Honoring Charles Edward Schwing

Charles Edward Schwing’s legacy is deeply rooted in Baton Rouge's architectural and cultural heritage. Known for his masterful restoration of the Louisiana State Capitol Senate Chambers following the 1970 bombing, Schwing earned the prestigious title of Louisiana State Capitol Architect, a position he held until his retirement in 1999.

Beyond his architectural achievements, Schwing was a devoted advocate for the arts, serving as a founding board member of the Louisiana Arts and Science Museum and a lifetime member of the LSU Museum of Art. His passion for preservation and philanthropy is reflected in the generous $50,000 gift made in his honor through the LSU Foundation.

This November, the LSU Museum of Art honored Schwing’s love for art with the display of three remarkable paintings from his personal collection. These include a striking seascape by Winslow Homer, a Venetian watercolor by James Abbott McNeill Whistler, and a captivating portrait of Ma Si Gyaw by Gerald Festus Kelly. See these loaned artworks now on view in the newly-installed Decorative Arts gallery at the LSU Museum of Art.

• Winslow Homer (1836–1910): An American painter known for his mastery of realism and luminous depictions of the natural world. Homer’s works often highlight the power of the sea and the resilience of humanity, making him one of the most celebrated artists of the 19th century.

• James Abbott McNeill Whistler (1834–1903): A pioneering figure in the Aesthetic Movement, Whistler was an American-born artist who gained fame in Europe for his atmospheric landscapes and innovative approach to portraiture.

• Gerald Festus Kelly (1879–1972): A British portrait artist renowned for his refined depictions of high society and his ability to capture the essence of his subjects. Kelly's Ma Si Gyaw portraits are notable for their beautiful rendering of Burmese clothing and jewelry, along with her calm, serene expression that conveyed both dignity and strength. Her inclusion in Kelly's body of work helped bring attention to the unique beauty and culture of Burma at the time, as Kelly was one of the few Western artists to engage with this subject matter.

The Decorative Arts Gallery Reinstalled

The Decorative Arts gallery has undergone a reinstallation, now featuring a variety of newly added pieces to the museum’s permanent collection, including chairs, a bookshelf that will hold books and pre-electric lighting including oil lamps, New Orleans silver, miniature furniture models, tea sets, paintings, and more. Among these additions is also a sugar chest—an icon of early Kentucky craftsmanship that encapsulate both elegance and the complexities of 19th-century America.

The museum’s sugar chest, with its two compartments for refined and unrefined sugar and a lower drawer for tools like sugar nips, is a prime example of how everyday objects carry layered histories. Sugar chests were status symbols in wealthy Southern households, often displayed in prominent spaces like parlors or dining rooms. However, the sugar they stored—referred to as “white gold”—was produced through the labor of enslaved individuals, highlighting the intertwined narratives of affluence and exploitation.

The Decorative Arts gallery now provides visitors with an opportunity to reflect on these complex histories while appreciating the artistry of furniture design. By recontextualizing these objects, the museum invites dialogue about the cultural and economic forces that shaped their creation and use.

The reinstallation of the Decorative Arts gallery, along with the inclusion of Charles Edward Schwing’s loaned paintings, allows the LSU Museum of Art to engage with history, encourage meaningful conversation, and highlight the impact of art.