2: Provincial Matters
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2: Provincial matters Thirty years before Richard Hoggart lived in Rochester, Kathleen McEnery [ 19 ] Cunningham presided at the centre of a lively cultural scene there. In 1914, she had married Francis Cunningham, then secretary and general manager of James Cunningham, Son and Company, a luxury coach- and car-making company. She was probably introduced to Cunningham by his cousin, Rufus Dryer, a good friend of hers in New York and, like her, an artist and a student of Robert Henri at the Art Students League a few years earlier. Before her marriage, she lived in New York, where she was already achieving success as a young artist. Her paintings were exhibited in gallery shows in the city with the work of Stuart Davis, Edward Hopper, George Bellows and other now well-known artists, and two were included in the landmark 1913 Armory Show, known as the major exhibition which introduced European modernism to the United States. In Rochester, she continued to paint – mainly still life works and portraits of her friends and acquaintances. The city was transformed in the years immediately after McEnery’s arrival. I wrote about this a few years ago, in a book about English and American artists outside the mainstream of institutionally accredited ‘modern art’. Economically, the first three decades of the twentieth century had been described as Rochester’s golden age, and the centrality of Eastman-Kodak to the city’s prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the ‘end of provincialism’. -
Emily Sibley Watson (1855-1945)
Emily Sibley Watson (1855-1945) Emily Sibley Watson was a Rochester grand dame who lives on in most people’s imaginations, if she lives on at all, as a staid and starchy dowager. However, archival materials tell a different and vital story, one about a vibrant girl who grew to be a devoted daughter, wife and mother, steadfast friend, intrepid traveler, and compassionate and generous philanthropist. At the same time, as materials have migrated from one generation to the next and into widely separated archives, there are limits to our understanding and interpretation. Still, it is a story filled with adventure, celebration, and tragedy, and its arc overlaps and intersects with the growth of the city famous for Frederick Douglass, Susan B. Anthony, and George Eastman. She remains one of Rochester’s least well-known individuals, overshadowed by the accomplishments of her father and son1, but her gifts to the community have put Rochester on the cultural map for over one hundred years. Emily Sibley Watson in later life Born in 1855, Emily Sibley Watson made her ar- rival around the time that her father, Hiram Sib- ley, was consolidating the Western Union Company. The youngest of four children, and one of only two to survive beyond the 1860s, her life bore only slight resemblance to that of her elder sister, Louise Sibley Atkinson (1833- 1868). Louise spent her earliest years in rural Monroe County, traveled exclusively within the New York/New England region, went to school in Canandaigua, and fretted about expenses. Emily, twenty-two years young- er, was born into immense wealth and privilege and access to the highest levels of culture and society. -
Emily Sibley Watson, Founder of the Memorial Art Gallery
Emily Sibley as a young person. Emily Sibley Watson as an elderly lady. EMILY SIBLEY WATSON, he was discussing with czarist officials the possibility of a trans-Siberian telegraph FOUNDER OF THE connecting Europe and America. However, MEMORIAL ART GALLERY the Atlantic cable, laid in 1868, made this unnecessary. Later in life, Emily traveled By Christina Palis extensively in Europe, evidenced by her correspondence from Paris and London, and Emily Sibley Watson (1855-1945) she and her second husband took frequent Hiram Sibley (1807-1888), father cruises in their yacht. At the outbreak of James G. Averell (1877-1904), son World War I, they were in the Baltic Sea on and other family members. the way to Russia, and they were marooned in Helsinki for an extended period. Description of the life and accomplishments of Emily Sibley Watson, including the The profit that the Sibley family gained from establishment of the Memorial Art Gallery in the great success of the telegraph allowed memory of her son James G. Averell, them to be generous to charitable initiating the Hochstein School