Generations of Appleton Family Portraits
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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 -
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 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 : English School
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. -
Robbins & Appleton Building
Landmc'lrks Preservation C'nrmri.ssion .J\.UX:~ 19 1• 1979, ]}-;:>siqnat:ion List. 126 LP-·1038 .. ROBl3JNS & AP~ Btm.oiNG, 1-5 Bond StrE¥at, Borough of Manhattan. Built 1879-80; architect Stephen Decatur Hatch. l ...mdmark §_,i te: Borough of Manhattan Tax Map Block 529, I.Dt 10 and portions of. Shinl:x:me .Al;ley .which are located to the west and the south of Lot 10. On Ma.rch 13, 1979, the Landmarks Preservation Ccmn.ission held a public hc}ring on the proposed designation as a landmark of the Robbins & Appleton • ••. ~1 . lding, -1-5 Bond Street and . the proposed designation of the related Land n;::trk Site (Item No. 14} • . The hearing had been duly advertised in accordance .;ith the provisidns of· law. Three witnesses spoke in favor of designation. '"here -were no si?eakers in -opposition to designation. · · DESCRIPI'ION AND ANALYSIS The Robbins & Appleton Building at 1-5 Bond Street, an excellent exarrple of.• est-iron architecture, was designed by Stephen Decatur Hatch. J~·..riJ.t between June 4, 1879, and April 30, 1880, it served as a factory for t.~ '.;'l<mufacture of watchcases ·for the ~ican waitham Watch carpany founded by ~el F. Appleton-and Henry A. Robbins.! 'Ibis build.iilg :~;eplaced an earlier cast-itan store, aJ.so ~igned by Hatch and built for Robbins & Appleton in 1871, which was destroyed in a spectacular fire on the night of March 6, 1877. 2 . - . Bonq Street, .oJ?EIDed iz:>, 1805, 3 had been one of thE!·· nost fashionable .residential streets in the· city during t:he second quarter of the 19th century. -
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. -
Arthur Tappan
ARTHUR TAPPAN Lewis Tappan and Arthur Tappan were descendants of Benjamin Franklin (which is perhaps why their father, and another brother, happened to be named Benjamin Tappan). Arthur received a common-school education and then served a 7- year apprenticeship in the hardware business in Boston, before establishing himself in Portland, Maine, and subsequently in Montreal, Canada, where he would remain until the beginning of the war of 1812. In 1814 he would engage with his brother Lewis in importing British dry-goods into New-York City, and after that partnership was dissolved he successfully continued the business alone. He was known for his public spirit and philanthropy. He was a founder of the American tract society, the largest donor for the erection of its 1st building, and was identified with many charitable and religious bodies. He was a founder of Oberlin College, also erecting Tappan Hall there, and endowed Lane Seminary in Cincinnati, and a professorship at Auburn Theological Seminary. With his brother Lewis he founded the New-York Journal of Commerce in 1828, and established The Emancipator in 1833, paying the salary of the editor and all the expenses of its publication. He was an ardent abolitionist, and as the interest in the anti-slavery cause deepened he formed, at his own rooms, the nucleus of the New-York antislavery society, which was publicly organized under his presidency at Clinton Hall on October 2, 1833. He was also president of the American Anti-Slavery Society, to which for several years he contributed $1,000 per month, but withdrew in 1840 on account of the aggressive spirit that many members manifested toward the churches and the Union. -
A Finding Aid to the Emmet Family Papers, 1792-1989, Bulk 1851-1989, in the Archives of American Art
A Finding Aid to the Emmet Family Papers, 1792-1989, bulk 1851-1989, in the Archives of American Art Jean Fitzgerald and Stephanie Ashley Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art 1992 November, 2016 October 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 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1855-1988..................................................... 6 Series 2: Correspondence, 1792-1985................................................................... -
Hannah Adams
