DOCSLIB.ORG

Raeburn : English School

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NOVEMBER, 1905 RAEBURN PRICE, 15 CENTS anxa 84-B 5530 Jjpueiniipntljlu. RAEBURN J3atK^anO*<iuU&C[ompany, Xtybligfjerg 42<H)auncji^treEt MASTERS IN ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 71 NOVEMBER, 1905 VOLUME 6 a 1 1 u t* 1X CONTENTS Plate I. Portrait of Mrs. Strachan Worcester Art Museum, Worcester, Mass. Plate II. Portrait of Lord Newton National Gallery of Scotland, Edinburgh Plate III. Mrs. Ferguson and Children Owned by R. C. Munroe-Ferguson, Esq. Plate IV. Portrait of Sir Walter Scott Collection of the Earl of Home Plate V. Portrait of Sir John Sinclair Owned by Sir Tollemache Sinclair Plate VI. Portrait of Mrs. Campbell of Balliemore National Gallery of Scotland, Edinburgh Plate VII. Portrait of John Wauchope National Gallery of Scotland, Edinburgh Plate VIII. Portrait of Mrs. Scott-Moncrieff National Gallery of Scotland, Edinburgh Plate IX. Portrait of James Wardrop of Torbanehill Owned by Mrs. Shirley Plate X. The Macnab Owned by Hon. Mrs. Baillie Hamilton Portrait of Raeburn by Himself : Owned by Lord Tweedmouth Page 22 The Life of Raeburn Page 23 ’ Abridged from Edward Pinnington's ‘ Sir Henry Raeburn The Art of Raeburn Page 30 Criticisms by Armstrong, Pinnington, Brown, Van Dyke, Cole, Muther, Stevenson The Works of Raeburn : Descriptions of the Plates and a List of Paintings Page 36 Raeburn Bibliography Page 42 Photo-angravings by C. J. Ptttrs Son: Boston. Prass-work by tht Evantt Prass : Boston complata pravious ba ba consultad library A indax for numbars will found in tba Rtadar's Guida to Pariodical Litaratura , which may in any PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the 1905 volume, $1.50, payable in advance, postpaid to any address in the United States or Canada. To foreign countries in the Postal Union, $2.00. As each yearly volume of the magazine commences with the January number, and as indexes and bindings are prepared for complete volumes, intending subscribers are advised to date their subscriptions from January. Single numbers of the 1905 volume, 15 cents each. Single numbers dated prior to January, 1905, 20 cents each. EXPIRATION OF SUBSCRIPTIONS: The date when a subscription expires is printed on the address label of each magazine. The change of this date becomes a receipt for remittance. No other receipt is sent unless requested. cheque, express order, or in post- REMITTANCES : Remittances may be made by Post-offi'e money-order, bank age stamps. Currency sent by mail usually comes safely, but should be securely wrapped, and is at the risk of the sender. old the addresses should be CHANGES OF ADDRESS : When a change of address is desired both the and new given, and notice of the change should reach this office not later than the twentieth of the month to affect the suc- ceeding issue. The publishers cannot be responsible for copies lost through failure to notify them of such changes. BOUND VOLUMES AND BINDINGS : Volume 1, containing Parts 1 to 12 inclusive, Volumes, containing inclusive, Parts 13 to 24 inclusive, Volume 3, containing Parts 25 to 36 inclusive, Volume 4, containing Parts 37 to 48 gilt each, and Volume 5, containing Parts 49 to 60 inclusive, bound in brown buckram with gilt stamps and top, $3-75 postpaid; bound in green half-morocco, gilt top, $4.25 each, postpaid. Subscribers’ copies of Volume 1, Volume 2, each;or Volume 3, Volume 4, or Volume 5 will be bound to order in buckram, with gilt stamps and gilt top, for $1.50 in half-morocco, gilt top, for $2.00 each. Indexes and half-titles for binding Volumes 1, 2, 3, 4, and 5 supplied on appli- cation. BATES & GUILD COMPANY, PUBLISHERS 42 CHAUNCY STREET, BOSTON, M ASS. tha Boston as Sscond-class Mail Mattar. Copyright IQQ5, by Batas V Guild Company Boston I.AD2 .X 1 . 05 . Entarad at Post-offica , f . : — MASTERS IN ART — » M i* IDasteingrt I m }i^eriEa#Illustratetii]igno£rapt)g <fr>P« i The numbers of 1 Masters in Art 1 which have already appeared in 1905 are Brat? #Part 61, J ANU A R Y WATTS Part 62, FEBRUARY . PALMA VECCHIO Long recognized as the PART63, MARCH DAME VIGEE LE BRUN . best of pictures : choice Part 64, APRIL MANTEGNA as gifts to friends and ; ; Part 65, MAY . CHARDIN ..for the adornment . GOZZOLI Part 66, JUNE . BENOZZO of one’s own walls. STEEN Part 67, JULY . JAN ELIHU VEDDER says Part 68, AUGUST . MEMLINC they are “ all that an ar- 1 N Part 69, SEPTEMBER . CLAUDE LORRA tist could ask in the re- Part 70, OCTOBER . VERROCCHIO .. production of his work.” Part 71, NOVEMBER . RAEBURN Fifty cents to $20.00. At art stores, or sent on PART 72, THE ISSUE FOR approval. Full ILLUS- TRATED CATALOGUE ! I sent only