DOCSLIB.ORG

California Art Research / Gene Hailey, Editor

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
California Art Research / Gene Hailey, Editor California art research / Gene Hailey, editor Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Publication, Distribution, Etc. (Imprint)............................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... California art research / Gene Hailey, editor AAA.caliarp Collection Overview Repository: Archives of American Art Title: California art research / Gene Hailey, editor Identifier: AAA.caliarp Date: 1936-1937 Creator: California Art Research Project Extent: 20 Volumes ((on 2 microfilm reels)) Language: English . Administrative Information Acquisition Information Provenance unknown. Location of Originals Location of originals unknown. Other Finding Aids The table of contents, volume XX, lists names of artists for whom a monograph has been written, ca. 70 artists is available on microfilm reel NDA/Cal. Available Formats 35mm microfilm reel NDA/Cal 1-NDA/Cal 2 available for use at Archives of American Art offices and through interlibrary loan. Restrictions The Archives of American art does not own the original papers. Use is limited to the microfilm copy. Biographical / Historical Publication of the Works Progress Administration; San Francisco, Calif. Sponsored by Dr. Walter Heil of the M.H. de Young Museum. Was originally a joint project of the WPA-Statistical projects division and the WPA- Federal Art Project in order to disseminate information about artists and art in the San Francisco region. Scope and Contents Twenty volumes of the publication, CALIFORNIA ART RESEARCH, containing monographs on artists whose principal residence was San Francisco. Page 1 of 4 California art research / Gene Hailey, editor AAA.caliarp Scope and Contents REEL NDA/Cal 1: Artists include Robert Aitken, Arthur Atkins, Albert Bierstadt, Ray Boynton, Anne Bremer, Henry J. Breuer, Giuseppe Cadenasso, Emil Carlsen, M. Earl Cummings, Rinaldo Cuneo, Charles Dickman, Maynard Dixon, Charles Grant, Armin Hansen, H. W. Hansen, Thomas Hill, Christian Jorgensen, Amedee Joullin, William Keith, Constance Macky, Xavier Martinez, Arthur Mathews, Francis McComas, Arthur C. Nahl, Charles C. Nahl, Hugo W. A. Nahl, Perham W. Nahl, Virgil T. Nahl, Ernest Peixotto, Charles R. Peters, Gottardo Piazzoni, Horatio Nelson Poole, Arthur Putnam, Joseph Raphael, Mary C. Richardson, Julian Rix, Charles D. Robinson, Toby Rosenthal, Will Sparks,Jules Tavernier, Douglas Tilden, Domenico Tojetti, Frank Van Sloun, Thaddeus Welch, Virgil Williams, Evelyn A. Withrow, and Theodore Wores. Scope and Contents REEL NDA/Cal 2: Artists include Rowena M. Abdy, Gertrude Albright, Hermann O. Albright, Maxine Albro, Victor Arnautoff, Matthew R. Barne s, Frank Bergman, Jane Berlandina, Ray Bethers, Beniamino Bufano, Margaret Bruton, Chee Chin, Ruth Cravath, Helen Forbes, Euphemia C. Fortune, William Gaw, Edith Hamlin, William Hesthal, Clark Hobart, Charles Howard, John G. Howard, John L. Howard, Robert Boardman Howard, Adaline Kent, Dong Kingman, Lucien Labaudt, Spencer Mackey, Jo Mora, Jose Moya del Pino, Chiura Obata, Otis Oldfield, Julius Pommer, George B. Post, Dorothy W. Puccinelli, Raimondo Puccinelli, Lee F. Randolph, Andree Rexroth, Matteo Sandona, Geneve R. Sargeant, Sergey J. Scherbakoff,Jacques Schnier, Yoshida Sekido, Joseph M. Sheridan,Ralph Stackpole, and Bernard Zakheim. Publication, Distribution, Etc. (Imprint) San Francisco, WPA