MILWAUKEE ART MUSEUM HOURS : MUSEUM HOURS

The Gardner Heist: The True Story of the World's Largest Unsolved Art Theft

Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Vermeer, three Rembrandts, and five Degas. But after thousands of leads—and a $5 million reward—none of the paintings have been recovered. Worth as much as $500 million, the missing masterpieces have become one of the nation’s most extraordinary unsolved mysteries.
After the death of famed art detective Harold Smith, reporter Ulrich Boser decided to take up the case. Exploring Smith’s unfinished leads, Boser travels deep into the art underworld and comes across a remarkable cast of characters, including a brilliant rock ‘n’ roll thief, a gangster who professes his innocence in rhyming verse, and the enigmatic late Boston heiress Isabella Stewart Gardner herself. Boser becomes increasingly obsessed with the case and eventually uncovers startling new evidence about the identities of the thieves. A tale of art and greed, of obsession and loss, The Gardner Heist is as compelling as the stolen masterpieces themselves.

Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Vermeer, three Rembrandts, and five Degas. But after thousands of leads—and a $5 million reward—none of the paintings have been recovered. Worth as much as $500 million, the missing masterpieces have become one of the nation’s most extraordinary unsolved mysteries.
After the death of famed art detective Harold Smith, reporter Ulrich Boser decided to take up the case. Exploring Smith’s unfinished leads, Boser travels deep into the art underworld and comes across a remarkable cast of characters, including a brilliant rock ‘n’ roll thief, a gangster who professes his innocence in rhyming verse, and the enigmatic late Boston heiress Isabella Stewart Gardner herself. Boser becomes increasingly obsessed with the case and eventually uncovers startling new evidence about the identities of the thieves. A tale of art and greed, of obsession and loss, The Gardner Heist is as compelling as the stolen masterpieces themselves.

If not for the striding fellow, this pic may not have made it to Flickr 🙂 .

The Windhover Hall inside the Milwaukee Art Museum. From mam.org – Awash in white with exquisite marble flooring, this magnificent light-filled grand reception hall boasts a 90-foot-high glass ceiling located directly below the Burke Brise Soleil and serves as the gateway to the Museum. The site of exhibition openings, brunches, weddings, and art fairs, among other special events, Windhover Hall—whose lake side is often compared to the prow of a ship—is open to the public without charge during regular Museum hours.

Explored, 4-09-11 #302

Milwaukee Art Museum, Milwaukee, Wisconsin; late summer, early afternoon; Santiago Calatrava design; waited around for at least an hour for the bridge to clear of people

The Pulitzer Prize-winning novel becomes a motion picture starring Meryl Streep, Julianne Moore, and Nicole Kidman, directed by Stephen Daldry from a screenplay by David Hare

The Hours tells the story of three women: Virginia Woolf, beginning to write Mrs. Dalloway as she recuperates in a London suburb with her husband in 1923; Clarissa Vaughan, beloved friend of an acclaimed poet dying from AIDS, who in modern-day New York is planning a party in his honor; and Laura Brown, in a 1949 Los Angeles suburb, who slowly begins to feel the constraints of a perfect family and home. By the end of the novel, these three stories intertwine in remarkable ways, and finally come together in an act of subtle and haunting grace.

The Hours is the winner of the 1999 Pulitzer Prize for Fiction.

The Hours is both an homage to Virginia Woolf and very much its own creature. Even as Michael Cunningham brings his literary idol back to life, he intertwines her story with those of two more contemporary women. One gray suburban London morning in 1923, Woolf awakens from a dream that will soon lead to Mrs. Dalloway. In the present, on a beautiful June day in Greenwich Village, 52-year-old Clarissa Vaughan is planning a party for her oldest love, a poet dying of AIDS. And in Los Angeles in 1949, Laura Brown, pregnant and unsettled, does her best to prepare for her husband’s birthday, but can’t seem to stop reading Woolf. These women’s lives are linked both by the 1925 novel and by the few precious moments of possibility each keeps returning to. Clarissa is to eventually realize:
There’s just this for consolation: an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we’ve ever imagined…. Still, we cherish the city, the morning; we hope, more than anything, for more.
As Cunningham moves between the three women, his transitions are seamless. One early chapter ends with Woolf picking up her pen and composing her first sentence, “Mrs. Dalloway said she would buy the flowers herself.” The next begins with Laura rejoicing over that line and the fictional universe she is about to enter. Clarissa’s day, on the other hand, is a mirror of Mrs. Dalloway’s–with, however, an appropriate degree of modern beveling as Cunningham updates and elaborates his source of inspiration. Clarissa knows that her desire to give her friend the perfect party may seem trivial to many. Yet it seems better to her than shutting down in the face of disaster and despair. Like its literary inspiration, The Hours is a hymn to consciousness and the beauties and losses it perceives. It is also a reminder that, as Cunningham again and again makes us realize, art belongs to far more than just “the world of objects.” –Kerry Fried

The Pulitzer Prize-winning novel becomes a motion picture starring Meryl Streep, Julianne Moore, and Nicole Kidman, directed by Stephen Daldry from a screenplay by David Hare

The Hours tells the story of three women: Virginia Woolf, beginning to write Mrs. Dalloway as she recuperates in a London suburb with her husband in 1923; Clarissa Vaughan, beloved friend of an acclaimed poet dying from AIDS, who in modern-day New York is planning a party in his honor; and Laura Brown, in a 1949 Los Angeles suburb, who slowly begins to feel the constraints of a perfect family and home. By the end of the novel, these three stories intertwine in remarkable ways, and finally come together in an act of subtle and haunting grace.

The Hours is the winner of the 1999 Pulitzer Prize for Fiction.

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