One of the most popular holiday traditions at the Art Institute is the annual decoration of a selection of the Thorne Miniature Rooms. The tiny, dollhouse-like rooms are beloved year round, but there's even more excitement when diminutive, historically accurate holiday decorations are added.
The decorated rooms represent a variety of holiday traditions, including Christmas, Hanukkah, Las Posadas, and the arrival of the Christkindl, among other practices. In New Orleans in the 1860s, people predominantly celebrated Christmas, but also enjoyed a popular holiday custom called réveillon. This late-night celebratory—and very formal—meal happened after a day of fasting and midnight mass on Christmas Eve.
The Thorne Room above obviously doesn't show the réveillon, but rather the preparation for the event. I imagine that the girl who lives in this room has just stepped out after trying on some options for the night ahead. And oh, what options they are!
The dress on the form is a spectacular addition to the room this year. It would have been quite cutting edge for the time, reflecting the shift from the round, bell-shaped dresses of the 1850s to a style that was flatter in the front and showcased a larger bustle in the back. The exact design was inspired by a gown from the Metropolitan Museum of Art's collection and is remarkably close to the original.
The Spanish artisan who designed and hand sewed the dress, María José Santos, meticulously crafted it using multiple kinds of silk, organza, and taffeta. Materials are a huge challenge for miniature dresses because the scale of the actual fabric becomes an issue. Where a designer normally would use silk tulle (the material used in ballet tutus) on such a voluminous, diaphanous skirt, tulle looks like a net at that small size. So organza has to be used instead, creating a more opaque effect. Santos spent dozens of hours manipulating the fabric, and also hand sculpted the tiny drop-like pieces that adorn the dress.
We hope you're able stop by and enjoy the Thorne Rooms over the holiday season, but if not, we'll be posting more information about these tiny treasures in the coming weeks!
1 hour 17 min ago The Art Institute of Chicago It is believed Van Dyck never intended for the early stages of his etchings to be circulated and was surprised by their immediate popularity in the art market. Finding success at a time when artists didn’t usually show works in progress, these “unfinished” prints helped set the stage for the more recent popularity of works that reveal the creative process. See the prints that altered conventions in Van Dyck, Rembrandt, and the Portrait Print—closing August 7.
20 hours 10 min ago The Art Institute of Chicago #TBT 1983: The museum held an exhibition for the collection of Jalane and Richard Davidson, Chicago collectors of contemporary American realist drawings. Acknowledged at the time for collecting against prevailing art world trends, they amassed a comprehensive collection of work spanning the careers of both well-known artists—like Jack Beal, pictured here with Jalane herself and a portrait he made of her—and lesser-known Midwestern artists. The entire Davidson collection was bequeathed to the museum and saw another exhibition devoted to it in 1999.
1 day 38 min ago The Art Institute of Chicago Who's ready to experience A Lot of Sorrow? The National aren't playing Lollapalooza this year, but festival–goers can still see the band perform their ballad “Sorrow” on repeat for six hours, in an intensely durational film by Icelandic artist Ragnar Kjartansson.
Now on view in the Modern Wing