upon receipt Bmmber of 25 cents (s amps), WILL TREAT OF which charge, however, may be deducted from a subsequent purchase of lithe Prints themselves. tfta Filippo Cippi (List of our new subjects alone sent upon receipt of six cents in stamps.) NUMBERS ISSUED IN PREVIOUS VOLUMES This picture, “JOAN,” Field Emmet, OF ‘MASTERS IN ART’ II by Lydia • three sizes: $1.25, $2.50, $5.00. Copyright, 1905, by VOL. 1 . VOL. 2 . Part I. —VAN DYCK Part 13 — RUBENS , CURTIS &CAMER0 N Part 2 . —TITIAN Part 14 —DA VINCI PIERCE BLDG t I! 23 D fio n „ Part - 15 — DU RER 3 —VELASQUEZ Part Opp. Pub. Library DUo lull P ART 4 -HOLBEIN Part 16 — MICHELANGELO* - — — Part 5 110 rTICELLI Part 17 MI CHELANGELOf fH— If f m III P ART 6. —REMBRANDT Part 18 —CO RO’F - R E YNOLDS Part BU R N E-JONES Part 7 — 19 — BROWN’S ’ 1 ART 8. — MILLET Part 20 — PER BORCH Part 9 - — GIO. BELLINI Part 21 —DELLA ROBBIA Part io. — MURILLO Part 22 —DEL SARTO FAMOUS Part 1 1 — HALS Part 2-3 —GAINSBOROUGH P ART 12. —RAPHAEL Part 2-4 —CORREGGIO *.9 culpture t Pat nfing PICTURES V OL. 3 . VOL. 4 . Reproduction of famous paintings by old and modern Part 2 - — Part 5 PHIDIAS 37 —ROMNEY masters. 2,200 subjects in Part 26. -PERUGINO Part 38 — FRA ANGELICO Black and White or Sepia. Part 27 . —HOLBEIN $ Part 39 —WATTEAU Size, 5 1-2 x 8. Part 28. —T I N TORETTO Part 40 -RAPHAEL* ONE CENT EACH Part 29 . - P. deHOOCH Part 41 —DONATELLO 1 $1 .00 Part JO. —NATTIER Part 42- —GERARD DOU 20 FOR 48-page catalog, with « Part — Our new Part 3 — PAUL. POTTER 43 CARPACCIO Part —GIOTTO Part — ROSA BONHF.UR 1,000 small illustrations and U- 44 two sample pictures, sent for Part — GUI DO REN 1 Part 33 —PRAXITELES 49 2-ct. stamp. Colored pictures Part - —HOGARTH Part 46 — P. df.CH AVANNF.S Size, 7 x 9 700 sub- 34 oi birds. , jects. and catalog for Part 35 - —TURNER Part 47 —GIORGIONE Sample stamp. Part 36. — LUINI Par r 48 —R OSSET IT 2-ct. * § Drawing s Fr scos GEO. P. BROWN & CO. MASS. VOL. 5. BEVERLY, Part 49, JANUARY FRA BARTOLOMMEO Part 50, FEBRUARY GREUZE SET OF TEN CHOSEN EXAMPLES, BEAUTI- Part 51, MARCH . DURER’S ENGRAVINGS A Part 52, APRIL LOTTO FULLY PRINTED IN CHALK-RED AND Part 5 3, MAY . LANDSEER TINT, IN CLOSE FACSIMILE OF Part 5 4, JUNE VERMEER OF DELFT Part JULY . PINTORICCHIO 5 5, Doibmt’^ Part 5 6, AUGUST . E BROTHERS VAN EYCK MEISSONI FR Part 5 7, SEPTEMBER Part 58, OCTOBER . BARYE Part 59, NOVEMBER . VERONESE portrait Draimnijs Part 60, DECEMBER COPLEY AT WINDSOR CASTLE ALL, THE ABOVE NAMED ISSUES Mounted on dark green mounts, ready for framing, will ARE CONSTANTLY KEPT IN STOCK be sent, post-paid, for Prices on and after January i, 1905 : Single numbers of FIFTY CENTS back volumes, 20 cents each. Single numbers of the current 1905 volume, 1 5 cents each. Bound volumes 1, 2, 3, 4, and 5, contain- ing the partslisted above, bound in brown buckram, with gilt BATES & GUILD COMPANY stamps and gilt top, $3.75 each; in green half-morocco, gilt 42 CHAUNCY ST., BOSTON stamps and gilt top, $4.25 each. In answering advertisements, please mention Masters in Art MASTERS IN ART TIGER SKINS GAME HEADS LEOPARD SKINS ROBES AND MATS the art of BEAR SKINS WOLF, FOX, Etc. Picture Jframmg To introduce my direct \ PICTURE once framed hangs importations of SPECIAL MOTH ^ before our eyes a long time, a PROOF FURS f you will apply for my reminder of the success or failure of catalogue, I will send to j | you a beautifully mounted framing. One cannot be an expert in CHINESE 4 many trades at one time. Let us assist LEOPARD SKIN W* (average feet) 7% f , you in choosing. Twenty-eight years’ London quotation ^15, for p $35.00 experience. It costs no more. A similar introductory of- fer for mounted GAME HEADS on application. FOSTER BROTHERS DESIGNERS, CARVERS, & GILDERS OF PICTURE AND MIRROR FRAMES 4 PARK SQUARE, BOSTON, MASS. F. C. JONES, Importer 176 FEDERAL STREET, BOSTON, MASS. Wanted! — Capable Solicitors TO SECURE SUBSCRIPTIONS AND ORDERS FOR BACK VOLUMES OF fUastcrs in &xt E want only those who will devote time and energy W to the work, and preferably those possessing enough knowledge of the great painters to talk intelligently about the publication. To the right persons we will make liberal offers and give territory. Write, stating qualifications and giving references. Bates & Guild Co., 42 Chauncy St., Boston In answering advertisements, please mention Masters in Art BATES & GUILD CO., BOSTON Decor alive borders designed by FRANK CHOUTEAU BrOWH Raeburn Digitized by the Internet Archive in 2015 https://archive.org/details/raeburnenglishscOOraeb MASTERS IN ART PLATE I RAEBURN PHOTOGRAPH BY BALDWIN COOLIDGE PORTRAIT OF MRS.
Recommended publications
  • Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An

