Ringling Conservation staff and contracted conservators have been hard at work treating the "Watermelon Regatta" allegorical painting. In this latest step, an isolating varnish was applied to the entire canvas.
The original hardwood floor in Gallery 2 of the John and Mable Ringling Museum of Art has long been in need of major restoration. This work began in early January, 2019, and will continue into April, during which time Galleries 1 and 2 will be closed to the public. But these are no ordinary floors...
Inclusion, Diversity, Equity, and Access - Museums across the country are devoting themselves to these four essential commitments, and The Ringling is no different. As we move into the next five years of our strategic plan, the entire institution will be making a concerted effort to infuse the principles of IDEA into our work at every level.
Three more galleries in the Museum of Art have been reinstalled during the summer of 2018, as the major project to re-envision all 21 museum galleries continues. This exciting work is transforming the visitor experience of The Ringling’s collections of European art through new arrangements of artworks, updated labels and didactics, much improved lighting, and modern wall colors.
Even the Bayfront grounds and gardens are entering the digital age at The Ringling. A tree management software is helping the Grounds and Gardens staff care for the hundreds of trees on the 66-acre campus and share the wealth of botanical knowledge with visitors and anyone with access to the internet.
The historic swimming pool in front of Ca' d'Zan has been restored! This fulfills the longtime dream of Ron McCarty, Keeper of the Ca' d'Zan, who retires this August after 38 years of service to the legacy of John and Mable Ringling.
Who was Chick Austin? Although he passed away before his plans for the Historic Asolo Theater came to fruition, The Ringling's first director succeeded in making the performing arts an integral part of The Ringling to this day.
A work of art is sometimes attributed to the workshop of an Old Master painter. How do art historians determine this, and what does it mean when we look at a work from a workshop of an artist such as Rubens or Rembrandt?