Project 2874, 1936-1937. Names and Subject Terms This collection is indexed in the online catalog of the Smithsonian Institution under the following terms: Subjects: Art and state -- California -- San Francisco Federal aid to the arts -- California -- San Francisco Federal aid to the public welfare -- California -- San Francisco New Deal, 1933-1939 -- California -- San Francisco Names: Abdy, Rowena Meeks, b. 1887 Aitken, Robert, 1878-1949 Albright, Gertrude P., 1883-1959 Albright, Hermann Oliver, 1876-1944 Albro, Maxine, 1903-1966 Arnautoff, Victor Mikhail, 1896-1979 Atkins, Arthur, 1873-1899 Barnes, Matthew Rackham, 1880-1951 Bergman, Frank Berlandina, Jane, 1898-1962 Bethers, Ray, 1902- Page 2 of 4 California art research / Gene Hailey, editor AAA.caliarp Bierstadt, Albert, 1830-1902 Boynton, Ray Scepter, 1883-1951 Bremer, Anne, 1872-1923 Breuer, Henry Joseph, 1860-1932 Bruton, Margaret, 1894- Bufano, Beniamino, 1898-1970 Cadenasso, Giuseppe, 1858-1918 Carlsen, Emil, 1853-1932 Chin, Chee, b. 1896 Cravath, Ruth, 1902-1986 Cummings, M. Earl, b. 1876 Cuneo, Rinaldo, 1877-1939 Dickman, Charles John, 1863-1943 Dixon, Maynard, 1875-1946 Forbes, Helen, 1891-1945 Fortune, Ephemia Charlton, 1885-1969 Gaw, William A., 1891-1973 Grant, Charles Henry, 1866-1939 Hailey, Gene Hamlin, Edith Hansen, Armin C. (Armin-Carl), 1886-1957 Hansen, Herman W., 1854-1924 Hesthal, William, 1908- Hill, Thomas, 1829-1908 Hobart, Clark, b. 1880? Howard, Charles, 1899-1978 Howard, John Galen, 1864-1931 Howard, John Langley, 1902- Howard, Robert Boardman, 1896-1983 Jorgensen, Christian, 1860-1935 Joullin, Amedee, 1862-1917 Keith, William, 1838-1911 Kent, Adaline Dutton, 1900-1957 Kingman, Dong, 1911- Labaudt, Lucien, 1880-1943 Mackey, Spencer, 1880-1958 Macky, Constance L., b. 1883 Martinez, Xavier, 1869-1943 Mathews, Arthur Frank, 1860-1945 McComas, Francis John, 1874-1938 Mora, Joseph Jacinto, 1876-1947 Moya del Pino, Jose, 1891-1969 Nahl, Arthur Charles, b. 1878 Nahl, Charles Christian, 1818-1878 Nahl, Hugo Wilhelm Arthur, 1833-1889 Nahl, Perham Wilhelm, 1869-1935 Nahl, Virgil Theodore, 1876-1930 Obata, Chiura Oldfield, Otis, 1890-1969 Peixotto, Ernest, b. 1869 Peters, Charles Rollo, 1862-1928 Piazzoni, Gottardo, 1872-1945 Pommer, Julius, 1895?-1945 Poole, Horatio Nelson, b. 1883 Page 3 of 4 California art research / Gene Hailey, editor AAA.caliarp Post, George, 1906-1997 Puccinelli, Dorothy Wagner, 1901- Puccinelli, Raimondo, 1904- Putnam, Arthur, 1873-1930 Randolph, Lee F., b. 1880 Raphael, Joseph, 1869-1950 Rexroth, André, Mrs., 1902- Richardson, Mary Curtis, 1848-1931 Rix, Julian Robinson, Charles Dorman, 1847-1933 Rosenthal, Toby Edward, ca. 1848-1917 Sandona, Matteo, b. 1883 Sargeant, Geneve Rixford, 1868-1957 Scherbakoff, Sergey John, b. 1894 Schnier, Jacques, 1898-1988 Sekido, Yoshida, b. 1894 Sheridan, Joseph Marsh, b. 1897 Sparks, Will, 1862-1937 Stackpole, Ralph, 1885-1973 Tavernier, Jules, 1844-1889 Tilden, Douglas, 1860-1935 Tojetti, Domenico, 1807-1892 United States. Work Projects Administration United States. Works Progress Administration Van Sloun, Frank J., 1879-1938 Welch, Thaddeus, 1844-1919 Williams, Virgil Macey, 1830-1886 Withrow, Evelyn Almond, 1858-1928 Wores, Theodore, 1858-1939 Zakheim, Bernard Baruch, 1898-1985 Occupations: Artists -- California -- San Francisco Places: United States -- Economic conditions -- 1918-1945 -- California -- San Francisco United States -- Social conditions -- 1933-1945 -- California -- San Francisco Page 4 of 4.