    Art 109 Slide List of Images Section I for the Exam Know the ARTIST, TITLE, STYLE, Location (For Architecture) and Be Able to An

    Art 109 Slide List of Images Section I For the exam know the ARTIST, TITLE, STYLE, location (for architecture) and be able to answer a question about the image for quizzes and to write essays. NEOCLASSICISM & ROMANTICISM 1. James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875, Early Modernism 2. Jacques-Louis David, The Oath of the Horatii, 1784, oil, Neoclassicism 3. William Blake, Nebuchadnezzar, 1795, Romanticism, color print finished in ink and watercolor on paper. 4. Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, Neoclassicism/Romanticism oil. 5. Francisco de Goya y Lucientes, This is War (The Disasters of War Series), 1810-11, Romanticism, etching. 6. Eugene Delacroix, The Lion Hunt, 1861, oil, Romanticism. 7. Richard Parkes Bonington, A Scene of the French Coast, 1825, French Landscape. 8. John Constable, The Hay Wain, 1819-21, Romantic Landscape Painting, oil. REALISM 9. Jean-Francois Millet, The Angelus, 1857-9, French Realism, oil on canvas. 10. Honore Daumier, Rue Transnonain, April 15, 1834 (published in L’Association Mensuelle, July 1834, French Realism, lithograph 11. Gustave Courbet, A Burial at Ornans, 1849-50, French Realism, oil on canvas 12. Rosa Bonheur, Ploughing in the Nivernais, 1849, French Realism, oil 13. William Holman Hunt, The Hireling Shepherd, 1851, Pre-Raphaelite, oil 14. Edouard Manet, Dejeuner sur l’herbe (Luncheon on the Grass), 1863, French Realism, oil 15. Winslow Homer, Prisoners from the Front, 1866, American Realism, oil on canvas 16. Thomas Eakins, The Gross Clinic, 1875, American Realism, oil 17. Henry Ossawa Tanner, The Banjo Lesson, 1893, American Realism, oil 18.
  • Scottish Art: Then and Now