GODDARD WOMEN 1922 GEORGIA GRACE WATSON GODDARD (1866-1935), ELEANOR GRACE GODDARD DANIELS (1889-1981), ELEANOR DANIELS BRONSON HODGE (b. 1917), 1922 Mary Fairchild Low (1858-1946) Oil on canvas 58 x 48”; 147.3 x 121.9 cm. Hewes Number: 60 Born in New Haven, Connecticut, Low studied at the St. Louis School of Fine Arts, and then in Paris with Carolus-Duran and at the Academy Julian with Bouguereau, Lefebvre, and T. Robert Fleury.1 Other American women at the Academy Julian included Ellen Day Hale, Gabrielle Clements, Dora Wheeler, Amanda Brewster, Rosina Emmet, Lydia Field Emmet, Cecilia Beaux and Elizabeth Nourse.2 She married the artist Frederick MacMonnies in 1888 and lived in Paris and Giverny during the summers in the 1890s. They divorced and she married the artist Will H. Low in 1909; he had also studied with Carolus-Duran and the Ecoles de Beaux Arts.3 He was renowned as a mural and landscape painter. After their marriage, she lived in Bronxville, New York, just outside of New York City. Her figure paintings were exhibited in both France and the United States with great frequency.4 This was a substantial commission from a major artist and suggests the important status of the family within the city of Worcester. For example, in 1905, the parents of Harry W. Goddard celebrated their fiftieth wedding anniversary in the brand new residence at 190 Salisbury Street. At the same event, Eleanor Goddard celebrated her sixteenth birthday. The detailed description of this event in the Worcester newspaper lists all of the guests, provides family background for 1 Lois M. -
Rose Standish Nichols and the Cornish Art Colony
Life at Mastlands: Rose Standish Nichols and the Cornish Art Colony Maggie Dimock 2014 Julie Linsdell and Georgia Linsdell Enders Research Intern Introduction This paper summarizes research conducted in the summer of 2014 in pursuit of information relating to the Nichols family’s life at Mastlands, their country home in Cornish, New Hampshire. This project was conceived with the aim of establishing a clearer picture of Rose Standish Nichols’s attachment to the Cornish Art Colony and providing insight into Rose’s development as a garden architect, designer, writer, and authority on garden design. The primary sources consulted consisted predominantly of correspondence, diaries, and other personal ephemera in several archival collections in Boston and New Hampshire, including the Nichols Family Papers at the Nichols House Museum, the Rose Standish Nichols Papers at the Houghton Library at Harvard University, the Papers of the Nichols-Shurtleff Family at the Schlesinger Library at the Radcliffe Institute, and the Papers of Augustus Saint Gaudens, the Papers of Maxfield Parrish, and collections relating to several other Cornish Colony artists at the Rauner Special Collections Library at Dartmouth College. After examining large quantities of letters and diaries, a complex portrait of Rose Nichols’s development emerges. These first-hand accounts reveal a woman who, at an early age, was intensely drawn to the artistic society of the Cornish Colony and modeled herself as one of its artists. Benefitting from the influence of her famous uncle Augustus Saint Gaudens, Rose was given opportunities to study and mingle with some of the leading artistic and architectural luminaries of her day in Cornish, Boston, New York, and Europe. -
Annual Report 2004
mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W. -
Highlights from the Mcclung Museum's European & American Art Collections
Highlights from the McClung Museum’s European & American Art Collections Introduction Like many university museums, the University and broader community to inter- McClung Museum has been gifted a wide act with them in their teaching and learn- variety of art since it opened its doors fifty ing. years ago. Among those gifts is a signifi- cant grouping of American and European In that sense, we are grateful for the long art that forms the backbone of the Mu- history of generous donations to the seum’s Western Art collections. McClung Museum, which not only benefit the museum itself, but University of Tennes- From nineteenth century society portraits see faculty, students, and researchers, as to twentieth century abstract art, these well as the East Tennessee community. paintings, sculptures, and works on paper reflect a handful of collectors’ tastes. While Collections like this one allow for the kind not focused in any particular area, the col- of intimate and eye-opening, and I think ex- lection is wonderful in its breadth and qual- traordinary important, interactions with art ity. that can only happen in the museum space. I organized this show the Summer of 2014 in order to highlight some of the gems in our collections, many of which had not been displayed in decades. Its chronologi- cal display not only roughly follows the col- Catherine Shteynberg lecting patterns of each of the donors pro- Curator filed throughout the exhibit, but also of course the chronology of major art move- ments. As we are a University museum, we not only have the opportunity to temporarily display these works of art, but to allow the ii The Collectors iii The Audigiers were Knoxvillians and strong patrons of the arts who made one of the first large donations of art to the Uni- versity of Tennessee.