Load more

Recommended publications
  • Oral History Interview with John Humphrey, 1974 June 25
    Oral history interview with John Humphrey, 1974 June 25 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview JH: JOHN HUMPHREY PK: PAUL KARLSTROM PK: Well, John, you've been associated with the San Francisco Museum of Art for a long time — probably longer than anybody else who's still around — and I believe you go back to the opening of the museum. On this tape, we'll be talking quite a bit about the growth of the museum as you've observed it. And also, of course, you've been in a good position to observe just what has happened in the Bay Area in terms of the art scene. Could you give us a little bit of your own background and just how you came to be associated with the museum? JH: Well, as a matter of fact, I'm actually a disappointed painter who decided that painting was not for him, and so, in terms of the problem of assuring enough beans on the table, I joined the staff right at the beginning of the museum. PK: What year was that? JH: That was 1935, and at the time, I actually was a packer and an unpacker of exhibitions that were being sent in from elsewhere. I helped put them on the wall and acted as one of the guards, so that I began in a very unacademic way in the arts here in the area.
    [Show full text]
  • California and Western Paintings & Sculpture
    CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday April 24, 2018 Los Angeles and San Francisco CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday April 24, 2018 at 6pm Los Angeles and San Francisco BONHAMS BIDS INQUIRIES ILLUSTRATIONS 220 San Bruno Avenue +1 (323) 850 7500 Los Angeles Front cover: Lot 66 San Francisco, California 94103 +1 (323) 850 6090 fax Scot Levitt Inside front cover: Lot 35 [email protected] Director, Fine Arts Opposite page: Lot 23 7601 W. Sunset Boulevard Vice President Inside back cover: Lot 27 Los Angeles, California 90046 To bid via the internet please visit +1 (323) 436 5425 Back cover: Lot 157 bonhams.com www.bonhams.com/24770 [email protected] PROPERTY COLLECTION PREVIEW Please note that bids should be Kathy Wong NOTICE San Francisco submitted no later than 24hrs Specialist, Fine Arts This sale previews in multiple cities. Friday April 13, prior to the sale. New bidders +1 (323) 436 5415 Please note the property will be 12pm to 5pm must also provide proof of [email protected] available for collection at our Los Saturday April 14, identity when submitting bids. Angeles gallery at the time of the 12pm to 5pm Failure to do this may result in San Francisco auction. Local, out-of-state and Sunday April 15, your bid not being processed. Aaron Bastian international buyer property will 12pm to 5pm Specialist, Fine Arts remain available for collection in LIVE ONLINE BIDDING IS +1 (415) 503 3241 our Los Angeles gallery after the Los Angeles AVAILABLE FOR THIS SALE [email protected] auction.