    Scottish Art: Then and Now

    Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.
  • Former Fellows Biographical Index Part

    Former Fellows Biographical Index Part

    Former Fellows of The Royal Society of Edinburgh 1783 – 2002 Biographical Index Part Two ISBN 0 902198 84 X Published July 2006 © The Royal Society of Edinburgh 22-26 George Street, Edinburgh, EH2 2PQ BIOGRAPHICAL INDEX OF FORMER FELLOWS OF THE ROYAL SOCIETY OF EDINBURGH 1783 – 2002 PART II K-Z C D Waterston and A Macmillan Shearer This is a print-out of the biographical index of over 4000 former Fellows of the Royal Society of Edinburgh as held on the Society’s computer system in October 2005. It lists former Fellows from the foundation of the Society in 1783 to October 2002. Most are deceased Fellows up to and including the list given in the RSE Directory 2003 (Session 2002-3) but some former Fellows who left the Society by resignation or were removed from the roll are still living. HISTORY OF THE PROJECT Information on the Fellowship has been kept by the Society in many ways – unpublished sources include Council and Committee Minutes, Card Indices, and correspondence; published sources such as Transactions, Proceedings, Year Books, Billets, Candidates Lists, etc. All have been examined by the compilers, who have found the Minutes, particularly Committee Minutes, to be of variable quality, and it is to be regretted that the Society’s holdings of published billets and candidates lists are incomplete. The late Professor Neil Campbell prepared from these sources a loose-leaf list of some 1500 Ordinary Fellows elected during the Society’s first hundred years. He listed name and forenames, title where applicable and national honours, profession or discipline, position held, some information on membership of the other societies, dates of birth, election to the Society and death or resignation from the Society and reference to a printed biography.
  • 1998 Education

    1998 Education

    1998 Education JANUARY JUNE 11 Video: Alfred Steiglitz: Photographer 2–5 Workshop: Drawing for the Doubtful, Earnest Ward, artist 17 Teacher Workshop: The Art of Making Books 3 Video: Masters of Illusion 18 Gallery Talk: Arthur Dove’s Nature Abstraction, 10 Video: Cezanne: The Riddle of the Bathers Rose M. Glennon, Curator of Education 17 Video: Mondrian 25 Members Preview: O’Keeffe and Texas 21 Gallery Talk: Nature and Symbol: Impressionist and 26 Colloquium: The Making of the O’Keeffe and Texas Post-impressionism Prints from the McNay Collection, Exhibition, Sharyn Udall, Art Historian, William J. Chiego, Lyle Williams, Curator, Prints and Drawings Director, Rose M. Glennon, Curator of Education 22 Lecture and Members Preveiw: The Garden Setting: Nature Designed, Linda Hardberger, Curator of the Tobin FEBRUARY Collection of Theatre Arts 1 Video: Women in Art: O’Keeffe 24 Teacher Workshop: Arts in Education, Getty 8 Video: Georgia O’Keeffe: The Plains on Paper Education Institute 12 Gallery Talk: Arthur Dove, Georgia O’Keeffe and American Nature, Charles C. Eldredge, title? JULY 15 Video: Alfred Stieglitz: Photographer 7 Members Preview: Kent Rush Retrospective 21 Symposium: O’Keeffe in Texas 12 Gallery Talk: A Discourse on the Non-discursive, Kent Rush, artist MARCH 18 Performance: A Different Notion of Beautiful, Gemini Ink 1 Video: Women in Art: O’Keeffe 19 Performance: A Different Notion of Beautiful, Gemini Ink 8 Lunch and Lecture: A Photographic Affair: Stieglitz’s 26 Gallery Talk: Kent Rush Retrospective, Lyle Williams, Portraits
  • Annual Report 1995

    Annual Report 1995

    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
  • Valeska Soares B

    Valeska Soares B

    National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
  • Emmet, Lydia Field American, 1866 - 1952

