Spotlight on the Collection

Besides its unbeatable lineup of special exhibitions, the BMA has one of the finest permanent collections in the Southeast. With more than 24,000 paintings, sculptures, prints, drawings, videos, and decorative arts, the collection spans more than 4000 years and represents cultures from around the globe. Now, discover your Museum with the Spotlight on the Collection series. Experience the spotlight work in the galleries with an ArtBreak or Slow Art Sunday, like us on Facebook to learn more, or join the conversation below to tell us what you think about these artworks!

July 2015: Spirit Catcher

Spirit Catcher, Frank Fleming, 1982 The unicorn-human hybrid in Fleming’s Spirit Catcher sits on a tree stump looking out at the viewer, seemingly unaware of the small bird alighting on his outstretched hand or the snarling dog at his feet.

Chatsworth House and Park. Pieter Tillemans (Flemish, active Great Britain, 1684-1734), about 1725. Oil on canvas. 26 × 68 inches. Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Purchase with funds provided by the Sklenar Family – Herb, Ellie, Susan and Tisha; and the Art Fund, Inc., AFI.4.2013.

June 2015: Chatsworth House and Park

Chatsworth House and Park, Pieter Tillemans, about 1725 Though at first glance this painting may appear to show little more than a peaceful summer day in the English countryside, it is actually a carefully crafted representation of one family’s position

May 2015: Moon Jar

May 2015: Moon Jar

Jar (Dal Hang-ari), Korean, about 1700 Since the 10th century, Korean artists have produced white porcelain. After a long demand for celadon (pale green) ceramics, white porcelain gained popularity in the 15th and 16th centuries. The bureau (Bunwon) that oversaw

April 2015: Bands of Color in Various Directions

April 2015: Bands of Color in Various Directions

Bands of Color in Various Directions, Sol LeWitt, 2001 Bands of Color in Various Directions, from Sol LeWitt’s series Wall Drawings, is one of the largest artworks in the Museum’s collection. Installed in the Charles Ireland Sculpture Garden, it measures

Britannia Triumphant. Wedgwood, 1798-1809. Stoneware (jasperware). The Dwight and Lucille Beeson Wedgwood Collection,1990.1.

March 2014: Britannia Triumphant

Britannia Triumphant, attributed to John Flaxman, Jr., for Wedgwood, 1798-1804 Since 1759, Wedgwood has been a major pottery manufacturer that set the standard for fashionable English dinnerware and decorative objects. High-quality manufacturing techniques and workmanship set Wedgwood apart from other

Beer Vessel. Zulu people, South Africa, 20th century. Fired clay and slip. Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Dick Jemison Collection of African Pottery, AFI94.2012.

February 2015: Beer Vessel

Beer vessel, Zulu people, 20th century African artisans have produced pottery for at least 10,000 to 15,000 years. Handmade ceramics, particularly in rural areas, are still central to family and community life. People use vessels for cooking and serving food

Photograph of Lady Helen in about 1914, the year World War I began.

January 2015: Lady Helen Vincent, Viscountess d’Abernon

Lady Helen Vincent, Viscountess d’Abernon, John Singer Sargent, 1904 Portraits are the result of a negotiation between an artist and a sitter, often over considerations such as clothing, props, and location. However, these practical matters can also reveal information about

Buffalo Vector (Yellowstone Border). erritt Johnson, 2009-2010. Oil and alkyd on canvas. Gift of the artist, AFI463.2012.

November 2014: Buffalo Vector

Buffalo Vector (Yellowstone Border), Merritt Johnson, 2009-2010 It is always rewarding to see Museum visitors draw close to a work of art, stop, and look closely. Without fail, this painting compels people to draw near. From afar, Buffalo Vector is discernible as

It's the Real Thing!, 1978/2006. Hank Willis Thomas, 2006. Digital C-print. 27 3/4 x 24 3/4 inches. Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Jack Drake Collection of Contemporary Art, AFI104.2011. © Hank Willis Thomas.

September 2014: It’s the Real Thing!

It’s the Real Thing!, 1978/2006, Hank Willis Thomas, 2006 Hank Willis Thomas (born 1976) was raised by a photography historian who taught him to be sensitive to the power of images. Though Thomas went on to earn degrees in fine

Hot Water Urn. Hester Bateman, 1780/1782. Silver with bright-cut engraving, and wood. Museum purchase, 1973.30a-b.

August 2014: Hot Water Urn

Hot Water Urn, Hester Bateman, 1781/1782 Modern collectors and silver enthusiasts have called Hester Bateman (1708-1794) “the queen of English silversmiths.” In 1761, she took over her late husband’s chain-making business and transformed it into an important silver workshop. She retired

Armor (Tōsei Gusoku), Muromachi period (1392-1573), about 1550. Saotome Iyetada (Japanese, active mid-16th century). Lacquer, wood, iron and silk. Museum purchase with funds provided by the Endowed Funds for Asian Art Acquisitions, the Birmingham Museum of Art Volunteer Council, Mr. and Mrs. Thomas N. Carruthers, Jr., Mrs. Gerda Carmichael, Mr. James D. Sokol, Mr. and Mrs. Victor Hanson II, and Dr. and Mrs. James Kamplain, 1997.137.1-.6.

July 2014: Armor

Armor, Saotome Iyetada, about 1550 To a modern audience, suits of samurai armor may seem extravagant or even flamboyant; however, each element served a real purpose. Besides providing protection, high-status samurai warriors needed to be identified by their foot soldiers

Somnus, about 1774. Wedgwood (est. 1759), Staffordshire, England. Stoneware (black basalt). 11 1/2 x 22 1/2 x 14 inches. Collection of the Art Fund, Inc., at the Birmingham Museum of Art; The Buten Wedgwood Collection, gift through the Wedgwood Society of New York, 300.2008.

June 2014: Somnus

Somnus, Wedgwood, about 1774 The prototype for this figure is the sculpture by Alessandro Algardi, now in the Galleria Borghese in Rome. Wedgwood had access to it through an engraving in Bernard de Montfaucon’s work L’antiquité expliquée, a popular design

Plank Mask (nwantantay). Late 20th century. Yacouba Bonde
Bwa people, Village of Boni, Burkina Faso (born 1963). Wood, pigment. 77 × 14 × 12 inches. Museum purchase with funds provided by Martha Pezrow, 2004.54.

May 2014: Plank Mask

Plank Mask, Yacouba Bonde, late 20th century The Bwa – an ethnic group of about 300,000 people who live in small villages and towns in the West African countries of Burkina Faso and Mali – mark rites of passage such