    [Show full text]
  • Schwartz, Ellen (1987). Historical Essay
    VOLUME 1 The Nahl Family tTVt a c ^ _____^ 2 — / * 3 7 ? Z ^ ^ y r f T ^ - l f ------ p c r ^ ----- - /^ V - ---- - ^ 5Y 4 / *y!— ^y*i / L.^ / ^ y p - y v i r ^ ------ 4 0001 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION fssay a/M? ^iMiograp/uca/ iwprov^w^^ts Ellen Schwartz MICROFICHE CARDS 1-12 Laurence McGilvery La Jolla, California 1987 0002 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION uzz'r^ a?? ^z'sfon'ca/ Msay awtf ^zMognip^zca/ ZTMprov^zM^Mfs Ellen Schwartz MICROFICHE CARD 1: CONTENTS Handbook 0003-0038 Volume 1 0039-0168 Table of contents 0041-0044 Prefatory note 0046 Introduction 0047-0058 The Nahl Family 0060-0066 Charles Christian Heinrich Nahl 0066-0104 "Rape of the Sabines" 0045 "Rape of the Sabines" 0059 "Rape of the Sabines" 0092 Hugo Wilhelm Arthur Nahl 0105-0122 Virgil Theodore Nahl 0123-0125 Perham Wilhelm Nahl 0126-0131 Arthur Charles Nahl 0132 Margery Nahl 0133-0140 Tabulated information on the Nahl Family 0141-0151 Newly added material on the Nahl Family 0152-0166 Note on personnel 0167-0168 Volume 2 0169-0318 Table of contents 0171-0172 William Keith 0173-0245 "Autumn oaks and sycamores" 0173 Newly added material 0240-0245 Thomas Hill 0246-0281 "Driving the last spike" 0246 Newly added material 0278-0281 Albert Bierstadt 0282-0318 "Mt. Corcoran" 0282 Newly added material 0315-0318 Newly
    [Show full text]
  • Get Smart with Art Is Made Possible with Support from the William K
    From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco.
    [Show full text]
  • An Art-Lovers Guide to the Exposition
    An Art−Lovers guide to the Exposition Shelden Cheney An Art−Lovers guide to the Exposition Table of Contents An Art−Lovers guide to the Exposition..................................................................................................................1 Shelden Cheney..............................................................................................................................................1 Foreword........................................................................................................................................................2 The Architecture and Art as a Whole.............................................................................................................2 The Court of Abundance................................................................................................................................5 Court of the Universe.....................................................................................................................................9 Court of the Four Seasons............................................................................................................................14 The Court of Palms and the Court of Flowers.............................................................................................17 The Tower of Jewels, and the Fountain of Energy......................................................................................19 Palaces Facing the Avenue of Palms...........................................................................................................22
    [Show full text]
  • Interview with Richard O'hanlon, June 11, 1973
    Full text of "An interview with Richard O'Hanlon, 1973 June 11 : carbon typescript" See other formats Regional Oral History Office University of California The Bancroft Library Berkeley, California Donated Oral Histories Collection An Interview with Richard O'Hanlon An Interview Conducted by Suzanne B. Riess in 1973 Copyright 1988 by the Regents of the University of California ANN OHANLON 616 THROCKMORTON AVE.. MILL VALLEY. CA. 94941 Dear Suzanne Riess, I learned quite a bit from this interview! My maiden name was RICE - unfortunately the original RHYS was dropped somevihere along the line of time. I do identify with the original spelling. Another correction: Diego Rivera had already departed S.P. when I arrived in 1932. I suspect that Dick had become so accustomed to our doing everything together that by the time you interviewed him he had forgotten. Thank you for letting me share the interview. Also I have heard from the J.P.K.U. lady whom you mentioned. Sincerely, Anne Rhys O'Hanlon 616 Throckmorton Avenue Kill Valley CA 94941 Dear Mrs. G'Haulon: Here is the brief interview with Richard O'Haulon. I did take another look at it, just enough of a look to realize that it is ver> muca worta saving, AKD that I'd like to have asked a whole lot more questions. Uiau was a long, long time ago, and my orientation was too much to the interview I was working on. I think depending on how much time and interest you have in this you may find many places where your own marginal comment will be very worth having.
    [Show full text]
  • 2015-011315Fed
    National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain.
