DOCSLIB.ORG

Contemporary Painting in the United States Contemporary Painting in the United States the Metropolitan Museum of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Painting in the United States Contemporary Painting in the United States the Metropolitan Museum of Art A SPECIAL EXHIBITION OF CONTEMPORARY PAINTING IN THE UNITED STATES CONTEMPORARY PAINTING IN THE UNITED STATES THE METROPOLITAN MUSEUM OF ART CONTEMPORARY PAINTING IN THE UNITED STATES A SPECIAL EXHIBITION APRIL i9 THROUGH APRIL 27 CV PREFACE The Metropolitan Museum of Art is privileged to ex- hibit for a brief period, April ig to April 27 inclusive, a carefully selected collection of approximately 200 paint- ings and Ioo water colors by some of our most gifted contemporary painters. The exhibition in New York is necessarily brief becausethe paintings, divided into three units according to plan, are scheduled shortly to go to the art centers of the other American republics, where they will be shown during the remainder of the year. The Office of the Coördinator of Commercial and Cul- tural Relations between the American Republics is col- laborating with several museums in these exhibitions, which are intended to familiarize our southern neighbors with present trends in American painting. The assem- blage of the paintings at The Metropolitan Museum of Art prior to transshipment has made it possible for the combined exhibitions to be shown in a New York pre- view before their departure. The Museum wishes to ex- press its appreciation to the various members of the com- mittees here mentioned, as well as to the artists them- selves, for their collaboration and assistance. FRANCIS HENRY TAYLOR Director ORGANIZATION The picturesbeing shown together at The Metropoli- tan Museum of Art are to be divided into three separate exhibitions and circulated in the art centers of the other American republics. The planning of these exhibitions has been vested in committees representing the five museums listed below and working in coöperation with the office of Nelson A. Rockefeller, the Coördinator of Commercial and Cul- tural Relations between the American Republics. The Cultural Relations Division of the Coördinator's office is chairmaned by Dr. Robert G. Caldwell. COMMITTEE ON ART CHAIRMAN, JOHN E. ABBOTT-Executive Vice-Presi- dent, The Museum of Modern Art ALFRED H. BARR, JR. The Museum of Modern-Director, Art JULIANA R. FORCE-Director, The Whitney Museum of American Art LAURANCE P. RoBERTs-Director, The Brooklyn Museum FRANCIS HENRY TAYLOR-Di rector, The Metropolitan Museum of Art GEORGE C. VAILLANT-Assistant Curator of Mexican Archaeology, Department of Anthropology, The American Museum of Natural History STANTON L. CATLIN-Assistant to the Chairman 6 COMMITTEE ON SELECTION AND HANGING JOHN I. H. BAUR DOROTHY C. MILLER LLOYD GOODRICH HERMON MORE HERMANN WARNER WILLIAMS, JR. GRACE L. MCCANN MORLEY Special Consultant to the Committee on Art and Latin- American Representative HELEN APPLETON READ Director of the Exhibitions and Editor of the Catalogue in Spanish and Portuguese 7 LIST OF LENDERS The Albright Art Gallery (i) The Art Institute of Chicago (2) John C. Atherton (3) Darrel Austin (¢) Gifford Beal (5) Raymond Breinin (6) The Brooklyn Museum (7) Paul Cadmus (8) The Canajoharie Library and Art Gallery (9) The Carnegie Institute (io) John Carroll (ii) Federico Castellon (12) Nicolai Cikovsky (i3) Stephen C. Clark (14) The Cleveland Museum of Art (15) Howard Norton Cook (16) Jon Corbino 07) The Corcoran Gallery of Art (i8) Francis Criss (i9) John Steuart Curry (20) Adolf Arthur Dehn (21) John Stockton De Martelly (22) John Dewey (23) Guy Pene Du Bois (24) Louis Michel Eilshemius (25) Mrs. Hendrick Eustis (26) William Dean Fausett (27) Lyonel Feininger (28) Ernest Fiene (29) Oronzo Gasparo (30) Balcomb Greene (3 i) 0. Louis Guglielmi (32) Mrs. William Averell Harriman (33) Alexandre Hogue (34) Peter Hurd (35) Joe Jones (36) Henry George Keller (37) Jack Levine (38) Edmund D. Lewandowski (39) Samuel A. Lewisohn (40) De Hirsh Margules (41) Reginald Marsh (42) Fletcher Martin (43) The Metropolitan Museum of Art (44) Barse Miller (45) The Museum of Fine Arts, Boston (46) The Museum of Modern Art (47) The Nebraska Art Association (48) Mr. and Mrs. Roy Neuberger (49) The Newark Museum (50) William S. Paley (51) William C. Palmer (52) Mrs. Ogden Phipps (53) John Pike (54) Ogden M. Pleissner (55) David L. Podell (56) The Rhode Island School of Design, Museum of Art (57) Paul Starrett Sample (58) Henry Ernest Schnackenberg (59) () Zoltan L. Sepeshy(6o) Mr. and Mrs. John Sheppard (61) Mitchell Siporin (62) Jacob Getlar Smith (63) Raphael Soyer (64) The Syracuse Museum of Fine Arts (65) Thomas J. Watson (66) The Whitney Museum of American Art (67) John Whorf (68) Andrew Wyeth (69) William Zorach (70) Anonymous (71) 10 LIST OF PAINTINGS The numbers in parenthesis which follow the titles of the paintings and water colors listed below refer to the corresponding numbers in the list of lenders on page 6. It is expected that a few of the exhibits will not arrive in time to be included in the New York preview. JOHN C. ATHERTON I. The Backyard (3) DARREL AUSTIN 2. Catamount (47) 3. The Stream (4) GIFFORD BEAL 4. The Spotlight (2) 5. Fisherman (67) 6. The Circus at the Hippodrome (5) GEORGE W. BELLOWS 7. Dempsey and Firpo (67) 8. The Sand Cart (7) THOMAS HART BENTON q. Homestead (47) io. Roasting Ears (44) I i. Louisiana Rice Fields (7) HENRY BILLINGS 12. Lehigh Valley (67) ISABEL BISHOP 13. Nude (67) 14. Two Girls (44) ARNOLD BLANCH 15. SwampFolk (7) PETER BLUME 16. Landscape and Poppies (47) 17. The Light of the World (67) AARON BOHROD 18. Landscape near Chicago (67) LOUIS BOUCHE 19. Jane and Tuffy (44) 20. Stamford Harbor (67) ALEXANDER BROOK 21. The Sentinels (67) 22. Morning Light (67) 23. The Tragic Muse (50) CHARLES E. BURCHFIELD 24. Winter Twilight (67) 25. Old House by Creek (67) 26. November Evening (44) PAUL CADMUS 27. Venus and Adonis (8) 28. Gilding the Acrobats (8) JOHN CARROLL 29. Draped Figure (I I) CLARENCE HOLBROOK CARTER 30. Immortal Water (67) GLENN O. COLEMAN 31. Downtown Street (67) 32. The Mirror (67) JON CORBINO 33. Harvest Festival (17) 34. The Circus Tent (9) FRANCIS CRISS 35. Astor Place (67) 36. "El, " 1939 Version (it) JOHN STEUART CURRY 37. Spring Shower (44) I2 38. The Flying Codonas(67) 39" View of Madison (20) STUART DAVIS 40. Summer Landscape (47) 41. House and Street (67) JOHN STOCKTON DE MARTELLY 42. No More Mowing (22) CHARLES DEMUTH 43" My Egypt (67) 44. From the Garden of the Chateau (67) PRESTON DICKINSON 45" Still Life-Bread and Fruit (67) 46. Industry (67) GUY PENE DU BOIS 47. The Battery (24) 48. Meditation (24) LOUIS MICHEL EILSHEMIUS 49. Sunburst (25) 50. Woodland Brook (25) PHILIP HOWARD EVERGOOD 51. Through the Mill (67) ERNEST FIENE 52. Skyline under Brooklyn Bridge (29) 53. Dyckman Street Church (67) JARED FRENCH 54. Summer's Ending (67) 55. Three Women and a Life Guard (53) WILLIAM J. GLACKENS 56. Girl in Black and White (67) 57. The Green Car (44) 58. The Drive, Central Park (15) ARSHILE GORKY 59. Argoola (47) i3 BALCOMB GREENE 6o. The Ancient Form (47) 61. The Blue World (31) WILLIAM CROPPER 62. Homeless (44) 63. The Hunt (44) 64. Old Tree and Old People (67) 0. LOUIS GUGLIELMI 65. The Tenements (32) MARSDEN HARTLEY 66. Ghosts of the Forest (7) 67. The Old Bars, Dogtown (67) 68. The Spent Wave (47) ROBERT HENRI 69. Storm Tide (67) 70. Moira (9) ALEXANDRE HOGUE 71. Drought-Stricken Area (34) 72. Erosion No. 3-The Crucified Land (34) EDWARD HOPPER 73. Early Sunday Morning (67) 74. Night Windows (47) PETER HURD 75. Anselmo's House (35) 76. Boy from the Plains (49) 77. Ranch near Encimo (35) JOE JONES 78. Threshing (44) 79. Wheat (36) JOHN KANE 8o. Crossing the junction (71) 81. Prosperity's Increase (51) MORRIS KANTOR 82. On the Beach (44) 83. Skyrocket (67) 14 BERNARD KARFIOL 84. Hilda (67) 85. SeatedNude (47) 86. Christina (io) ROCKWELL KENT 87. Winter (44) 88. Shadows of Evening (67) 89. Toilers of the Sea (40) LEON KROLL go. Nude, Babette (67) qt. Cape Ann (44) 92. Road through the Willows (67) WALT KUHN 93. The Blue Clown (67) 94" Adirondack Guide (33) YASUOKUNIYOSHI 95. I'm Tired (67) 96. Self-Portrait as a Golf Player (47) 97.1 Think So (i) ERNEST LAWSON 98. High Bridge (67) 99. Central Park, Winter (71) 100. Winter (7) DORIS EMRICK LEE Io1. Catastrophe (44) JULIAN E. LEVI 102. Shrimp Scow on Barnegat Bay (44) JACK LEVINE 103. The Syndicate (38) Io4. The Millionaire (56) GEORGE BENJAMIN LUKS 105. Eleanor (57) i o6. Hester Street (7) i5 LOREN MACIVER 107. Moonlight (23) io8. Garden Labyrinth (47) PEPPINO MANGRAVITE Ioq. City People in the Country (67) REGINALD MARSH I Io. Why Not Use the "L"? (67) III. Gaiety Burlesque (26) I12. The Bowl (42) 113. High Yaller (61) FLETCHER MARTIN 114. The Embrace (43) 115. Tomorrow and Tomorrow (43) HENRY ELIS MATTSON I16. Wings of the Morning (44) 117- Spring (67) 118. OpenSea (66) HENRY LEE McFEE I I9. Crow with Peaches (67) 120. Still Life with Striped Curtain (44) FRANK MECHAU 121. Dangers of the Mail (47) 122. Pony Express (47) KENNETH HAYES MILLER 123. The Fitting Room (44) 124. Business of the Day (67) GEORGIA O'KEEFFE 125. The White Flower (67) WALDO PEIRCE 126. After the Show (67) 127. Haircut by the Sea (44) OGDEN M. PLEISSNER 128. Storm over Equinox (55) i6 HENRY VARNUM POOR 129. The Disappointed Fisherman (44) 130. The Pink Tablecloth (15) 131. Boy with a Bow (50) MAURICE B. PRENDERGAST 132. Promenade, Gloucester (67) 133. The Cove (67) HENRY ERNEST SCHNAKENBERG 134. Mourning Doves (44) 135" Conversation (67) 136. A Pastoral Landscape (59) ZOLTAN L. SEPESHY 137. In the Day's Work (6o) 138.
Load more

Recommended publications
  • Oral History Interview with Eugenie Gershoy, 1964 Oct. 15
    Oral history interview with Eugenie Gershoy, 1964 Oct. 15 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 EG:: EUGENIE GERSHOY MM:: MARY McCHESNEY RM:: ROBERT McCHESNEY (Miss Gershoy was on the WPA sculpture project in New York City) MM:: First I'd like to ask you, Johnny -- isn't that your nickname? -- where were you born? EG:: In Russia. MM:: What year? EG:: 1901. MM:: What town were you born in? EG:: In a wonderful little place called Krivoi Rog. It's a metal-lurgical center that was very important in the second World War. A great deal of fighting went on there, and it figured very largely in the German-Russian campaign. MM:: When did you come to the United States? EG:: 1903. MM:: You were saying that you came to the United States in 1903, so you were only two years old. EG:: Yes. MM:: Where did you receive your art training? EG:: Very briefly, I had a couple of scholarships to the Art Students League. MM:: In New York City? EG:: Yes. And then I got married and went to Woodstock and worked there by myself. John Flanagan, the sculptor, was a great friend of ours, and he was up there, too. I was very much influenced by him. He used to take the boulders in the field and make his sculptures of them, and also the wood that was indigenous to the neighborhood -- ash, pine, apple wood, and so forth.
