a window of three arches into a world of cattle in nature. LOOKING QUESTIONS: What section of this painting do you think the artist wanted us to notice first? What do you see that makes you think that? We see a group of cows in the front of the center section. What is the dark brown cow doing? What are the other two doing? Which cow is looking forward? Are these three cows like a family? Why or why not? Look into the background to find another group of cows. Notice how the artist has made them appear far away by making them much smaller in size than the three cows in the foreground. What season of the year could it be? What do you see that tells you that? Details help artists tell stories. Look at detail A on the opposite page and find that section of the painting. Notice how far away the people in the boat appear. Where might they be going? Look at detail B. Notice a wagon and a steam locomotive nearby. Why do you think Boutelle chose red for the shirt of the wagon’s driver? Notice the plume of smoke. It’s coming from the steam locomotive, a train invented in the 19th century that modernized travel. What tells you that the wagon and train are travelling in opposite directions? What is the artist telling us about the changes in transportation that were taking place in his lifetime? ARTIST FACTS: DeWitt Clinton Boutelle was born in Troy, New York. He moved to Philadelphia and, later in life, to Bethlehem, Pennsylvania. He was part of the Hudson River School, a group of artists who portrayed the power and grandeur of the natural world. ANIMAL FACTS:

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Cattle are large hoofed mammals that live almost everywhere in the world. Female cattle are called cows; male cattle are called bulls.

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Cattle have an excellent sense of smell and are able to smell things up to six miles away. They are herbivores, animals that feed on plants.

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They are very social and like to spend time with their friends.

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Cattle must drink up to a full bathtub of water every day!

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Cow spots, such as those seen on two of the cows in the painting, are like human fingerprints. No two cows have the same spot pattern.

DEWITT CLINTON BOUTELLE American, 1820-1884

Mountain River Landscape 1856 Oil on canvas Museum purchase with funding generously provided by Fred & Priscilla Murphy

Draw a Landscape of

Animals In Nature A landscape is a picture of the outside world. Like DeWitt Clinton Boutelle, you will use a triptych format to create a landscape showing animals in their natural environment. 1. Start by drawing a horizon line, a tool an artist uses to separate the sky from the earth. Draw the horizon line from one edge of the triptych all the way across to the edge of the third section. The horizon line can be curvy, diagonal, straight, zigzag, or a combination. The higher the horizon line, the bigger the earth below. (Figure A)

The lower the horizon line, the bigger the sky above. (Figure B) When the horizon line is in the middle, the sky and the earth below have an equal amount of space. 2. Divide the space below the horizon line in all three sections with more lines to create a foreground and a middle ground and a background. Lines can be straight, horizontal, vertical, or diagonal. They can curve, intersect, or connect with one another to create a river or road, fields, or hills. (Figure C)

3. Choose an animal that could live in this landscape. Draw a large one in the foreground. Draw the same animal smaller in the middle ground or background to make it appear far away. Are there other animals in your landscape? Draw them in different sections of this triptych. 4. Are there trees, hills, fields of grass, or plants in your landscape? Do you want to include people? A house? A barn? A train? Clouds or a sun? 5. Fill the entire triptych with colors that convey the season of the year and time of day or night. Trees with green leaves, flowers, or fruit convey spring or summer. Leaves of different colors indicate fall. In winter, we are likely to see trees without leaves. These trees are called deciduous (dee-sid-you-us). Trees that keep their leaves in the winter and throughout the year are called evergreens.

Animal Pets The name of this cat is Francis, a pet of the artist, William Eckhardt Kohler. The artist titled this painting Francis 1 because it is the first of several paintings of his cat. LOOKING QUESTIONS: Notice how the artist painted Francis from above, looking down as he sleeps peacefully on a chair at home. What colors do you see in Francis’s fur? Notice the thick, curving brushstrokes of yellow, orange, and brown used to convey the texture or feel of Francis’s fur. What words would you use to describe the fur? The bright yellow, orange, and brown colors of Francis’s fur are colors that remind us of warm elements in nature like sunshine or even fire. These are called warm colors. Where do you see the warm color of red? Notice how the form of Francis’s body stands out against the blue of the chair’s cushion. Blue is a cool color. What elements in nature does blue make you think of? The artist found Francis one night in an alley while taking a walk near his Chicago home. He and his wife heard the loud meow of a big, friendly orange cat. He was very skinny, and his paws were covered in tar. They brought him home, cleaned him up, and he became the family pet for many years. Francis was a cat who loved to jump. The artist states, “even if somebody was standing he might jump from the floor directly to sit on their shoulders and he was not easily removed from that perch.” ARTIST FACTS: William Eckhardt Kohler grew up in Philadelphia and learned to enjoy art in the different museums of our city. He now divides his time between New York City and Chicago. He received a bachelor of fine arts degree from the Maryland Institute College of Art and a master of fine arts degree from the School of the Art Institute of Chicago. Kohler paints people, animals, and places. Some of his paintings are abstract: these works of art focus on lines, colors, shapes, textures, or patterns. Abstract art can be inspired by, but may not look like, something from real life. He is also a writer for a newspaper, the Huffington Post. ANIMAL FACTS:

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House cats like Francis are the smallest members of the cat family.

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Like their larger relatives, lions and tigers, house cats are natural hunters who stalk their prey and pounce with sharp claws and teeth.

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House cats are able to jump from a sitting position up to nine times their height.

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Cats are also known for being fast runners, squeezing through tight spaces. Because they always land on their feet after a big jump, cats are said to have nine lives!

WILLIAM ECKHARDT KOHLER American, born 1962

Francis 1 2000 Oil on panel Museum purchase with funds generously provided by an anonymous donor, 2021

Storytelling with Pictures Storytelling with pictures is nothing new. It’s an example of sequential art: the practice of placing images in a specific order that’s designed to be viewed as a narrative (or story). Use the boxes on the next page to create a story about Francis. Plan your story in six parts. Each part will have its own box. The final image in your story could be the painting, Francis 1. Imagine how Francis ended up sleeping on a chair. What happened before that made him tired? Did he go outside? Did he chase a mouse? Did he run a long distance? What did he see while he was running? Did he eat a huge meal? Did he jump on someone’s shoulders? Did he play with his human family or other pets in the household? If so, who were the other pets? Did the warmth from a sunny window make him sleepy?

Consider using thought bubbles to add to your story. Like this:

spending the day on the beach sure can tire a cat out!

My story about francis Begins....

all of a sudden:

and then:

the End... or is it? 25

Fantastical Creatures The artist, Twins Seven-Seven was inspired by the stories and traditions of his Yoruba heritage. The Yoruba live in western Africa and believe that all living things—animals, humans, plants, and trees—are connected in spirit. LOOKING QUESTIONS: Winged Lion is an imagined, mythical creature that the artist depicted many times. What two or three animals are combined in this creature? What powers would a lion with wings have? What animal appears in the lion’s tail? Twins Seven-Seven began by drawing the face and body shapes with thick, black lines. He filled in the shapes with highly detailed patterns of lines, shapes, and colors as well as flowers and tiny faces. Where do you see patterns of flowers? What might be a reason Twins chose flowers for a pattern on the lion’s body? How do they make you feel about the lion? There are two two big faces in this artwork. Which face is wearing a crown? Which has a mane? Look carefully at the wings and mane. What do you see inside these shapes? Think about why the artist filled this creature with so many faces. The Yoruba believe that their ancestors are always present with the living. Perhaps these faces are connecting Winged Lion with his ancestors. ARTIST FACTS: Twins Seven-Seven was born and grew up in Nigeria, a country in western Africa. He also lived in Philadelphia. As an adult, he chose the name Twins Seven-Seven. According to the artist, his mother gave birth to seven sets of twins, and he was the only one to survive. Twins influenced many Black artists in America who were searching for an understanding of their African heritage. ANIMAL FACTS:

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Lions are considered vulnerable or facing a high risk of extinction in the wild.

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As the largest big cat in Africa, lions have long been admired as symbols of courage and strength.

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Lions are the only cats that live in groups or family units called prides.

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Males protect and defend the pride’s territory. Females are the pride’s leaders. They raise the cubs and do most of the hunting.

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Males are unique for their thick mane of hair that surrounds their neck and head.