    [Show full text]
  • California Art Club Newsletter
    CALIFORNIA ART CLUB NEWSLETTER Still Life Painting in California A Continuous Transformation by Elaine Adams till life, contrary to its name, is a educational text, Masters of Taste: Genre and Still form of artistic expression that constantly Life Painting in the Dutch Golden Age, published by Sevolves. Objects change through time, as they the Albany Institute of History and Art, “During the vary in style and purpose or even become obsolete. seventeenth century, Netherlanders bought directly Cultural tastes and interests also change including from artists’ studios, from art dealers or bookshops, what is revered and enjoyed as part of nature’s or from temporary stands set up at Kermis (street bounties. One may fairs). …even most consider still lifes as small towns could boast societal statements at least a few resident locked in time. Still life painters. In fact, some paintings often show Dutch communities had the natural world com- more artists than they bined with that of the did butchers.” manmade—flowers in Just as French terms a vase, fruit in a bowl, are often applied when food on a tray— describing facets of symbols of human Impressionism, in triumphs in domesti- homage to the nine- cating nature and con- teenth century artists taining it for everyday who developed the use and enjoyment. movement, Dutch terms Still Life painting are applied to Still was particularly popu- Lifes, in the language of lar among seventeenth the artists who popular- century Dutch artists ized the genre. The term during what is now “still life,” which can termed as their “Golden also be hyphenated as Age.” After making “still-life,” is itself peace with Spain in derived from the Dutch 1648, the Netherlands word, “stilleven,” became a highly pros- meaning “still model.” perous economy.
    [Show full text]
  • Detlef Sammann
    609 DETLEF SAMMANN (1857-1938) was born on February 28th in Westerhever-Eiderstedt, Schleswig-Holstein, Germany, and at the age of fifteen began a four-year apprenticeship with a local painter of interior decoration. Thereafter he traveled for three years in the Dresden area and worked under the court artist Lankau, a renowned muralist. In August of 1881 Sammann arrived in New York City aboard the S.S. Australia and worked for a year as a decorator before returning home.1 He had earned enough money to pay for a course of instruction under Wilhelm Georges Ritter at the Dresden School of Industrial Art.2 Two of his portraits, which were stylistically influenced by Rembrandt, were hung in the municipal museum in Vienna.3 On February 9, 1884 he married Anna Maria Bianka Schmidt, an Austrian native and a resident of Dresden. He returned to New York City with his wife and opened a studio where he created for the leading interior decorators elaborate designs with flowers. Their daughter, Katherine (Katie) Bertha Sammann, was born on September 10, 1884. He became a naturalized citizen of the United States on July 19, 1889 in Jersey City, New Jersey.4 His first American passport was granted October 4, 1889. At that time Sammann visited Dresden and studied tapestry painting in Paris. He returned to New York City in 1891 when he was elected a “manager” of the local Verein für Kunst und Wissenschaft, an organization of immigrant Germans who encouraged art and social reform.5 Later he became a co-founder of New York’s Albrecht Dürer Verein, a society that promoted industrial arts.6 He was also elected a member of the local Society of Art and Science.
    [Show full text]
  • Coit Tower Brochure V4 16 9 032016.Indd
    SCULPTURE COIT TOWER PIONEER PARK Above the main entrance to the tower is a cast con- Coit Tower, a fluted, reinforced concrete column, rises The green summit of Telegraph Hill is called Pioneer crete, high-relief plaque of the phoenix with out- THE STORY OF 212 feet above Telegraph Hill and offers magnificent Park, so named for the group of public spirited cit- stretched wings, sculpted by Robert B. Howard. This views of the Bay Area from an observation gallery izens who bought the land and gave it to the city mythical bird, reborn in fire, is a symbol of San Francis- at its top. Its architect was Henry Howard, working in 1876. Because of its commanding views, the hill co, whose history is punctuated by many catastrophic COIT for the firm of Arthur Brown, Jr., which created San housed a signal station in 1849 to relay news of ships blazes. In the center of the parking plaza stands a 12’ TOWER bronze statue of Christopher Columbus by Vitorio Di Francisco’s City Hall and Opera House. Contrary entering the Bay to the business community along Colvertaldo. It was given to the city by its Italian com- to popular belief, it was never intended to resemble Montgomery Street, hence the name Telegraph Hill. munity in 1957. And Its Art a firehose nozzle. Howard’s simple, vertical design San Francisco’s contact with the world then was by Frescoes depicting“Life in California...1934.” was selected because it best created a monumental sea, and all arrivals were important events. In the SOCIAL REALISM AND statement within the small site and small budget of 1880s, the site briefly contained an observatory and A legacy of 25 Artists of Social Realism and their Assistants.