    [Show full text]
  • Scottsdale Art Auction Seeking Consignments for April 6 Western Art Sale SCOTTSDALE, ARIZ
    THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț FALL 2018 2 — THE GALLERY October 12, 2018 — Antiques and The Arts Weekly THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY Tel. 203-426-8036 or 203-426-3141 or Fax 203-426-1394 www.AntiquesAndTheArts.com contact: Barb Ruscoe email - [email protected] Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 New Acquisitions & Brimming Fair Schedule Propel Edward T. Pollack Fine Arts BRUNSWICK, MAINE — Edward T. 1,” “Nudo 2” and “Nudo 3”; prints by Ynez Pollack Fine Arts has a busy fall and winter Johnston, Jacques Hnizdovsky; several im- season planned for 2018–19. Following a portant Whistler lithographs; and a brilliant successful show at the Brooklyn Book and example of the now rare exhibition poster Print Fair at the Brooklyn Expo in Green- for the famous 1985 exhibition of paintings point early September, Ed Pollack will by Warhol and Basquiat. exhibit at the New York Satellite Print Fair Recent sales have included books illus- at Mercantile Annex 37. The show is held trated and signed by Thomas Hart Benton October 25–28, the same dates as the In- and Keith Haring, a lithograph by Yasuo ternational Fine Print Dealers Association’s Kuniyoshi, several woodcuts by Carol Fine Art Print Fair, in a venue very close Summers, two watercolor drawings by the to the Javits Center. During January and Monhegan Island painter Lynne Drexler, an February, the firm participates in print fairs early and rare Stow Wengenroth lithograph in Portland, Ore., Los Angeles/Pasadena and of Eastport, Maine, a lithograph by Robert San Francisco/Berkeley, Calif.
    [Show full text]
  • American Prints 1860-1960
    American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • Oral History Interview with Katherine Schmidt, 1969 December 8-15
    Oral history interview with Katherine Schmidt, 1969 December 8-15 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 Preface The following oral history transcript is the result of a tape-recorded interview with Katherine Schmidt on December 8 & 16, 1969. The interview took place in New York City, and was conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview DECEMBER 8, 1969 [session l] PAUL CUMMINGS: Okay. It's December 8, 1969. Paul Cummings talking to Katherine Schubert. KATHERINE SCHMIDT: Schmidt. That is my professional name. I've been married twice and I've never used the name of my husband in my professional work. I've always been Katherine Schmidt. PAUL CUMMINGS: Well, could we start in 0hio and tell me something about your family and how they got there? KATHERINE SCHMIDT: Certainly. My people on both sides were German refugees of a sort. I would think you would call them from the troubles in Germany in 1848. My mother's family went to Lancaster, Ohio. My father's family went to Xenia, Ohio. When my father as a young man first started out in business and was traveling he was asked to go to see an old friend of his father's in Lancaster. And there he met my mother, and they were married. My mother then returned with him to Xenia where my sister and I were born.
    [Show full text]
  • Isabel Bishop a Selection of Paintings, Darrendrawings, Andwaterston Prints REMOTE FUTURES
    DC M OORE GALLERY 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE FOR IMMEDIATE RELEASE Isabel Bishop A Selection of Paintings, DARRENDrawings, andWATERSTON Prints REMOTE FUTURES September 5 – October 5, 2013 OCTOBER 4 – NOVEMBER 3, 2012 Opening Reception Thursday, September 5, 6 – 8 pm OPENINGIn the project RECEPTIONspace, DC Moore Gallery features one of the foremost figurative artists of the twentieth century, Isabel OCTOBER 4, 6 – 8 PM Bishop (1902-1988). Best known for her images of shop girls, office workers, and down-and-out men around Union Square in New York, she also created nudes and still lifes, all of which AcataloguewithanessaybyJimVoorhies reinterpret a classical sensibility in a contemporary mode. will be available. Agony in the Garden, 2012. Oil on wood panel, 36 x 36 inches. In light of this, the question might arise as to why we do not know or hear more about Isabel Bishop today. The answer lies in Isabel Bishop, Noon Hour, 1935. Etching, 6 7/8 x 4 7/8 inches. large part in her painstaking studio practice and self-critical DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. Thisreview recent process. body Her of work very exploresdeliberate the m allureethod andbegan menace with sketches of utopian done fantasy, either where outdoors an imagined, or with models idealized posed paradise in her holdsstudio, within followed it a bydisconcerting drawings, etchings, future. and prints. From her studies, she then created final paintings with vibrant, complex surfaces built up through multiple layers of oil and varnish over a toned gesso ground.