TWINS SEVEN-SEVEN Nigerian (active Philadelphia), 1944–2011

Winged Lion Date unknown Ink on paper Museum purchase, 2014

Make Your Own Winged Lion Step 1: NOTICE four different BODY PARTS. Step 2: NOTICE three types of LINES in this project: • ------ BLUE DOTTED lines for cutting in step 4 •

GREEN SOLID LINES for folding in step 8

• ------ RED DOTTED LINES for cutting in step 9 Step 3: NOTICE the letters A, B, and C. These will guide assembly in step 9. Step 4: CUT along the BLUE DOTTED LINES to create the four body parts. Step 5: DECORATE the front and back of the HEAD: • Use lines, shapes, and colors to make the eyes and mouth. • Create a pattern with lines, dots, squiggles, and shapes to make a mane. • Turn the head over and decorate the back of the head. Step 6: DECORATE the front and back of the BODY: • Use lines and color to suggest a nose and the shape of a large wing. • Take inspiration from Twins Seven-Seven and create colorful patterns that combine circles, squares, and triangles with flowers, trees, faces, birds, insects, snakes, fish or other creatures. Use your imagination! • Consider the diamond-like shape of the tail. Draw a face or make the tail interesting in another way. Step 7: DECORATE the front and back of the two LEGS. Step 8: FOLD along the GREEN SOLID LINES to create feet. Step 9: CUT along the RED DOTTED LINES to create the slits for assembly. Step • • •

10: ASSEMBLE your Winged Lion: Insert Slit A on the head into Slit A on the body. Insert Slit B on the front legs into Slit B on the body. Insert Slit C on the back legs into Slit C on the body.

Step 11: ADJUST for balance if necessary and ENJOY!

Don’t Feed the Art: Woodmere’s Animal Menagerie Works in the Exhibition ANTS Nicole Parker American, born 1994 Ground Beef, 2018 Oil on canvas mounted on panel, 12 x 18 in. Woodmere Purchase Prize from the Pennsylvania Academy of the Fine Arts Annual Student Exhibition, 2018 BIRDS Patrick Arnold American, born 1950 Peck, 2001 Oil on wood, 10 x 12 in. Gift of Addie Kaplan, 2013 Susan S. Bank American, born 1938 Early Morning in El Campo, 2002 Gelatin silver print, 12 1/4 x 18 1/4 in. Museum purchase with funds generously provided by Frances and Robert Kohler, 2018 Susan S. Bank American, born 1938 Pavos in Sala, 2002 Gelatin silver print, 18 x 12 in. Museum purchase with funds generously provided by Frances and Robert Kohler, 2018 Jessie Drew-Bear American, born England, 1879–1962 St. Miguel de Allende Mexicano, 1939 (reworked by the artist 1960) Oil on canvas, 26 x 20 in. Museum purchase with funds generously provided by Joly Stewart, 2019 Martha Mayer Erlebacher American, 1937–2013 M.D.M.L.D., 2005 Oil on canvas, 26 x 16 in. Gift of Adrian Erlebacher and Amy Lu, 2014

Eugene Feldman American, 1921–1975 Birds Over the Schuylkill, 1963 Offset lithograph, 35 x 23 in. Gift of Rosina Feldman, 2008 Libby Glatfelter American, 1947–2021 Pelican, date unknown Monotype, 7 7/8 x 6 3/4 in. Gift of Cassandra Kaldor, 2021 Ed Bing Lee American, born 1933 Four and Twenty, September 2016 Hemp, waxed linen, linen, and cotton, 8 x 12 x 12 in. Museum purchase with funds generously provided by Josephine Wang and Sam Switzenbaum, 2021 Christine McGinnis American, 1937–2019 Greater Horned Owl, c. 1965 Etching and acquaint, 10 5/8 x 21 1/2 in. Gift of Rebecca and Gilbert Kerlin, 2021 Meissen Porcelain Factory, Meissen, Germany Active 1710–present Mantle Clock, date unknown Porcelain, 20 x 17 1/2 x 4 1/2 in. Bequest of Charles Knox Smith Brian Meunier American, born 1954 Orchid with Little Kingfisher, 2009 Ceramic, wood, steel, epoxy, paint, shellac, and polyurethane, 15 1/2 x 11 x 13 1/2 in. Gift of the artist, 2014 Peter Paone American, born 1936 Peacock, 2003 Acrylic on panel, 24 x 54 in. Courtesy of the artist

CATS Joseph T. Pearson Jr. American, 1876–1951 By the River, 1916 Oil on canvas, 60 x 72 in. Museum purchase, 1943

T. Aguir American, life dates unknown Corporate Cat II, date unknown Colored etching, 6 3/4 x 4 3/4 in. Gift of Ann E. and Donald W. McPhail, 2013

Marta Sanchez American, born 1959 Corona Spring, 2020 Oil and enamel on corrugated metal and copper, 48 x 48 in. Museum purchase, 2022

Henry Bermudez American, born Venezuela 1951 The RainMakers Dance, 2018 Acrylic paint with glitter on canvas, 72 x 106 in. Museum purchase with funds generously provided by Frances and Robert Kohler, 2022