of Music, organizations and higher education, as well and the Sibley family founding of the as generous patrons of the arts. Emily’s Genesee Hospital. Emily Sibley Averell and her son, James. father, Hiram Sibley, was one of the incorporators of Cornell University, endowing the Sibley College of Mechanic In Rochester, New York, the Memorial Art of these integral parts of providing Arts. Emily’s brother Hiram Watson Sibley Gallery contains more than 12,000 works of healthcare, art, and music to the city of founded the Sibley Music Library, housed in art in a collection renowned for its quality Rochester are indebted to an incredible the University of Rochester’s Sibley Hall. -
MAG App Object Scripts: Art by Culture Or Date - Descriptions 10/14/11 1
MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 1 American Art: 20th Century American Art Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor. Ancient Middle Eastern Art At the Crossroads See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia. Chinese Art Arts of Asia See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China. Egyptian Art Berkeley Gallery of Ancient Art Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. Etruscan Art The Helen H. Berkeley Gallery of Ancient Art See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy. The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach. European Art: 19th Century European Art Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor. -
Emily Sibley Watson
Emily Sibley Watson Emily Sibley Watson’s quiet but continuous generosity as a patron of art and music lies at the heart of Rochester’s cultural and civic life. She died February 8, 1945 at her home at 11 Prince Street (now 9 Prince Street) and lies at Mount Hope with her husband, her parents, and two of her three children. Born in Rochester, Mrs. Watson was the daughter of Hiram and Elizabeth Tinker Sibley, who came to New York State from Western Massachusetts in the early part of the nineteenth century and quickly rose in prominence. Her father, Hiram, was best known for his role in the founding of Western Union. Her mother, Elizabeth, was a model of beneficence. She played important philanthropic roles in the founding of Genesee Hospital, the support of St. Andrew’s Church, and the sustenance of the Episcopal Church Home. Emily was one of four children born to the Watsons: Giles (who died as a toddler), Louise (who married Hobart Atkinson and died in 1868), Hiram Watson Sibley, and Emily. Emily’s early schooling took place in Rochester and Europe, and was completed in New York City. From 1864 to 1866, she lived with her family in Europe, where she studied in Paris and Germany. During this period, her father traveled to St. Petersburg, Russia, to negotiate with the Czar about running telegraph cable from Alaska across the Bering Strait to Russia. This was planned as the final leg in the race to create a global communication system. The project was abandoned with the completion of the Atlantic Cable. -
Women of Rochester Who Made a Difference!
omen (J)D r::=fAochestet: 00ho (§llitafJe @71; ~i66et:ence! @4 @)esq,uicentenniat C(;t:ibute C(;o dl?ochestet: 00omen by theOOomen's~ouncit o~ the dl?ocltestet: ®4t:ea ~hambet: o~ ~ommet:ce, gnc. dl?ochestet:, ~em )Jjot:k 00omen (!)fJ GAochester. OA!l ho @l/;tafJe ~ ~ifJfJeunce ! @4 e5e.sq,uicentenniaL Y!;t:ibute Yf;o 8/loche.stet: 00omen (1834-1984) ' . -- ----· · --------------------~ ~~- · ';-"~·- etween the passing of the New York State frontier in the · 1830's and the present day celebration of Rochester's Ses- ~ ·-~ quicentennial stretched an age of exciting national drama. It was a time that saw new trails blazed on many fronts, a time of vast expansion, of new inventions and new machinery, the burgeoning of revolutonary new ideas in a mobile society. It was a period of aggressive capitalism and speculation in which fortunes were made and lost. In this new order, two booming cities rose on the banks of the " Clinton Ditch," Buffalo and Rochester, overshadowing the older communities of Canandaigua, Bath and Batavia that were the seats of the pioneer land companies. It was a momentous, as well as a slightly mad and sometimes merry time- the time of the pioneer who cleared the forests and lived in log cabins was over- but the men and women of this Upstate land never ceased to pioneer. The first wearing of the Bloomer costume on the streets of Seneca Fails, cradle of the feminist movement, sym- 3 bolized women's revolt against the status quo and her demand for her rightful place in a changing order. -