    [Show full text]
  • John Edward Walker
    654 He was listed by the New York Times in 1914 as one of the dozen “notable” artists of Carmel.4 That fall his work was included in the Exhibition of Carmel and Southern California Artists at the Rabjohn & Morcom Gallery in San Francisco.5 A year later the Carmel Pine Cone reported that his paintings were selling well in that city.6 During the summer of 1916 he advertised his studio “by appointment only” at the “Schlingman Cottage” on Casanova Street between Seventh and Eighth Avenues.7 He taught art to select students in Carmel, but there is no evidence that he was an instructor at the Arts and Crafts Club Summer School. In 1913 he contributed the painting Coast View to the Seventh Annual Exhibition of that Club.8 As a Carmel resident his canvas was allowed into the award competition for that year. For the Club’s Tenth Annual in 1916 he submitted four pieces: Glow at Evening, Oaks in Spring, Happy Valley and Sand Dune-Carmel. Of these Blanche Marie d’Harcourt, art critic for The Wasp of San Francisco, declared that he “interprets Nature in her most poetical moods.”9 That December she reported that this “modest young Englishman” was hard at work “painting many scenes up the Carmel Valley.”10 In May of 1917 Walker assembled fifteen of his “small and modest” Carmel seascapes for exhibition at the Kanst Gallery in Los Angeles.11 The art critic for the Los Angeles Times, Antony Anderson, found the painter to be “a trifle over-conscientious” in depicting detail, too wordy in his titles and lacking in California’s bright colors, but he praised his drawing skills and genuine emotion.12 In a similar assessment of his “oil sketches” that June at the Schussler Brothers Gallery of San Francisco Anna Cora Winchell, the art critic of the San Francisco Chronicle, observed that the British painter depicted:13 .
    [Show full text]
  • A New Age for Artists
    A NEW AGE FOR ARTISTS: THE BIRTH OF THE NEW DEAL ART MOVEMENT AND THE POLITICAL CONNOTATIONS OF THE COlT TOWER MURALS Timothy Rottenberg Prior to 1934, public art did not exist in the United States ofAmerica. Occasionally, paintings by individual artists would achieve success and break out of the art gallery and private commission sphere into the public eye, but visibility was not widespread. With the construction of Coit Tower in San Francisco, the creation of the Public Works of Art Project (PWAP) in ‘934, and the unemployment of artists due to the Great Depression, a unique synchronistic moment came about when the birth of public art in America was forged. For the first time in American history, the PWAP gave artists the opportunity to reflect local and national politics through their own political lens using a medium that was meant for mass consumption by the public.i In January of there was nothing exciting about the San Fran cisco skyline. The city’s two tallest buildings stood at a stout 435 feet, and lay inconspicuously in the valley of the financial district, dwarfed even by the seven natural hills of San Francisco that surrounded them. With the Golden Gate and Bay bridges only in the earliest stages of construction, San Francisco lacked architectural individuality. Appropriately, Lillie Hitchcock Coit, a wealthy and eccentric San Francisco resident, desired beautification for the city she so admired. Despite having been born in Maryland and living in France for a number of years, the allure of the I believe this thesis to be wholly original in the field of historical study on the Public Works Administration as it related to the field of public art in America.
    [Show full text]