    Emmet, Lydia Field American, 1866 - 1952

    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Emmet, Lydia Field American, 1866 - 1952 William Merritt Chase, Lydia Field Emmet, 1892, oil on canvas, Brooklyn Museum, Gift of the Artist, 15.316 BIOGRAPHY Lydia Field Emmet led a remarkably successful artistic career spanning more than 50 years. She is best known as a painter of portraits, particularly of children. Emmet was born in New Rochelle, New York, into a family of female artists. Her mother, Julia Colt Pierson Emmet, her sisters Rosina Emmet Sherwood and Jane Emmet de Glehn, and her cousin Ellen Emmet Rand were all painters. Lydia Emmet’s talent (and enterprise) was apparent early, as she began selling illustrations at the age of 14. In 1884 she accompanied Rosina to Europe, and they studied at the Académie Julian in Paris for six months. During the late 1880s Emmet sold wallpaper designs, made illustrations for Harper’s Weekly, and created stained glass designs for Tiffany Glass Company. From 1889 to 1895 Emmet studied at the Art Students League, where her instructors included William Merritt Chase (American, 1849 - 1916) and Kenyon Cox (American, 1856 - 1919). Chase appointed her an instructor at his Shinnecock Summer School of Art on Long Island, where she taught preparatory classes for several terms. Emmet also posed for one of his most elegant portraits, now in the collection of the Brooklyn Museum. Emmet, Lydia Field 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 In 1893 both Emmet and her sister Rosina painted murals for the Women’s Building at the World’s Fair in Chicago.
  • Breaking All Bounds: American Women Artists (1825-1945) Welcome Breaking All Bounds: American Women Artists (1825-1945) by Laura Polucha

    Breaking All Bounds: American Women Artists (1825-1945) Welcome Breaking All Bounds: American Women Artists (1825-1945) by Laura Polucha

    Breaking All Bounds: American Women Artists (1825-1945) Welcome Breaking All Bounds: American Women Artists (1825-1945) by Laura Polucha I am delighted to bring to the fore this diverse array of “I am independent! I can live and I love to work!” —Mary Cassatt paintings, drawings and sculpture by female American Artists dating from the early nineteenth century to the Even before becoming an art historian, the pioneering spirit of women artists, mid-twentieth century. We have researched each piece such as Mary Cassatt (1844–1926) and Berthe Morisot (1841–95), captivated and written biographies on each artist. I urge you to me as a young child. Around the age of six, I began collecting a series of artist visit our website to read their remarkable stories. All biographies written for children. (I was a voracious reader and particularly pieces in the exhibition are for sale. Please contact us enjoyed art books–the roots of my future career began early!) It was not until with any and all inquiries. I would like to thank our I eagerly devoured a book on Georgia O’Keeffe that I realized I had only been reading about male artists. Something seemed off. Where were the voices researchers, Lizzie Frasco and Laura Polucha for their and stories of all of the women? As a child, I did not really understand the steadfast dedication to unearthing the fascinating gendered social and historical implications of this question. I now know that details of the lives and work of these artists and for the answer rests in a lack of educational opportunities, social pressures and joining me on the journey to acquiring their works.
  • Raeburn, Life and Art

    Raeburn, Life and Art

    RAEBURN, LIFE AND ART VOLUME VI Plate Numbers 60~12i Plate 60. David Hunter of Blackness. Catalogue no. 414. Plate 61 . Mrs Margaret Hunter of Burnside. Catalogue no. 416. Plate 62. Sir Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423. Plate 63. S i.r Patrick Inglis, 5th Bt. of Cramond. Catalogue no. 423b. Plate 64. William Ing.lis. Catalogue no. 424. Plate 65. Lucv Johnston, later Mrs Oswald of Auchincruive. Catalogue no. 435. Plate 66. John Johnstone of Alva with his Sister, Dame Betty and his Niece. Miss Wedderburn. Catalogue no. 437. Plate 67. John Lamont of Lamont. Catalogue no. 4 5 5 . Plate 68. Jacobina Leslie. Catalogue no. 464. Plate 69. Mrs John Liddell, Catalogue no. 465. Plate 70. Dr Alexander Lindsay of Pinkieburn. A photograph of the painting before being cut into two fragments. Catalogue no. 466. Plate 71. Peter Van Brugh Livingston. Catalogue no. 469. Plate 72. Pe ter Van Br ugh Livingston. Catalogue no. 469b. Plate 73. Coronet George Lvon. Catalogue no. 474. Plate 74. Lieutenant-General Hay MacDowall. Catalogue no. 484(2) Plate 75. Captain George Makgill of Kemback and Fjngask, de ~iure 7th Bt. Catalogue no. '*87. Plate 76. Lady Katherine Mackenzie of Coul. Catalogue no. 499. Plate 77. Si r George Steuart Mackenzie Bt., as a Bov. Catalogue no. 500. Plate 78. Henry Mackenzie. Catalogue no. 501. Plate 79. Francis MacNab. 12th Laird of HacNab. Catalogue no. 513. Plate 80. Roderick MacNeill of Barra. Catalogue no. 514. Plate 81 . A llari Maconochie. 1st Lord Meadowbank. Catalogue no. 516. Plate 82. Sir Willaim Maxwell of Calderwood.
  • Double Vision: Woman As Image and Imagemaker

