Joellyn Duesberry, Passing Storm III, (detail), 1992, monotype, ink on paper,
Denver Art Museum: Funds from Friends of Painting and Sculpture, 1998.321
Photography Courtesy of the Denver Art Museum
 Credit: 


Aims and Purposes


"The Friends of Painting and Sculpture is a non-profit organization for the purposes of supporting and engaging in educational programs relevant to American and European Art ... contribution to the cultural enrichment of its members ... the public in general.  It intends to promote the programs of the Painting and Sculpture Collections of the Denver Art Museum and to render financial support for acquisitions and assistance with exhibitions and programs for the Collection...."


Curator's Report - Fall/Winter 2016-17


Curators have the challenge of assuming many different roles throughout the year especially considering the various stages of seeing an exhibition such as the Glory of Venice come to fruition. As the organizing curator of this exhibition Angelica had to jump through a hundred hoops, many of which are known only to those in the field. Not only did she work with her Italian colleagues to obtain a brilliant checklist of rare Venetian paintings—some of which are presented for the first time not only in Denver but in the entire United States—she also spearheaded the exhibition catalogue, worked with many colleagues to create the stunning installation, gave countless lectures and tours at the opening and afterwards, and worked tirelessly finding another venue for this exhibition. When I walked through the Glory of Venice for the first time, I felt as if I were in a Venetian palazzo on the Grand Canal;  the only item missing was a flute of prosecco to accompany my visit! While I was in New York City for The European Fine Art Fair this past October 21st, many curators, dealers, and collectors from Europe and North America mentioned that they would try to come to Colorado to see such an ambitious exhibition. We should all be proud of Angelica for her efforts in bringing such an important show to Denver.


Kathleen Stuart has spent much of her time this past 6 months researching Tudor and Stuart portraits at symposia at a number of institutions throughout the East coast. Emily Willkom helped immensely with the travel logistics and itinerary for our recent Fopas trip to Oregon which was a smashing success (so smashing in fact that the bus we were on got stuck on a downward slope of a narrow lane; we had to bail and call Uber and Lyft taxis to make it back to the hotel!) I have been busy researching and writing about the monotypes of a late 19th century French artist. Thank you for all of your considerable support of Painting & Sculpture. We have a great program lined up. Don’t forget to tell 10 people about Fopas!


Dr. Timothy J. Standring
Gates Foundation, Curator of Painting & Sculpture



FOPAS Board 2016 - 2017


Executive Board

  • President: Bette Jamieson
  • Vice President/Programs: Denny O'Brien
  • Secretary: Mary Willis
  • Treasurer: Elaine Gunnell
  • Past President: Diana Groves

Committee Chairs

  • Benefits: Carolyn Kemp
  • Communications: Sandy Berhenke
  • Hospitality: Rita Larson and Lynne Keck
  • Membership: John Howell
  • Nominations: Betsy Cheroutes (chair), Nancy Parker and Bart Johnson
  • Parliamentarian: Gretchen Cooper
  • Reservations: Carol Ferguson
  • Travel: Bob Terkhorn
  • Upper Level Programs: Judy O'Brien
  • Members at Large: Phil Heinschel and Kay Landen

Advisors

  • Timothy Standring, Gates Foundation Curator
  • Angelica Daneo, Curator
  • Kathleen Stuart, Curator, Berger Collection



Denver Art Museum