James Breck Perkins, by Marjorie B. Searl Excerpted from the Historic Brighton Newsletter and Journa
One of Nature’s Noblemen: James Breck Perkins, by Marjorie B. Searl Excerpted from the Historic Brighton Newsletter and Journal, Volume 17, Winter 2015-2016, Number 1 Rochester and Brighton, New York were James Breck Perkins’s adopted homes. He was born to Hamlet Houghton Perkins and Margaret Breck Perkins in St. Croix Falls, Wisconsin. His mother was “finely educated, [had] a well balanced mind, and a decided taste for literature.”1 His father drowned in the falls at St. Croix in 1850, leaving Mrs. Perkins with three children, including three-year-old James, whose childhood in Wisconsin would currently be termed ‘free range,’ “spent in roaming the woods and fields and acquiring a devotion to nature that he never forsook. Without formal schooling, he was taught to read by his family; he reveled in Scott, Dickens, and stories from Roman and English history.”2 When he was six, his mother brought the family to Rochester, where her parents were then living, and it was here that his formal education began in the public schools. He graduated at sixteen from the Rochester Free Academy with a scholarship to the University of Rochester. There, President Martin Brewer Anderson recognized his potential and encouraged him to visit Europe during his junior year, a trip made possible by a loan from a still- unknown source.3 Wanderings through England, France, and Italy whetted an appetite to pursue and deepen his French studies at the University, where he graduated at the top of his class in 1867. Perkins chose law as his profession and, in the fashion in which he did most things, he worked hard and was highly regarded by his peers. -
The Crucifix and the Art Gallery
religions Article The Crucifix and the Art Gallery: An Odyssey from Religious Material Culture to Fine Art Cynthia A. Hogan Religious Studies, Gender and Women’s Studies, Interfaith Leadership Studies, Washington & Jefferson College, Washington, PA 15301, USA; [email protected] Abstract: This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalistic systems as products or commodities, yet suggests the ways that critical religious studies approaches might enhance our understanding of religious material culture in fine arts museums. Keywords: epistemologies; medieval art; art history; art criticism; crucifix; Memorial Art Gallery of the University of Rochester; religious material culture; critical religious studies The notion of art as such must first come into being, if the past is to acquire an artistic value; thus, for a Christian to see a classical statue as a statue, and not as a heathen idol or a mere puppet s/he would have had to begin by seeing in a “Virgin” a statue, before seeing it as the Virgin. Citation: Hogan, Cynthia A. 2021. The Crucifix and the Art Gallery: An —André Malraux, Museums without Walls Odyssey from Religious Material Culture to Fine Art. -
George Eastman Museum Annual Report 2017
George Eastman Museum Annual Report 2017 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 9 Photography Workshops 10 Loans 11 Objects Loaned For Exhibitions 11 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 29 Technology 35 George Eastman Legacy 37 Purchases for the Collections 39 Photography 39 Moving Image 39 Technology 39 George Eastman Legacy 39 Conservation & Preservation 40 Conservation 40 Photography 40 Technology 44 George Eastman Legacy 44 Richard and Ronay Menschel Library 44 Preservation 44 Moving Image 44 Financial 46 Treasurer’s Report 46 Fundraising 48 Members 48 Corporate Members 50 Matching Gift Companies 51 Annual Campaign 51 Designated Giving 52 Honor & Memorial Gifts 53 Planned Giving 54 Trustees, Advisors & Staff 55 Board of Trustees 55 George Eastman Museum Staff 56 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2017. Catherine Opie: 700 Nimes Road Lucinda Devlin: Sightlines ONGOING Curated by Helen Molesworth, chief curator, the Curated by Lisa Hostetler, curator in charge, From the Camera Obscura to Museum of Contemporary Art (Los Angeles), Department of Photography the Revolutionary Kodak organized for the George Eastman Museum Project Gallery Curated by Todd Gustavson, curator, by Jamie M. Allen, associate curator,