Italo Scanga American, born Italy, 1932–2001 Untitled (Bat), 1985 Gouache and charcoal on paper, 49 1/2 x 39 3/4 in. Gift of the Italo Scanga Foundation, 2012

Lynne Campbell American, born 1967 Black Cat (In the Field of Venus and Karma), 2010 Acrylic on board, 12 x 12 in. Museum purchase, 2015

Phoebe Shih Chinese, 1927–2014 Bird, 1966 Woodcut, 6 1/4 x 9 1/2 in. Gift of Ann E. and Donald W. McPhail, 2013

Libby Glatfelter American, 1947–2021 Cheater, date unknown Monotype, 13 7/8 x 10 3/4 in. Gift of Cassandra Kaldor, 2021

Ellen Powell Tiberino American, 1937–1992 The Cock Crows, 1988 Pastel and oil pastel on paper, 18 1/2 x 23 1/2 in. Long-term loan from Jason Friedland, Andrew Eisenstein, and Matthew Canno

Razel Kapustin American, born Russia, 1908–1968 Double Portrait of Kapussy, 1945 Lithograph, 11 1/2 x 16 1/2 in. Gift of Sheldon and Sylvia Kapustin, 2012

Ben Wolf American, 1914–1996 Sea Flight (Bird), date unknown Oil on board, 10 x 14 in. Gift of Clarence and Pamela Wolf, 2018 BULL Ron Tarver American, born 1957 Untitled, 1993 Color coupler print, 11 x 8 7/8 in. From the series The Long Ride Home, the Black Cowboy Experience in America Gift of the artist, 2017

William Eckhardt Kohler American, born 1962 Francis 1, 2000 Oil on panel, 14 x 16 in. Museum purchase with funds generously provided by an anonymous donor, 2021 Gilbert Lewis American, born 1945 Untitled, February 2, 1982 Gouache on paper, 22 1/4 x 30 in. Gift of Eric Barton Rymshaw, 2017 Sarah McEneaney American, born Germany 1955 Cole, 2005 Woodcut and inkjet, 24 x 48 in. Museum purchase, 2015

Sarah McEneaney American, born Germany 1955 Irving, 2015 Acrylic on panel, 20 x 16 in. Museum purchase, 2018

Mildred Bunting Miller American, 1892–1964 Two Cows in Woods, date unknown Oil on canvas, 14 1/8 x 17 1/4 in. Museum purchase, 2011

Charles Santore American, 1935–2019 Sesame Street, cover for TV Guide, 1980 Watercolor and colored inks on paper, 12 1/8 x 15 1/2 in. Gift of the artist, 2018

Susan Gertrude Schell American, 1891–1970 Pennsylvania Pattern, c. 1936 Oil on canvas, 35 1/4 x 40 in. Museum purchase, 1953

Twins Seven-Seven Nigerian (active Philadelphia), 1944–2011 Winged Lion, date unknown Ink on paper, 13 1/2 x 21 1/2 in. Museum purchase, 2014

CREATURES

Larry Stearns American, 1943–2019 Bill Sawicki Seated in Chrome Chair with His Stuffed Cat, date unknown Oil on canvas, 39 x 27 1/4 in. Gift in memory of Forest Aegiano, formerly known as James Larry Stearns, from the Collection of Joann C. Austin, 2020 COWS Eugene Baguskas American, 20th century Untitled, 1985 Watercolor on paper, 7 1/2 x 11 1/4 in. Gift of Ron Rumford, 2012 DeWitt Clinton Boutelle American, 1820–1884 Mountain River Landscape, 1856 Oil on canvas, mounted as a triptych, 34 x 55 in. Museum purchase with funds generously provided by Frederic H. and Priscilla J. Murphy, 2021 Maurie Kerrigan American, born 1951 Holy Cow!, 1987 Oil pastel on paper, artist-made frame, 22 x 30 in. Gift of Dr. and Mrs. William Wolgin, 2015