    [Show full text]
  • The Finding Aid to the Alf Evers Archive
    FINDING AID TO THE ALF EVERS’ ARCHIVE A Account books & Ledgers Ledger, dark brown with leather-bound spine, 13 ¼ x 8 ½”: in front, 15 pp. of minutes in pen & ink of meetings of officers of Oriental Manufacturing Co., Ltd., dating from 8/9/1898 to 9/15/1899, from its incorporation to the company’s sale; in back, 42 pp. in pencil, lists of proverbs; also 2 pages of proverbs in pencil following the minutes Notebook, 7 ½ x 6”, sold by C.W. & R.A. Chipp, Kingston, N.Y.: 20 pp. of charges & payments for goods, 1841-52 (fragile) 20 unbound pages, 6 x 4”, c. 1837, Bastion Place(?), listing of charges, payments by patrons (Jacob Bonesteel, William Britt, Andrew Britt, Nicolas Britt, George Eighmey, William H. Hendricks, Shultis mentioned) Ledger, tan leather- bound, 6 ¾ x 4”, labeled “Kingston Route”, c. 1866: misc. scattered notations Notebook with ledger entries, brown cardboard, 8 x 6 ¼”, missing back cover, names & charges throughout; page 1 has pasted illustration over entries, pp. 6-7 pasted paragraphs & poems, p. 6 from back, pasted prayer; p. 23 from back, pasted poems, pp. 34-35 from back, pasted story, “The Departed,” 1831-c.1842 Notebook, cat. no. 2004.001.0937/2036, 5 1/8 x 3 ¼”, inscr. back of front cover “March 13, 1885, Charles Hoyt’s book”(?) (only a few pages have entries; appear to be personal financial entries) Accounts – Shops & Stores – see file under Glass-making c. 1853 Adams, Arthur G., letter, 1973 Adirondack Mountains Advertisements Alderfer, Doug and Judy Alexander, William, 1726-1783 Altenau, H., see Saugerties, Population History files American Revolution Typescript by AE: list of Woodstock residents who served in armed forces during the Revolution & lived in Woodstock before and after the Revolution Photocopy, “Three Cemeteries of the Wynkoop Family,” N.Y.
    [Show full text]
  • THE PAINTING and SCULPTURE COLLECTION: a NEW PERSPECTIVE, Opening at the Museum Of
    The Museum of Modern Art „TPiCPMn 10 U west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart FOR RELEASE: Wednesday, March 14, 1973 Press Preview: Monday, March 12, 11am-4pm "It is one of the important functions of the Museum Collection to give a core, a spine, a background for study and comparison, a sense of relative stability and continuity to an institution dedicated to the changing art of our unstable world." — (1942) Alfred H. Barr, Jr., the first Director of the Museum and Director of Museum Collections for 20 years before his retirement in 1967. THE PAINTING AND SCULPTURE COLLECTION: A NEW PERSPECTIVE, opening at The Museum of Modern Art on March 14, brings the exhibition of the Museum collection up to date with new ground-floor galleries devoted solely to works executed since the middle 1950s. The Museum's unrivaled historical review of the modern masters and movements from Cezanne through Abstract Expressionism is presented in remodeled and newly installed galleries on the second and third floors. The expansion and redesigning of these galleries, carried out over a period of months by the present staff headed by William S. Rubin, Chief Curator of the Painting and Sculpture Collection, has been made possible in part by a generous grant from the National Endowment for the Arts and support from the New York State Council on the Arts. "Each new installation is, of necessity, something of a re-evaluation — if for no other reason than that only a fraction of the Museum's collection can be shown at one time," Mr.