    Double Vision: Woman As Image and Imagemaker

    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
  • The Phillipsonian Enlightenment

    The Phillipsonian Enlightenment

    The Phillipsonian Enlightenment Colin Kidd A founding Editor of Modern Intellectual History [MIH], an acclaimed biographer of Adam Smith and a prolific essayist on all aspects of the Scottish Enlightenment, from its origins to its aftermath, Nicholas Phillipson needs little introduction to the readers of this journal. However, Phillipson’s recent retirement from his editorial duties on MIH provides a suitable moment to celebrate one of the pioneers in our field. When the current Editors set out to commission an historiographical overview of Phillipson’s oeuvre and career, I was honoured to be asked and delighted to accept. Phillipson did not coin the term ‘Scottish Enlightenment’, nor was he involved in its controverted recoinage in the 1960s; nevertheless nobody did more to give it a wider currency, both in Europe and North America. The term’s original begetter in 1900 was the Scottish economist and historian, W.R. Scott,1 but at this stage it failed to catch on. It was rescued from oblivion – independently, it seems – by two antagonistic scholars, Duncan Forbes of Cambridge,2 who ran an influential Special Subject at that university on ‘Hume, Smith and the Scottish Enlightenment’, and by Hugh Trevor-Roper of Oxford, who gave a paper entitled ‘The Scottish Enlightenment’ to the International Congress of the Enlightenment in 1967.3 Yet it was Phillipson - educated largely at Cambridge, where he took Forbes’s Special Subject,4 but closer, perhaps, to Trevor-Roper in cavalier esprit – who, in a series of innovative and richly erudite pieces, not only popularised the Scottish Enlightenment as a fashionable field of academic study, but also mapped its parameters and established its central preoccupations, lines of interpretation and matters of debate.
  • Rossyln Scenic Lore

    Rossyln Scenic Lore

    ROSSLYN'S SCENIC LORE THE NORTH ESK RIVER OF ROMANCE "It is telling a tale that has been repeated a thousand times, to say, that a morning of leisure can scarcely be anywhere more delight- fully spent than hi the woods of Rosslyn, and on the banks of the Esk. Rosslyn and its adjacent scenery have associations, dear to the antiquary and historian, which may fairly entitle it to precedence over every other Scottish scene of the same kind." SIR WALTER SCOTT (" Provincial Antiquities of Scotland.") OF ROMANCE abound in Scotland, and RIVERSthe North Esk is one of them. From its source high up among the Pentland Heights near the Boarstane and the boundary line between Midlothian and Tweeddale, it is early gathered into a reservoir, whose engineer was Thomas Stevenson, father of Robert Louis Stevenson, constructed in 1850 to supply water and power used in the paper mills on the river's banks. Passing through Carlops, once a village of weavers, it flows on through the wooded gorge of Habbie's Howe and the woods surrounding Penicuik House, on to " Rosslyn's rocky glen," and Hawthornden, Melville Castle and Dalkeith Palace, entering the Firth of Forth at Musselburgh. Alas that the clear sparkling waters of the moorland stream should be so spoiled by the industries of the Wordsworth's valley." Dorothy Diary entry is still true the water of the stream is dingy and muddy." Modern legislation on river pollution is sadly lacking. 75 " I never passed through a more delicious dell than the Glen of wrote and of the Rosslyn," " Dorothy; river it has been written No stream in Scotland can boast such a varied succession of the most interesting objects, as well as the most romantic and beautiful scenery." It is associated with some of the most famous men in Scottish literature who have lived on its banks, and has inspired the muse of some of Scotland's best poets.