Fritz Janschka American, born Austria, 1919–2016 Orakel, date unknown Etching, 11 x 10 in. Gift of Joan L. Tobias, 2011 George Johnson American, born 1951 (Turtle Vase), date unknown Ceramic, 17 x 11 x 6 1/2 in. Gift of Anne d’Harnoncourt and Joseph Rishel, 2021 Razel Kapustin American, born Russia, 1908–1968 Beasts of War, 1948 Oil on masonite, 21 x 25 1/2 in. Museum purchase, 2011 Charles Searles American, 1937–2004 Three Spirits Forms, 1979 Acrylic on canvas, 30 x 30 in. Museum purchase, 2017 Helen Siegl American, born Austria, 1924–2009 Creature, 1975 Plaster cut, 6 x 6 1/4 in. Gift of Anne Kaplan, 2014 Willie Stokes American, born 1955 Animals and Two Dancing People, 2001 Silkscreen, 17 x 25 1/2 in. Printed by the Fabric Workshop and Museum 2001 Philagrafika Invitational Portfolio Gift of Philagrafika, 2015

DEER Neil Welliver American, 1929–2005 Study for Deer, c. 1979 Watercolor and pencil on paper, 22 x 26 in. Courtesy of Joseph and Pamela Yohlin DOGS George Biddle American, 1885–1973 Bo, 1937 Oil on canvas, 30 x 40 in. Gift of the Michael Biddle Family, 2022 Jessie Drew-Bear American, born England, 1879–1962 Poodles, date unknown Oil on canvas, 20 1/4 x 24 in. Gift of the Drew-Bear Family, 2014 John Laub American, 1947–2005 Dickie Dog, 1990 Oil on linen, 36 x 48 in. Gift of Patricia Laub Tieger, 2018 Douglas Martenson American, born 1960 Dog Study, 1992 Oil on wood, 10 x 14 in. Gift of Douglas and Camille Martenson, 2015 Douglas Martenson American, born 1960 Status Quo, 1992 Oil on linen, 40 x 50 in. Gift of Douglas and Camille Martenson, 2015 Edith Neff American, 1943–1995 Portrait of Oliver, Harry Soviak’s Dog, 1979 Pastel on paper, 16 x 25 in. Gift of Alma Alabilikian and Peter Paone in honor of Marguerite Lenfest, 2018 Stuart Netsky American, born 1955 “I Don’t Believe in PETA. I Have a Closet Full of Furs.” Johnny Weir. “As for the Sublime, Well That’s Another Story,” 2015 Mixed media, 34 1/2 x 27 x 2 in. Gift of the artist in honor of Mari and Peter Shaw, 2022

Tom Palmore American, born 1945 Midnight, date unknown Oil on canvas, 30 x 45 3/4 in. Gift of Larry and Mickey Magid, 2018 Harry Soviak American, 1935–1984 Untitled (Dalmatian), date unknown Watercolor on paper, 18 x 23 1/2 in. Museum purchase, 2021 ELEPHANTS David Graham American, born 1952 Lucy, Margate, New Jersey, 1987 Digital chromogenic print, 9 x 12 in. Museum purchase, 2014 George Krause American, born 1937 Elephant Girl, 1965 (negative), 1989 (print) Gelatin silver print, 13 5/8 x 18 5/8 in. Gift of PricewaterhouseCoopers, 2015 Edith Neff American, 1943–1995 Elephant Ride, 1993 Color offset lithograph, 21 11/16 x 26 1/16 in. Gift from the estate of Eileen Liebowitz, 2022 Robert Riggs American, 1896–1970 Elephant Act, c. 1935 Lithograph, 14 1/4 x 9 5/8 in. Museum purchase, 1943 Twins Seven-Seven Nigerian (active Philadelphia), 1944–2011 Untitled, date unknown Giclee print on blotter paper, 23 1/2 x 39 1/4 in. Museum purchase with funds generously provided by Frances and Robert Kohler, 2021

FISH Joan Wadleigh Curran American, born 1950 Fish, 1982 Gouache on paper, 24 1/4 x 29 3/4 in. Gift of Frances and Robert Kohler, 2011 Joan Wadleigh Curran American, born 1950 Fish on a Plate, 1982 Gouache on paper, 20 1/4 x 29 3/4 in. Gift of Frances and Robert Kohler, 2011 Jessie Drew-Bear American, born England, 1879–1962 Jellyfish and Lobster, date unknown Oil on canvas, 16 x 20 in. Gift of the Drew-Bear Family, 2014 Eileen Goodman American, born 1937 Aquarium #2, 1992 Watercolor on paper, 22 x 30 in. Courtesy of the artist Penelope Harris American, born 1938 Strawberry Grouper, 1986 Gouache on paper, 29 x 27 in. Gift of Mrs. Robert L. McNeil, Jr., 2018 Angelo Pinto American, born Italy, 1908–1994 Goldfish, date unknown Wood engraving, 6 3/4 x 8 1/2 in. Museum purchase, 2012 GIRAFFES Jessie Drew-Bear American, born England, 1879–1962 Girl with Love Apple, 1957 Oil on canvas, 19 x 24 1/4 in. Gift of the Drew-Bear Family, 2014 GORILLAS Tom Palmore American, born 1945 Bamboo, c. 1975 Acrylic on canvas, 72 1/4 x 60 in. Gift of Acey and Bill Wolgin, 2019