    [Show full text]
  • King's College, Cambridge
    King’s College, Cambridge Annual Report 2014 Annual Report 2014 Contents The Provost 2 The Fellowship 5 Major Promotions, Appointments or Awards 18 Undergraduates at King’s 21 Graduates at King’s 26 Tutorial 36 Research 47 Library and Archives 51 Chapel 54 Choir 57 Bursary 62 Staff 65 Development 67 Appointments & Honours 72 Obituaries 77 Information for Non Resident Members 251 While this incremental work can be accomplished within the College’s The Provost maintenance budget, more major but highly desirable projects, like the refurbishment of the Gibbs staircases and the roof and services in Bodley’s will have to rely on support apart from that provided by the endowment. 2 I write this at the end of my first year at The new Tutorial team under Perveez Mody and Rosanna Omitowoju has 3 THE PROVOST King’s. I have now done everything once begun its work. There are now five personal Tutors as well as specialist and am about to attend Alumni Weekend Tutors, essentially reviving a system that was in place until a few years ago. reunion dinners for the second time. It has It is hoped that the new system will reduce the pastoral pressure on the been a most exciting learning experience THE PROVOST Directors of Studies, and provide more effective support for students. getting to know the College. While I have not had much time for my own research I In the Chapel we have said farewell to our Dean, Jeremy Morris. Jeremy have had the opportunity to learn about came to the College from Trinity Hall in 2010, and after only too short a others’ interests, and have been impressed time returns to his former College as its Master.
    [Show full text]
  • Oral History Interview with Isabel Bishop, 1959 April 15
    Oral history interview with Isabel Bishop, 1959 April 15 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Isabel Bishop on April 15, 1959. The interview took place in New York City, and was conducted by Warren Chappell, Henrietta Moore & Mary Bartlett Cowdrey for the Archives of American Art, Smithsonian Institution. Interview MARY BARTLETT COWDREY: For the recording of Isabel Bishop, I have just put on the machine the new one and one-half mil. Mylar Audiotape, which is said to have great tensile strength. After lunch, Henrietta Moore will conduct an interview with Isabel Bishop and Warren Chappell. Today is April 15, 1959. [PAUSE] MARY BARTLETT COWDREY: The recording is going. Today is April 15, 1959. HENRIETTA MOORE: The place is the office of the Archives of American Art in New York City. We are happy to have the opportunity of talking with Miss Isabel Bishop, one of the most distinguished American artists, a member of the National Academy and of the National Institute of Arts and Letters, Society of American Graphic Artists, and the Philadelphia Water Color Society. You have also been a teacher at the Art Students League, Miss Bishop? ISABEL BISHOP: Yes. HENRIETTA MOORE: Another United Artist is here to talk with Miss Bishop, Mr. Warren Chappell, of Norwalk, Connecticut, whose ability and fame as an illustrator are greatly admired and enjoyed. To identify my voice, let me only say that I am Henrietta Moore, who has assembled the material Miss Bishop loaned the Archives for microfilming.
    [Show full text]
  • SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
    SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).
    [Show full text]
  • Cows in Pasture
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Yasuo Kuniyoshi American, born Japan, 1889 - 1953 Cows in Pasture 1923 oil on canvas overall: 51.12 × 76.52 cm (20 1/8 × 30 1/8 in.) framed: 24 × 33.94 × 2.19 cm (9 7/16 × 13 3/8 × 7/8 in.) Inscription: lower center right: Y.Kuniyoshi 23 Corcoran Collection (Gift of George Biddle) 2014.136.94 ENTRY Yasuo Kuniyoshi’s early paintings, prints, and drawings feature odd, humorous, and even disconcerting subjects: frightened-looking babies with animals and anthropomorphic vegetation, for example.[1] When he tackled more conventional motifs, such as still lifes, landscapes, or nudes, he depicted them in a quasi- surrealistic style, from dizzying perspectives, or in odd arrangements with curious props. Cows in Pasture, ostensibly a straightforward view of a coastal New England dairy farm, is a prime example of Kuniyoshi’s subtle “strangeness,” as a critic characterized the artist’s early work.[2] Kuniyoshi’s favorite early subject was the cow; the artist estimated he painted some 60 cow pictures during the mid-1920s.[3] His preoccupation with the animal and the gravity with which he treated it earned him the label of satirist, a charge he would later counter: I wasn’t trying to be funny but everyone thought I was. I was painting cows and cows at that time because somehow I felt very Cows in Pasture 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 near to the cow.
    [Show full text]