Tom Palmore American, born 1945 Untitled (Gorilla in Upholstered Chair), date unknown Lithograph, 10 x 8 in. Gift of Carl L. Steele, 2014 HORSES Franz Kline American, 1910–1962 The Horse, c. 1940s Oil on canvas, 24 x 35 in. Museum purchase, 2013 Eadweard Muybridge American, born England, 1830–1904 Untitled [Man on a Horse], c. 1890 Collotype, 9 3/4 x 11 5/8 in. Gift of Wendy and Walter Foulke, 2020 PIG Millicent Krouse American, born 1933 Pig, 1967 Woodcut, 24 1/4 x 38 in. Museum purchase, 2012 RABBIT Eleanor S. Perot American, 1902–after 1940 Wee Jonathan (The Cotton Tail), date unknown Lithograph, 4 1/2 x 8 3/4 in. Purchased from the artist, 1943 SNAKE Barbara Bullock American, born 1938 Remembrance, 1985 Acrylic on canvas, 74 x 40 in. Partial gift of the artist and partial museum purchase with funds generously provided by Rob Kohler, Osagie Imasogie, and Jim Nixon, 2020 SQUID Brian Meunier American, born 1954 Squid, 1982–83 Polychrome wood, 88 1/2 x 11 3/4 x 9 1/2 in. Gift of Mr. and Mrs. B. Herbert Lee, 2016 35

TORTOISE Millicent Krouse American, born 1933 Tortoise, 1964 Woodcut, 25 x 37 in. Museum purchase, 2012 WASP Dan Miller American, born 1961 Wasp, 2008 Woodcut, 21 1/4 x 7 1/4 in. Gift of Ann E. and Donald W. McPhail, 2013 WHALES Robert Beck American, born 1950 Blue Boy, 2019 Oil on canvas, 60 x 60 in. Gift of the Wright Family Trust, 2021

Patricia Traub American, born 1947 Vigilant, 2000–2001 Oil on canvas, 57 1/4 x 76 in. Gift of the painter Patricia Traub, 2021 Noah’s Ark, mid- to late 19th century Wood, 9 1/2 x 21 x 6 3/4 in. Made in Germany (possibly Nuremberg) Courtesy of the Germantown Historical Society Collection at Historic Germantown, 1996.115 The A. Schoenhut Company Selections from a Humpty Dumpty Circus, c. 1903 Wood, string, and leather, dimensions variable Museum purchase, 2016 A Miniature Country Fair, c. 1920s Wood, metal, felt, rubber, brass, canvas, mirror, paper, plastic, and paint, 19 x 41 1/2 x 28 1/2 in. Museum purchase, 2018

Benton Spruance American, 1904–1967 Triumph of the Whale, 1967 Lithograph, 22 1/2 x 31 1/2 in. From the series Moby Dick Gift of Ann E. and Donald W. McPhail, 2013 GROUPS Edna Andrade American, 1917–2008 [Study for Academy of Natural Sciences mural], c. 1960’s Oil on canvas, 29 7/8 x 44 in. Anonymous gift in honor of Bill Scott, 2012 William Daley American, 1925–2022 Peaceable Kingdom, 1975 Ceramic, 16 3/8 x 16 1/4 in. Gift of Ruth Fine and Larry Day, 2020 Kate Samworth American, born 1967 Second Line, 2020 Scratchboard, 16 x 20 in. Museum purchase, 2021 Untitled (Gorilla in Upholstered Chair), date unknown, by Tom Palmore (Gift of Carl L. Steele, 2014)

Bird, 1966, by Phoebe Shih (Gift of Anne E. and Donald W. McPhail, 2013)

Woodmere Art Museum receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Support provided in part by The Philadelphia Cultural Fund.

© Woodmere Art Museum. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher. Catalogue designed by Dave Barry and edited by Gretchen Dykstra. Front cover: Bamboo, detail, c.1975, by Tom Palmore (Gift of Acey and Bill Wolgin, 2019)